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