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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 acceptance of responsibility for your own development through systematic effort.
Personal Center
Empathy
Discipline
Justified
2. Stanislavski's physical approach to acting.
Constatin Stanislavski
The Method of Physical Actions
Stanislavski's Actor
Acting
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. _____ causes an _____ directed toward an __________
Raising the Stakes
Centeredness
Need; Action; Objective
Centeredness
5. The job a character was created to perform within a story.
Constatin Stanislavski
Objectives should be...
Substitution
Dramatic Function
6. The acceptance of responsibility for your own development through systematic effort.
Magic If
Discipline
Stanislavski's Actor
Vsevolod Meyerhold
7. German word for power. The actor's physical and vocal tools.
Craft
Relaxation
Substitution
Acting
8. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
In Action
Need
Public Solitude
Discipline
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.
Stanislavski's Actor
Public Solitude
Empathy
Objectives should be...
10. The great unifier of body - mind - and voice.
Breath
Letting Go
Centeredness
Action (for an Actor)
11. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
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12. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.
Action in a Play or Film Script
Substitution
Stanislavski's Actor
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.'
The Method of Physical Actions
Objective
Constatin Stanislavski
Personal Center
14. Recalling a significant moment in your past to fit a character. WARNING: Must be appropriate for the character.
Magic If
Wholeness
Blocking
Emotion Memory
15. 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.
Immediacy
Relaxation
Craft
In Action
16. 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.
Empathy
Action in a Play or Film Script
The Method of Physical Actions
Relaxation
17. 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.
Indicating
Dual Consciousness
Centeredness
Personal Center
18. 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.
Action (for an Actor)
Relaxation
Interaction
Biomechanics
19. Singular - Immediate - & Personal. (SIP)
Action in a Play or Film Script
1660s
Blocking
Objectives should be...
20. 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
Creative State
Emotion Memory
Objectives should be...
21. 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 -
A play
Blocking
The Genesis of Acting
Transformation
22. 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.
The Method of Physical Actions
Objective
Gravity
Centeredness
23. The father of the modern actor.
Constatin Stanislavski
In Action
1660s
Biomechanics
24. 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
The Genesis of Acting
Beat
Truthful Performance
25. Actresses began to appear on stage.
1660s
In Action
The Method of Physical Actions
Objectives should be...
26. Everything an actor does in a performance has to be _______ by the character's internal need.
Transformation
Justified
Immediacy
Letting Go
27. 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.
Wholeness
Dual Consciousness
Blocking
Relaxation
28. 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
Breath
Magic If
Need
29. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.
Wholeness
Thespis
Immediacy
Centeredness
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.
Transformation
Biomechanics
Aristotle
Substitution
31. The reduction of self-consciousness from the total engrossment in a role.
1660s
Objective
Acting
Public Solitude
32. Showing the audience something about the character instead of simply doing what the character does.
Need; Action; Objective
Indicating
In Action
Personal Center
33. Heightening the drama of an action or scene by making it more significant or urgent.
Objectives should be...
Blocking
Blocking
Raising the Stakes
34. The great unifier of body - mind - and voice.
1660s
Breath
Discipline
Magic If
35. The father of the modern actor.
Emotion Memory
Thespis
Constatin Stanislavski
Beat
36. The exchange of action and reaction.
Interaction
Emotion Memory
Action (for an Actor)
Discipline
37. German word for power. The actor's physical and vocal tools.
Constatin Stanislavski
Dramatic Function
Need
Craft
38. Singular - Immediate - & Personal. (SIP)
Truthful Performance
Relaxation
Objectives should be...
Craft
39. The job a character was created to perform within a story.
Need
Dramatic Function
Blocking
Action in a Play or Film Script
40. 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
Acting
Beat
Acting
41. Actresses began to appear on stage.
Indicating
Transformation
Breath
1660s
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
Personal Center
Gravity
Empathy
Vsevolod Meyerhold
43. Heightening the drama of an action or scene by making it more significant or urgent.
Vsevolod Meyerhold
Raising the Stakes
Need; Action; Objective
Beat
44. Relinquishing too much effort - chronic physical tension - a false voice - preconceptions about the work - personal fear - and most importantly who you already are.
Acting
Letting Go
Justified
Emotion Memory
45. The event itself. It is not 'about' something.
Dual Consciousness
A play
Dramatic Function
Craft
46. Becoming the new version of yourself by needing and doing what the character needs and does.
Objective
Transformation
Objectives should be...
Craft
47. 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
Aristotle
Dual Consciousness
Emotion Memory
48. Finding in the character's situation some need or objective that has true personal significance.
Constatin Stanislavski
Raising the Stakes
Discipline
Substitution
49. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Constatin Stanislavski
Acting
Objective
Action (for an Actor)
50. He developed a presentational and overtly theatrical style of acting.
Empathy
Vsevolod Meyerhold
Creative State
Transformation