Question 1

The three stages of the actor's routine are audition,rehearsal,and performance.

Accepted Answer

A) True 
 B)False

Question 2

Actors who mimic or imagine how their characters should walk,talk,and behave,using their imagination,are said to demonstrate techniques of the ________ method of acting.

Accepted Answer

A) inspirational 
B) virtuosic 
C) self-reflective 
D) external 
A) inspirational 
B) virtuosic 
C) self-reflective 
D) external

Question 3

Which faculty keeps the actor within established bounds and at the same time ensures artistic agility?

Accepted Answer

A) credibility 
B) discipline 
C) memory 
D) voice 
A) credibility 
B) discipline 
C) memory 
D) voice

Question 4

Most professional auditions consist of performing

Accepted Answer

A) one- or two-minute contrasting monologues from plays. 
B) a five-minute extended declamation,usually a soliloquy taken from the work of a major author. 
C) a song taught on the spot to show the actor's vocal range and intelligence. 
D) an improvisation with a prop or piece of furniture. 
A) one- or two-minute contrasting monologues from plays. 
B) a five-minute extended declamation,usually a soliloquy taken from the work of a major author. 
C) a song taught on the spot to show the actor's vocal range and intelligence. 
D) an improvisation with a prop or piece of furniture.

Question 5

Professional actor Patrick Stewart considers all his years sitting on thrones of England on the stage of Stratford-upon-Avon as a lead-in for his experience sitting in the captain's chair of the Enterprise (Star Trek).

Accepted Answer

A) True 
 B)False

Question 6

What is "the Method"?

Accepted Answer

A) an American style of training voice using tapes,constant feedback from a voice coach,and tape-recording the actor's own voice 
B) a realistic American acting style derived from the Russian actor-director Konstantin Stanislavsky's self-proclaimed system and made popular by Lee Strasberg in New York 
C) the style of physical training devised and codified by Vsevolod Meyerhold to enable the actor to gain physical control through the isolation and exercise of discrete muscle units 
D) a collection of vocal exercises,based on principles of yoga,used to control breathing 
A) an American style of training voice using tapes,constant feedback from a voice coach,and tape-recording the actor's own voice 
B) a realistic American acting style derived from the Russian actor-director Konstantin Stanislavsky's self-proclaimed system and made popular by Lee Strasberg in New York 
C) the style of physical training devised and codified by Vsevolod Meyerhold to enable the actor to gain physical control through the isolation and exercise of discrete muscle units 
D) a collection of vocal exercises,based on principles of yoga,used to control breathing

Question 7

Directed stage actions that are precisely scripted physical behaviors worked out in blocking are called

Accepted Answer

A) platforming. 
B) stage business. 
C) mimetic motion. 
D) performance technique. 
A) platforming. 
B) stage business. 
C) mimetic motion. 
D) performance technique.

Question 8

Great,superior acting must transcend mere technique or training and elevate itself into something much higher.

Accepted Answer

A) True 
 B)False

Question 9

The term "subtext" refers to

Accepted Answer

A) the preface or initial stage directions to a script. 
B) the script that exits prior to the final script. 
C) a character's unspoken and undescribed goals. 
D) a part of an individual's unconscious. 
A) the preface or initial stage directions to a script. 
B) the script that exits prior to the final script. 
C) a character's unspoken and undescribed goals. 
D) a part of an individual's unconscious.

Question 10

Actors are expected to take care of their body and as such are expected to

Accepted Answer

A) be on a special diet. 
B) take regular trips to the gym-required of many acting schools. 
C) make small gestures and movements on stage. 
D) not worry too much about strength or stamina. 
A) be on a special diet. 
B) take regular trips to the gym-required of many acting schools. 
C) make small gestures and movements on stage. 
D) not worry too much about strength or stamina.

Question 11

What are the two fundamental notions/approaches of acting?

Accepted Answer

A) spoken and declaimed 
B) physical prowess and strength of voice 
C) internal and external 
D) indirect and feigned 
A) spoken and declaimed 
B) physical prowess and strength of voice 
C) internal and external 
D) indirect and feigned

Question 12

Stage fright is groundless and based on irrational fears.

Accepted Answer

A) True 
 B)False

Question 13

The type of performing that asks the actor to experience the life of the character being played is

Accepted Answer

A) external mimesis. 
B) internal. 
C) self-reflection. 
D) objective meditation. 
A) external mimesis. 
B) internal. 
C) self-reflection. 
D) objective meditation.

Question 14

The three main elements of the actor's approach are goals,tactics,and

Accepted Answer

A) solutions to the problems imposed by the tactics. 
B) the incorporation of both into the physicality of the character. 
C) personal history that can be transmitted into theatrical technique. 
D) researching the style of the play and mode of performance. 
A) solutions to the problems imposed by the tactics. 
B) the incorporation of both into the physicality of the character. 
C) personal history that can be transmitted into theatrical technique. 
D) researching the style of the play and mode of performance.

