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Test your basic knowledge |
Acting Basics
Start Test
Study First
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 dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.
Empathy
Action in a Play or Film Script
Magic If
Vsevolod Meyerhold
2. Meyerhold. The fusion of mind and body; teaching the 'body how to think'.
1660s
Biomechanics
Empathy
Personal Center
3. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.
Objectives should be...
Vsevolod Meyerhold
Blocking
Thespis
4. 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.
Gravity
Centeredness
Creative State
Substitution
5. Finding in the character's situation some need or objective that has true personal significance.
Breath
Constatin Stanislavski
Substitution
Centeredness
6. 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.
Stanislavski's Actor
Centeredness
Need
Letting Go
7. The great unifier of body - mind - and voice.
Substitution
Aristotle
Beat
Breath
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.
Centeredness
In Action
Relaxation
Immediacy
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
Interaction
Personal Center
Gravity
Aristotle
10. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
Acting
Need
The Method of Physical Actions
Truthful Performance
11. Stanislavski's physical approach to acting.
The Method of Physical Actions
Stanislavski's Actor
Action in a Play or Film Script
Public Solitude
12. Recalling a significant moment in your past to fit a character. WARNING: Must be appropriate for the character.
Emotion Memory
Creative State
Aristotle
Magic If
13. All parts of the actor--body - voice - and mind--work together in an integrated way.
Stanislavski's Actor
Magic If
Constatin Stanislavski
Wholeness
14. 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.
Objectives should be...
Action in a Play or Film Script
Centeredness
Emotion Memory
15. _____ causes an _____ directed toward an __________
Interaction
The Genesis of Acting
Discipline
Need; Action; Objective
16. A person fully committed to an important objective.
In Action
Gravity
Centeredness
Demonstration
17. Meyerhold. The fusion of mind and body; teaching the 'body how to think'.
Gravity
Biomechanics
Aristotle
Immediacy
18. Everything an actor does in a performance has to be _______ by the character's internal need.
Wholeness
Discipline
Justified
Immediacy
19. 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.
Raising the Stakes
Empathy
Beat
Transformation
20. 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.'
Objective
Justified
Personal Center
The Genesis of Acting
21. 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
Craft
Empathy
Beat
22. Showing the audience something about the character instead of simply doing what the character does.
Vsevolod Meyerhold
Letting Go
Indicating
Action in a Play or Film Script
23. 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
Need; Action; Objective
Personal Center
Transformation
Thespis
24. Becoming the new version of yourself by needing and doing what the character needs and does.
Dramatic Function
Transformation
Aristotle
Thespis
25. 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
Action in a Play or Film Script
Breath
Wholeness
26. 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.
Beat
Transformation
Action in a Play or Film Script
Emotion Memory
27. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
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28. 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
Beat
Acting
Thespis
29. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
Need
Public Solitude
Interaction
Objectives should be...
30. Heightening the drama of an action or scene by making it more significant or urgent.
Craft
Relaxation
Wholeness
Raising the Stakes
31. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
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32. German word for power. The actor's physical and vocal tools.
Emotion Memory
Craft
Transformation
Breath
33. The father of the modern actor.
In Action
A play
Substitution
Constatin Stanislavski
34. The father of the modern actor.
Constatin Stanislavski
Action in a Play or Film Script
Biomechanics
Stanislavski's Actor
35. 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 -
Emotion Memory
The Genesis of Acting
Thespis
Interaction
36. Recalling a significant moment in your past to fit a character. WARNING: Must be appropriate for the character.
Emotion Memory
Constatin Stanislavski
Demonstration
Beat
37. The exchange of action and reaction.
Justified
Constatin Stanislavski
Interaction
Relaxation
38. 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?
Creative State
Magic If
Discipline
Letting Go
39. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Centeredness
Acting
Substitution
Action in a Play or Film Script
40. All parts of the actor--body - voice - and mind--work together in an integrated way.
Objectives should be...
Wholeness
Breath
Relaxation
41. 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.
Biomechanics
Craft
Creative State
Aristotle
42. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.
Beat
Need; Action; Objective
Thespis
Action (for an Actor)
43. 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
Magic If
Public Solitude
Thespis
44. Everything an actor does in a performance has to be _______ by the character's internal need.
Discipline
Blocking
Justified
Centeredness
45. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.
The Method of Physical Actions
Justified
Action in a Play or Film Script
Objective
46. The reduction of self-consciousness from the total engrossment in a role.
Biomechanics
Public Solitude
Empathy
Wholeness
47. 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
Vsevolod Meyerhold
Relaxation
48. Becoming the new version of yourself by needing and doing what the character needs and does.
Acting
Creative State
The Genesis of Acting
Transformation
49. Stanislavski's physical approach to acting.
Gravity
The Method of Physical Actions
Objectives should be...
Vsevolod Meyerhold
50. The exchange of action and reaction.
Dramatic Function
Objectives should be...
Thespis
Interaction