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| The general principle that the stage should portray, in a reasonable facsimile, ordinary people in ordinary circumstances; also that actors should behave, as much as possible, as real people do in life. |
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| Piéce bien faite in french; in the nineteenth century, a superbly plotted play, particularly by such gifted French playwrights as Eugéne Scribe (1791-1861) and Victorien Sardou (1831-1908) |
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| A realistic play that deals, often shallowly, with a specific social problem. |
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| A comedy of verbal wit and visual elegance, usually peopled with upper-class characters. |
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| An extreme form of realism, which advanced the idea that the natural and social environment, more than the individual will power, controlled human behavior. |
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| The first major anti-realistic movement in the arts and in the theatre that sought to create a mysterious and quasi-religious experience in the theatre; it emphasized the concept that everything that appeared onstage was symbolic of something else. |
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| An artistic style that greatly exaggerates perceived reality in order to express inner truths directly. |
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| An art movement of the early twentieth century, in which the artist sought to go beyond realism into super-realism. |
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| A play based on the philosophical motions of existentialism, particularly as developed by Jean-Paul Satre (1905-1980) |
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| A stage variety show, with singing, dancing, comedy skits, and animal acts; highly popular in America from the late 1880s to the 1930s when it lost out to movies, radio, and subsequently television. |
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| A drama set entirely to music; first developed in Venice, Italy in the 1600's. |
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| A form of musical theatre that is not set entirely to music, but generally features a romantic story set in soem far off locale; the most famous versions were made popular by the team of W.S. Gilbert and Arthur Sullivan in the late 1800s. |
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| A generic name for a play with a large number of songs, particularly when there is also dancing and/or a chorus, an integration of music, dance, and story into a cohesive whole. |
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| A popular form of twentieth-century theatre, with singing and dancing, designed primarily for entertainment, usually a light, comic story interspersed with popular music. |
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| A rectangular-roomed theatre with the audience on one end and the stage on the other, with both areas separated by a proscenium arch that is till the basic theatre architectureof America's Broadway and of major European theatre companies. |
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| A stage surrounded by the audience; also known as the "theatre-in-the-round". |
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| A stage that projects out into the seating area and is surrounded by the audience on three sides. |
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| A stage where the audience sits on the long sides of a rectangular stage, creating an "alley" between audience members that the performance occurs in. |
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| Male American playwright who wrote Death of a Salesman. |
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| Female African-American playwright who wrote A Raisin in the Sun. |
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| Male African-American playwright who wrote Fences. |
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| Actor who portrayed Willy Loman in the 1985 Broadway revival and in a 1986 film version of Death of a Salesman. |
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| Actor who portrayed Walter Lee Younger in the 1959 original Broadway production and in the 1961 film version of A Raisin in the Sun. |
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| Actor famous for his voice portrayal of Darth Vader in the Star Wars movies who who portrayed Troy Maxson in the original 1987 Broadway production of Fences. |
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| Commonly called simply Broadway, refers to theatrical performances presented in one of the 39 large professional theaters with 500 seats or more located in the Theatre District (plus one theatre in Lincoln Center) in Manhattan, New York City that, along with London's West End theatre, is usually considered to represent the highest level of commercial theatre in the English-speaking world. |
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| The New York professional theatre located outside the Broadway district; principally in Greenwich Village and around the upper East and West sides. |
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| A term designating certain theatre activity in New York City that is usually non-professional (although with professional artists involved) and usually experimental and avant-garde in nature. |
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| Regional theaters in the United States are prefessional theater companies that produce their own seasons. |
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| Alabama Shakespeare Festival |
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| Montgomery Alabama's only professional theatre, one of the 77 LORT theatres and the seventh largest Shakespeare festival in the world. |
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| Actor's Equity Association |
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| The Actor's Equity Association (AEA) is an American labor union embracing the world of live theatrical performance, as opposed to film and television performance. |
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| The Screen Actors Guild (SAG) is an American Labor union representing over 120,000 film and television principal performers and background performers worldwide. |
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| League of Resident Theaters |
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| LORT theaters are non-profit organizations that agree to adgere to a collective bargaining agreement with Actors' Equity Association. |
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| Community theatre provides the opportunity for diverse individuals, many of them in other professions, to create plays and be part of an active social and artistic community. |
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| Community theatre group founded in Wetumpka, AL in 1980 and incorporated in 1999 as a non-profit organization. |
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| College and University Theatre |
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| Theatre performed at the college and university level usually as part of an educational training program for up and coming theatrical artists. |
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| College and university theatre produced by Auburn University Montgomery, founded in 1975 as the performance outlet for the Department of Communication and Dramatic Arts. |
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| Davis Theater for the Performing Arts |
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| The theatre is considered the home for such local favorites as the Montgomery Symphony Orchestra, the Montgomery Ballet and the Alabama Dance Theatre as well as hosting touring shows from around the country. |
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| Theatrical professional responsible for casting, staging, and rehearsing a play. |
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| Theatrical professional responsivle for running the show during performance once rehearsals have completed. |
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| Theatrical professional responsible for overseeing all technical aspects of a production; set construction, props, costuming, etc. |
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| Theatrical professional responsible for designing costumes for a production. |
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| Theatrical professional responsible for designing scenic elements for a production. |
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| Theatrical professional responsible for designing lighting elements for a production. |
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| Theatrical professional who writes a script for live performance. |
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| Theatrical professional who writes music for a production, often in cooperation of a lyricist. |
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| Theatrical professional who writes the words in songs for a production, often in cooperation with a composer. |
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| Theatrical professionalwho designs and stages dance movement and/or stage combat movement for a production. |
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| Theatrical professional responsible for raising the money to produce a show, oftern hires a director and technical staff and makes decisions about how the money is to be spent. |
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| Theatrical professional who views productions and then gives his or her opinion about the show usually for publication by a media outlet. |
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| After (or even during) successful runs in Broadway theatres, producers often remount their productions with a new cast and crew for the Broadway national tour, which travels to theaters in major cities across the country. |
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