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| purposeful behavior directed toward achieving an objective |
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| the recalling of details surrounding an event in an actors' life to reawaken personal emotions |
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| a unit of dramatic action reflecting a single objective |
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| tension between opposing forces |
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| the conditions - the who, what, where, and when - of the dramatic situation |
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| the continuous, "self-talk" as the character; what the character is thinking when not speaking; inner monologue is directly connected to the subtext and unique language of the character |
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| the ability to act as if the imaginary dramatic circumstances were real |
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| the series of actions that lead a character toward the fulfillment of the superobjective; also called through-action or through-line of action |
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| toward the audience in relation to something else on stage. “Stand below the table,” would be the same as saying “Stand downstage of the table.” |
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| away from the audience in relation to something else on stage. |
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| all parts of the stage not enclosed by the setting |
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| in general all actor movement on stage is referred to as blocking |
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| the last line of a scene or act immediately before the lowering of the curtain. |
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| that part of the stage downstage of the act curtain line |
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| a long strip of pipe suspended from the ceiling, upon which scenery and lights are hung. |
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| to be the first person to play a role |
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| an utterly expressionless face |
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Latin for a god from a machine. Historically refers to a god-character in Greek and Roman drama that appears at then end of the play to set
the action aright. Currently used to refer to a playwriting trick, employing an artificial solution to a dramatic problem |
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