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THEA - 105 C5SQ
Chapter 5 Study Questions
| Question | Answer |
|---|---|
| The challenges of acting include all of the following except: | Always being the center of attention. |
| An actor who prepares for a role by focusing on a walk, a posture, or a particular vocal delivery, is using what what approach? | Outside-in, or external. |
| Centering is a useful technique used to focus the flow of energy and to remove blocks which would impede the flow. It is located approximately in: | The middle of the torso. |
| What we now think of as realistic acting began to develop partly as a result of a set of plays written by: | Henrik Isben |
| Another term for ‘through line’ or ‘superobjective’ is: | Spine. |
| The realistic portrayal of characters in a lifelike fashion has been a characteristic of theatre throughout history. | False. |
| A technique which allows an actor to imagine how something might feel or be, despite never having experienced that particular thing before, is called: | The magic if. |
| Which of the following is not one of the responsibilities of a performer in the theater? | To create an attractive stage picture through movement and gesture. |
| To develop the physical and vocal skills required for the demands of live stage performance is a(n) _______ aspect of acting. | Internal and external. |
| ________ devised a system that could be taught to others for achieving the kind of believability demanded by the new realistic drama being written in the late nineteenth century. | Constantine Stanislavski |
| An actor playing the role of Hamlet must have: | A sense of the physical and vocal qualities of the character. An ability to speak Hamlet's lines distinctly and intelligently. Athletic ability and control of his body. |
| Stanislavski's early research into realistic acting techniques was conducted while he was directing many plays by: | Anton Chekhov |
| The three questions Stanislavski associated with psychophysical actions were | What? Why? How? |
| This late 20th century acting teacher is one of the only ones to develop a system of actor training that requires an actor to first develop external character traits as a means to find the emotional internal aspects of the character. | Robert Benedetti |
| Two famous American Acting teachers have actually focused a lot of their attention in actor training on Emotional Recall which was the technique originally developed by Stanislavski who stopped using that technique in favor of the psychophysical action. | Lee Strasberg and Uta Hagen |
| In order for an actor or actress to properly prepare a role, he or she should always begin with an outer aspect - a walk, a posture, a peculiar vocal deliveryand then develop the inner life of the character. | False. |
| The realistic portrayal of characters in a lifelike fashion has been the characteristic of an actor’s performance throughout the history of live theatre. | False. |
| Theatre historians have discovered materials that describe exactly how classical acting looked and sounded. | False. |
| Unlike in classical plays, adept physical movement is not required of the actor in a realistic play. | False. |
| While there have been changes and modifications over the years to Stanislavski's approach to realistic acting, his theories continue to form the basis for most acting training. | True. |
| Because it is important that the audience not be distracted while a character is speaking, Stanislavski believed that the others actors should, in essence, stop acting when they were not the main focus of the scene. | False. |
Created by:
jfox2003