Test your basic knowledge |

Acting Basics

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. Showing the audience something about the character instead of simply doing what the character does.






2. 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.






3. The acceptance of responsibility for your own development through systematic effort.






4. A person fully committed to an important objective.






5. The reduction of self-consciousness from the total engrossment in a role.






6. The exchange of action and reaction.






7. German word for power. The actor's physical and vocal tools.






8. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.






9. The acceptance of responsibility for your own development through systematic effort.






10. He developed a presentational and overtly theatrical style of acting.






11. Singular - Immediate - & Personal. (SIP)






12. _____ causes an _____ directed toward an __________






13. Heightening the drama of an action or scene by making it more significant or urgent.






14. Finding in the character's situation some need or objective that has true personal significance.






15. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.






16. 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.






17. Stanislavski's physical approach to acting.






18. 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?






19. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.

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20. Becoming the new version of yourself by needing and doing what the character needs and does.






21. The event itself. It is not 'about' something.






22. Heightening the drama of an action or scene by making it more significant or urgent.






23. The exchange of action and reaction.






24. All parts of the actor--body - voice - and mind--work together in an integrated way.






25. Actresses began to appear on stage.






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 -






27. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.






28. Everything an actor does in a performance has to be _______ by the character's internal need.






29. The reduction of self-consciousness from the total engrossment in a role.






30. 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.'






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. The event itself. It is not 'about' something.






33. The father of the modern actor.






34. _____ causes an _____ directed toward an __________






35. Relinquishing too much effort - chronic physical tension - a false voice - preconceptions about the work - personal fear - and most importantly who you already are.






36. 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.






37. Recalling a significant moment in your past to fit a character. WARNING: Must be appropriate for the character.






38. Won an acting competition in Athens - Greece in 534 B.C. Considered the first actor.






39. Everything an actor does in a performance has to be _______ by the character's internal need.






40. 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?






41. Showing the audience something about the character instead of simply doing what the character does.






42. 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.






43. The great unifier of body - mind - and voice.






44. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.






45. 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






46. 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.






47. 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.






48. Meyerhold. The fusion of mind and body; teaching the 'body how to think'.






49. 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.






50. 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.






Can you answer 50 questions in 15 minutes?



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