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