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1 | |
The first known actor was: |
| | A) | Hermes |
| | B) | Thespis |
| | C) | Oedipus |
| | D) | Sophocles |
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2 | |
The form of acting that begins with the instructional process, lessons and drills is: |
| | A) | classical |
| | B) | representational |
| | C) | planned |
| | D) | external |
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3 | |
The kind of acting where the actor feels the characters is: |
| | A) | internal |
| | B) | presentational |
| | C) | intense |
| | D) | romantic |
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4 | |
The roman poet Horace said in order to move the audience, first you must: |
| | A) | how your emotions |
| | B) | play serious characters |
| | C) | be moved yourself |
| | D) | be physically interesting |
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5 | |
The Frenchman who said actors must play from thought was: |
| | A) | Moliere |
| | B) | Jean Paul Belmondo |
| | C) | Denis Diderot |
| | D) | Beaumarchais |
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6 | |
The acting teacher who said the actor must seek to solve the "character's problem" was: |
| | A) | Stanislavsky |
| | B) | Tchaikovsky |
| | C) | Chekhov |
| | D) | Meyerhold |
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7 | |
The Actors Studio was made famous by |
| | A) | Richard Boleslavsky |
| | B) | Sanford Meisner |
| | C) | Lee Strasburg |
| | D) | Stella Adler |
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8 | |
The craft of acting includes two fundamental features: |
| | A) | mind and body |
| | B) | speaking and singing |
| | C) | expression and a supple body |
| | D) | good intellect and strong emotions |
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9 | |
The rise of realism in theatre and cinema verite of post World War II brought about: |
| | A) | a surge in passionate acting |
| | B) | a renewed emphasis on classical technique |
| | C) | a new outlook on style and grace |
| | D) | a rejection of virtuosity |
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10 | |
Contemporary actor training has 2 distinct phases, which are: |
| | A) | study the text and analyze the context |
| | B) | feeling the emotions and expressing the actions |
| | C) | development of the instrument and the method of approaching a role |
| | D) | conditioning the body and the mind |
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11 | |
The three basic elements of voice for the actor are: |
| | A) | articulation, pronunciation, and phrasing |
| | B) | speaking, singing, and shouting |
| | C) | mind, body and spirit |
| | D) | breathing, phonation and resonance |
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12 | |
After vocal training, the second element of the actor's physiological instrument is: |
| | A) | movement |
| | B) | singing |
| | C) | stage combat training |
| | D) | dance |
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13 | |
Which of the following is not part of actor's psychological instrument? |
| | A) | imagination and willingness to use it |
| | B) | discipline |
| | C) | stage fright |
| | D) | creates role uniquely |
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14 | |
The actor's zadacha means the character's: |
| | A) | character |
| | B) | goal |
| | C) | lines |
| | D) | cues |
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15 | |
The second element of the actor's approach is the actor's: |
| | A) | knowledge of the script |
| | B) | awareness of he audience |
| | C) | tactics needed to achieve the goal |
| | D) | knowledge of the play |
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16 | |
The third and most difficult part of the actor's approach is: |
| | A) | research into style and mode of the part |
| | B) | gaining the audience's trust |
| | C) | examining what the theme is |
| | D) | knowing when the intermission is |
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17 | |
The actor's professional routine consists of: |
| | A) | agents, contracts and salaries |
| | B) | auditions, rehearsals and performances |
| | C) | lines, memorization and performing |
| | D) | blocking, mounting and polishing |
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18 | |
The rehearsals of a play for an actor are: |
| | A) | boring repetitions to be endured |
| | B) | a time to get everything right |
| | C) | a time for creative experimentation |
| | D) | when the director controls everything |
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