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