Back to Course SAT Practice Test – Section 9 0% Complete 0/0 Steps Assessment 1 of 0 SAT Practice Test – Section 9 Justice August 20, 2017 SAT Practice Test – Section 9 Time limit: 0 Assessment Summary 0 of 19 Questions completed Questions: Information You have already completed the assessment before. Hence you can not start it again. Assessment is loading… You must sign in or sign up to start the assessment. You must first complete the following: Results Assessment complete. Results are being recorded. Results 0 of 19 Questions answered correctly Your time: Time has elapsed You have reached 0 of 0 point(s), (0) Earned Point(s): 0 of 0, (0) 0 Essay(s) Pending (Possible Point(s): 0) Average score Your score Categories SAT Practice Test 0% 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 Current Review Answered Correct Incorrect Question 1 of 19 1. Question Each sentence below has one or two blanks, each blank indicating that something has been omitted. Beneath the sentence are five words or sets of words labeled A through E. Choose the word or set of words that, when inserted in the sentence, best fits the meaning of the sentence as a whole. Example: Hoping to ____ the dispute, negotiators proposed a compromise that they felt would be ___ to both labor and management. (A) enforce . . useful (B) end . . divisive (C) overcome . . unattractive (D) extend . . satisfactory (E) resolve . . acceptable Answer: E 1. The writer came to be labeled ____ because she isolated herself in her apartment, shunning outside contact. A. a loner Correct Incorrect Correct answer B. a miser Correct Incorrect Correct answer C. a connoisseur Correct Incorrect Correct answer D. a conspirator Correct Incorrect Correct answer E. an ingenue Correct Incorrect Correct answer Correct Incorrect Question 2 of 19 2. Question Each sentence below has one or two blanks, each blank indicating that something has been omitted. Beneath the sentence are five words or sets of words labeled A through E. Choose the word or set of words that, when inserted in the sentence, best fits the meaning of the sentence as a whole. Example: Hoping to ____ the dispute, negotiators proposed a compromise that they felt would be ___ to both labor and management. (A) enforce . . useful (B) end . . divisive (C) overcome . . unattractive (D) extend . . satisfactory (E) resolve . . acceptable Answer: E 2. Some Tibetan nomads used yak butter as a ______, one that often took the place of money in commercial transactions. A. promotion Correct Incorrect Correct answer B. commodity Correct Incorrect Correct answer C. formula Correct Incorrect Correct answer D. refund Correct Incorrect Correct answer E. register Correct Incorrect Correct answer Correct Incorrect Question 3 of 19 3. Question Each sentence below has one or two blanks, each blank indicating that something has been omitted. Beneath the sentence are five words or sets of words labeled A through E. Choose the word or set of words that, when inserted in the sentence, best fits the meaning of the sentence as a whole. Example: Hoping to ____ the dispute, negotiators proposed a compromise that they felt would be ___ to both labor and management. (A) enforce . . useful (B) end . . divisive (C) overcome . . unattractive (D) extend . . satisfactory (E) resolve . . acceptable Answer: E 3. Geysers vary widely: some may discharge _____, whereas others may have only a brief explosive eruption and then remain ____ for hours or days. A. violently . . dangerous Correct Incorrect Correct answer B. continuously . . quiescent Correct Incorrect Correct answer C. spontaneously . . unpredictable Correct Incorrect Correct answer D. regularly . . active Correct Incorrect Correct answer E. faintly . . imperceptible Correct Incorrect Correct answer Correct Incorrect Question 4 of 19 4. Question Each sentence below has one or two blanks, each blank indicating that something has been omitted. Beneath the sentence are five words or sets of words labeled A through E. Choose the word or set of words that, when inserted in the sentence, best fits the meaning of the sentence as a whole. Example: Hoping to ____ the dispute, negotiators proposed a compromise that they felt would be ___ to both labor and management. (A) enforce . . useful (B) end . . divisive (C) overcome . . unattractive (D) extend . . satisfactory (E) resolve . . acceptable Answer: E 4. Although the administration repeatedly threatened to use its authority in order to _____ the student protestors into submission, they refused to be intimidated. A. ease Correct Incorrect Correct answer B. delude Correct Incorrect Correct answer C. cajole Correct Incorrect Correct answer D. bully Correct Incorrect Correct answer E. nudge Correct Incorrect Correct answer Correct Incorrect Question 5 of 19 5. Question Each sentence below has one or two blanks, each blank indicating that something has been omitted. Beneath the sentence are five words or sets of words labeled A through E. Choose the word or set of words that, when inserted in the sentence, best fits the meaning of the sentence as a whole. Example: Hoping to ____ the dispute, negotiators proposed a compromise that they felt would be ___ to both labor and management. (A) enforce . . useful (B) end . . divisive (C) overcome . . unattractive (D) extend . . satisfactory (E) resolve . . acceptable Answer: E 5. Only after the campaign volunteers became aware of their candidate’s questionable motives could they recognize the _____ statements made in his seemingly _____ speeches. A. insightful . . astute Correct Incorrect Correct answer B. partisan . . callous Correct Incorrect Correct answer C. cordial . . hostile Correct Incorrect Correct answer D. duplicitous . . candid Correct Incorrect Correct answer E. cunning . . surreptitious Correct Incorrect Correct answer Correct Incorrect Question 6 of 19 6. Question Each sentence below has one or two blanks, each blank indicating that something has been omitted. Beneath the sentence are five words or sets of words labeled A through E. Choose the word or set of words that, when inserted in the sentence, best fits the meaning of the sentence as a whole. Example: Hoping to ____ the dispute, negotiators proposed a compromise that they felt would be ___ to both labor and management. (A) enforce . . useful (B) end . . divisive (C) overcome . . unattractive (D) extend . . satisfactory (E) resolve . . acceptable Answer: E 6. No longer narrowly preoccupied with their own national pasts, historians are increasingly _____ in that they often take a transnational perspective. A. conciliatory Correct Incorrect Correct answer B. bombastic Correct Incorrect Correct answer C. mendacious Correct Incorrect Correct answer D. cosmopolitan Correct Incorrect Correct answer E. jocular Correct Incorrect Correct answer Correct Incorrect Question 7 of 19 7. Question Read the following passage and answer the question that follows. In the introduction to one of her dramas, a well-known playwright and actor discusses some of her ideas about acting. Words have always held a particular power for me. I remember leafing through a book of Native American poems one morning while I was waiting for my Shakespeare class to begin and being struck by a phrase from the preface, “The word, the word above all, is truly magical, not only by 5 its meaning, but by its artful manipulation.” This quote, which I added to my journal, reminded me of something my grandfather had told me when I was a girl: “If you say a word often enough it becomes your own.” I added that phrase to my journal next to the quote 10 about the magic of words. When I traveled home to Baltimore for my grandfather’s funeral a year after my journal entry, I mentioned my grandfather’s words to my father. He corrected me. He told me that my grandfather had actually said, “If you say a word often enough, it 15 becomes you.” I was still a student at the time, but I knew even then, even before I had made a conscious decision to teach as well as act, that my grandfather’s words would be important. Actors are very impressionable people, or some would 20 say, suggestible people. We are trained to develop aspects of our memories that are more emotional and sensory than intellectual. The general public often wonders how actors remember their lines. What’s more remarkable to me is how actors remember, recall, and reiterate feelings and 25 sensations. The body has a memory just as the mind does. The heart has a