Match Stanislavski’s technique to the aspect of acting skills to which it most pertains.

1		Relaxation
			A)	The actor's body
			B)	The actor's mind
			C)	Both A and B
			D)	Neither A nor B
2		Concentration
			A)	The actor's body
			B)	The actor's mind
			C)	Both A and B
			D)	Neither A nor B
3		Magic "if"
			A)	The actor's body
			B)	The actor's mind
			C)	Both A and B
			D)	Neither A nor B
4		Psychophysical action
			A)	The actor's body
			B)	The actor's mind
			C)	Both A and B
			D)	Neither A nor B
5		Superobjective
			A)	The actor's body
			B)	The actor's mind
			C)	Both A and B
			D)	Neither A nor B

Match the artist with their approach to theatre and theatre training.

6		Focuses on visual and ritualistic aspects of theater like a series of tableaux or a moving collage
			A)	Lee Strasberg
			B)	Stella Adler, Sanford Mesiner, Uta Hagen
			C)	Julliard School
			D)	Anne Bogart
			E)	Robert Wilson
7		Followed the lead of Stanislavski in his later approach with psychophysical action
			A)	Lee Strasberg
			B)	Stella Adler, Sanford Mesiner, Uta Hagen
			C)	Julliard School
			D)	Anne Bogart
			E)	Robert Wilson
8		Stresses classical training in vocal techniques and body movement
			A)	Lee Strasberg
			B)	Stella Adler, Sanford Mesiner, Uta Hagen
			C)	Julliard School
			D)	Anne Bogart
			E)	Robert Wilson
9		Founder of the Actor's Studio; focused on the inner aspects of Stanislavskian theory, such as a technique called emotional recall
			A)	Lee Strasberg
			B)	Stella Adler, Sanford Mesiner, Uta Hagen
			C)	Julliard School
			D)	Anne Bogart
			E)	Robert Wilson
10		Developed the viewpoints theory the focuses on space, time, shape, movement, story, and emotion
			A)	Lee Strasberg
			B)	Stella Adler, Sanford Mesiner, Uta Hagen
			C)	Julliard School
			D)	Anne Bogart
			E)	Robert Wilson