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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. 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
Personal Center
Thespis
Centeredness
Action in a Play or Film Script
2. He developed a presentational and overtly theatrical style of acting.
Vsevolod Meyerhold
Craft
Need
Transformation
3. 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.
Dramatic Function
Action (for an Actor)
Empathy
Action in a Play or Film Script
4. German word for power. The actor's physical and vocal tools.
Breath
Breath
Craft
Dramatic Function
5. Stanislavski's physical approach to acting.
The Method of Physical Actions
Objective
Thespis
Blocking
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
Craft
In Action
Personal Center
Interaction
7. German word for power. The actor's physical and vocal tools.
Craft
Creative State
Immediacy
Biomechanics
8. Actresses began to appear on stage.
Objective
Acting
1660s
Stanislavski's Actor
9. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Acting
1660s
Indicating
Demonstration
10. 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
1660s
Immediacy
Discipline
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
Gravity
Craft
1660s
Action (for an Actor)
12. Finding in the character's situation some need or objective that has true personal significance.
Personal Center
Substitution
Personal Center
Dual Consciousness
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.
Acting
Truthful Performance
Emotion Memory
Need; Action; Objective
14. The father of the modern actor.
The Method of Physical Actions
Constatin Stanislavski
Empathy
In Action
15. 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.
Public Solitude
Thespis
Substitution
Immediacy
16. The great unifier of body - mind - and voice.
Empathy
Breath
Aristotle
Substitution
17. All parts of the actor--body - voice - and mind--work together in an integrated way.
Blocking
Breath
Indicating
Wholeness
18. The exchange of action and reaction.
Letting Go
Interaction
Demonstration
Aristotle
19. Singular - Immediate - & Personal. (SIP)
Substitution
Aristotle
Personal Center
Objectives should be...
20. Finding in the character's situation some need or objective that has true personal significance.
Transformation
Aristotle
Substitution
Public Solitude
21. 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.
Vsevolod Meyerhold
Biomechanics
Need
Aristotle
22. 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
Substitution
In Action
Magic If
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.
Personal Center
Centeredness
Letting Go
Craft
24. Becoming the new version of yourself by needing and doing what the character needs and does.
Transformation
Truthful Performance
Action (for an Actor)
Objective
25. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
Need
Thespis
Stanislavski's Actor
Blocking
26. _____ causes an _____ directed toward an __________
The Genesis of Acting
Wholeness
Need; Action; Objective
Need
27. 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
1660s
Discipline
Letting Go
28. The great unifier of body - mind - and voice.
Centeredness
Breath
Thespis
The Genesis of Acting
29. 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
Need
Indicating
Constatin Stanislavski
30. The event itself. It is not 'about' something.
A play
Truthful Performance
Raising the Stakes
Justified
31. A person fully committed to an important objective.
In Action
Relaxation
Acting
Need; Action; Objective
32. The job a character was created to perform within a story.
The Method of Physical Actions
Thespis
Thespis
Dramatic Function
33. Heightening the drama of an action or scene by making it more significant or urgent.
Beat
Breath
Raising the Stakes
Biomechanics
34. Everything an actor does in a performance has to be _______ by the character's internal need.
Letting Go
Public Solitude
Justified
Thespis
35. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.
Action in a Play or Film Script
Magic If
Interaction
Craft
36. Singular - Immediate - & Personal. (SIP)
Objectives should be...
Action in a Play or Film Script
A play
Need; Action; Objective
37. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
Need
Biomechanics
Centeredness
Craft
38. Relinquishing too much effort - chronic physical tension - a false voice - preconceptions about the work - personal fear - and most importantly who you already are.
Personal Center
Objectives should be...
Letting Go
Dual Consciousness
39. 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 -
The Genesis of Acting
Personal Center
Biomechanics
Action in a Play or Film Script
40. 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.'
Discipline
Objective
Action in a Play or Film Script
Personal Center
41. 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.
Constatin Stanislavski
Breath
Beat
Aristotle
42. Showing the audience something about the character instead of simply doing what the character does.
In Action
Indicating
The Genesis of Acting
Vsevolod Meyerhold
43. 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.
Action (for an Actor)
Personal Center
Relaxation
Blocking
44. 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.
Need
A play
Dramatic Function
Beat
45. Actresses began to appear on stage.
Immediacy
1660s
Raising the Stakes
Empathy
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
Relaxation
Relaxation
Craft
Gravity
47. 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.'
Transformation
Objective
Empathy
In Action
48. The exchange of action and reaction.
Aristotle
Interaction
Action in a Play or Film Script
Substitution
49. A person fully committed to an important objective.
In Action
Magic If
Thespis
Creative State
50. The reduction of self-consciousness from the total engrossment in a role.
Interaction
Wholeness
A play
Public Solitude