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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. 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
Public Solitude
A play
Action (for an Actor)
Letting Go
2. He developed a presentational and overtly theatrical style of acting.
Breath
Relaxation
Vsevolod Meyerhold
The Method of Physical Actions
3. Actresses began to appear on stage.
1660s
Creative State
Wholeness
Indicating
4. 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.
Personal Center
Constatin Stanislavski
Dual Consciousness
Magic If
5. Finding in the character's situation some need or objective that has true personal significance.
Substitution
Wholeness
Biomechanics
Emotion Memory
6. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.
The Method of Physical Actions
Aristotle
Thespis
1660s
7. 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 -
Letting Go
Magic If
The Genesis of Acting
Action (for an Actor)
8. Singular - Immediate - & Personal. (SIP)
Need; Action; Objective
Action in a Play or Film Script
Beat
Objectives should be...
9. The event itself. It is not 'about' something.
A play
Action in a Play or Film Script
Magic If
In Action
10. Everything an actor does in a performance has to be _______ by the character's internal need.
Craft
Justified
Stanislavski's Actor
Wholeness
11. Heightening the drama of an action or scene by making it more significant or urgent.
Centeredness
Interaction
Raising the Stakes
Indicating
12. 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?
Creative State
Magic If
Thespis
Empathy
13. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
Immediacy
Need
Need; Action; Objective
Thespis
14. The event itself. It is not 'about' something.
A play
Emotion Memory
Dramatic Function
Relaxation
15. Relinquishing too much effort - chronic physical tension - a false voice - preconceptions about the work - personal fear - and most importantly who you already are.
Gravity
Justified
Emotion Memory
Letting Go
16. Relinquishing too much effort - chronic physical tension - a false voice - preconceptions about the work - personal fear - and most importantly who you already are.
Need; Action; Objective
Raising the Stakes
Indicating
Letting Go
17. He developed a presentational and overtly theatrical style of acting.
Substitution
Vsevolod Meyerhold
Empathy
Creative State
18. Singular - Immediate - & Personal. (SIP)
Discipline
Truthful Performance
Need; Action; Objective
Objectives should be...
19. Actresses began to appear on stage.
Public Solitude
1660s
Stanislavski's Actor
Vsevolod Meyerhold
20. 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.
Centeredness
Indicating
Action in a Play or Film Script
Substitution
21. 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.'
Objective
Acting
Vsevolod Meyerhold
Empathy
22. _____ causes an _____ directed toward an __________
Justified
Need; Action; Objective
Emotion Memory
Constatin Stanislavski
23. All parts of the actor--body - voice - and mind--work together in an integrated way.
Public Solitude
Creative State
Aristotle
Wholeness
24. 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
Interaction
Thespis
Aristotle
Gravity
25. Becoming the new version of yourself by needing and doing what the character needs and does.
Dual Consciousness
Relaxation
Transformation
Letting Go
26. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
Blocking
Dramatic Function
Demonstration
Thespis
27. Becoming the new version of yourself by needing and doing what the character needs and does.
Transformation
Craft
Action (for an Actor)
Need; Action; Objective
28. 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.
The Genesis of Acting
Public Solitude
Biomechanics
Relaxation
29. The great unifier of body - mind - and voice.
Centeredness
Objectives should be...
Breath
Public Solitude
30. 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.
A play
Creative State
Emotion Memory
Biomechanics
31. The job a character was created to perform within a story.
Action (for an Actor)
Discipline
Substitution
Dramatic Function
32. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Acting
Demonstration
Dual Consciousness
Craft
33. Everything an actor does in a performance has to be _______ by the character's internal need.
Letting Go
Transformation
Justified
Demonstration
34. The acceptance of responsibility for your own development through systematic effort.
Breath
Objectives should be...
Discipline
Objectives should be...
35. 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.
Aristotle
Demonstration
Craft
Truthful Performance
36. 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.
Objective
Biomechanics
Letting Go
Centeredness
37. 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.
Constatin Stanislavski
Immediacy
Action in a Play or Film Script
Substitution
38. 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.
Aristotle
Personal Center
Objectives should be...
Empathy
39. Meyerhold. The fusion of mind and body; teaching the 'body how to think'.
Biomechanics
Acting
Discipline
Demonstration
40. A person fully committed to an important objective.
Transformation
1660s
In Action
Magic If
41. 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.
Creative State
Gravity
Truthful Performance
Letting Go
42. 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.
Acting
Blocking
A play
Aristotle
43. Showing the audience something about the character instead of simply doing what the character does.
Indicating
Personal Center
Relaxation
Blocking
44. The reduction of self-consciousness from the total engrossment in a role.
Wholeness
Objectives should be...
Public Solitude
Creative State
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
The Method of Physical Actions
Gravity
Letting Go
Dramatic Function
46. 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
Action (for an Actor)
Need
Truthful Performance
Emotion Memory
47. The great unifier of body - mind - and voice.
Dramatic Function
Objective
Objectives should be...
Breath
48. The reduction of self-consciousness from the total engrossment in a role.
Objective
Public Solitude
Substitution
Centeredness
49. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Acting
Emotion Memory
Letting Go
Objective
50. _____ causes an _____ directed toward an __________
Dual Consciousness
Breath
Need; Action; Objective
Vsevolod Meyerhold