memory, just as the mind does. The act of speech is a physical act. It is powerful enough that it can create, with the rest of the body, a kind of cooperative dance. That dance is a sketch of something that is inside a 30 person, and not fully revealed by the words alone. I came to realize that if I were able to record part of the dance— that is, the spoken part—and reenact it, the rest of the body would follow. I could then create the illusion of being another person by reenacting something she had said as she 35 had said it. My grandfather’s idea led me to consider that the reenactment, or the reiteration, of a person’s words would also teach me about that person. I had been trained in the tradition of acting called “psychological realism.” A basic tenet of psychological 40 realism is that characters live inside of you and that you create a lifelike portrayal of the character through a process of realizing your own similarity to the character. When I later became a teacher of acting, I began to become more and more troubled by the self-oriented method. I began to 45 look for ways to engage my students in putting themselves in other people’s shoes. This went against the grain of the psychological realism tradition, which was to get the char- acter to walk in the actor’s shoes. It became less and less interesting intellectually to bring the dramatic literature of 50 the world into a classroom of people in their late teens and twenties, and to explore it within the framework of their real lives. Aesthetically it seemed limited, because most of the time the characters all sounded the same. Most char- acters spoke somewhere inside the rhythmic range of the 55 students. More troubling was that this method left an important bridge out of acting. The spirit of acting is the travel from the self to the other. This “self-based” method seemed to come to a spiritual halt. It saw the self as the ultimate home of the character. To me, the search for char- 60 acter is constantly in motion. It is a quest that moves back and forth between the self and the other. I needed evidence that you could find a character’s psy- chological reality by “inhabiting” that character’s words. I needed evidence of the limitations of basing a character on 65 a series of metaphors from an actor’s real life. I wanted to develop an alternative to the self-based technique, a tech- nique that would begin with the other and come to the self, a technique that would empower the other to find the actor rather than the other way around. 70 7. The primary purpose of the first three paragraphs (lines 1-38) is to A. describe the actor’s process of developing a role Correct Incorrect Correct answer B. trace the beginnings of a personal philosophy Correct Incorrect Correct answer C. analyze the grandfather’s insights into acting Correct Incorrect Correct answer D. investigate the effect of words on interpersonal relationships Correct Incorrect Correct answer E. explore a viewpoint that the author is forced to reverse Correct Incorrect Correct answer Correct Incorrect Question 8 of 19 8. Question Read the passage below and answer the question that follows. In the introduction to one of her dramas, a well-known playwright and actor discusses some of her ideas about acting. Words have always held a particular power for me. I remember leafing through a book of Native American poems one morning while I was waiting for my Shakespeare class to begin and being struck by a phrase from the preface, “The word, the word above all, is truly magical, not only by 5 its meaning, but by its artful manipulation.” This quote, which I added to my journal, reminded me of something my grandfather had told me when I was a girl: “If you say a word often enough it becomes your own.” I added that phrase to my journal next to the quote 10 about the magic of words. When I traveled home to Baltimore for my grandfather’s funeral a year after my journal entry, I mentioned my grandfather’s words to my father. He corrected me. He told me that my grandfather had actually said, “If you say a word often enough, it 15 becomes you.” I was still a student at the time, but I knew even then, even before I had made a conscious decision to teach as well as act, that my grandfather’s words would be important. Actors are very impressionable people, or some would 20 say, suggestible people. We are trained to develop aspects of our memories that are more emotional and sensory than intellectual. The general public often wonders how actors remember their lines. What’s more remarkable to me is how actors remember, recall, and reiterate feelings and 25 sensations. The body has a memory just as the mind does. The heart has a memory, just as the mind does. The act of speech is a physical act. It is powerful enough that it can create, with the rest of the body, a kind of cooperative dance. That dance is a sketch of something that is inside a 30 person, and not fully revealed by the words alone. I came to realize that if I were able to record part of the dance— that is, the spoken part—and reenact it, the rest of the body would follow. I could then create the illusion of being another person by reenacting something she had said as she 35 had said it. My grandfather’s idea led me to consider that the reenactment, or the reiteration, of a person’s words would also teach me about that person. I had been trained in the tradition of acting called “psychological realism.” A basic tenet of psychological 40 realism is that characters live inside of you and that you create a lifelike portrayal of the character through a process of realizing your own similarity to the character. When I later became a teacher of acting, I began to become more and more troubled by the self-oriented method. I began to 45 look for ways to engage my students in putting themselves in other people’s shoes. This went against the grain of the psychological realism tradition, which was to get the char- acter to walk in the actor’s shoes. It became less and less interesting intellectually to bring the dramatic literature of 50 the world into a classroom of people in their late teens and twenties, and to explore it within the framework of their real lives. Aesthetically it seemed limited, because most of the time the characters all sounded the same. Most char- acters spoke somewhere inside the rhythmic range of the 55 students. More troubling was that this method left an important bridge out of acting. The spirit of acting is the travel from the self to the other. This “self-based” method seemed to come to a spiritual halt. It saw the self as the ultimate home of the character. To me, the search for char- 60 acter is constantly in motion. It is a quest that moves back and forth between the self and the other. I needed evidence that you could find a character’s psy- chological reality by “inhabiting” that character’s words. I needed evidence of the limitations of basing a character on 65 a series of metaphors from an actor’s real life. I wanted to develop an alternative to the self-based technique, a tech- nique that would begin with the other and come to the self, a technique that would empower the other to find the actor rather than the other way around. 