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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 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.'
Need
Objective
Objectives should be...
Substitution
2. 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.
Indicating
Demonstration
Dramatic Function
Action (for an Actor)
3. 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.
Creative State
Indicating
Wholeness
Relaxation
4. 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
Creative State
Dual Consciousness
Interaction
Gravity
5. 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.
Constatin Stanislavski
Letting Go
Interaction
Relaxation
6. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
Centeredness
Need
Centeredness
Aristotle
7. Finding in the character's situation some need or objective that has true personal significance.
Need
Substitution
Craft
Relaxation
8. 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.
Acting
Centeredness
Public Solitude
Substitution
9. Stanislavski's physical approach to acting.
The Method of Physical Actions
Substitution
Beat
A play
10. 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
Objective
Thespis
Craft
Action (for an Actor)
11. Stanislavski's physical approach to acting.
Justified
The Method of Physical Actions
Dramatic Function
Action in a Play or Film Script
12. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Acting
Need; Action; Objective
The Method of Physical Actions
In Action
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.
Objectives should be...
1660s
Interaction
Centeredness
14. 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.
Objective
Stanislavski's Actor
Emotion Memory
Immediacy
15. Relinquishing too much effort - chronic physical tension - a false voice - preconceptions about the work - personal fear - and most importantly who you already are.
Magic If
Letting Go
Relaxation
Acting
16. Everything an actor does in a performance has to be _______ by the character's internal need.
Justified
Indicating
Action (for an Actor)
Empathy
17. He developed a presentational and overtly theatrical style of acting.
Vsevolod Meyerhold
The Genesis of Acting
Stanislavski's Actor
Need; Action; Objective
18. German word for power. The actor's physical and vocal tools.
Craft
A play
Breath
Empathy
19. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.
Breath
Action in a Play or Film Script
The Method of Physical Actions
Thespis
20. Singular - Immediate - & Personal. (SIP)
Wholeness
Objectives should be...
Interaction
Blocking
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.
Truthful Performance
Gravity
Empathy
Relaxation
22. 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.
Breath
Need
Relaxation
Letting Go
23. The reduction of self-consciousness from the total engrossment in a role.
Personal Center
Demonstration
Public Solitude
Empathy
24. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.
Personal Center
Centeredness
Thespis
Emotion Memory
25. Actresses began to appear on stage.
1660s
Magic If
Wholeness
Centeredness
26. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Action in a Play or Film Script
Acting
Gravity
Constatin Stanislavski
27. The great unifier of body - mind - and voice.
Empathy
Substitution
Breath
Aristotle
28. 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 -
Personal Center
Constatin Stanislavski
The Genesis of Acting
Public Solitude
29. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.
Breath
In Action
Thespis
The Method of Physical Actions
30. 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
Emotion Memory
Action (for an Actor)
Biomechanics
Breath
31. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
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32. Recalling a significant moment in your past to fit a character. WARNING: Must be appropriate for the character.
Stanislavski's Actor
Dramatic Function
Craft
Emotion Memory
33. The exchange of action and reaction.
Wholeness
Interaction
Relaxation
Immediacy
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
Centeredness
Relaxation
Creative State
Personal Center
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.
Action in a Play or Film Script
Demonstration
Personal Center
Public Solitude
36. 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.
Truthful Performance
Objective
Relaxation
Objective
37. Showing the audience something about the character instead of simply doing what the character does.
Objective
Objectives should be...
Thespis
Indicating
38. Heightening the drama of an action or scene by making it more significant or urgent.
Craft
Raising the Stakes
Demonstration
Need
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?
Dual Consciousness
Demonstration
Dramatic Function
Magic If
40. The reduction of self-consciousness from the total engrossment in a role.
Constatin Stanislavski
The Method of Physical Actions
Immediacy
Public Solitude
41. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
Need
Action in a Play or Film Script
Dual Consciousness
Stanislavski's Actor
42. 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.
A play
Centeredness
Immediacy
Empathy
43. Heightening the drama of an action or scene by making it more significant or urgent.
Objective
Blocking
Objectives should be...
Raising the Stakes
44. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
Raising the Stakes
Blocking
Vsevolod Meyerhold
Immediacy
45. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.
Action in a Play or Film Script
Raising the Stakes
Blocking
Vsevolod Meyerhold
46. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
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47. All parts of the actor--body - voice - and mind--work together in an integrated way.
Need; Action; Objective
Demonstration
Letting Go
Wholeness
48. _____ causes an _____ directed toward an __________
Need; Action; Objective
Magic If
Raising the Stakes
Acting
49. The exchange of action and reaction.
Interaction
Truthful Performance
Transformation
Craft
50. 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?
Beat
Biomechanics
Magic If
Craft