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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 great unifier of body - mind - and voice.
1660s
Interaction
Breath
Letting Go
2. Recalling a significant moment in your past to fit a character. WARNING: Must be appropriate for the character.
Emotion Memory
Acting
Substitution
Raising the Stakes
3. Stanislavski's physical approach to acting.
Personal Center
Biomechanics
In Action
The Method of Physical Actions
4. Relinquishing too much effort - chronic physical tension - a false voice - preconceptions about the work - personal fear - and most importantly who you already are.
Letting Go
Empathy
Action in a Play or Film Script
Wholeness
5. 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
Action in a Play or Film Script
Action (for an Actor)
Personal Center
Aristotle
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
Gravity
Objectives should be...
Creative State
Biomechanics
7. German word for power. The actor's physical and vocal tools.
Demonstration
Transformation
Craft
Gravity
8. 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.
Dual Consciousness
Indicating
Thespis
Relaxation
9. 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?
Magic If
1660s
Letting Go
Breath
10. 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.
Constatin Stanislavski
Aristotle
Gravity
Truthful Performance
11. A person fully committed to an important objective.
In Action
Personal Center
Interaction
Substitution
12. The exchange of action and reaction.
Objectives should be...
Interaction
Demonstration
Constatin Stanislavski
13. 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.
Action (for an Actor)
Blocking
Craft
Centeredness
14. 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
Substitution
Transformation
Personal Center
In Action
15. The event itself. It is not 'about' something.
Thespis
Vsevolod Meyerhold
1660s
A play
16. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
Immediacy
Relaxation
Centeredness
Need
17. 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.
Wholeness
Aristotle
Objective
Need
18. Becoming the new version of yourself by needing and doing what the character needs and does.
Action (for an Actor)
Action in a Play or Film Script
Magic If
Transformation
19. Meyerhold. The fusion of mind and body; teaching the 'body how to think'.
Biomechanics
Public Solitude
Action (for an Actor)
Beat
20. Heightening the drama of an action or scene by making it more significant or urgent.
Acting
Raising the Stakes
Discipline
Relaxation
21. Everything an actor does in a performance has to be _______ by the character's internal need.
Blocking
Action (for an Actor)
Justified
Thespis
22. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.
Magic If
Thespis
Action in a Play or Film Script
Dual Consciousness
23. All parts of the actor--body - voice - and mind--work together in an integrated way.
Transformation
Indicating
In Action
Wholeness
24. He developed a presentational and overtly theatrical style of acting.
Dramatic Function
Discipline
Vsevolod Meyerhold
1660s
25. 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.
Creative State
Raising the Stakes
Public Solitude
Beat
26. 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.
Indicating
Empathy
Biomechanics
Immediacy
27. The father of the modern actor.
Craft
Constatin Stanislavski
Objectives should be...
Creative State
28. The acceptance of responsibility for your own development through systematic effort.
Relaxation
Vsevolod Meyerhold
Action in a Play or Film Script
Discipline
29. Singular - Immediate - & Personal. (SIP)
Objectives should be...
Magic If
Emotion Memory
Craft
30. Actresses began to appear on stage.
Stanislavski's Actor
1660s
Indicating
Centeredness
31. The reduction of self-consciousness from the total engrossment in a role.
Breath
Creative State
Public Solitude
Action in a Play or Film Script
32. 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
Demonstration
Need; Action; Objective
Need
33. 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.'
Thespis
Personal Center
Public Solitude
Objective
34. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.
The Genesis of Acting
Thespis
Action in a Play or Film Script
Transformation
35. Finding in the character's situation some need or objective that has true personal significance.
The Genesis of Acting
Objectives should be...
Substitution
Interaction
36. 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
Personal Center
Stanislavski's Actor
Dual Consciousness
37. 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.
Stanislavski's Actor
Action (for an Actor)
Dramatic Function
Immediacy
38. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Empathy
Creative State
Acting
Objectives should be...
39. The job a character was created to perform within a story.
Dramatic Function
Stanislavski's Actor
Empathy
Gravity
40. 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.
Creative State
Immediacy
Empathy
Biomechanics
41. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
Demonstration
Blocking
Action in a Play or Film Script
Craft
42. 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 -
Blocking
Need
The Genesis of Acting
Thespis
43. _____ causes an _____ directed toward an __________
Discipline
Need; Action; Objective
Immediacy
Biomechanics
44. Showing the audience something about the character instead of simply doing what the character does.
Public Solitude
Wholeness
Indicating
1660s
45. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
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