70 8. The author of the passage uses the quotation in lines 5-6 primarily as a A. vivid expression of how she views words Correct Incorrect Correct answer B. powerful example of what she sought in Shakespeare Correct Incorrect Correct answer C. scholarly citation linking her to poetic words Correct Incorrect Correct answer D. comical introduction to a problem encountered by every dramatic performer Correct Incorrect Correct answer E. pragmatic assessment of the power of words for beginning drama students Correct Incorrect Correct answer Correct Incorrect Question 9 of 19 9. Question Read the following passage and answer the question that follows. In the introduction to one of her dramas, a well-known playwright and actor discusses some of her ideas about acting. Words have always held a particular power for me. I remember leafing through a book of Native American poems one morning while I was waiting for my Shakespeare class to begin and being struck by a phrase from the preface, “The word, the word above all, is truly magical, not only by 5 its meaning, but by its artful manipulation.” This quote, which I added to my journal, reminded me of something my grandfather had told me when I was a girl: “If you say a word often enough it becomes your own.” I added that phrase to my journal next to the quote 10 about the magic of words. When I traveled home to Baltimore for my grandfather’s funeral a year after my journal entry, I mentioned my grandfather’s words to my father. He corrected me. He told me that my grandfather had actually said, “If you say a word often enough, it 15 becomes you.” I was still a student at the time, but I knew even then, even before I had made a conscious decision to teach as well as act, that my grandfather’s words would be important. Actors are very impressionable people, or some would 20 say, suggestible people. We are trained to develop aspects of our memories that are more emotional and sensory than intellectual. The general public often wonders how actors remember their lines. What’s more remarkable to me is how actors remember, recall, and reiterate feelings and 25 sensations. The body has a memory just as the mind does. The heart has a memory, just as the mind does. The act of speech is a physical act. It is powerful enough that it can create, with the rest of the body, a kind of cooperative dance. That dance is a sketch of something that is inside a 30 person, and not fully revealed by the words alone. I came to realize that if I were able to record part of the dance— that is, the spoken part—and reenact it, the rest of the body would follow. I could then create the illusion of being another person by reenacting something she had said as she 35 had said it. My grandfather’s idea led me to consider that the reenactment, or the reiteration, of a person’s words would also teach me about that person. I had been trained in the tradition of acting called “psychological realism.” A basic tenet of psychological 40 realism is that characters live inside of you and that you create a lifelike portrayal of the character through a process of realizing your own similarity to the character. When I later became a teacher of acting, I began to become more and more troubled by the self-oriented method. I began to 45 look for ways to engage my students in putting themselves in other people’s shoes. This went against the grain of the psychological realism tradition, which was to get the char- acter to walk in the actor’s shoes. It became less and less interesting intellectually to bring the dramatic literature of 50 the world into a classroom of people in their late teens and twenties, and to explore it within the framework of their real lives. Aesthetically it seemed limited, because most of the time the characters all sounded the same. Most char- acters spoke somewhere inside the rhythmic range of the 55 students. More troubling was that this method left an important bridge out of acting. The spirit of acting is the travel from the self to the other. This “self-based” method seemed to come to a spiritual halt. It saw the self as the ultimate home of the character. To me, the search for char- 60 acter is constantly in motion. It is a quest that moves back and forth between the self and the other. I needed evidence that you could find a character’s psy- chological reality by “inhabiting” that character’s words. I needed evidence of the limitations of basing a character on 65 a series of metaphors from an actor’s real life. I wanted to develop an alternative to the self-based technique, a tech- nique that would begin with the other and come to the self, a technique that would empower the other to find the actor rather than the other way around. 70 9. By presenting both versions of the grandfather’s words (lines 9-10 and lines 15-16), the author primarily conveys the A. grandfather’s attempts to play with language Correct Incorrect Correct answer B. grandfather’s enthusiasm in spite of her reaction Correct Incorrect Correct answer C. father’s intervention in a private moment Correct Incorrect Correct answer D. ambivalence she feels toward her grandfather Correct Incorrect Correct answer E. significance of the grandfather’s message Correct Incorrect Correct answer Correct Incorrect Question 10 of 19 10. Question Read the following passage and answer the question that follows. In the introduction to one of her dramas, a well-known playwright and actor discusses some of her ideas about acting. Words have always held a particular power for me. I remember leafing through a book of Native American poems one morning while I was waiting for my Shakespeare class to begin and being struck by a phrase from the preface, “The word, the word above all, is truly magical, not only by 5 its meaning, but by its artful manipulation.” This quote, which I added to my journal, reminded me of something my grandfather had told me when I was a girl: “If you say a word often enough it becomes your own.” I added that phrase to my journal next to the quote 10 about the magic of words. When I traveled home to Baltimore for my grandfather’s funeral a year after my journal entry, I mentioned my grandfather’s words to my father. He corrected me. He told me that my grandfather had actually said, “If you say a word often enough, it 15 becomes you.” I was still a student at the time, but I knew even then, even before I had made a conscious decision to teach as well as act, that my grandfather’s words would be important. Actors are very impressionable people, or some would 20 say, suggestible people. We are trained to develop aspects of our memories that are more emotional and sensory than intellectual. The general public often wonders how actors remember their lines. What’s more remarkable to me is how actors remember, recall, and reiterate feelings and 25 sensations. The body has a memory just as the mind does. The heart has a memory, just as the mind does. The act of speech is a physical act. It is powerful enough that it can create, with the rest of the body, a kind of cooperative dance. That dance is a sketch of something that is inside a 30 person, and not fully revealed by the words alone. I came to realize that if I were able to record part of the dance— that is, the spoken part—and reenact it, the rest of the body would follow. I could then create the illusion of being another person by reenacting something she had said as she 35 had said it. My grandfather’s idea led me to consider that the reenactment, or the reiteration, of a person’s words would also teach me about that person. I had been trained in the tradition of acting called “psychological realism.” A basic tenet of psychological 40 realism is that characters live inside of you and that you create a lifelike portrayal of the character through a process of realizing your own similarity to the character. When I later became a teacher of acting, I began to become more and more troubled by the self-oriented method. I began to 45 look for ways to engage my students in putting themselves in other people’s shoes. This went against the grain of the psychological realism tradition, which was to get the char- acter to walk in the actor’s shoes. It became less and less interesting intellectually to bring the dramatic literature of 50 the world into a classroom of people in their late teens and twenties, and to explore it within the framework of their real lives. Aesthetically it seemed limited, because most of the time the characters all sounded the same. Most char- acters spoke somewhere inside the rhythmic range of the 55 students. More troubling was that this method left an important bridge out of acting. The spirit of acting is the travel from the self to the other. This “self-based” method seemed to come to a spiritual halt. It saw the self as the ultimate home of the character. To me, the search for char- 60 acter is constantly in motion. It is a quest that moves back and forth between the self and the other. I needed evidence that you could find a character’s psy- chological reality by “inhabiting” that character’s words. I needed evidence of the limitations of basing a character on 65 a series of metaphors from an actor’s real life. I wanted to develop an alternative to the self-based technique, a tech- nique that would begin with the other and come to the self, a technique that would empower the other to find the actor rather than the other way around. 