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






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






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






4. Actresses began to appear on stage.






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






6. 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






7. 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.






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






9. Stanislavski's physical approach to acting.






10. 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






11. 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






12. _____ causes an _____ directed toward an __________






13. 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.






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






15. 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 -






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






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






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






19. 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






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






21. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.


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






23. 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.






24. Becoming the new version of yourself by needing and doing what the character needs and does.






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






26. 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.






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






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






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






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






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






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






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






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






35. The father of the modern actor.






36. 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.






37. 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.






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






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






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






41. A person fully committed to an important objective.






42. The exchange of action and reaction.






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






44. 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.






45. 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.






46. Actresses began to appear on stage.






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






48. _____ causes an _____ directed toward an __________






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






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