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. Singular - Immediate - & Personal. (SIP)






2. The exchange of action and reaction.






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






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






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






6. 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.






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






8. A person fully committed to an important objective.






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






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






12. A person fully committed to an important objective.






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






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






15. The exchange of action and reaction.






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






17. Stanislavski's physical approach to acting.






18. 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.'






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. 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.






21. 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






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






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






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






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






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






27. 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 -






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






29. 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.






30. 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.






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






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






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






34. 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






35. 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.






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






37. Actresses began to appear on stage.






38. _____ causes an _____ directed toward an __________






39. 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?






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






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






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






43. 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






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






45. 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






46. 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.






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






48. The father of the modern actor.






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






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