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






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. Singular - Immediate - & Personal. (SIP)






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






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






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






7. A person fully committed to an important objective.






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






9. 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 -






10. The exchange of action and reaction.






11. 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






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






13. 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.






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






15. A person fully committed to an important objective.






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






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






18. 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.






19. 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.






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

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21. 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.






22. 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.'






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






24. 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.






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






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






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






28. 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?






29. _____ causes an _____ directed toward an __________






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






31. The father of the modern actor.






32. Actresses began to appear on stage.






33. Stanislavski's physical approach to acting.






34. 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?






35. 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.






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






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






38. Stanislavski's physical approach to acting.






39. 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.






40. 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.






41. Actresses began to appear on stage.






42. 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.






43. 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 -






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






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






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






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






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






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






50. 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