Test your basic knowledge |

Acting Basics

Subject : performing-arts
Instructions:
  • Answer 50 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 father of the modern actor.






2. The great unifier of body - mind - and voice.






3. 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.






4. Finding in the character's situation some need or objective that has true personal significance.






5. He developed a presentational and overtly theatrical style of acting.






6. Becoming the new version of yourself by needing and doing what the character needs and does.






7. 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.






8. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.






9. 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






10. German word for power. The actor's physical and vocal tools.






11. Everything an actor does in a performance has to be _______ by the character's internal need.






12. The father of the modern actor.






13. The event itself. It is not 'about' something.






14. Meyerhold. The fusion of mind and body; teaching the 'body how to think'.






15. _____ causes an _____ directed toward an __________






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 -






17. The job a character was created to perform within a story.






18. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.






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.






20. 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






21. The acceptance of responsibility for your own development through systematic effort.






22. 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.






23. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.






24. All parts of the actor--body - voice - and mind--work together in an integrated way.






25. The great unifier of body - mind - and voice.






26. Actresses began to appear on stage.






27. The reduction of self-consciousness from the total engrossment in a role.






28. 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






29. 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.






30. 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.






31. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.






32. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.






33. The reduction of self-consciousness from the total engrossment in a role.






34. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.






35. 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.






36. A person fully committed to an important objective.






37. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.

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38. Stanislavski's physical approach to acting.






39. Singular - Immediate - & Personal. (SIP)






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.






41. 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






42. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.

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43. Relinquishing too much effort - chronic physical tension - a false voice - preconceptions about the work - personal fear - and most importantly who you already are.






44. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.






45. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.






46. Meyerhold. The fusion of mind and body; teaching the 'body how to think'.






47. _____ causes an _____ directed toward an __________






48. The exchange of action and reaction.






49. 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.






50. 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.'