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An example of an actors nemesis is: |
D. Stage fright |
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What are the two fundamental notions/approaches of acting? |
C. Internal and external |
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The type of performing that asks the actor to experience the life of the character being played is |
B. Internally |
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Actors who studies human behaviours from a broad range of historical periods,countries, and social classes, so as to apply them when creating characters from a variety of actors who mimic or imagine how his or her character should walk,talk or behave, using their imagination are said to demonstrate a technique of the ______ mode of acting. |
A. Inspirational |
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What is "the method" |
B. A realistic american acting style derived from the russian actor-director konstantin stainislabsky’s self proclaimed system and made popular by Lee strasberg in New York. |
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Why did the Greek actor polus, when playing the role of Electra, bring the ashes of his dead son onstage with him? |
B. He wanted to cry real tesrs lamenting the "death" of his characters brother showing internal acting. |
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Who maintained that the actor should be an "unmoved and disinterested onlooker" and imitate emotion rather than feel it? |
B. Denis Diderot |
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Today the best method of acting |
C. Is an integration of both forms- internal and external acting |
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The term used for the technical skills needed for professional acting, focusing primarily on the voice and body is |
C.virtuosity |
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What description best characterizes our current relationship to virtuosity. |
It is making a comeback since the heyday of the Method in the mid-twentieth century. |
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The actors instrument is his or hers |
C. Body and voice, the compete self. |
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The paradox of acting is that |
… |
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What alternate meaning of "presence" explains the power of the actor beyond virtuosity? |
D. The projection of an aura of magic and the divine |
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Which faculty keeps the actor within established bounds and at the same time ensures artistic agility? |
B.discipline |
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The current demand for more external form of acting reflects |
B.the postmodern world of social media,big data,endless stream of information and sensation. |
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Konstantin Stanislavsky, founder of the Moscow art theatre (1898) said "you must live the life of your character on stage." Which style of acting does this statement describe most closely? |
The internal mode of acting |
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Stanislavsky’s system stresses the actors work with zadacha which refers to |
B. The characters "problem" or "goal" that is, what the character desires to achieve |
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Most professional auditions consist of performing |
A.one-or two minute contrasting monologues from plays |
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In his first published work,Stanislavsky states that the "prime task" of the actors is to "create the |
A.inner life of the character |
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Which of the following does the director not typically look for in an audition |
D. Personal history that exactly matches that of the character |
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"Blocking" refers to |
A. Stage movements |
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Directed stage actions that are precisely scripted physical behaviours worked out in blocking are called |
B. Stage business |
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The term "subtext" refers to |
C. A characters unspoken and undescribed goals. |
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