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Test your basic knowledge |
Acting
Start Test
Study First
Subject
:
performing-arts
Instructions:
Answer 45 questions in 15 minutes.
If you are not ready to take this test, you can
study here
.
Match each statement with the correct term.
Don't refresh. All questions and answers are randomly picked and ordered every time you load a test.
This is a study tool. The 3 wrong answers for each question are randomly chosen from answers to other questions. So, you might find at times the answers obvious, but you will see it re-enforces your understanding as you take the test each time.
1. The ability to function on more than one level of awareness at a time. Ex: A character pursuing his or her objective simultaneously observing and adjusting the performance for the sake of the spectators.
Craft
Dual Consciousness
Action in a Play or Film Script
Transformation
2. The quality of an action or performance that makes it seem to be happening right now - before our eyes - as if for the first time.
Immediacy
Dramatic Function
The Genesis of Acting
Emotion Memory
3. Finding in the character's situation some need or objective that has true personal significance.
Empathy
Substitution
The Genesis of Acting
Vsevolod Meyerhold
4. All parts of the actor--body - voice - and mind--work together in an integrated way.
Breath
In Action
Wholeness
Personal Center
5. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.
Empathy
Action in a Play or Film Script
Objectives should be...
Discipline
6. Our relationship to ______ implies internal states to the audience. Ex: Willie Loman with a bent back is hopeless and defeated and losing his battle with _____. In musical theatre it is convention that lovers actually defy _______ by skipping - as if
Biomechanics
Gravity
A play
Indicating
7. A unit of action with it's own specific conflict and crisis. In each one a character has a single objective. They are formed of interactions and flow to create the underlying structure of a scene.
Beat
Raising the Stakes
The Genesis of Acting
Objective
8. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Relaxation
Acting
Magic If
Need
9. Singular - Immediate - & Personal. (SIP)
Objectives should be...
Need
Substitution
Indicating
10. Although it has a literal - physical dimension - being in a state of________ implies a unified sense of self that allows actions to involve the whole body and be well focused.
Centeredness
In Action
Gravity
Objectives should be...
11. The job a character was created to perform within a story.
Breath
Biomechanics
Indicating
Dramatic Function
12. Stanislavski's classic question. If I were in the situation of the character - and if I wanted what the character wants - what would I do?
Centeredness
Indicating
Magic If
Justified
13. _____ causes an _____ directed toward an __________
Blocking
Creative State
Biomechanics
Need; Action; Objective
14. Becoming the new version of yourself by needing and doing what the character needs and does.
Objectives should be...
Transformation
Craft
Beat
15. Recalling a significant moment in your past to fit a character. WARNING: Must be appropriate for the character.
Substitution
Emotion Memory
Immediacy
Aristotle
16. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
Stanislavski's Actor
Personal Center
Demonstration
Blocking
17. German word for power. The actor's physical and vocal tools.
A play
The Genesis of Acting
In Action
Craft
18. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.
Need; Action; Objective
Vsevolod Meyerhold
Thespis
Public Solitude
19. Showing the audience something about the character instead of simply doing what the character does.
Constatin Stanislavski
Indicating
Substitution
Public Solitude
20. The ______ is what his or her character does to try to fulfill a need by attaining some objective. Stanislavski spoke of both spiritual (inner) and physical (outer). Note that speaking is one of the most common forms - in other words speaking is doin
Magic If
Public Solitude
Action (for an Actor)
Dual Consciousness
21. Believed the qualities of a good play and a good actor should be: 1) Believable. 2) Connect with the audience in a personal way. AKA Empathy 3) Immediacy 4) Communicate 'truthfulness'. Present experiences in a meaningful way relative to the audience.
Stanislavski's Actor
Objective
Aristotle
Creative State
22. He developed a presentational and overtly theatrical style of acting.
Biomechanics
The Genesis of Acting
Transformation
Vsevolod Meyerhold
23. Relinquishing too much effort - chronic physical tension - a false voice - preconceptions about the work - personal fear - and most importantly who you already are.
Empathy
Substitution
Letting Go
Public Solitude
24. Bertolt Brecht's idea that the actor does not become the character completely - but rather demonstrates the character's behavior for the audience while still expressing some attitude about it.
Raising the Stakes
Dual Consciousness
Objectives should be...
Demonstration
25. The father of the modern actor.
Truthful Performance
Constatin Stanislavski
Dual Consciousness
Relaxation
26. The reduction of self-consciousness from the total engrossment in a role.
Raising the Stakes
Biomechanics
Public Solitude
Truthful Performance
27. The acceptance of responsibility for your own development through systematic effort.
Constatin Stanislavski
Dual Consciousness
Discipline
Letting Go
28. Meyerhold. The fusion of mind and body; teaching the 'body how to think'.
Biomechanics
Thespis
The Method of Physical Actions
Need
29. Everything an actor does in a performance has to be _______ by the character's internal need.
Centeredness
Biomechanics
Wholeness
Justified
30. The goal of a character pursues through action to satisfy a need. It is best identified using a transitive verb such as - 'to persuade him to give me a territory in town.'
Objective
Immediacy
Biomechanics
Creative State
31. Heightening the drama of an action or scene by making it more significant or urgent.
Raising the Stakes
Substitution
Immediacy
Transformation
32. Actresses began to appear on stage.
The Genesis of Acting
Need
1660s
In Action
33. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
Truthful Performance
Need
Emotion Memory
Justified
34. The event itself. It is not 'about' something.
Centeredness
Thespis
A play
Relaxation
35. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
36. The exchange of action and reaction.
Blocking
A play
Dual Consciousness
Interaction
37. A person fully committed to an important objective.
In Action
Personal Center
The Method of Physical Actions
Substitution
38. The key to almost everything in acting. For an actor - _______ is not a reduction of energy but rather a freeing of energy and a readiness to react. AKA Restful Alertness. The first step in Letting Go. Awareness is at a high level.
Demonstration
Justified
Relaxation
Acting
39. Three finger widths below your navel. The origin of breath and therefore your voice - as well as all large motions of the body. The undistorted source from which our work begins in order to develop the unique ways of using our bodies and voice requir
Personal Center
Blocking
Stanislavski's Actor
Vsevolod Meyerhold
40. The great unifier of body - mind - and voice.
Personal Center
Breath
The Genesis of Acting
Blocking
41. The condition of relaxed playfulness that some psychologists say allows for maximum creativity. When the inner parent allows the inner child to come out and play.
Centeredness
Creative State
1660s
In Action
42. This occurs when: Everything the actor does as the character should grow directly out of the needs of the character - so that the 'inner' world of the character and the 'outer' world of the performance are unified.
Truthful Performance
Gravity
Beat
Breath
43. An actor's ability to put himself in the place of another person - both for purposes of observation and for applying the Magic If to a role. It is possible to empathize with someone without sympathizing with that person.
Breath
Stanislavski's Actor
Empathy
Indicating
44. Stanislavski's physical approach to acting.
Relaxation
1660s
The Method of Physical Actions
Truthful Performance
45. Male choir groups began competing against one another reciting poems at religious festivals in Ancient Greece. Gradually the choir leader began to speak as an individual character and acting was born. As a second actor was added - dialogue emerged -
Objectives should be...
The Genesis of Acting
Truthful Performance
Gravity