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