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 exchange of action and reaction.






2. 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






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






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






5. 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.






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






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






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






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






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






11. 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?






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






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






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






15. A person fully committed to an important objective.






16. 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






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






18. 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.






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 -






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






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






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






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






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






25. 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.






26. Actresses began to appear on stage.






27. 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.






28. Stanislavski's physical approach to acting.






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






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






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






32. 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.'






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






34. 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.






35. A person fully committed to an important objective.






36. 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.






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






38. Singular - Immediate - & Personal. (SIP)






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






40. 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.






41. Stanislavski's physical approach to acting.






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






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






44. 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.'






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






46. 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.






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






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






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






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