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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. Showing the audience something about the character instead of simply doing what the character does.
Indicating
Justified
Immediacy
Relaxation
2. 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.
Creative State
Substitution
Personal Center
Centeredness
3. The acceptance of responsibility for your own development through systematic effort.
Relaxation
1660s
Discipline
The Method of Physical Actions
4. A person fully committed to an important objective.
The Method of Physical Actions
Objectives should be...
A play
In Action
5. The reduction of self-consciousness from the total engrossment in a role.
The Genesis of Acting
Public Solitude
Thespis
Need; Action; Objective
6. The exchange of action and reaction.
Interaction
Acting
Wholeness
Objectives should be...
7. German word for power. The actor's physical and vocal tools.
Acting
Thespis
Craft
In Action
8. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
Thespis
Need
1660s
Justified
9. The acceptance of responsibility for your own development through systematic effort.
Demonstration
Discipline
Breath
Dramatic Function
10. He developed a presentational and overtly theatrical style of acting.
Vsevolod Meyerhold
Action (for an Actor)
A play
Craft
11. Singular - Immediate - & Personal. (SIP)
The Method of Physical Actions
Need
Demonstration
Objectives should be...
12. _____ causes an _____ directed toward an __________
Aristotle
Need; Action; Objective
Letting Go
The Genesis of Acting
13. Heightening the drama of an action or scene by making it more significant or urgent.
Emotion Memory
Raising the Stakes
Wholeness
The Genesis of Acting
14. Finding in the character's situation some need or objective that has true personal significance.
Personal Center
Blocking
Substitution
Creative State
15. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Action in a Play or Film Script
Acting
Indicating
Need
16. 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
Centeredness
Raising the Stakes
Justified
17. Stanislavski's physical approach to acting.
Justified
Constatin Stanislavski
Stanislavski's Actor
The Method of Physical Actions
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?
The Genesis of Acting
Magic If
Acting
1660s
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. Becoming the new version of yourself by needing and doing what the character needs and does.
Transformation
Magic If
1660s
Need
21. The event itself. It is not 'about' something.
Immediacy
Thespis
A play
Action (for an Actor)
22. Heightening the drama of an action or scene by making it more significant or urgent.
Dramatic Function
Acting
Raising the Stakes
Letting Go
23. The exchange of action and reaction.
Vsevolod Meyerhold
Interaction
The Method of Physical Actions
Justified
24. All parts of the actor--body - voice - and mind--work together in an integrated way.
Letting Go
Substitution
A play
Wholeness
25. Actresses began to appear on stage.
1660s
Gravity
Thespis
Centeredness
26. 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 -
Biomechanics
The Genesis of Acting
Raising the Stakes
Emotion Memory
27. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.
Action in a Play or Film Script
Truthful Performance
Demonstration
Interaction
28. Everything an actor does in a performance has to be _______ by the character's internal need.
The Genesis of Acting
Objective
Justified
Need
29. The reduction of self-consciousness from the total engrossment in a role.
Public Solitude
Letting Go
Need; Action; Objective
Wholeness
30. 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.'
Breath
Objective
Transformation
Action (for an Actor)
31. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
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32. The event itself. It is not 'about' something.
Justified
Personal Center
Immediacy
A play
33. The father of the modern actor.
Constatin Stanislavski
Dual Consciousness
Objective
Wholeness
34. _____ causes an _____ directed toward an __________
Need; Action; Objective
Biomechanics
Blocking
Substitution
35. Relinquishing too much effort - chronic physical tension - a false voice - preconceptions about the work - personal fear - and most importantly who you already are.
Immediacy
Constatin Stanislavski
Letting Go
Objectives should be...
36. 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.
Beat
Transformation
Need
Empathy
37. Recalling a significant moment in your past to fit a character. WARNING: Must be appropriate for the character.
Creative State
Empathy
Justified
Emotion Memory
38. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.
Thespis
Dual Consciousness
1660s
Craft
39. Everything an actor does in a performance has to be _______ by the character's internal need.
Justified
Vsevolod Meyerhold
Interaction
Blocking
40. 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?
Creative State
Magic If
Biomechanics
Breath
41. Showing the audience something about the character instead of simply doing what the character does.
Relaxation
Demonstration
Discipline
Indicating
42. 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.
Transformation
Immediacy
Empathy
The Method of Physical Actions
43. The great unifier of body - mind - and voice.
Emotion Memory
Breath
Public Solitude
Wholeness
44. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
Breath
Stanislavski's Actor
Thespis
Blocking
45. 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
Magic If
Discipline
Immediacy
Action (for an Actor)
46. 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.
Need; Action; Objective
Public Solitude
Beat
Aristotle
47. 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.
Indicating
Demonstration
Interaction
Public Solitude
48. Meyerhold. The fusion of mind and body; teaching the 'body how to think'.
Raising the Stakes
Aristotle
Stanislavski's Actor
Biomechanics
49. 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
Wholeness
Transformation
Justified
50. 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.
Objective
Letting Go
Dual Consciousness
Demonstration
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