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