Question 15

Discuss the role of imagination for acting.How does it come into play in the process of acting? Are there any limits on imagination? How does imagination connect with the character's objective?

Accepted Answer

Imagination plays a crucial role in acti

Question 16

The performers feel the presence of the audience,and it can have a profound effect on them.

Accepted Answer

A) True 
 B)False

Question 17

The actor's "magic" has nothing to do with the divine or stage presence.

Accepted Answer

A) True 
 B)False

Question 18

A perfect example of the actor's nemesis is

Accepted Answer

A) star status. 
B) confidence. 
C) mimicry. 
D) stage fright. 
A) star status. 
B) confidence. 
C) mimicry. 
D) stage fright.

Question 19

Stanislavsky insisted that actors needed to discover their characters'

Accepted Answer

A) style. 
B) goal. 
C) movement. 
D) kinesthetic response. 
A) style. 
B) goal. 
C) movement. 
D) kinesthetic response.

Question 20

Who maintained that the actor should be "an unmoved and disinterested onlooker" and imitate emotion rather than feel it?

Accepted Answer

A) Aristotle 
B) Denis Diderot 
C) Horace 
D) Stanislavsky 
A) Aristotle 
B) Denis Diderot 
C) Horace 
D) Stanislavsky

The three stages of the actor's routine are audition,rehearsal,and performance.

Actors who mimic or imagine how their characters should walk,talk,and behave,using their imagination,are said to demonstrate techniques of the ________ method of acting.

Which faculty keeps the actor within established bounds and at the same time ensures artistic agility?

Most professional auditions consist of performing

Professional actor Patrick Stewart considers all his years sitting on thrones of England on the stage of Stratford-upon-Avon as a lead-in for his experience sitting in the captain's chair of the Enterprise (Star Trek).

What is "the Method"?

Directed stage actions that are precisely scripted physical behaviors worked out in blocking are called

Great,superior acting must transcend mere technique or training and elevate itself into something much higher.

The term "subtext" refers to

Actors are expected to take care of their body and as such are expected to

What are the two fundamental notions/approaches of acting?

Stage fright is groundless and based on irrational fears.

The type of performing that asks the actor to experience the life of the character being played is

The three main elements of the actor's approach are goals,tactics,and

Discuss the role of imagination for acting.How does it come into play in the process of acting? Are there any limits on imagination? How does imagination connect with the character's objective?

The performers feel the presence of the audience,and it can have a profound effect on them.

The actor's "magic" has nothing to do with the divine or stage presence.

A perfect example of the actor's nemesis is

Stanislavsky insisted that actors needed to discover their characters'

Who maintained that the actor should be "an unmoved and disinterested onlooker" and imitate emotion rather than feel it?

What Is Theatre

What Is a Play

The Playwright

Designers and Technicians

The Director

Theatre Traditions

The Modern Theatre

Musical Theatre

Theatre Today

The Audience

The Ancients

The Middle Ages

The Renaissance

The Theatre of Asia

The Royal Era

The Modern Theatre: Realism

The Modern Theatre: Antirealism

Filters

Exam 3: The Actor

The three stages of the actor's routine are audition,rehearsal,and performance.

Actors who mimic or imagine how their characters should walk,talk,and behave,using their imagination,are said to demonstrate techniques of the ________ method of acting.

Which faculty keeps the actor within established bounds and at the same time ensures artistic agility?

Most professional auditions consist of performing

Professional actor Patrick Stewart considers all his years sitting on thrones of England on the stage of Stratford-upon-Avon as a lead-in for his experience sitting in the captain's chair of the Enterprise (Star Trek).

What is "the Method"?

Directed stage actions that are precisely scripted physical behaviors worked out in blocking are called

Great,superior acting must transcend mere technique or training and elevate itself into something much higher.

The term "subtext" refers to

Actors are expected to take care of their body and as such are expected to

What are the two fundamental notions/approaches of acting?

Stage fright is groundless and based on irrational fears.

The type of performing that asks the actor to experience the life of the character being played is

The three main elements of the actor's approach are goals,tactics,and

Discuss the role of imagination for acting.How does it come into play in the process of acting? Are there any limits on imagination? How does imagination connect with the character's objective?

The performers feel the presence of the audience,and it can have a profound effect on them.

The actor's "magic" has nothing to do with the divine or stage presence.

A perfect example of the actor's nemesis is

Stanislavsky insisted that actors needed to discover their characters'

Who maintained that the actor should be "an unmoved and disinterested onlooker" and imitate emotion rather than feel it?

What Is Theatre

What Is a Play

The Playwright

Designers and Technicians

The Director

Theatre Traditions

The Modern Theatre

Musical Theatre

Theatre Today

The Audience

The Ancients

The Middle Ages

The Renaissance

The Theatre of Asia

The Royal Era

The Modern Theatre: Realism

The Modern Theatre: Antirealism

Filters