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