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