70 10. The comparisons in lines 26-27 serve primarily to A. show the similarities that exist between dancing and acting Correct Incorrect Correct answer B. celebrate the broad range of memories that actors learn to draw on Correct Incorrect Correct answer C. justify the author’s adherence to conventional acting theory Correct Incorrect Correct answer D. explain why actors have difficulty interpreting character Correct Incorrect Correct answer E. enhance the author’s credibility as a technically trained actor Correct Incorrect Correct answer Correct Incorrect Question 11 of 19 11. Question Read the following passage and answer the question that follows. In the introduction to one of her dramas, a well-known playwright and actor discusses some of her ideas about acting. Words have always held a particular power for me. I remember leafing through a book of Native American poems one morning while I was waiting for my Shakespeare class to begin and being struck by a phrase from the preface, “The word, the word above all, is truly magical, not only by 5 its meaning, but by its artful manipulation.” This quote, which I added to my journal, reminded me of something my grandfather had told me when I was a girl: “If you say a word often enough it becomes your own.” I added that phrase to my journal next to the quote 10 about the magic of words. When I traveled home to Baltimore for my grandfather’s funeral a year after my journal entry, I mentioned my grandfather’s words to my father. He corrected me. He told me that my grandfather had actually said, “If you say a word often enough, it 15 becomes you.” I was still a student at the time, but I knew even then, even before I had made a conscious decision to teach as well as act, that my grandfather’s words would be important. Actors are very impressionable people, or some would 20 say, suggestible people. We are trained to develop aspects of our memories that are more emotional and sensory than intellectual. The general public often wonders how actors remember their lines. What’s more remarkable to me is how actors remember, recall, and reiterate feelings and 25 sensations. The body has a memory just as the mind does. The heart has a memory, just as the mind does. The act of speech is a physical act. It is powerful enough that it can create, with the rest of the body, a kind of cooperative dance. That dance is a sketch of something that is inside a 30 person, and not fully revealed by the words alone. I came to realize that if I were able to record part of the dance— that is, the spoken part—and reenact it, the rest of the body would follow. I could then create the illusion of being another person by reenacting something she had said as she 35 had said it. My grandfather’s idea led me to consider that the reenactment, or the reiteration, of a person’s words would also teach me about that person. I had been trained in the tradition of acting called “psychological realism.” A basic tenet of psychological 40 realism is that characters live inside of you and that you create a lifelike portrayal of the character through a process of realizing your own similarity to the character. When I later became a teacher of acting, I began to become more and more troubled by the self-oriented method. I began to 45 look for ways to engage my students in putting themselves in other people’s shoes. This went against the grain of the psychological realism tradition, which was to get the char- acter to walk in the actor’s shoes. It became less and less interesting intellectually to bring the dramatic literature of 50 the world into a classroom of people in their late teens and twenties, and to explore it within the framework of their real lives. Aesthetically it seemed limited, because most of the time the characters all sounded the same. Most char- acters spoke somewhere inside the rhythmic range of the 55 students. More troubling was that this method left an important bridge out of acting. The spirit of acting is the travel from the self to the other. This “self-based” method seemed to come to a spiritual halt. It saw the self as the ultimate home of the character. To me, the search for char- 60 acter is constantly in motion. It is a quest that moves back and forth between the self and the other. I needed evidence that you could find a character’s psy- chological reality by “inhabiting” that character’s words. I needed evidence of the limitations of basing a character on 65 a series of metaphors from an actor’s real life. I wanted to develop an alternative to the self-based technique, a tech- nique that would begin with the other and come to the self, a technique that would empower the other to find the actor rather than the other way around. 70 11. In lines 29-34 (“a kind . . . follow”), the author uses the idea of a dance to A. supply an image for the awkwardness some actors experience Correct Incorrect Correct answer B. illustrate a process that words can set in motion Correct Incorrect Correct answer C. portray the enactment of a character as an exhilarating experience Correct Incorrect Correct answer D. argue that acting requires physical agility Correct Incorrect Correct answer E. show how a word can evoke multiple meanings Correct Incorrect Correct answer Correct Incorrect Question 12 of 19 12. Question Read the following passage and answer the question that follows. In the introduction to one of her dramas, a well-known playwright and actor discusses some of her ideas about acting. Words have always held a particular power for me. I remember leafing through a book of Native American poems one morning while I was waiting for my Shakespeare class to begin and being struck by a phrase from the preface, “The word, the word above all, is truly magical, not only by 5 its meaning, but by its artful manipulation.” This quote, which I added to my journal, reminded me of something my grandfather had told me when I was a girl: “If you say a word often enough it becomes your own.” I added that phrase to my journal next to the quote 10 about the magic of words. When I traveled home to Baltimore for my grandfather’s funeral a year after my journal entry, I mentioned my grandfather’s words to my father. He corrected me. He told me that my grandfather had actually said, “If you say a word often enough, it 15 becomes you.” I was still a student at the time, but I knew even then, even before I had made a conscious decision to teach as well as act, that my grandfather’s words would be important. Actors are very impressionable people, or some would 20 say, suggestible people. We are trained to develop aspects of our memories that are more emotional and sensory than intellectual. The general public often wonders how actors remember their lines. What’s more remarkable to me is how actors remember, recall, and reiterate feelings and 25 sensations. The body has a memory just as the mind does. The heart has a memory, just as the mind does. The act of speech is a physical act. It is powerful enough that it can create, with the rest of the body, a kind of cooperative dance. That dance is a sketch of something that is inside a 30 person, and not fully revealed by the words alone. I came to realize that if I were able to record part of the dance— that is, the spoken part—and reenact it, the rest of the body would follow. I could then create the illusion of being another person by reenacting something she had said as she 35 had said it. My grandfather’s idea led me to consider that the reenactment, or the reiteration, of a person’s words would also teach me about that person. I had been trained in the tradition of acting called “psychological realism.” A basic tenet of psychological 40 realism is that characters live inside of you and that you create a lifelike portrayal of the character through a process of realizing your own similarity to the character. When I later became a teacher of acting, I began to become more and more troubled by the self-oriented method. I began to 45 look for ways to engage my students in putting themselves in other people’s shoes. This went against the grain of the psychological realism tradition, which was to get the char- acter to walk in the actor’s shoes. It became less and less interesting intellectually to bring the dramatic literature of 50 the world into a classroom of people in their late teens and twenties, and to explore it within the framework of their real lives. Aesthetically it seemed limited, because most of the time the characters all sounded the same. Most char- acters spoke somewhere inside the rhythmic range of the 55 students. More troubling was that this method left an important bridge out of acting. The spirit of acting is the travel from the self to the other. This “self-based” method seemed to come to a spiritual halt. It saw the self as the ultimate home of the character. To me, the search for char- 60 acter is constantly in motion. It is a quest that moves back and forth between the self and the other. I needed evidence that you could find a character’s psy- chological reality by “inhabiting” that character’s words. I needed evidence of the limitations of basing a character on 65 a series of metaphors from an actor’s real life. I wanted to develop an alternative to the self-based technique, a tech- nique that would begin with the other and come to the self, a technique that would empower the other to find the actor rather than the other way around. 