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| A short description such as (loving), (angry) or (terrified) to help the actor or the readers interpret a particular line of dialogue. |
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| Dialogue about what happened to the characters before the play began and what happens between the scenes and offstage; also known as the back story. |
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| n an ancient Greek play, the main actor. Now, the central character who pushes forward the action of a play, aka. “Hero” |
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| The character who stands in the way of the protagonist’s goal |
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| The trained Body, Mind, and Voice of an Actor |
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| Prevalent Russian acting teacher. Referred to as the father of modern acting. Co-founder of Moscow Art Theatre. |
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| INSIDE/OUT: The technique of changing your emotions and having that change the way your character behaves. Was developed in the states into Method acting by Strasberg. |
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| apanese acting teacher that taught a more body focused form with roots in traditional Japanese acting styles like Kabuki and Noh. |
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| OUTSIDE/IN: The Technical approach. If you alter yourself physically your emotions will change to match. |
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| The technique of remembering an incident so as to relive the sensory elements and recreate the emotions produced. |
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| Stimulating your mind to the point of empathy by asking, “What if I were the character in this situation?” |
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| When an actor has little or no emotional bond to a character they replace the character’s emotions with their own. |
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| Details in a character’s life; situations, problems, limits life has placed on them. |
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| The reason a character takes a particular action |
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A playwright who staged (directed) his own plays in Ancient Greece
o He wrote, instructed the actors, and advised the designers and technicians. |
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| George II, Duke of Saxe-Meiningen |
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he ruler of a small German State, he is credited as the first “modern director”
• He was a wealthy monarch whose power and status allowed him to construct his own theatre, and organize and direct a resident company of actors.
• He was very realistic with his sets and costuming.
• His company toured Europe from 1874-1890. |
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| Moscow Art Theatre (Stanislavsky) |
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Used many of the techniques established by George II
• Stanislavsky was a Russian acting coach and director.
• He was als very tuned into every detail.
• First to insist on months of rehearsal’s instead of days or weeks. |
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| A Literary expert on theatre history and plays who helps the director, designers, technicians, and actors better understand the pay and the context of the play |
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| The study of the script’s structure. |
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A scene of a play that begins with any entrance or exit, and ends with the next entrance or exit.
Beat |
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| The thematic idea, symbol, or allegory that conveys the tone, mood, and theme of a play |
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section of dialogue about a certain subject or idea.
• Smallest structural element of a script |
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The movement of the actors on stage during the production to achieve “picturization”
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| A technique used by directors to compose pictures with the actors to reinforce and idea in the story. |
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PROSCENIUM (ARCH) THEATRE |
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| also known as picture frame theatre. It is an extreme separation between the actors and the audience. One way of doing this is to add an orchestra pit b/w the audience and the stage. |
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he side of the proscenium arch stage. It’s out of the audience sight from which the
actors enter and exit from |
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n extension of the stage that allows the actor to come towards the audience and
through the picture frame. |
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s a type of stage where the apron stretches so far into the audience that they must sit
on three sides of the stag |
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passageways or tunnels that run into and under audience to allow actors quick
access to the stage. |
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so known as theatre in the round because the stage is in the center of the room and
the audience sits on all four sides of the stage. Like a sport stadium |
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s when an actor set piece disturbs the audiences view of what is happening in the play.
This is a big problem for arena theatre. |
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| BLACK BOX THEATRE/FLEXIBLE SPACE |
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mall theatre room where a small audience that is less than a
hundred. It’s a really intimate setting where the audience sits
right up against the stage. |
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the audience sees the story through the mind of one character and the
setting can be distorted to by the characters thoughts or feelings. |
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| the subconscious of the characters is emphasized in the design. |
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