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






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






3. Stanislavski's physical approach to acting.






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






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






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.






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.






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






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.






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






12. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.






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.






14. The exchange of action and reaction.






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






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






17. Actresses began to appear on stage.






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






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






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






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






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?






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






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






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






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






28. The exchange of action and reaction.






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






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






31. Stanislavski's physical approach to acting.






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






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.






34. _____ causes an _____ directed toward an __________






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






36. The father of the modern actor.






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






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.






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.






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






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






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






43. The father of the modern actor.






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






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 -






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.






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






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.






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.






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






Can you answer 50 questions in 15 minutes?



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