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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 physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
Interaction
Immediacy
Blocking
Indicating
2. The reduction of self-consciousness from the total engrossment in a role.
Objective
Magic If
Blocking
Public Solitude
3. The father of the modern actor.
A play
Gravity
Constatin Stanislavski
Vsevolod Meyerhold
4. Finding in the character's situation some need or objective that has true personal significance.
Action in a Play or Film Script
Dual Consciousness
Immediacy
Substitution
5. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.
Dramatic Function
Need
Constatin Stanislavski
Action in a Play or Film Script
6. 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
Stanislavski's Actor
Action (for an Actor)
Stanislavski's Actor
Magic If
7. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Action in a Play or Film Script
Acting
Action (for an Actor)
Vsevolod Meyerhold
8. German word for power. The actor's physical and vocal tools.
Craft
Acting
Action in a Play or Film Script
Demonstration
9. The job a character was created to perform within a story.
Wholeness
Dramatic Function
Centeredness
Creative State
10. The acceptance of responsibility for your own development through systematic effort.
Magic If
Personal Center
Transformation
Discipline
11. Actresses began to appear on stage.
Creative State
1660s
The Genesis of Acting
Justified
12. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Justified
Stanislavski's Actor
Acting
Action (for an Actor)
13. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
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14. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.
Thespis
Vsevolod Meyerhold
Truthful Performance
Acting
15. Heightening the drama of an action or scene by making it more significant or urgent.
Transformation
In Action
Centeredness
Raising the Stakes
16. Recalling a significant moment in your past to fit a character. WARNING: Must be appropriate for the character.
Centeredness
Emotion Memory
Dual Consciousness
Discipline
17. 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.
Transformation
Beat
Biomechanics
Justified
18. 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
Creative State
Aristotle
Blocking
19. 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
Truthful Performance
Interaction
Public Solitude
20. 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.
Constatin Stanislavski
Public Solitude
Stanislavski's Actor
Dual Consciousness
21. Finding in the character's situation some need or objective that has true personal significance.
Substitution
Truthful Performance
Relaxation
1660s
22. He developed a presentational and overtly theatrical style of acting.
Objectives should be...
Discipline
Dramatic Function
Vsevolod Meyerhold
23. _____ causes an _____ directed toward an __________
Letting Go
Need; Action; Objective
Immediacy
Gravity
24. Actresses began to appear on stage.
Acting
Indicating
1660s
Vsevolod Meyerhold
25. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.
The Genesis of Acting
A play
Thespis
Personal Center
26. The exchange of action and reaction.
Emotion Memory
Interaction
Wholeness
Vsevolod Meyerhold
27. Singular - Immediate - & Personal. (SIP)
Objectives should be...
Emotion Memory
The Method of Physical Actions
Centeredness
28. 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
Aristotle
Discipline
Indicating
Personal Center
29. 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
Beat
1660s
Justified
30. 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.
Dual Consciousness
Emotion Memory
Action (for an Actor)
Action in a Play or Film Script
31. The father of the modern actor.
Constatin Stanislavski
Gravity
Thespis
Justified
32. Becoming the new version of yourself by needing and doing what the character needs and does.
Transformation
Centeredness
Demonstration
Raising the Stakes
33. 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
1660s
Dramatic Function
Justified
34. 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.
Centeredness
Constatin Stanislavski
Beat
Truthful Performance
35. 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.
The Genesis of Acting
Letting Go
Immediacy
Indicating
36. Becoming the new version of yourself by needing and doing what the character needs and does.
Stanislavski's Actor
Thespis
Truthful Performance
Transformation
37. 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 -
Centeredness
The Genesis of Acting
Vsevolod Meyerhold
Objectives should be...
38. 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
Stanislavski's Actor
Gravity
In Action
In Action
39. 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.
Objectives should be...
Truthful Performance
Craft
Thespis
40. 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
Dramatic Function
Breath
Personal Center
Objectives should be...
41. The great unifier of body - mind - and voice.
Stanislavski's Actor
Emotion Memory
Breath
Thespis
42. The job a character was created to perform within a story.
The Genesis of Acting
Aristotle
Dramatic Function
Personal Center
43. A person fully committed to an important objective.
In Action
1660s
Justified
Discipline
44. 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.
Thespis
Creative State
Raising the Stakes
Centeredness
45. All parts of the actor--body - voice - and mind--work together in an integrated way.
Dual Consciousness
Objectives should be...
Magic If
Wholeness
46. 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.
Magic If
Relaxation
Discipline
Transformation
47. The acceptance of responsibility for your own development through systematic effort.
Interaction
1660s
Discipline
Aristotle
48. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
Constatin Stanislavski
Aristotle
Discipline
Blocking
49. The event itself. It is not 'about' something.
Constatin Stanislavski
Empathy
A play
Emotion Memory
50. 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.
Need; Action; Objective
In Action
Aristotle
Substitution