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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 ______ 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
Need; Action; Objective
Dramatic Function
Justified
Action (for an Actor)
2. The dramatic ______ is what happens in the story - scene - or beat in the most fundamental sense.
Truthful Performance
Action in a Play or Film Script
Craft
Gravity
3. 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 -
Creative State
Need; Action; Objective
Justified
The Genesis of Acting
4. 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.
The Method of Physical Actions
Creative State
Substitution
Public Solitude
5. 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.
Beat
Centeredness
Vsevolod Meyerhold
A play
6. 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.
Vsevolod Meyerhold
Breath
Letting Go
Truthful Performance
7. Something a character lacks or wants that drives him to pursue an action to satisfy that lack or desire.
Biomechanics
Wholeness
Need
Magic If
8. Stanislavski's physical approach to acting.
A play
Relaxation
The Method of Physical Actions
Gravity
9. 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
Objectives should be...
Blocking
Thespis
10. German word for power. The actor's physical and vocal tools.
Craft
Dual Consciousness
Magic If
Wholeness
11. Recalling a significant moment in your past to fit a character. WARNING: Must be appropriate for the character.
Justified
In Action
Raising the Stakes
Emotion Memory
12. 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
Discipline
Action (for an Actor)
Relaxation
Breath
13. All parts of the actor--body - voice - and mind--work together in an integrated way.
Action in a Play or Film Script
Letting Go
Wholeness
Dramatic Function
14. Actresses began to appear on stage.
1660s
Need; Action; Objective
Dramatic Function
Stanislavski's Actor
15. 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.
Indicating
Blocking
Discipline
Relaxation
16. 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.
In Action
Acting
In Action
Creative State
17. Singular - Immediate - & Personal. (SIP)
Demonstration
Aristotle
Truthful Performance
Objectives should be...
18. Actresses began to appear on stage.
Creative State
1660s
Substitution
Truthful Performance
19. Relinquishing too much effort - chronic physical tension - a false voice - preconceptions about the work - personal fear - and most importantly who you already are.
Craft
Letting Go
Biomechanics
Justified
20. The physical form of the action of the scene expressed in changing spatial relationships between the characters and their environment.
Blocking
Empathy
Biomechanics
Public Solitude
21. Recalling a significant moment in your past to fit a character. WARNING: Must be appropriate for the character.
Emotion Memory
Centeredness
Breath
Substitution
22. The exchange of action and reaction.
Truthful Performance
Interaction
Truthful Performance
Gravity
23. An actor devoted to searching for the truth of human behavior. The craft of working 'from the inside out'.
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24. Relinquishing too much effort - chronic physical tension - a false voice - preconceptions about the work - personal fear - and most importantly who you already are.
Demonstration
Letting Go
Wholeness
Truthful Performance
25. A person fully committed to an important objective.
In Action
Public Solitude
Transformation
Personal Center
26. The job a character was created to perform within a story.
Personal Center
Dual Consciousness
Centeredness
Dramatic Function
27. A person fully committed to an important objective.
Stanislavski's Actor
Blocking
In Action
Truthful Performance
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 -
Constatin Stanislavski
Acting
The Genesis of Acting
Discipline
29. 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.
Dual Consciousness
Beat
Aristotle
Acting
30. Showing the audience something about the character instead of simply doing what the character does.
Wholeness
Wholeness
Indicating
Blocking
31. The great unifier of body - mind - and voice.
Breath
Relaxation
Raising the Stakes
Objective
32. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
The Genesis of Acting
Acting
Wholeness
Action in a Play or Film Script
33. Everything an actor does in a performance has to be _______ by the character's internal need.
Thespis
Justified
Action (for an Actor)
Need; Action; Objective
34. 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.
1660s
Acting
Immediacy
In Action
35. The exchange of action and reaction.
Interaction
The Genesis of Acting
Thespis
Dual Consciousness
36. 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.
In Action
Action (for an Actor)
Dual Consciousness
Beat
37. 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.'
Public Solitude
Breath
Need
Objective
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 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.
Dramatic Function
Thespis
Dual Consciousness
Biomechanics
40. Meyerhold. The fusion of mind and body; teaching the 'body how to think'.
Beat
Indicating
Biomechanics
Thespis
41. Showing the audience something about the character instead of simply doing what the character does.
Indicating
Justified
Constatin Stanislavski
The Genesis of Acting
42. Heightening the drama of an action or scene by making it more significant or urgent.
Need; Action; Objective
Relaxation
Breath
Raising the Stakes
43. All parts of the actor--body - voice - and mind--work together in an integrated way.
In Action
Public Solitude
Interaction
Wholeness
44. Everything an actor does in a performance has to be _______ by the character's internal need.
Gravity
Empathy
Breath
Justified
45. Finding in the character's situation some need or objective that has true personal significance.
Objectives should be...
Stanislavski's Actor
Public Solitude
Substitution
46. The great unifier of body - mind - and voice.
Breath
The Method of Physical Actions
Indicating
Craft
47. 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.
Substitution
Relaxation
The Genesis of Acting
Centeredness
48. He developed a presentational and overtly theatrical style of acting.
Public Solitude
Interaction
Creative State
Vsevolod Meyerhold
49. Immediate and urgent needs cause actions in the pursuit of objectives within given circumstances.
Acting
Indicating
Need; Action; Objective
Aristotle
50. The acceptance of responsibility for your own development through systematic effort.
Blocking
Beat
Biomechanics
Discipline
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