70 12. In line 34, “follow” most nearly means A. pursue Correct Incorrect Correct answer B. result Correct Incorrect Correct answer C. surpass Correct Incorrect Correct answer D. join in Correct Incorrect Correct answer E. listen carefully Correct Incorrect Correct answer Correct Incorrect Question 13 of 19 13. Question Read the following passage and answer the question that follows. In the introduction to one of her dramas, a well-known playwright and actor discusses some of her ideas about acting. Words have always held a particular power for me. I remember leafing through a book of Native American poems one morning while I was waiting for my Shakespeare class to begin and being struck by a phrase from the preface, “The word, the word above all, is truly magical, not only by 5 its meaning, but by its artful manipulation.” This quote, which I added to my journal, reminded me of something my grandfather had told me when I was a girl: “If you say a word often enough it becomes your own.” I added that phrase to my journal next to the quote 10 about the magic of words. When I traveled home to Baltimore for my grandfather’s funeral a year after my journal entry, I mentioned my grandfather’s words to my father. He corrected me. He told me that my grandfather had actually said, “If you say a word often enough, it 15 becomes you.” I was still a student at the time, but I knew even then, even before I had made a conscious decision to teach as well as act, that my grandfather’s words would be important. Actors are very impressionable people, or some would 20 say, suggestible people. We are trained to develop aspects of our memories that are more emotional and sensory than intellectual. The general public often wonders how actors remember their lines. What’s more remarkable to me is how actors remember, recall, and reiterate feelings and 25 sensations. The body has a memory just as the mind does. The heart has a memory, just as the mind does. The act of speech is a physical act. It is powerful enough that it can create, with the rest of the body, a kind of cooperative dance. That dance is a sketch of something that is inside a 30 person, and not fully revealed by the words alone. I came to realize that if I were able to record part of the dance— that is, the spoken part—and reenact it, the rest of the body would follow. I could then create the illusion of being another person by reenacting something she had said as she 35 had said it. My grandfather’s idea led me to consider that the reenactment, or the reiteration, of a person’s words would also teach me about that person. I had been trained in the tradition of acting called “psychological realism.” A basic tenet of psychological 40 realism is that characters live inside of you and that you create a lifelike portrayal of the character through a process of realizing your own similarity to the character. When I later became a teacher of acting, I began to become more and more troubled by the self-oriented method. I began to 45 look for ways to engage my students in putting themselves in other people’s shoes. This went against the grain of the psychological realism tradition, which was to get the char- acter to walk in the actor’s shoes. It became less and less interesting intellectually to bring the dramatic literature of 50 the world into a classroom of people in their late teens and twenties, and to explore it within the framework of their real lives. Aesthetically it seemed limited, because most of the time the characters all sounded the same. Most char- acters spoke somewhere inside the rhythmic range of the 55 students. More troubling was that this method left an important bridge out of acting. The spirit of acting is the travel from the self to the other. This “self-based” method seemed to come to a spiritual halt. It saw the self as the ultimate home of the character. To me, the search for char- 60 acter is constantly in motion. It is a quest that moves back and forth between the self and the other. I needed evidence that you could find a character’s psy- chological reality by “inhabiting” that character’s words. I needed evidence of the limitations of basing a character on 65 a series of metaphors from an actor’s real life. I wanted to develop an alternative to the self-based technique, a tech- nique that would begin with the other and come to the self, a technique that would empower the other to find the actor rather than the other way around. 70 13. In lines 39-62, the author reveals herself to be someone who believes that A. teachers and students should examine controversial issues together Correct Incorrect Correct answer B. playwrights especially benefit from experience on stage Correct Incorrect Correct answer C. conventional approaches should be open to questioning and reevaluation Correct Incorrect Correct answer D. traditional methods often reflect the accumulated insight of generations Correct Incorrect Correct answer E. standard practices are the most suitable to teach to beginners Correct Incorrect Correct answer Correct Incorrect Question 14 of 19 14. Question Read the following passage and answer the question that follows. In the introduction to one of her dramas, a well-known playwright and actor discusses some of her ideas about acting. Words have always held a particular power for me. I remember leafing through a book of Native American poems one morning while I was waiting for my Shakespeare class to begin and being struck by a phrase from the preface, “The word, the word above all, is truly magical, not only by 5 its meaning, but by its artful manipulation.” This quote, which I added to my journal, reminded me of something my grandfather had told me when I was a girl: “If you say a word often enough it becomes your own.” I added that phrase to my journal next to the quote 10 about the magic of words. When I traveled home to Baltimore for my grandfather’s funeral a year after my journal entry, I mentioned my grandfather’s words to my father. He corrected me. He told me that my grandfather had actually said, “If you say a word often enough, it 15 becomes you.” I was still a student at the time, but I knew even then, even before I had made a conscious decision to teach as well as act, that my grandfather’s words would be important. Actors are very impressionable people, or some would 20 say, suggestible people. We are trained to develop aspects of our memories that are more emotional and sensory than intellectual. The general public often wonders how actors remember their lines. What’s more remarkable to me is how actors remember, recall, and reiterate feelings and 25 sensations. The body has a memory just as the mind does. The heart has a memory, just as the mind does. The act of speech is a physical act. It is powerful enough that it can create, with the rest of the body, a kind of cooperative dance. That dance is a sketch of something that is inside a 30 person, and not fully revealed by the words alone. I came to realize that if I were able to record part of the dance— that is, the spoken part—and reenact it, the rest of the body would follow. I could then create the illusion of being another person by reenacting something she had said as she 35 had said it. My grandfather’s idea led me to consider that the reenactment, or the reiteration, of a person’s words would also teach me about that person. I had been trained in the tradition of acting called “psychological realism.” A basic tenet of psychological 40 realism is that characters live inside of you and that you create a lifelike portrayal of the character through a process of realizing your own similarity to the character. When I later became a teacher of acting, I began to become more and more troubled by the