Test your basic knowledge |

Acting Basics

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. Heightening the drama of an action or scene by making it more significant or urgent.






2. Meyerhold. The fusion of mind and body; teaching the 'body how to think'.






3. 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.






4. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.






5. 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.'






6. _____ causes an _____ directed toward an __________






7. He developed a presentational and overtly theatrical style of acting.






8. Becoming the new version of yourself by needing and doing what the character needs and does.






9. Becoming the new version of yourself by needing and doing what the character needs and does.






10. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.






11. Stanislavski's physical approach to acting.






12. Singular - Immediate - & Personal. (SIP)






13. German word for power. The actor's physical and vocal tools.






14. Heightening the drama of an action or scene by making it more significant or urgent.






15. German word for power. The actor's physical and vocal tools.






16. 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.






17. Showing the audience something about the character instead of simply doing what the character does.






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.






19. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.

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20. 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.






21. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.






22. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.






23. The exchange of action and reaction.






24. 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.






25. 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.






26. 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.






27. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.






28. The reduction of self-consciousness from the total engrossment in a role.






29. 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.






30. Everything an actor does in a performance has to be _______ by the character's internal need.






31. 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.






32. 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.






33. Finding in the character's situation some need or objective that has true personal significance.






34. The father of the modern actor.






35. All parts of the actor--body - voice - and mind--work together in an integrated way.






36. Relinquishing too much effort - chronic physical tension - a false voice - preconceptions about the work - personal fear - and most importantly who you already are.






37. 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






38. 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.






39. 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.






40. Finding in the character's situation some need or objective that has true personal significance.






41. Meyerhold. The fusion of mind and body; teaching the 'body how to think'.






42. 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?






43. The job a character was created to perform within a story.






44. A person fully committed to an important objective.






45. 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.






46. Recalling a significant moment in your past to fit a character. WARNING: Must be appropriate for the character.






47. Singular - Immediate - & Personal. (SIP)






48. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.






49. 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?






50. The event itself. It is not 'about' something.