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Today, the debate over inside or outside styles of acting |
is largely diminished, with Stanislavsky and classical techniques both emphasized |
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Actors who studies human behaviors from a broad range of historical periods, countries, and social classes, so as to apply them when creating characters from a variety of dramatic styles, demonstrates a technique of the _________ mode of acting. |
presentational |
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The three main elements of the actor’s approach are goals, tactics, and |
researching the style of the play and mode of performance. |
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Acting is a low-income life, more often than not depressing, anxious, and beset by demands for sacrifice from every direction—psychologically, financially, and morally. |
true |
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What is "The Method?" |
an American acting style derived from the Russian actor-director Konstantin Stanislavsky’s self-proclaimed system |
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Which of the following does the director NOT typically look for in an audition? |
personal history that exact matches that of the character |
|
Stage fright is groundless and based on irrational fears |
false |
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The actor’s "magic" refers to the divine attributes that hearken back to the earliest days of the craft’s formation |
true |
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The major psychological component of the actor’s instrument is the unconscious. |
false |
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The type of performing that asks the actor to enter the mind of the character being played is |
representational acting |
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"Blocking" refers to |
stage movements |
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An expressive voice and a solid education in literature are the two components of training an actor’s instrument. |
false |
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Who maintained that the actor should be "an unmoved and disinterested onlooker" and imitate emotion rather than feel it? |
Denis Diderot |
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In his first published work, Stanislavsky states that the "prime task" of the actors is to "create the |
"inner life of the character" |
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Most auditions consist of performing |
one- or two-minute monologues from plays or short narrative cuttings from novels, stories, or poems which display contrast. |
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What are the two fundamental notions of acting? |
representational and presentational |
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"Discipline" refers to the strictness and decorum with which the actor converses with the director. |
false |
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The mid-twentieth century saw an emphasis on "reality" and inner emotional life in both film and theatre. |
true |
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Which historical figure did NOT in some way articulate the "paradox of acting"? |
Marlowe |
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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 representational mode of acting. |
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Great acting must transcend mere technique or training and elevate itself into something higher. |
true |
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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? |
He wanted to cry real tears lamenting the "death" of his character’s brother. |
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Stanislavsky’s system stresses the actor’s work with the zadacha, which refers to |
the character’s "problem" or "goal" that is, what the character desires to achieve. |
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Which two writers best exemplify the range of difference between external and internal approaches to assuming a character? |
Diderot and Stanislavsky |
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The dual meanings of this word explain both its physical, common definition and its more religious meaning, "spirit stimulus." |
inspiration |
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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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Patrick Stewart compares acting in the theatre as similar to his experience acting in "Star Trek. |
False |
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Directed stage actions that are precisely scripted physical behaviors worked out in blocking are called |
stage business. |
|
The term mimesis means |
"mimicry." |
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The actor’s instrument is his or her |
self |
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The term used for the technical skills needed for professional acting, focusing primarily on the voice and body, is |
virtuosity. |
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The three stages of the actor’s routine are personal training, premiering, and running the show. |
false |
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The term "subtext" refers to |
a character’s unspoken and undescribed goals. |
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Which faculty keeps the actor within established bounds and at the same time ensures artistic agility? |
discipline |
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What alternate meaning of "presence" explains the power of the actor beyond virtuosity? |
the projection of an aura of magic and the divine |
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