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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 physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
Magic If
The Genesis of Acting
Truthful Performance
Blocking
2. Everything an actor does in a performance has to be _______ by the character's internal need.
Dual Consciousness
Wholeness
Justified
Centeredness
3. Stanislavski's physical approach to acting.
The Method of Physical Actions
Need; Action; Objective
Letting Go
Justified
4. Everything an actor does in a performance has to be _______ by the character's internal need.
Justified
Indicating
Letting Go
Craft
5. The job a character was created to perform within a story.
Wholeness
Wholeness
Dramatic Function
Interaction
6. 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
Emotion Memory
Aristotle
Relaxation
7. 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.
Magic If
Demonstration
Dramatic Function
Action in a Play or Film Script
8. Heightening the drama of an action or scene by making it more significant or urgent.
Thespis
Raising the Stakes
Justified
Vsevolod Meyerhold
9. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
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10. 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.
Aristotle
Dramatic Function
Need
Personal Center
11. The reduction of self-consciousness from the total engrossment in a role.
The Genesis of Acting
Public Solitude
Thespis
Need
12. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.
Transformation
Aristotle
Magic If
Thespis
13. 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.
Dual Consciousness
Beat
Indicating
Creative State
14. The exchange of action and reaction.
Public Solitude
Truthful Performance
Interaction
Beat
15. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.
Transformation
Action in a Play or Film Script
Discipline
Personal Center
16. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
Objectives should be...
In Action
The Method of Physical Actions
Need
17. Actresses began to appear on stage.
Need; Action; Objective
Vsevolod Meyerhold
Transformation
1660s
18. The acceptance of responsibility for your own development through systematic effort.
Relaxation
Discipline
Empathy
In Action
19. 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 -
Vsevolod Meyerhold
The Genesis of Acting
Action in a Play or Film Script
Objective
20. The great unifier of body - mind - and voice.
Justified
Public Solitude
Breath
Acting
21. He developed a presentational and overtly theatrical style of acting.
Wholeness
Emotion Memory
Vsevolod Meyerhold
A play
22. 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
Aristotle
Discipline
Emotion Memory
Personal Center
23. 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?
Magic If
Indicating
Craft
Blocking
24. He developed a presentational and overtly theatrical style of acting.
Relaxation
Vsevolod Meyerhold
Emotion Memory
Justified
25. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.
Acting
Action in a Play or Film Script
The Method of Physical Actions
Centeredness
26. 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
Aristotle
Action (for an Actor)
Personal Center
Craft
27. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
Acting
Need
Beat
Substitution
28. The exchange of action and reaction.
Interaction
Action in a Play or Film Script
Breath
Dual Consciousness
29. The job a character was created to perform within a story.
Creative State
Dramatic Function
Biomechanics
Constatin Stanislavski
30. All parts of the actor--body - voice - and mind--work together in an integrated way.
Personal Center
The Method of Physical Actions
Craft
Wholeness
31. Stanislavski's physical approach to acting.
Breath
Dual Consciousness
The Method of Physical Actions
Craft
32. All parts of the actor--body - voice - and mind--work together in an integrated way.
The Genesis of Acting
Truthful Performance
Vsevolod Meyerhold
Wholeness
33. 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.
Biomechanics
Truthful Performance
In Action
Creative State
34. _____ causes an _____ directed toward an __________
Transformation
Substitution
Need; Action; Objective
Dramatic Function
35. Meyerhold. The fusion of mind and body; teaching the 'body how to think'.
Immediacy
Beat
Discipline
Biomechanics
36. The father of the modern actor.
Dramatic Function
Thespis
Blocking
Constatin Stanislavski
37. German word for power. The actor's physical and vocal tools.
The Method of Physical Actions
Craft
Dramatic Function
Aristotle
38. 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.
Centeredness
Need; Action; Objective
Thespis
Beat
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.
In Action
Empathy
Beat
Personal Center
40. The great unifier of body - mind - and voice.
Breath
Dramatic Function
Emotion Memory
Dual Consciousness
41. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
Relaxation
Magic If
The Method of Physical Actions
Blocking
42. Recalling a significant moment in your past to fit a character. WARNING: Must be appropriate for the character.
Emotion Memory
Substitution
Aristotle
Need; Action; Objective
43. The father of the modern actor.
Dual Consciousness
Need
1660s
Constatin Stanislavski
44. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Gravity
Thespis
Substitution
Acting
45. 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 -
Emotion Memory
Objectives should be...
The Genesis of Acting
Magic If
46. 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.
Need; Action; Objective
Relaxation
Personal Center
Creative State
47. The acceptance of responsibility for your own development through systematic effort.
Aristotle
Gravity
Vsevolod Meyerhold
Discipline
48. 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.
The Genesis of Acting
Acting
Beat
Biomechanics
49. 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.
Objectives should be...
Aristotle
Truthful Performance
Immediacy
50. 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
Letting Go
Constatin Stanislavski
Aristotle
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