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