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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.
Action in a Play or Film Script
Gravity
Blocking
Vsevolod Meyerhold
2. 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.
Centeredness
Letting Go
Personal Center
Creative State
3. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.
Thespis
Truthful Performance
Discipline
Interaction
4. The exchange of action and reaction.
Relaxation
Need; Action; Objective
Interaction
Objectives should be...
5. The acceptance of responsibility for your own development through systematic effort.
In Action
A play
Discipline
Letting Go
6. 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.
Stanislavski's Actor
Letting Go
Vsevolod Meyerhold
Empathy
7. Showing the audience something about the character instead of simply doing what the character does.
Wholeness
Wholeness
Indicating
Justified
8. 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.
Objective
Personal Center
Dual Consciousness
Creative State
9. The reduction of self-consciousness from the total engrossment in a role.
Objectives should be...
Centeredness
Public Solitude
Discipline
10. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
Blocking
Centeredness
Craft
The Genesis of Acting
11. A person fully committed to an important objective.
Magic If
Acting
Action (for an Actor)
In Action
12. 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
The Genesis of Acting
Need
Objectives should be...
13. The father of the modern actor.
Constatin Stanislavski
Demonstration
Personal Center
The Genesis of Acting
14. 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.
Craft
The Method of Physical Actions
Relaxation
Transformation
15. 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
Letting Go
Demonstration
Need
16. The job a character was created to perform within a story.
Justified
Centeredness
Acting
Dramatic Function
17. 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 -
Objectives should be...
Need
The Method of Physical Actions
The Genesis of Acting
18. _____ causes an _____ directed toward an __________
Immediacy
Indicating
Personal Center
Need; Action; Objective
19. 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.
Creative State
Magic If
A play
Dramatic Function
20. The acceptance of responsibility for your own development through systematic effort.
Acting
Discipline
In Action
Vsevolod Meyerhold
21. Showing the audience something about the character instead of simply doing what the character does.
Substitution
Dramatic Function
Indicating
Relaxation
22. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
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23. 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?
Objectives should be...
Magic If
Interaction
Craft
24. Finding in the character's situation some need or objective that has true personal significance.
Magic If
Truthful Performance
Substitution
Blocking
25. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Substitution
Acting
Objectives should be...
Craft
26. 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
1660s
Personal Center
Truthful Performance
Objectives should be...
27. 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.
Dual Consciousness
Immediacy
Demonstration
Action (for an Actor)
28. German word for power. The actor's physical and vocal tools.
The Genesis of Acting
Craft
Creative State
Gravity
29. Heightening the drama of an action or scene by making it more significant or urgent.
Transformation
Need; Action; Objective
Raising the Stakes
The Genesis of Acting
30. 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)
Stanislavski's Actor
Transformation
Indicating
31. 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
Immediacy
Objectives should be...
Craft
32. Everything an actor does in a performance has to be _______ by the character's internal need.
Justified
Interaction
Aristotle
Truthful Performance
33. The father of the modern actor.
Constatin Stanislavski
Creative State
Relaxation
1660s
34. A person fully committed to an important objective.
In Action
Substitution
Vsevolod Meyerhold
Magic If
35. Recalling a significant moment in your past to fit a character. WARNING: Must be appropriate for the character.
Emotion Memory
Breath
Wholeness
Empathy
36. German word for power. The actor's physical and vocal tools.
Objective
Letting Go
Craft
Interaction
37. 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 -
Centeredness
Beat
The Genesis of Acting
Need
38. The job a character was created to perform within a story.
Discipline
Constatin Stanislavski
Dramatic Function
Vsevolod Meyerhold
39. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.
Objectives should be...
Blocking
Empathy
Action in a Play or Film Script
40. 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.'
Dual Consciousness
Emotion Memory
Objective
Craft
41. He developed a presentational and overtly theatrical style of acting.
Vsevolod Meyerhold
Need
Public Solitude
Breath
42. The event itself. It is not 'about' something.
Aristotle
Raising the Stakes
A play
Blocking
43. 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.'
Dual Consciousness
Relaxation
Objective
Thespis
44. Singular - Immediate - & Personal. (SIP)
Objectives should be...
Breath
Action (for an Actor)
Personal Center
45. Relinquishing too much effort - chronic physical tension - a false voice - preconceptions about the work - personal fear - and most importantly who you already are.
Beat
Letting Go
Gravity
In Action
46. The great unifier of body - mind - and voice.
1660s
Transformation
Breath
Interaction
47. Everything an actor does in a performance has to be _______ by the character's internal need.
Gravity
Justified
Public Solitude
Objectives should be...
48. 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
1660s
Justified
Truthful Performance
Personal Center
49. 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.
Action (for an Actor)
Truthful Performance
Relaxation
Justified
50. 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.
Aristotle
Letting Go
Truthful Performance
Objectives should be...