Chapter 5 : Learning Probe

During the 20th century while some acting teachers were focused on the inner workings of the actor, other acting teachers were focused on the _____ side of performance

Physical

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

Techniques

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.

"Magic If"

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

Cirlce of attention

Which of the following best describes Stanislavski's term psycho physical action?

an actor's focus on his or her goals

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 units called:

beats

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

ensemble playing

3 most important aspects of actor training are : inner feelings, vocal and movement skills and the ability to synthesize or ______ them into a while.

integrate

Which of the following match the beliefs and teachings or Stanislavski's later work? a. emphasized action over emotion b. emphasized psycho physical action c. emphasized emotional recall

A & B

Which of the following statements about acting on stage are true? a. the actor must have an audience present b. The actor plays characters that are not real but representations of people. c. an audience is often present but the audience is unrelated to the event

A & B

When an actor achieves the state of relaxation on stage he or she is much better able to... a.move fluidly and effortlessly b. have lifelike movements c. fall asleep more quickly at night d. enjoy freedom from tension

A, B & D

The factors that led to the development of Stanislavski's System of acting included: a. His work with Anton Chekhov b. His observations of believable actors c. His desire to pass along ways to achieve belieavable acting d. His work with Henrik Isben at the Moscow Art Theatre

A, B, & C

For successful, believable acting to take place, the actor and the audience need to be able to: a. know someone like the character b. understand a viewpoint other than their own c. develop empathy for a character d. see a situation from a different perspective

B, C & D

Role Playing

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

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

Integration

True/False: The roles we play everyday that are influenced and accepted by society are called social roles.

True

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

What? Why? How?

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

system