self-oriented method. I began to 45 look for ways to engage my students in putting themselves in other people’s shoes. This went against the grain of the psychological realism tradition, which was to get the char- acter to walk in the actor’s shoes. It became less and less interesting intellectually to bring the dramatic literature of 50 the world into a classroom of people in their late teens and twenties, and to explore it within the framework of their real lives. Aesthetically it seemed limited, because most of the time the characters all sounded the same. Most char- acters spoke somewhere inside the rhythmic range of the 55 students. More troubling was that this method left an important bridge out of acting. The spirit of acting is the travel from the self to the other. This “self-based” method seemed to come to a spiritual halt. It saw the self as the ultimate home of the character. To me, the search for char- 60 acter is constantly in motion. It is a quest that moves back and forth between the self and the other. I needed evidence that you could find a character’s psy- chological reality by “inhabiting” that character’s words. I needed evidence of the limitations of basing a character on 65 a series of metaphors from an actor’s real life. I wanted to develop an alternative to the self-based technique, a tech- nique that would begin with the other and come to the self, a technique that would empower the other to find the actor rather than the other way around. 70 14. Lines 39-70 present the author’s argument primarily by A. celebrating the appeal of a discredited tradition Correct Incorrect Correct answer B. exploring the impact of her early experiences on her acting Correct Incorrect Correct answer C. explaining her reasons for rejecting a technique Correct Incorrect Correct answer D. describing challenges commonly met by professional actors Correct Incorrect Correct answer E. analyzing insights gained from debates with other drama professors Correct Incorrect Correct answer Correct Incorrect Question 15 of 19 15. Question Read the following passage and answer the question that follows. In the introduction to one of her dramas, a well-known playwright and actor discusses some of her ideas about acting. Words have always held a particular power for me. I remember leafing through a book of Native American poems one morning while I was waiting for my Shakespeare class to begin and being struck by a phrase from the preface, “The word, the word above all, is truly magical, not only by 5 its meaning, but by its artful manipulation.” This quote, which I added to my journal, reminded me of something my grandfather had told me when I was a girl: “If you say a word often enough it becomes your own.” I added that phrase to my journal next to the quote 10 about the magic of words. When I traveled home to Baltimore for my grandfather’s funeral a year after my journal entry, I mentioned my grandfather’s words to my father. He corrected me. He told me that my grandfather had actually said, “If you say a word often enough, it 15 becomes you.” I was still a student at the time, but I knew even then, even before I had made a conscious decision to teach as well as act, that my grandfather’s words would be important. Actors are very impressionable people, or some would 20 say, suggestible people. We are trained to develop aspects of our memories that are more emotional and sensory than intellectual. The general public often wonders how actors remember their lines. What’s more remarkable to me is how actors remember, recall, and reiterate feelings and 25 sensations. The body has a memory just as the mind does. The heart has a memory, just as the mind does. The act of speech is a physical act. It is powerful enough that it can create, with the rest of the body, a kind of cooperative dance. That dance is a sketch of something that is inside a 30 person, and not fully revealed by the words alone. I came to realize that if I were able to record part of the dance— that is, the spoken part—and reenact it, the rest of the body would follow. I could then create the illusion of being another person by reenacting something she had said as she 35 had said it. My grandfather’s idea led me to consider that the reenactment, or the reiteration, of a person’s words would also teach me about that person. I had been trained in the tradition of acting called “psychological realism.” A basic tenet of psychological 40 realism is that characters live inside of you and that you create a lifelike portrayal of the character through a process of realizing your own similarity to the character. When I later became a teacher of acting, I began to become more and more troubled by the self-oriented method. I began to 45 look for ways to engage my students in putting themselves in other people’s shoes. This went against the grain of the psychological realism tradition, which was to get the char- acter to walk in the actor’s shoes. It became less and less interesting intellectually to bring the dramatic literature of 50 the world into a classroom of people in their late teens and twenties, and to explore it within the framework of their real lives. Aesthetically it seemed limited, because most of the time the characters all sounded the same. Most char- acters spoke somewhere inside the rhythmic range of the 55 students. More troubling was that this method left an important bridge out of acting. The spirit of acting is the travel from the self to the other. This “self-based” method seemed to come to a spiritual halt. It saw the self as the ultimate home of the character. To me, the search for char- 60 acter is constantly in motion. It is a quest that moves back and forth between the self and the other. I needed evidence that you could find a character’s psy- chological reality by “inhabiting” that character’s words. I needed evidence of the limitations of basing a character on 65 a series of metaphors from an actor’s real life. I wanted to develop an alternative to the self-based technique, a tech- nique that would begin with the other and come to the self, a technique that would empower the other to find the actor rather than the other way around. 70 15. The author’s explanation in the fourth paragraph suggests that the “self-oriented method” (line 45) rests on the assumption that A. audience members appreciate complex nuances of character Correct Incorrect Correct answer B. the playwright’s biography provides the main evidence for interpreting character Correct Incorrect Correct answer C. actors have already felt the full range of human emotions Correct Incorrect Correct answer D. actors are extremely independent and self-serving people Correct Incorrect Correct answer E. actors’ lives become fulfilled through their dramatic portrayals Correct Incorrect Correct answer Correct Incorrect Question 16 of 19 16. Question Read the following passage and answer the question that follows. In the introduction to one of her dramas, a well-known playwright and actor discusses some of her ideas about acting. Words have always held a particular power for me. I remember leafing through a book of Native American poems one morning while I was waiting for my Shakespeare class to begin and being struck by a phrase from the preface, “The word, the word above all, is truly magical, not only by 5 its meaning, but by its artful manipulation.” This quote, which I added to my journal, reminded me of something my grandfather had told me when I was a girl: “If you say a word often enough it becomes your own.” I added that phrase to my journal next to the quote 10 about the magic of words. When I traveled home to Baltimore for my grandfather’s funeral a year after my journal entry, I mentioned my grandfather’s words to my father. He corrected me. He told me that my grandfather had actually said, “If you say a word often enough, it 15 becomes you.” I was still a student at the time, but I knew even then, even before I had made a conscious decision to teach as well as act, that my grandfather’s words would be important. Actors are very impressionable people, or some would 20 say, suggestible people. We are trained to develop aspects of our memories that are more emotional and sensory than intellectual. The general public often wonders how actors remember their lines. What’s more remarkable to me is how actors remember, recall, and reiterate feelings and 25 sensations. The body has a memory just as the mind