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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 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.
Centeredness
Relaxation
Transformation
Acting
2. The reduction of self-consciousness from the total engrossment in a role.
The Method of Physical Actions
Craft
Public Solitude
Emotion Memory
3. 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
Need
Emotion Memory
Breath
4. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Dual Consciousness
Acting
Objectives should be...
A play
5. Becoming the new version of yourself by needing and doing what the character needs and does.
Transformation
Acting
Aristotle
Objective
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.
Empathy
Objective
Aristotle
Letting Go
7. 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
Raising the Stakes
Gravity
Relaxation
Relaxation
8. He developed a presentational and overtly theatrical style of acting.
Immediacy
Vsevolod Meyerhold
Raising the Stakes
Dramatic Function
9. 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.
Action in a Play or Film Script
Breath
Empathy
Personal Center
10. 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.
Discipline
Gravity
Beat
Indicating
11. 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
Breath
Interaction
Biomechanics
12. 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
Discipline
Raising the Stakes
Truthful Performance
13. 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
Constatin Stanislavski
Substitution
Personal Center
14. 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.
Centeredness
Vsevolod Meyerhold
Objective
Aristotle
15. Stanislavski's physical approach to acting.
Blocking
Dual Consciousness
Craft
The Method of Physical Actions
16. Finding in the character's situation some need or objective that has true personal significance.
Raising the Stakes
Breath
1660s
Substitution
17. German word for power. The actor's physical and vocal tools.
Craft
Raising the Stakes
Justified
Wholeness
18. The reduction of self-consciousness from the total engrossment in a role.
Truthful Performance
Discipline
Transformation
Public Solitude
19. The event itself. It is not 'about' something.
A play
Gravity
Justified
Objectives should be...
20. Actresses began to appear on stage.
Thespis
Gravity
1660s
Need; Action; Objective
21. The exchange of action and reaction.
Beat
Constatin Stanislavski
Relaxation
Interaction
22. Stanislavski's physical approach to acting.
Dual Consciousness
Gravity
Immediacy
The Method of Physical Actions
23. _____ causes an _____ directed toward an __________
Raising the Stakes
The Genesis of Acting
Need; Action; Objective
The Method of Physical Actions
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.
Relaxation
Need; Action; Objective
Aristotle
Dual Consciousness
25. He developed a presentational and overtly theatrical style of acting.
Breath
Vsevolod Meyerhold
Creative State
Blocking
26. All parts of the actor--body - voice - and mind--work together in an integrated way.
Substitution
Wholeness
Craft
Need
27. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Discipline
Acting
Immediacy
Thespis
28. _____ causes an _____ directed toward an __________
Need; Action; Objective
Wholeness
Justified
Dramatic Function
29. The great unifier of body - mind - and voice.
Stanislavski's Actor
Substitution
Immediacy
Breath
30. German word for power. The actor's physical and vocal tools.
Craft
Truthful Performance
Substitution
Relaxation
31. Relinquishing too much effort - chronic physical tension - a false voice - preconceptions about the work - personal fear - and most importantly who you already are.
The Genesis of Acting
Centeredness
Aristotle
Letting Go
32. 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
Objectives should be...
Objective
Demonstration
33. 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
Craft
The Method of Physical Actions
Relaxation
34. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
Centeredness
Stanislavski's Actor
Discipline
Need
35. 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.
Interaction
Need; Action; Objective
Aristotle
Truthful Performance
36. The father of the modern actor.
Constatin Stanislavski
Craft
Thespis
Relaxation
37. 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
Blocking
Personal Center
A play
The Genesis of Acting
38. 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
Interaction
Aristotle
Objective
39. 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
Emotion Memory
Discipline
40. 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.
Discipline
Craft
Centeredness
Objectives should be...
41. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
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42. A person fully committed to an important objective.
In Action
Aristotle
Biomechanics
Public Solitude
43. Singular - Immediate - & Personal. (SIP)
Need
The Genesis of Acting
Objectives should be...
Letting Go
44. A person fully committed to an important objective.
Stanislavski's Actor
In Action
Dramatic Function
Transformation
45. 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.
Craft
Personal Center
Creative State
Public Solitude
46. 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.
Need; Action; Objective
Immediacy
Truthful Performance
Truthful Performance
47. The exchange of action and reaction.
In Action
The Method of Physical Actions
Aristotle
Interaction
48. The great unifier of body - mind - and voice.
Relaxation
Biomechanics
Breath
Transformation
49. Relinquishing too much effort - chronic physical tension - a false voice - preconceptions about the work - personal fear - and most importantly who you already are.
Acting
Interaction
Letting Go
Immediacy
50. Actresses began to appear on stage.
Indicating
1660s
Interaction
Stanislavski's Actor