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. The great unifier of body - mind - and voice.






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






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






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






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






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






7. 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.






8. The exchange of action and reaction.






9. 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.






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






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






13. The acceptance of responsibility for your own development through systematic effort.






14. 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






15. Stanislavski's physical approach to acting.






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






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






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

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






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






21. 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






22. _____ causes an _____ directed toward an __________






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






24. 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?






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






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






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






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






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






30. _____ causes an _____ directed toward an __________






31. 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.






32. 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?






33. The exchange of action and reaction.






34. 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.






35. 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.






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






37. The great unifier of body - mind - and voice.






38. A person fully committed to an important objective.






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






41. Actresses began to appear on stage.






42. 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.






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






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






45. A person fully committed to an important objective.






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






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






48. 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






49. 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






50. Stanislavski's physical approach to acting.