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Exam 4: Acting

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Question 1

Multiple Choice

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Learning how to make the feelings and emotions of the characters portrayed believable is an ________ aspect of acting.

A) internal
B) external

C) A) and B)
D) undefined

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Question 2

True/False

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In order to prepare a role properly, the actor or actress should always begin with an outer aspect-a walk, a posture, a peculiar vocal delivery-and then develop the inner life of the character.

A) True
B) False

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Question 3

Short Answer

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The units of action into which each scene is divided are sometimes called ________.

Roles that we assume with our family and friends, such as being a braggart, a martyr, a conspirator, and so on, are called

The work of Lee Strasberg at the Actors Studio emphasized the emotional side of acting over the physical and vocal. Many of his most famous pupils were film and television stars. Discuss why his approach to Stanislavsky's ideas may have been beneficial for film and television.

Concentration on some object, person, or event while onstage is called ________.

The elimination of unwanted tension is called ________.

What does Shakespeare's Hamlet mean when he says the following? "Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue; but if you mouth it, as many of your players do, I had as lief the town crier spoke my lines."

These puppets are silhouette figures-often made of leather-and are highlighted on a screen that is lit from behind.

________ 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.

Imagining how the performer would feel in a particular situation is called the "________."

Great actors are often set apart by less tangible qualities such as a personal charisma or charm, or star quality, or a personal presence that captures an audience's attention and allows an actor to communicate directly or even kinetically with an audience.

The internal or subjective world of the characters is the ________.

Which of the following should an actor try to avoid if he or she is trying to connect meaningfully with the audience?

Performers would often speak toward the audience during this period, rather than to the character they were addressing on stage, since the theatres were lit as well as the stage and the actors wanted hold on to the audience's attention.

When children use imitation, it is often a way of

Regardless of the level of intellectual study and training, it is important for actors to prepare before taking the stage often through various exercises such as

Roughly two-thirds life-size, this puppet requires three performers to operate it.

Although it may be fun and exciting, circus training and clowning or juggling are not valuable forms of training for actors to use in their theatre work.

In some types of theatre, the characters onstage are aware of the audience's presence and speak directly to the audience in soliloquies and asides. Does this affect their believability? Why or why not?