SUBJECTS
|
BROWSE
|
CAREER CENTER
|
POPULAR
|
JOIN
|
LOGIN
Business Skills
|
Soft Skills
|
Basic Literacy
|
Certifications
About
|
Help
|
Privacy
|
Terms
|
Email
Search
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. 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
Indicating
Truthful Performance
Aristotle
2. The event itself. It is not 'about' something.
Acting
Objectives should be...
Transformation
A play
3. _____ causes an _____ directed toward an __________
Need; Action; Objective
Dramatic Function
Action (for an Actor)
Beat
4. The father of the modern actor.
Constatin Stanislavski
Wholeness
Blocking
Objectives should be...
5. The exchange of action and reaction.
Interaction
Action in a Play or Film Script
Blocking
Indicating
6. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Transformation
Acting
Gravity
1660s
7. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
Acting
Centeredness
Need
Acting
8. 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
Letting Go
A play
Gravity
Blocking
9. Relinquishing too much effort - chronic physical tension - a false voice - preconceptions about the work - personal fear - and most importantly who you already are.
Letting Go
Need; Action; Objective
Transformation
Action (for an Actor)
10. The great unifier of body - mind - and voice.
The Genesis of Acting
Beat
Breath
Constatin Stanislavski
11. German word for power. The actor's physical and vocal tools.
Dual Consciousness
Aristotle
Craft
The Method of Physical Actions
12. Recalling a significant moment in your past to fit a character. WARNING: Must be appropriate for the character.
Transformation
In Action
Raising the Stakes
Emotion Memory
13. 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.
Emotion Memory
Immediacy
Need
Raising the Stakes
14. 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
Vsevolod Meyerhold
Acting
Personal Center
Truthful Performance
15. Actresses began to appear on stage.
Constatin Stanislavski
Wholeness
1660s
Creative State
16. 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
The Method of Physical Actions
Letting Go
Magic If
17. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
Warning
: Invalid argument supplied for foreach() in
/var/www/html/basicversity.com/show_quiz.php
on line
183
18. The exchange of action and reaction.
Biomechanics
Interaction
Gravity
Breath
19. 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
Craft
Gravity
Aristotle
Thespis
20. 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
Personal Center
Discipline
Beat
21. Finding in the character's situation some need or objective that has true personal significance.
Substitution
Objectives should be...
Blocking
Wholeness
22. 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
Action (for an Actor)
Gravity
Personal Center
Biomechanics
23. Recalling a significant moment in your past to fit a character. WARNING: Must be appropriate for the character.
Demonstration
Emotion Memory
The Method of Physical Actions
Dramatic Function
24. 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
Substitution
Magic If
Action (for an Actor)
Objective
25. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.
Thespis
Substitution
Letting Go
Transformation
26. The reduction of self-consciousness from the total engrossment in a role.
The Genesis of Acting
Biomechanics
Public Solitude
Dramatic Function
27. 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?
Dual Consciousness
Need; Action; Objective
The Genesis of Acting
Magic If
28. Heightening the drama of an action or scene by making it more significant or urgent.
Raising the Stakes
Gravity
Immediacy
Justified
29. Stanislavski's physical approach to acting.
Substitution
The Method of Physical Actions
1660s
Objective
30. Becoming the new version of yourself by needing and doing what the character needs and does.
Objectives should be...
Transformation
Creative State
Truthful Performance
31. Becoming the new version of yourself by needing and doing what the character needs and does.
Dual Consciousness
Transformation
Objectives should be...
Stanislavski's Actor
32. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
The Method of Physical Actions
Need
Blocking
Justified
33. 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.
Craft
Magic If
Aristotle
Objectives should be...
34. 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.'
Aristotle
Truthful Performance
Blocking
Objective
35. 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.
Beat
Truthful Performance
Constatin Stanislavski
Creative State
36. 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 -
Need; Action; Objective
Craft
Action in a Play or Film Script
The Genesis of Acting
37. A person fully committed to an important objective.
Raising the Stakes
Interaction
In Action
Aristotle
38. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
Relaxation
Blocking
Creative State
Centeredness
39. Heightening the drama of an action or scene by making it more significant or urgent.
Vsevolod Meyerhold
Raising the Stakes
Gravity
Centeredness
40. 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.
Public Solitude
A play
Biomechanics
Dual Consciousness
41. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Acting
Need
Breath
The Genesis of Acting
42. The reduction of self-consciousness from the total engrossment in a role.
Public Solitude
Gravity
Substitution
Magic If
43. Everything an actor does in a performance has to be _______ by the character's internal need.
Empathy
Justified
Empathy
Wholeness
44. 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
Personal Center
Raising the Stakes
A play
Magic If
45. 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
A play
Transformation
Interaction
46. All parts of the actor--body - voice - and mind--work together in an integrated way.
Interaction
Centeredness
Creative State
Wholeness
47. 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?
Need
Magic If
Beat
Action (for an Actor)
48. Finding in the character's situation some need or objective that has true personal significance.
1660s
Substitution
Transformation
Stanislavski's Actor
49. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
Warning
: Invalid argument supplied for foreach() in
/var/www/html/basicversity.com/show_quiz.php
on line
183
50. The acceptance of responsibility for your own development through systematic effort.
Wholeness
Discipline
Demonstration
Action in a Play or Film Script