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| stage position in the middle of the stage |
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| The actors right as he faces the audience |
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| The actors left as she faces the audience |
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| The part of the stage enclosed by the setting that is visible to the audience. |
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All parts of the stage not enclosed by the setting.
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| The entire stage portion of the theater building in contrast with the auditorium, which is designated as "out front." |
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| Offstage left and right of acting areas |
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| Actor is facing toward the audience or nearly so. Actors should keep open as much as possible for audivility and visivility. |
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| Actor is turned away from the audience. |
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| 2 actors share a scene when they are both open to an equal degree allowing audience to see them equally well. |
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| Arrangement of performers movements on the stage |
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one actor upstages another when he takes a position that forces the other actor to face up stage or away from the audience.
-Hair in face and gesturing with incorrect arm can upstage self. |
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| movement from one area to another |
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| in opposite direction in adjustment to the cross of another actor |
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| object actors handle on stage. (cup, gun, etc.) |
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| improvised lines (used in crowd scenes) |
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| a line that other actors on stage are not supposed to hear. |
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| last words of a speech or action indicating another actor should speak or perform an action. |
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| a term used without derogatory meaning when an actor plays in a more open position than complete realism would allow. |
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| emphasizing performance of group rather than individual. |
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| in an interior setting the imaginary side of the room towards the audience. |
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| spontaneus invention of lines and actions. |
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| A derogatory term- acting without an intention |
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| the situation created by playwright including: characters past history, relationships, setting of the play, when play takes place, the characters motivation |
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| Derogatory term for exaggerated facial expressions. |
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| That which the character wants more than anything in the world. A large desire which the character may have before the play begins and continue long after the play is over. AKA: SPINE |
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| Actors continous thoughts during his dialog and action. |
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| the goal a character wants in a scene. |
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| different strategies the character must must use to obtain his objective in a given scene. |
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| the division of a scene into various segments. A beat changes when a new topic is brought up in the scene. |
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| detailed physical activities of actors to reveal character (i.e. mixing a drink) |
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| that which prevents the character from the getting the objective. |
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| use of the actors personal observation to recall actually sensory experiences on stage. |
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| Developing images, ideas, situations which inspire the actor to leave the intellectual and move to the intuitive. |
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| Russian actor-director-teacher-founder of "realistic school' of 20th C. acting |
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| includes broadway, off-broadway, off-off broadway (am0ng others) |
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| sharing one's voice with the audience |
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| finding connecions between a characters situation and the actor's personal experience |
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| A backstage area for actors that is separate from dressing room and the wings |
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| an actor who can sing, dance and act equally well |
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| arrangement of doors, windows, furniture for stage set |
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playing a character with similar physical and/or psychological traits to the actor
Cast=past tense of Cast (not casted) |
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| American acting teacher famous for variations on Stanislavsky's technieques. |
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| Theater term for "good luck" |
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| Naturalistic setting of a complete room built from flats with only the side nearest the audience (the fourth wall) missing |
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| inappropriate taking of the audience attention |
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| A lightweight timber frame covered with scenic canvas to help create a stage set. |
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