does. The heart has a memory, just as the mind does. The act of speech is a physical act. It is powerful enough that it can create, with the rest of the body, a kind of cooperative dance. That dance is a sketch of something that is inside a 30 person, and not fully revealed by the words alone. I came to realize that if I were able to record part of the dance— that is, the spoken part—and reenact it, the rest of the body would follow. I could then create the illusion of being another person by reenacting something she had said as she 35 had said it. My grandfather’s idea led me to consider that the reenactment, or the reiteration, of a person’s words would also teach me about that person. I had been trained in the tradition of acting called “psychological realism.” A basic tenet of psychological 40 realism is that characters live inside of you and that you create a lifelike portrayal of the character through a process of realizing your own similarity to the character. When I later became a teacher of acting, I began to become more and more troubled by the self-oriented method. I began to 45 look for ways to engage my students in putting themselves in other people’s shoes. This went against the grain of the psychological realism tradition, which was to get the char- acter to walk in the actor’s shoes. It became less and less interesting intellectually to bring the dramatic literature of 50 the world into a classroom of people in their late teens and twenties, and to explore it within the framework of their real lives. Aesthetically it seemed limited, because most of the time the characters all sounded the same. Most char- acters spoke somewhere inside the rhythmic range of the 55 students. More troubling was that this method left an important bridge out of acting. The spirit of acting is the travel from the self to the other. This “self-based” method seemed to come to a spiritual halt. It saw the self as the ultimate home of the character. To me, the search for char- 60 acter is constantly in motion. It is a quest that moves back and forth between the self and the other. I needed evidence that you could find a character’s psy- chological reality by “inhabiting” that character’s words. I needed evidence of the limitations of basing a character on 65 a series of metaphors from an actor’s real life. I wanted to develop an alternative to the self-based technique, a tech- nique that would begin with the other and come to the self, a technique that would empower the other to find the actor rather than the other way around. 70 16. Which statement best captures the author’s point in lines 54-56 (“Most characters . . . students”) ? A. The characters spoke through the students’ own rich cadences. Correct Incorrect Correct answer B. Young drama students have an uncanny knack for conveying character. Correct Incorrect Correct answer C. Most students found class to be repetitious. Correct Incorrect Correct answer D. Characterizations were confined by what the students knew. Correct Incorrect Correct answer E. The spontaneity that the students had hoped for had not been achieved. Correct Incorrect Correct answer Correct Incorrect Question 17 of 19 17. Question Read the following passage and answer the question that follows. In the introduction to one of her dramas, a well-known playwright and actor discusses some of her ideas about acting. Words have always held a particular power for me. I remember leafing through a book of Native American poems one morning while I was waiting for my Shakespeare class to begin and being struck by a phrase from the preface, “The word, the word above all, is truly magical, not only by 5 its meaning, but by its artful manipulation.” This quote, which I added to my journal, reminded me of something my grandfather had told me when I was a girl: “If you say a word often enough it becomes your own.” I added that phrase to my journal next to the quote 10 about the magic of words. When I traveled home to Baltimore for my grandfather’s funeral a year after my journal entry, I mentioned my grandfather’s words to my father. He corrected me. He told me that my grandfather had actually said, “If you say a word often enough, it 15 becomes you.” I was still a student at the time, but I knew even then, even before I had made a conscious decision to teach as well as act, that my grandfather’s words would be important. Actors are very impressionable people, or some would 20 say, suggestible people. We are trained to develop aspects of our memories that are more emotional and sensory than intellectual. The general public often wonders how actors remember their lines. What’s more remarkable to me is how actors remember, recall, and reiterate feelings and 25 sensations. The body has a memory just as the mind does. The heart has a memory, just as the mind does. The act of speech is a physical act. It is powerful enough that it can create, with the rest of the body, a kind of cooperative dance. That dance is a sketch of something that is inside a 30 person, and not fully revealed by the words alone. I came to realize that if I were able to record part of the dance— that is, the spoken part—and reenact it, the rest of the body would follow. I could then create the illusion of being another person by reenacting something she had said as she 35 had said it. My grandfather’s idea led me to consider that the reenactment, or the reiteration, of a person’s words would also teach me about that person. I had been trained in the tradition of acting called “psychological realism.” A basic tenet of psychological 40 realism is that characters live inside of you and that you create a lifelike portrayal of the character through a process of realizing your own similarity to the character. When I later became a teacher of acting, I began to become more and more troubled by the self-oriented method. I began to 45 look for ways to engage my students in putting themselves in other people’s shoes. This went against the grain of the psychological realism tradition, which was to get the char- acter to walk in the actor’s shoes. It became less and less interesting intellectually to bring the dramatic literature of 50 the world into a classroom of people in their late teens and twenties, and to explore it within the framework of their real lives. Aesthetically it seemed limited, because most of the time the characters all sounded the same. Most char- acters spoke somewhere inside the rhythmic range of the 55 students. More troubling was that this method left an important bridge out of acting. The spirit of acting is the travel from the self to the other. This “self-based” method seemed to come to a spiritual halt. It saw the self as the ultimate home of the character. To me, the search for char- 60 acter is constantly in motion. It is a quest that moves back and forth between the self and the other. I needed evidence that you could find a character’s psy- chological reality by “inhabiting” that character’s words. I needed evidence of the limitations of basing a character on 65 a series of metaphors from an actor’s real life. I wanted to develop an alternative to the self-based technique, a tech- nique that would begin with the other and come to the self, a technique that would empower the other to find the actor rather than the other way around. 