Theatre Appreciation, Test 3: Chapter 8 Flashcards

1
Q

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

A

True

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2
Q

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

A

False

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3
Q

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

A

False

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4
Q

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

A

True

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5
Q

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

A

False

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6
Q

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

A

True

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7
Q

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

A

True

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8
Q

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

A

False

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9
Q

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

A

False

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10
Q

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

A

False

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11
Q

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

A

False

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12
Q

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

A

False

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13
Q

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

A

True

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14
Q

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

A

False

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15
Q

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

A

False

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16
Q

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

A

True

17
Q

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

A

True

18
Q

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

A

False

19
Q

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

A

False

20
Q

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

A

True

21
Q

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

A

True

22
Q

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

A

False

23
Q

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

A

False

24
Q

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

A

True

25
Q

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

A

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

26
Q

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

A

A. given circumstances

27
Q

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

A

D. Discipline

28
Q

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

A

D. Understand what makes his or her character stand out

29
Q

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

A

C. Imagination

30
Q

MC: “Spine” is another name for:

A

D. An actor’s through line

31
Q

MC: Training of an actor involves learning how to:

A

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

32
Q

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

A

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

33
Q

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

A

E. Transformation

34
Q

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:

A

C. Playing a stereotype