| 1. |
Ensemble acting means:
|
|
|
|
|
|
a)
|
communicating a sense of truth as a group, instead of just as an individual
|
|
b)
|
knowing when and how to give and take focus
|
|
c)
|
always giving focus to your partner
|
|
d)
|
being realistic down to the very last detail
|
|
e)
|
all of the above
|
|
|
|
|
|
|
| 2. |
An actor's tools are:
|
|
|
|
|
|
a)
|
voice, body, mind, self
|
|
b)
|
costumes, makeup, set, props
|
|
c)
|
designers, technicians, directors
|
|
d)
|
issues, hats, verses, canes
|
|
e)
|
none of the above
|
|
|
|
|
|
|
| 3. |
As an actor, working from the inside out would be called ___________; working from the outside in would be called ___________.
|
|
|
|
|
|
a)
|
inspirational, internal
|
|
b)
|
method, technique
|
|
c)
|
alienation, identification
|
|
d)
|
presentational, representational
|
|
|
|
|
|
|
| 4. |
Realistic Theatre tends to have ____________ acting, while stylized theatre (such as farce and musical comedy) tends to use _____________ acting.
|
|
|
|
|
|
a)
|
external, internal
|
|
b)
|
representational, presentational
|
|
c)
|
bad, good
|
|
d)
|
technical, methodic
|
|
e)
|
all of the above
|
|
|
|
|
|
|
| 5. |
Most modern realistic acting is based on the teachings and practices of:
|
|
|
|
|
|
a)
|
Diderot
|
|
b)
|
Delsarte
|
|
c)
|
Freud
|
|
d)
|
Stanislavsky
|
|
e)
|
Thespis
|
|
|
|
|
|
|
| 6. |
All EXCEPT WHICH ONE of the following are ways in which actors help to induce belief in self and character when they find difficulty fitting themselves into the play's situations?
|
|
|
|
|
|
a)
|
sense memory
|
|
b)
|
affective memory
|
|
c)
|
substitution
|
|
d)
|
the "magic if"
|
|
e)
|
unitizing
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
|
|