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