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| the person responsible for the overall unity of a production and for coordinating the work of contributing artists. |
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| a director who impliments their point of view into the play, ultimately become like an "author." |
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| the motives of the play, the fundamental drama or conflict. Also called the "main action." |
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| an overall image or metaphor of a play; a director's way of translating from page to stage. |
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| finding an actor that is right for the role. |
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| the arrangement and movements of performers relative to each other as well as to the set and to the places where they enter and leave the stage. |
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| the director's visual composition of how the play should appear from the audience's perspective. |
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| the movement and rhythm of the play through time; physically, is an actor speaking too quickly or is the timing too slow? |
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| the first rehearsal where all technical elements (actors, lighting, sound) come together under the supervision of the director. |
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| rehearsal where all production elements (performers wear costumes, lighting cues set with actors on stage) are integrated for the first time. |
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| when the play is performed exactly how it will be for the public. Here, last minute problems are hashed out. |
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| the person who coordinates all the rehearsals and the actual running of a performance. |
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| literary manager or dramatic adviser who collaborates with the director and finds new plays, rediscovers old plays, and researches. |
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| the manager; the director's counterpart in the business and management side of a production. |
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| person responsible for all creative and artistic activities. |
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