Theatre Appreciation, Test 3: Chapter 8

Question 1

True/False: The actor and the character remain separate in performance, no matter the acting style.

Answer 1

True

Question 2

True/False: It is possible to act without using the methods and ideas of Stanislavski.

Answer 2

False

Question 3

True/False: Through-line is an important difference between Stanislavskian and previous acting.

Answer 3

False

Question 4

True/False: Selling a song in a musical and playing the character who sings the song are different things.

Answer 4

True

Question 5

True/False: Actors can’t learn in a classroom; they have to learn on the stage.

Answer 5

False

Question 6

True/False: Objectives give actors a reason for what they do in a scene.

Answer 6

True

Question 7

True/False: In the Stanislavskian system, every action, however small, must have a motivation.

Answer 7

True

Question 8

True/False: The paradox of the actor is the conflict between his/her beliefs and those of the character.

Answer 8

False

Question 9

True/False: Actors Equity, the American actors’ union, makes sure that all its members have acting jobs.

Answer 9

False

Question 10

True/False: For the professional actor, rehearsal is mostly for learning lines and moves.

Answer 10

False

Question 11

True/False: Actors do what the director tells them.

Answer 11

False

Question 12

True/False: There is no way to fix the staleness that comes from the long run, when actors perform the same things for months.

Answer 12

False

Question 13

True/False: The written play is one foundation of the actor’s work.

Answer 13

True

Question 14

True/False: Trained actors work quickly and efficiently in rehearsal.

Answer 14

False

Question 15

True/False: Technique in acting is the enemy of convincing and believable acting.

Answer 15

False

Question 16

True/False: Characters in drama are artificial constructions, inventions of the playwright.

Answer 16

True

Question 17

True/False: Voice and body training for the actor should proceed continuously.

Answer 17

True

Question 18

True/False: External actors have well-trained instruments, but internal actors do not.

Answer 18

False

Question 19

True/False: Stanislavski’s is the best system for training all actors.

Answer 19

False

Question 20

True/False: Severe vocal problems may come from tension.

Answer 20

True

Question 21

True/False: Part of an actor’s training may involve teaching the actor to become playful again.

Answer 21

True

Question 22

True/False: Few students of acting have vocal problems.

Answer 22

False

Question 23

True/False: The rehearsal period is primarily a time for learning lines and blocking.

Answer 23

False

Question 24

True/False: Learning to relax is an important part of an actor’s training.

Answer 24

True

Question 25

MC: When an actor is training the voice, he or she may work on:

Answer 25

E. A, B, and D (Tongue dexterity, breath control, and resonance)

Question 26

MC: Factors like age, sex, and social status are called:

Answer 26

A. given circumstances

Question 27

MC: Known as an accomplished actor, Meryl Streep exhibits:

Answer 27

D. Discipline

Question 28

MC: When an actor studies a script, he or she need NOT:

Answer 28

D. Understand what makes his or her character stand out

Question 29

MC: An exercise devised to work in images is most likely being used to train the actor in the use of the:

Answer 29

C. Imagination

Question 30

MC: "Spine" is another name for:

Answer 30

D. An actor's through line

Question 31

MC: Training of an actor involves learning how to:

Answer 31

E. All of the above (relax, center, give and take, and play)

Question 32

MC: Working with the actor's consciousness means helping the actor gain:

Answer 32

E. A, B, and C (discipline, the ability to observe carefully, and skills in textual analysis)

Question 33

MC: In realistic theatre, the world is seen as connected. In such a world, the actor will probably NOT stress:

Answer 33

E. Transformation

Question 34

MC: An actor who is twenty needs to play a man of fifty. He therefore adjusts his shoulders into a stoop and walks slowly. He is:

Answer 34

C. Playing a stereotype