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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. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
Interaction
Magic If
Need
Craft
2. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Acting
Gravity
Action (for an Actor)
Aristotle
3. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
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4. _____ causes an _____ directed toward an __________
Stanislavski's Actor
Demonstration
Need; Action; Objective
Justified
5. 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.
1660s
Craft
Truthful Performance
Personal Center
6. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.
Thespis
Justified
Centeredness
Public Solitude
7. Showing the audience something about the character instead of simply doing what the character does.
Dual Consciousness
Truthful Performance
Beat
Indicating
8. 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.
Immediacy
Justified
The Genesis of Acting
Discipline
9. Actresses began to appear on stage.
1660s
Demonstration
Interaction
Blocking
10. 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
Gravity
Thespis
1660s
Action (for an Actor)
11. 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
Need; Action; Objective
A play
Dramatic Function
12. Finding in the character's situation some need or objective that has true personal significance.
Interaction
Public Solitude
Substitution
Discipline
13. 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.
Empathy
Letting Go
Objectives should be...
Biomechanics
14. He developed a presentational and overtly theatrical style of acting.
A play
The Genesis of Acting
Discipline
Vsevolod Meyerhold
15. The event itself. It is not 'about' something.
A play
Beat
Raising the Stakes
Justified
16. 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
Gravity
The Genesis of Acting
Centeredness
Wholeness
17. 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.
A play
Dual Consciousness
Aristotle
Immediacy
18. Actresses began to appear on stage.
Public Solitude
Letting Go
1660s
In Action
19. 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
Centeredness
Need; Action; Objective
Demonstration
20. Finding in the character's situation some need or objective that has true personal significance.
Empathy
Substitution
Need
Personal Center
21. 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
Personal Center
Creative State
Discipline
22. German word for power. The actor's physical and vocal tools.
Gravity
Letting Go
Transformation
Craft
23. The event itself. It is not 'about' something.
A play
Vsevolod Meyerhold
Creative State
Discipline
24. 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.
Demonstration
The Genesis of Acting
Dual Consciousness
Truthful Performance
25. 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.
Interaction
Biomechanics
Immediacy
Vsevolod Meyerhold
26. 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 -
Relaxation
Dual Consciousness
Magic If
The Genesis of Acting
27. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
Blocking
Discipline
Letting Go
Acting
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.
Beat
Craft
Action (for an Actor)
Relaxation
29. 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.
Need; Action; Objective
Personal Center
Wholeness
Beat
30. 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...
Centeredness
Aristotle
Craft
31. Becoming the new version of yourself by needing and doing what the character needs and does.
Objective
Personal Center
Transformation
Acting
32. 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)
Relaxation
Immediacy
Demonstration
33. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
Blocking
The Method of Physical Actions
Action (for an Actor)
A play
34. 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
Objectives should be...
Action (for an Actor)
Personal Center
Stanislavski's Actor
35. Singular - Immediate - & Personal. (SIP)
Need; Action; Objective
A play
Objectives should be...
Justified
36. Singular - Immediate - & Personal. (SIP)
Objectives should be...
Gravity
Transformation
Personal Center
37. 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.
Demonstration
Gravity
Emotion Memory
Creative State
38. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
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39. The job a character was created to perform within a story.
Dual Consciousness
Wholeness
Dramatic Function
Magic If
40. Recalling a significant moment in your past to fit a character. WARNING: Must be appropriate for the character.
A play
Objective
Emotion Memory
Objectives should be...
41. Meyerhold. The fusion of mind and body; teaching the 'body how to think'.
Magic If
Biomechanics
Constatin Stanislavski
Need
42. Everything an actor does in a performance has to be _______ by the character's internal need.
Action (for an Actor)
Justified
Blocking
Blocking
43. Everything an actor does in a performance has to be _______ by the character's internal need.
Action in a Play or Film Script
Justified
The Method of Physical Actions
Aristotle
44. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
The Method of Physical Actions
Acting
Immediacy
Blocking
45. 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
Breath
Substitution
Discipline
46. The father of the modern actor.
Empathy
Indicating
Constatin Stanislavski
Acting
47. 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
Personal Center
Interaction
Demonstration
Need; Action; Objective
48. 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?
1660s
Constatin Stanislavski
Need
Magic If
49. 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.
Demonstration
Letting Go
Thespis
A play
50. 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.
Wholeness
Relaxation
Beat
Action in a Play or Film Script