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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. 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
Need; Action; Objective
Magic If
2. He developed a presentational and overtly theatrical style of acting.
Personal Center
Vsevolod Meyerhold
Interaction
Stanislavski's Actor
3. 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.
Gravity
Empathy
Indicating
Centeredness
4. Recalling a significant moment in your past to fit a character. WARNING: Must be appropriate for the character.
Public Solitude
Vsevolod Meyerhold
Emotion Memory
Vsevolod Meyerhold
5. Heightening the drama of an action or scene by making it more significant or urgent.
In Action
Objective
Relaxation
Raising the Stakes
6. German word for power. The actor's physical and vocal tools.
Truthful Performance
1660s
A play
Craft
7. 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...
Raising the Stakes
Need; Action; Objective
Personal Center
8. 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
Demonstration
Centeredness
Need; Action; Objective
9. 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
Thespis
Dual Consciousness
Action (for an Actor)
10. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
Need
Substitution
Aristotle
Truthful Performance
11. The exchange of action and reaction.
Vsevolod Meyerhold
Dramatic Function
The Genesis of Acting
Interaction
12. 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 -
Truthful Performance
Public Solitude
The Genesis of Acting
Indicating
13. Meyerhold. The fusion of mind and body; teaching the 'body how to think'.
The Method of Physical Actions
Emotion Memory
Need; Action; Objective
Biomechanics
14. 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.
Truthful Performance
Magic If
The Genesis of Acting
Demonstration
15. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Acting
Gravity
1660s
Personal Center
16. 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
Thespis
Demonstration
1660s
Gravity
17. The father of the modern actor.
Discipline
Indicating
Stanislavski's Actor
Constatin Stanislavski
18. 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.
Emotion Memory
Wholeness
The Method of Physical Actions
Immediacy
19. The event itself. It is not 'about' something.
Discipline
Truthful Performance
A play
In Action
20. Meyerhold. The fusion of mind and body; teaching the 'body how to think'.
Truthful Performance
Gravity
Biomechanics
Relaxation
21. 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 -
Need; Action; Objective
The Genesis of Acting
Creative State
Beat
22. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
A play
Interaction
Objective
Need
23. Stanislavski's physical approach to acting.
1660s
The Method of Physical Actions
Creative State
Relaxation
24. All parts of the actor--body - voice - and mind--work together in an integrated way.
Transformation
Biomechanics
Action in a Play or Film Script
Wholeness
25. The reduction of self-consciousness from the total engrossment in a role.
Demonstration
Wholeness
Public Solitude
Truthful Performance
26. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.
Letting Go
Indicating
Action in a Play or Film Script
Blocking
27. Actresses began to appear on stage.
Objective
Transformation
Substitution
1660s
28. The job a character was created to perform within a story.
Dramatic Function
In Action
Wholeness
In Action
29. 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.
Aristotle
Interaction
Justified
Substitution
30. 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.
Truthful Performance
Constatin Stanislavski
Craft
Need; Action; Objective
31. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
Indicating
Vsevolod Meyerhold
Demonstration
Blocking
32. 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.
Breath
Relaxation
Interaction
Acting
33. Heightening the drama of an action or scene by making it more significant or urgent.
Raising the Stakes
Stanislavski's Actor
Objective
Gravity
34. 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
Thespis
Discipline
Breath
35. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
36. 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.
Vsevolod Meyerhold
Personal Center
Need; Action; Objective
Centeredness
37. Stanislavski's physical approach to acting.
Objectives should be...
Magic If
The Method of Physical Actions
Need
38. The acceptance of responsibility for your own development through systematic effort.
Stanislavski's Actor
Immediacy
Discipline
Magic If
39. Becoming the new version of yourself by needing and doing what the character needs and does.
Emotion Memory
Transformation
Acting
Aristotle
40. Showing the audience something about the character instead of simply doing what the character does.
Stanislavski's Actor
Blocking
Indicating
Magic If
41. 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 in a Play or Film Script
Magic If
Gravity
Vsevolod Meyerhold
42. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
43. Everything an actor does in a performance has to be _______ by the character's internal need.
Justified
Emotion Memory
Centeredness
Raising the Stakes
44. The great unifier of body - mind - and voice.
Emotion Memory
Breath
Interaction
Emotion Memory
45. 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.
The Method of Physical Actions
Centeredness
Relaxation
Wholeness
46. 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
Personal Center
Thespis
Objectives should be...
Empathy
47. The great unifier of body - mind - and voice.
Blocking
Discipline
Gravity
Breath
48. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
Justified
Empathy
Raising the Stakes
Blocking
49. Recalling a significant moment in your past to fit a character. WARNING: Must be appropriate for the character.
Immediacy
Discipline
Need
Emotion Memory
50. Actresses began to appear on stage.
Wholeness
1660s
Empathy
Interaction