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| the arch that separates stage from the auditorium, “picture frame” stage, all seats face the same direction |
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| extends into the audience on three sides and is connected to the backstage area by it upstage end |
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| audience sits around entire stage |
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| Found space, environmental |
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| performance space that wasn’t designed to be one |
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| classroom, audience and actors are in same room, flexible |
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| responsible for the artistic vision and interpretation of a production, blocking, responsible for that particular production |
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| has full responsibility for the stage, the lighting, setting, costumes, etc., writes blocking in script, supervises physical aspects of stage production, assists director, in charge of stage during performance, “calls the show”, in charge |
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| person responsible for financial and contractual side of production |
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| programs the venue, oversees artistic decisions of the company, has to hire the director, etc. |
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| advisor to the director, deals with historical context and background of play, makes sure of historical accuracy |
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| advisor to the director, deals with historical context and background of play, makes sure of historical accuracy |
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| left of the stage when facing the audience |
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| the right of the stage when facing the audience |
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| the out of view areas at the sides of the stage |
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| The part of the stage and theatre which is out of the sight of the audience. The service areas of the theatre |
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| area between entrance and house, open to public |
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| Refers to the main seating area of the auditorium at floor level |
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| the sloped part of the upstage |
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| the “wall” through which the audience sees the stage |
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| stagescrim - gauzy, when lit can look solid or transparent depending on how much you light it, can be painted like a flat |
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| a frame to make a scenic canvas |
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| all items that are not scenery and handled by the actor |
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| when all the lights go out all at once |
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| when the lights go out slowly |
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| to be seen again, return for another audition |
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| process by which the director chooses actors and actresses to perform in a play |
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| the moves actors make during a play in relation to one another |
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| session in which some of the actors in a play perform in private, practice |
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| a quick reading of the script, usually the first rehearsal |
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| no blocking involved, get through script as fast as you can, for remembering lines and cues |
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| the first time technical elements such as lighting, sound, special effects, set are combined with the actors |
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| performing the show as if it were opening night |
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| an attempt to complete the entire show, rarely goes well |
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| a performance for an audience before the official opening night |
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| not needing to read the script during rehearsal, when you have your lines memorized |
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| master copy of the script, contains all the moves and cues |
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| any set of moves taught that is more advanced than booking, dances, fight scenes, etc. |
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| what you’re asked to sing in an audition |
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| AEA/Equity (Actor’s Equity Association) |
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| SAG (Screen Actor’s Guild) |
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| the act of entering onto the acting area during a performance, when you become seen by the audience |
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| the leaving of the acting area by the actor, can’t be seen by the audience |
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| the dialogue for a play; the words the actors say in a performance |
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| a signal from the stage manager to actor, stage crew, props manager or lighting technician that some predetermined action, such as an entrance is required, line of dialogue or anything that signals an actor to do something |
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| Diction/Articulation/Enunciation |
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| say or pronounce clearly, saying all the letters in the word that need to be said |
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| the modulation of tone or pitch in the voice |
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| a chunk of uninterrupted speech by a character |
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| speech between two or more characters |
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| Lines spoken by an actor to the audience and not supposed to be overheard by other characters on-stage. |
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| a speech in which an actor, speaks his/her thoughts aloud, the character thinks that he/she is alone |
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| opponent to the protagonist, opposing force |
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| allows actor to react realistically |
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| all the actions, excluding blocking, performed by the actors onstage (opening windows, writing letters, etc.), doing stuff while talking/performing in the play |
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| to turn the body out, partially toward the audience, while appearing to talk to another character onstage |
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| performing spontaneously or without preparation, unscripted |
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| expressive movement of the body, without words |
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| What? Why? How? Who? Where? When? |
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| questions to ask yourself when developing your character |
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| what is done, what happens on stage |
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| how the character goes about completing the objective |
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| a pause, the smallest unit of action in a script |
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| dramatic tension created by opposing forces in a play, when things come up against each other |
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| something that gets in the way of a character achieving their objective |
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| pieces of information about your character that you cannot change, things the script provides |
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| what the character believes about him/herself |
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| Through line/super objective |
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| the character’s main objective |
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| Emotional Recall/Sensory Recall/Sense Memory |
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| remembering a time when you felt a certain emotion in order to act believably |
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| Endowment/transference/substitution |
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| filling someone else with the qualities of someone you like (goes along with emotional recall) |
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| an actor’s term for concentrating and being in character, harnessing your inner energy and power |
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| figuring out which part of the body dominates your character |
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| room close to the stage where actors can meet, separate from where you get dressed |
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| Willing Suspension of Disbelief |
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| audience’s belief that what is going on onstage is not real in order to be entertained |
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| what actually occurs, not what is talked about; the arrangement of certain parts of the story |
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| people who are involved in the conflict, equally invested in achieving the goal |
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| the significant moment in the plot of a play, when tension rises to the highest point |
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