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| One of the traditional forms of Japanese theatre, originating in the 1600s and combining stylized acting, costumes, makeup, and musical accompaniment. |
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| The height of an actors head actor as determined by his or her body position (e.g., sitting, lying, standing, or elevated by an artificial means). |
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| Cosmetics and sometimes hairstyles that an actor wears on stage to emphasize facial features, historical periods, characterizations, and so forth. |
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| Coverings worn over the face or part of the face of an actor to emphasize or neutralize facial characteristics. |
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| A dramatic form popular in the 1800s and characterized by an emphasis on plot and physical action (versus characterization), cliff-hanging events, etc. |
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| An incident art form based on pantomime in which conventionalized gestures are used to express ideas rather than represent actions; also, a performer of mime. |
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| A long speech by a single character. |
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| A characters reason for doing or saying things in a play. |
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| A type of entertainment containing music, songs, and, usually, dance. |
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| A characters goal or intention |
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| The tempo of an entire theatrical performance. |
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| without words through facial expression, gesture, and movement. |
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| The highness or lowness of voice |
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| The stage representation of an action or a story; a dramatic composition. |
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| The orientation of the actor to the audience (e.g., full front, right profile, left profile). |
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| The placement and delivery of volume, clarity, and distinctness of voice for communicating to an audience. |
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| Items carried on stage by an actor; small items on the set used by the actors. |
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| The view of the stage for the audience; also called a proscenium arch. The archway is in a sense the frame for stage as defined by the boundaries of the stage beyond which a viewer cannot see. |
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| The main character of a play and the character with whom the audience identifies most strongly. |
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| Almost anything brought to life by human hands to create a performance. Types of puppets include rod, hand, and marionette. |
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| Sessions where the actors and technicians prepare for public performance through repetition. . |
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| A rehearsal moving from start to finish without stopping for corrections or notes. |
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| The written text of a play. |
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| Memories of sights, sounds, smells, tastes, and textures. It is used to help define a character in a certain situation. |
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| The area where actors perform. |
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| (See center stage, downstage, stage left, stage right, and upstage.) |
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| The directors liaison backstage during rehearsal and performance. The stage manager is responsible for the running of each performance. |
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| The left side of the stage from the perspective of an actor facing the audience. |
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| The right side of the stage from the perspective of an actor facing the audience. |
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| Established characters, such as young lovers, neighborhood busybodies, sneaky villains, and overprotective fathers, who are immediately recognizable by an audience. |
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| The distinctive and unique manner in which a writer arranges words to achieve particular effects. Style essentially combines the idea to be expressed with the individuality of the author. These arrangements include individual word choices as well as such matters as the length and structure of sentences, tone, and use of irony. |
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| Information that is implied by a character but not stated by a character in dialogue, including actions and thoughts. |
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| A silent and motionless depiction of a scene created by actors, often from a picture (plural tableaux). |
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| Printed words, including dialogue and the stage directions for a script. |
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| To imitate or represent life in performance for other people; the performance of dramatic literature; drama, the milieu of actors, technicians, and playwrights; the place where dramatic performances take place. |
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| Theatrical movement beginning in the 1950s in which playwrights created works representing the universe as unknowable and humankinds existence as meaningless. |
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| The established techniques, practices, and devices unique to theatrical productions. |
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| Events, activities, and productions associated with theatre, film/video, and electronic media. |
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| Noncompetitive games designed to develop acting skills and popularized by Viola Spolin. |
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| The characteristics of a voice, such as shrill, nasal, raspy, breathy, booming, and so forth. |
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| KQED Television, Theater Vocabulary. |
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| A male or female person who performs a role in a play, skit, or movie. |
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| A person or a situation that opposes another character’s goals or desires. |
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| The planning and working out of the movements of actors on stage. |
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| The ability of the actor/actress to be in character- in dialog, attitude, carriage, etc. |
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| The center of the area defined as the stage. |
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| A personality or role an actor/actress re-creates. |
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| The point of greatest dramatic tension or transition in a theatrical work. |
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| A reading of a script done by actors who have not previously reviewed the play. |
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| Two or more people working together in a creative effort. |
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| A theatrical work that is intentionally humorous. |
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| Opposition of persons or forces giving rise to dramatic action. |
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| The various conditions and circumstances in which a play exists or occurs. |
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| Clothing worn by an actor on stage during a performance. |
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| Opinions and comments based on factors that may be used for self- evaluation or the evaluation of the actors or the production itself. |
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| A signal, either verbal or physical, that indicates something else, such as a line of dialogue or an entrance, is to happen. |
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| The creative process of developing and executing aesthetic or functional designs in a production, such as costumes, lighting, sets, and makeup. |
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| The conversation between actors on stage. |
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| The art and technique of bringing the elements of theatre together to make a play. |
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| The literary structure and style in which plays are written. |
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| The final few rehearsals just prior to opening night in which the show is run with full technical elements. Full costumes and makeup are worn. |
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| The technique of calling upon your own memories to understand a character’s emotions. |
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| A group of theatrical artists working together to create a theatrical production. |
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| Detailed information revealing the facts of a plot. |
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| A comedy with exaggerated characterizations, abundant physical or visual humor, and, often, an improbable plot. |
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| An expressive movement of the body or limbs. |
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| Theatrical events that were often in honor of the god Dionysus in Ancient Greece and included play competitions, athletic competitions and masked actors. |
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| A spontaneous style of theatre through which scenes are created without advance rehearsal or a script. |
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| A theatrical performance that focuses on small presentations, such as one taking place in a classroom setting. Usually, it is not intended for public view. |
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