TEAS Reading Practice Test

     Because it is filled with contradictions, performance is

also filled with risk. This is the domain of stage fright. The

actor is aware that appearing in front of an audience is a

Line

scary proposition. Maintaining the reality of the character is,

5

in itself, a fragile affair; it demands of the actor a series of

complex transformations. The actor has the unique problem

of hiding and showing at the same time. The actor’s conscious

fear is not about making a mistake, but about allowing the

audience to see something that it is not supposed to see:

10

namely, the performer’s fear, or stage fright.

     The term “stage fright” has largely dropped out of use,

because we know now that dwelling on something this

malevolent gives it power. If I tell you not to be afraid,

you may dwell on your fear. If I say, do not think of

15

fast-food burgers under any circumstances, a line of

them will parade through your mind. The key to most

fears is substitution. On the simplest level, you replace

the ogre with something less menacing to fill your

consciousness. If you will imagine yourself to be a

20

host rather than an actor, and think more about the

comfort of your listeners than their verdicts, everything

will fall into place.

     Because it is filled with contradictions, performance is

also filled with risk. This is the domain of stage fright. The

actor is aware that appearing in front of an audience is a

Line

scary proposition. Maintaining the reality of the character is,

5

in itself, a fragile affair; it demands of the actor a series of

complex transformations. The actor has the unique problem

of hiding and showing at the same time. The actor’s conscious

fear is not about making a mistake, but about allowing the

audience to see something that it is not supposed to see:

10

namely, the performer’s fear, or stage fright.

     The term “stage fright” has largely dropped out of use,

because we know now that dwelling on something this

malevolent gives it power. If I tell you not to be afraid,

you may dwell on your fear. If I say, do not think of

15

fast-food burgers under any circumstances, a line of

them will parade through your mind. The key to most

fears is substitution. On the simplest level, you replace

the ogre with something less menacing to fill your

consciousness. If you will imagine yourself to be a

20

host rather than an actor, and think more about the

comfort of your listeners than their verdicts, everything

will fall into place.

     Because it is filled with contradictions, performance is

also filled with risk. This is the domain of stage fright. The

actor is aware that appearing in front of an audience is a

Line

scary proposition. Maintaining the reality of the character is,

5

in itself, a fragile affair; it demands of the actor a series of

complex transformations. The actor has the unique problem

of hiding and showing at the same time. The actor’s conscious

fear is not about making a mistake, but about allowing the

audience to see something that it is not supposed to see:

10

namely, the performer’s fear, or stage fright.

     The term “stage fright” has largely dropped out of use,

because we know now that dwelling on something this

malevolent gives it power. If I tell you not to be afraid,

you may dwell on your fear. If I say, do not think of

15

fast-food burgers under any circumstances, a line of

them will parade through your mind. The key to most

fears is substitution. On the simplest level, you replace

the ogre with something less menacing to fill your

consciousness. If you will imagine yourself to be a

20

host rather than an actor, and think more about the

comfort of your listeners than their verdicts, everything

will fall into place.

     Because it is filled with contradictions, performance is

also filled with risk. This is the domain of stage fright. The

actor is aware that appearing in front of an audience is a

Line

scary proposition. Maintaining the reality of the character is,

5

in itself, a fragile affair; it demands of the actor a series of

complex transformations. The actor has the unique problem

of hiding and showing at the same time. The actor’s conscious

fear is not about making a mistake, but about allowing the

audience to see something that it is not supposed to see:

10

namely, the performer’s fear, or stage fright.

     The term “stage fright” has largely dropped out of use,

because we know now that dwelling on something this

malevolent gives it power. If I tell you not to be afraid,

you may dwell on your fear. If I say, do not think of

15

fast-food burgers under any circumstances, a line of

them will parade through your mind. The key to most

fears is substitution. On the simplest level, you replace

the ogre with something less menacing to fill your

consciousness. If you will imagine yourself to be a

20

host rather than an actor, and think more about the

comfort of your listeners than their verdicts, everything

will fall into place.