70 17. In line 60, the phrase “home of the character” most nearly means A. way of understanding eccentricities Correct Incorrect Correct answer B. social context surrounding a character Correct Incorrect Correct answer C. environment for practicing acting Correct Incorrect Correct answer D. forum in which the self is presented publicly Correct Incorrect Correct answer E. source of a role’s psychological truth Correct Incorrect Correct answer Correct Incorrect Question 18 of 19 18. Question Read the following passage and answer the question that follows. In the introduction to one of her dramas, a well-known playwright and actor discusses some of her ideas about acting. Words have always held a particular power for me. I remember leafing through a book of Native American poems one morning while I was waiting for my Shakespeare class to begin and being struck by a phrase from the preface, “The word, the word above all, is truly magical, not only by 5 its meaning, but by its artful manipulation.” This quote, which I added to my journal, reminded me of something my grandfather had told me when I was a girl: “If you say a word often enough it becomes your own.” I added that phrase to my journal next to the quote 10 about the magic of words. When I traveled home to Baltimore for my grandfather’s funeral a year after my journal entry, I mentioned my grandfather’s words to my father. He corrected me. He told me that my grandfather had actually said, “If you say a word often enough, it 15 becomes you.” I was still a student at the time, but I knew even then, even before I had made a conscious decision to teach as well as act, that my grandfather’s words would be important. Actors are very impressionable people, or some would 20 say, suggestible people. We are trained to develop aspects of our memories that are more emotional and sensory than intellectual. The general public often wonders how actors remember their lines. What’s more remarkable to me is how actors remember, recall, and reiterate feelings and 25 sensations. The body has a memory just as the mind does. The heart has a memory, just as the mind does. The act of speech is a physical act. It is powerful enough that it can create, with the rest of the body, a kind of cooperative dance. That dance is a sketch of something that is inside a 30 person, and not fully revealed by the words alone. I came to realize that if I were able to record part of the dance— that is, the spoken part—and reenact it, the rest of the body would follow. I could then create the illusion of being another person by reenacting something she had said as she 35 had said it. My grandfather’s idea led me to consider that the reenactment, or the reiteration, of a person’s words would also teach me about that person. I had been trained in the tradition of acting called “psychological realism.” A basic tenet of psychological 40 realism is that characters live inside of you and that you create a lifelike portrayal of the character through a process of realizing your own similarity to the character. When I later became a teacher of acting, I began to become more and more troubled by the self-oriented method. I began to 45 look for ways to engage my students in putting themselves in other people’s shoes. This went against the grain of the psychological realism tradition, which was to get the char- acter to walk in the actor’s shoes. It became less and less interesting intellectually to bring the dramatic literature of 50 the world into a classroom of people in their late teens and twenties, and to explore it within the framework of their real lives. Aesthetically it seemed limited, because most of the time the characters all sounded the same. Most char- acters spoke somewhere inside the rhythmic range of the 55 students. More troubling was that this method left an important bridge out of acting. The spirit of acting is the travel from the self to the other. This “self-based” method seemed to come to a spiritual halt. It saw the self as the ultimate home of the character. To me, the search for char- 60 acter is constantly in motion. It is a quest that moves back and forth between the self and the other. I needed evidence that you could find a character’s psy- chological reality by “inhabiting” that character’s words. I needed evidence of the limitations of basing a character on 65 a series of metaphors from an actor’s real life. I wanted to develop an alternative to the self-based technique, a tech- nique that would begin with the other and come to the self, a technique that would empower the other to find the actor rather than the other way around. 70 18. In lines 63-64, “psychological reality” describes which quality? A. The versatility of a performer Correct Incorrect Correct answer B. The physical gestures of a character Correct Incorrect Correct answer C. The essence of an identity Correct Incorrect Correct answer D. The accuracy of an audience’s expectations Correct Incorrect Correct answer E. The logical consistency of certain actions Correct Incorrect Correct answer Correct Incorrect Question 19 of 19 19. Question Read the following passage and answer the question that follows. In the introduction to one of her dramas, a well-known playwright and actor discusses some of her ideas about acting. Words have always held a particular power for me. I remember leafing through a book of Native American poems one morning while I was waiting for my Shakespeare class to begin and being struck by a phrase from the preface, “The word, the word above all, is truly magical, not only by 5 its meaning, but by its artful manipulation.” This quote, which I added to my journal, reminded me of something my grandfather had told me when I was a girl: “If you say a word often enough it becomes your own.” I added that phrase to my journal next to the quote 10 about the magic of words. When I traveled home to Baltimore for my grandfather’s funeral a year after my journal entry, I mentioned my grandfather’s words to my father. He corrected me. He told me that my grandfather had actually said, “If you say a word often enough, it 15 becomes you.” I was still a student at the time, but I knew even then, even before I had made a conscious decision to teach as well as act, that my grandfather’s words would be important. Actors are very impressionable people, or some would 20 say, suggestible people. We are trained to develop aspects of our memories that are more emotional and sensory than intellectual. The general public often wonders how actors remember their lines. What’s more remarkable to me is how actors remember, recall, and reiterate feelings and 25 sensations. The body has a memory just as the mind does. The heart has a memory, just as the mind does. The act of speech is a physical act. It is powerful enough that it can create, with the rest of the body, a kind of cooperative dance. That dance is a sketch of something that is inside a 30 person, and not fully revealed by the words alone. I came to realize that if I were able to record part of the dance— that is, the spoken part—and reenact it, the rest of the body would follow. I could then create the illusion of being another person by reenacting something she had said as she 35 had said it. My grandfather’s idea led me to consider that the reenactment, or the reiteration, of a person’s words would also teach me about that person. I had been trained in the tradition of acting called “psychological realism.” A basic tenet of psychological 40 realism is that characters live inside of you and that you create a lifelike portrayal of the character through a process of realizing your own similarity to the character. When I later became a teacher of acting, I began to become more and more troubled by the self-oriented method. I began to 45 look for ways to engage my students in putting themselves in other people’s shoes. This went against the grain of the psychological realism tradition, which was to get the char- acter to walk in the actor’s shoes. It became less and less interesting intellectually to bring the dramatic literature of 50 the world into a classroom of people in their late teens and twenties, and to explore it within the framework of their real lives. Aesthetically it seemed limited, because most of the time the characters all sounded the same. Most char- acters spoke somewhere inside the rhythmic range of the 55 students. More troubling was that this method left an important bridge out of acting. The spirit of acting is the travel from the self to the other. This “self-based” method seemed to come to a spiritual halt. It saw the self as the ultimate home of the character. To me, the search for char- 60 acter is constantly in motion. It is a quest that moves back and forth between the self and the other. I needed evidence that you could find a character’s psy- chological reality by “inhabiting” that character’s words. I needed evidence of the limitations of basing a character on 65 a series of metaphors from an actor’s real life. I wanted to develop an alternative to the self-based technique, a tech- nique that would begin with the other and come to the self, a technique that would empower the other to find the actor rather than the other way around. 70 19. The “metaphors” in line 66 are best described as A. private misgivings Correct Incorrect Correct answer B. objective observations Correct Incorrect Correct answer C. abstract equations Correct Incorrect Correct answer D. memorable phrases Correct Incorrect Correct answer E. personal comparisons Correct Incorrect Correct answer Correct Incorrect
