c4 Flashcards

1
Q

When we take on the characteristics of another person for amusement or to tell a story, it is called Blank______.

A

imitation

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2
Q

Which of the following statements about acting on stage are true?

A
  • The actor plays characters that are not real but representations of people.
  • The actor must have an audience present.
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3
Q

Identify the three main challenges of acting.

A
  • integration of skills
  • vocal and physical skills
  • believability
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4
Q

Believable acting requires that the audience believes in the

A

character portrayed

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5
Q

Identify the factors that resulted in the development of more realistic acting at the end of the nineteenth century.

A
  • practitioners of theatre wanted to portray everyday life
  • playwrights like henrik ibsen began writing more realistic plays
  • audience wanted to see things that they could identify with in plays
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6
Q

In our everyday lives, when we play different parts or take on varied characteristics to fit in or fulfill expectations this is called

A

role playing

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7
Q

The factors that led to the development of Stanislavski’s System of acting included

A
  • his observations of believable actors
  • his work with Anton Chekhov
  • his desire to pass along ways to achieve believable acting
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8
Q

True or false: Stage actors must always have an audience present.

A

true

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9
Q

Identify the three main challenges of acting: 1: believable, truthful acting, 2: advanced vocal and physical skills, and 3: Blank______ or synthesis.

A

integration

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10
Q

When an actor is able to let go of unwanted tension, both vocally and physically, is called

A

relaxation

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11
Q

An actor has Blank______ when he or she is able to convince the audience of the truth of their characters

A

credibility

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12
Q

The term ______ refers to the skill in Stanislavski’s System of acting whereby an actor focuses his or her entire attention on an object, person, or task to the exclusion of all else.

A

concentration

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13
Q

Stanislavski developed a Blank______ by which he could teach future generations the secrets of realistic, believable acting.

A

system

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14
Q

The first theatre practitioner to put together a system of acting that could be taught to others in order to reproduce truth on stage was

A

Konstantin Stanislavski

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15
Q

Acting before the twentieth century was more Blank______ than the acting we are accustomed to today.

A

formal and stylized

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16
Q

During which era were women allowed to perform as actors on stage?

A

today’s theatre
- not Elizabethan England nor ancient Greece

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17
Q

When an actor achieves the state of relaxation on stage he or she is much better able to

A
  • move fluidly and effortlessly
  • enjoy freedom from tension
  • have lifelike movements
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18
Q

When an actor is focused on a particular area of the stage, an object, or another person, this is called

A

circle of attention

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19
Q

Stanislavski recognized that the ____ ____ could activate an actor’s imagination and transport him or her to new places, times, and situations based on his or her belief.

A

magic if

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20
Q

Stanislavski believed that all action performed on stage must have a(n)

A

purpose

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21
Q

What physical skills would an actor playing Hamlet be expected to master in order to portray the role effectively?

A
  • sword fighting
  • moving with precision
  • moving with confidence
22
Q

In order to help an actor with his or her through line of a role, Stanislavski suggested that the actors split the play into smaller parts called

A

units or beats

23
Q

To illustrate their low place on the social scale at various points throughout history, actors have been

A
  • regarded as equal to courtesans or prostitutes
  • legally prevented from receiving a Christian burial
24
Q

When actors are participating in ensemble playing, they are

A

listening carefully to each other

25
Q

______ action is Stanislavski’s term for purposeful action

A

psychophysical

26
Q

In Stanislavski’s System of Acting, the term Blank______ refers to an acting exercise whereby the actor imagines him or herself in the same situation as the character.

A

magic if

27
Q

Which of the following modern acting teachers stressed emotional recall as the most important part of their teachings?

A

lee strasberg

28
Q

Which three questions did Stanislavski believe an actor needed to answer about on stage action?

A

how?what?why?

29
Q

The document entitled “We See You, White America” advocated for changes to what?

A

Methods and materials of acting training in the United States that recognize the diverse background of those studying.

30
Q

What is another name for a through line of a role?

A

superobjective

31
Q

When actors are working as a unit aware of and in conjunction with their fellow actors, this is called

A

ensemble playing

32
Q

Which of the following are situations for which an actor must receive extensive physical and/or vocal training?

A
  • musical theatre
  • Shakespearian plays
  • modern on stage violence
  • sword fights
33
Q

Early in his career, Stanislavski believed that focusing on an _____ was the best way to produce believable action. But later in his career, he believed that focusing on purposeful _____ would eventually produce true feelings on stage.

A
  • emotion
  • action
34
Q

During the twentieth century, while some acting teachers were focused on the inner workings of the actor, other acting teachers were focused on the Blank______ side of performance.

A

physical

35
Q

Which of the following match the beliefs and teachings of Stanislavski’s later work?

A
  • emphasized action over emotion
  • emphasized psychophysical action
36
Q

Which of the following are characteristics of Asian Theatre actor training?

A
  • physical actor training that has had global influence
  • symbolism and stylization
  • absolute control and concentration over the body and nervous system.
37
Q

With the inclusion of Asian techniques, the acting methods based on European and American models have included all unique backgrounds and cultural experiences.

A

false

38
Q

Physical actor training closely resembles Blank______ training in that it requires the same discipline, long hours, and physical control.

A

dance

39
Q

The three most important aspects of actor training are inner feelings, vocal and movement skills, and the ability to synthesize or ____ them into a whole.

A

integrate

40
Q

Which of the following require an actor to pay particular attention to vocal training?

A
  • breath control
  • classic plays
  • projecting the voice without amplification
41
Q

Which kind of puppets are operated by a string attached to the head, arms, and legs, and are operated from above?

A

marionettes

42
Q

biomechanics teacher

A

Meyerhold

43
Q

Commedia Del Arte teacher

A

Copeau

44
Q

clowning teacher

A

lecoq

45
Q

viewpoints teacher

A

bogart

46
Q

stomping teacher

A

suzuki

47
Q

If an actor’s projection is not good or if they move awkwardly on stage, we can surmise that they have not mastered the Blank______ of physical and vocal acting.

A

techniques

48
Q

A popular actor training method that comes from Asian martial arts training is called

A

tai chi

49
Q

The following are examples of specific theatrical performances that require specialized actor training beyond realistic training.

A
  • avant garde theatre
  • musical theatre
  • pantomime
  • experimental theatre
50
Q

Which of the following need to be combined in order to achieve integration of all aspects of acting?

A
  • vocal and physical skill
  • truthfulness
  • believability
51
Q

The Muppets are extremely recognizable to film and television audiences in the West, and are what kind of puppets?

A

hand puppets

52
Q

In order to critically watch and judge theatre performances, we need to be able to explore and understand Blank______ techniques and practices.

A

acting