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