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