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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 father of the modern actor.
Transformation
Immediacy
Constatin Stanislavski
Relaxation
2. The great unifier of body - mind - and voice.
The Method of Physical Actions
Breath
Objectives should be...
Need; Action; Objective
3. 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.
Truthful Performance
Substitution
The Method of Physical Actions
Immediacy
4. Finding in the character's situation some need or objective that has true personal significance.
Emotion Memory
Stanislavski's Actor
Substitution
Dramatic Function
5. He developed a presentational and overtly theatrical style of acting.
A play
Vsevolod Meyerhold
The Method of Physical Actions
Aristotle
6. Becoming the new version of yourself by needing and doing what the character needs and does.
Interaction
Acting
Dramatic Function
Transformation
7. 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.
Indicating
Immediacy
Gravity
The Genesis of Acting
8. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Acting
Interaction
Objectives should be...
Action in a Play or Film Script
9. 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
Interaction
10. German word for power. The actor's physical and vocal tools.
Indicating
Craft
Objective
Transformation
11. Everything an actor does in a performance has to be _______ by the character's internal need.
Demonstration
Biomechanics
Justified
Centeredness
12. The father of the modern actor.
Justified
1660s
Constatin Stanislavski
Dramatic Function
13. The event itself. It is not 'about' something.
Wholeness
Blocking
A play
Biomechanics
14. Meyerhold. The fusion of mind and body; teaching the 'body how to think'.
Acting
Beat
Raising the Stakes
Biomechanics
15. _____ causes an _____ directed toward an __________
Need; Action; Objective
In Action
Empathy
Centeredness
16. 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 -
Truthful Performance
Thespis
Transformation
The Genesis of Acting
17. The job a character was created to perform within a story.
Gravity
Wholeness
Dramatic Function
Craft
18. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.
Aristotle
Action (for an Actor)
Immediacy
Thespis
19. 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
Craft
Aristotle
Justified
20. 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
In Action
Interaction
Emotion Memory
21. The acceptance of responsibility for your own development through systematic effort.
Need; Action; Objective
Letting Go
Stanislavski's Actor
Discipline
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.
Dual Consciousness
Objectives should be...
Dual Consciousness
Centeredness
23. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.
Thespis
Need
Acting
Relaxation
24. All parts of the actor--body - voice - and mind--work together in an integrated way.
The Genesis of Acting
Vsevolod Meyerhold
Wholeness
In Action
25. The great unifier of body - mind - and voice.
Dramatic Function
Beat
Breath
Objective
26. Actresses began to appear on stage.
Action in a Play or Film Script
Substitution
1660s
Justified
27. The reduction of self-consciousness from the total engrossment in a role.
Blocking
Empathy
Action in a Play or Film Script
Public Solitude
28. 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
A play
Action (for an Actor)
Action in a Play or Film Script
Acting
29. 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
Personal Center
Objective
Justified
30. 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
Substitution
Need; Action; Objective
Personal Center
31. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
Transformation
Blocking
Centeredness
The Genesis of Acting
32. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
Need
Objective
Beat
Objectives should be...
33. The reduction of self-consciousness from the total engrossment in a role.
Public Solitude
Indicating
The Method of Physical Actions
Thespis
34. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
Creative State
Gravity
Blocking
Vsevolod Meyerhold
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.
Truthful Performance
Raising the Stakes
Dramatic Function
Stanislavski's Actor
36. A person fully committed to an important objective.
In Action
Aristotle
Vsevolod Meyerhold
Action (for an Actor)
37. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
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38. Stanislavski's physical approach to acting.
The Method of Physical Actions
A play
The Genesis of Acting
Beat
39. Singular - Immediate - & Personal. (SIP)
Relaxation
Need; Action; Objective
Empathy
Objectives should be...
40. 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
Action in a Play or Film Script
Constatin Stanislavski
41. 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
Public Solitude
Personal Center
Relaxation
The Method of Physical Actions
42. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
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43. Relinquishing too much effort - chronic physical tension - a false voice - preconceptions about the work - personal fear - and most importantly who you already are.
A play
Letting Go
In Action
Empathy
44. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
Interaction
Need
Blocking
The Method of Physical Actions
45. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.
Acting
Action (for an Actor)
Letting Go
Action in a Play or Film Script
46. Meyerhold. The fusion of mind and body; teaching the 'body how to think'.
Acting
Action (for an Actor)
Relaxation
Biomechanics
47. _____ causes an _____ directed toward an __________
Need; Action; Objective
Stanislavski's Actor
Dual Consciousness
Breath
48. The exchange of action and reaction.
Gravity
Need
Interaction
A play
49. 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.
Creative State
Constatin Stanislavski
Beat
Demonstration
50. 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.'
Need; Action; Objective
Breath
Objective
Dramatic Function