1.
6 STAGE AREAS: THE MANNER IN WHICH THE STAGE IS DIVIDED FOR DIRECTION PURPOSES
2.
ABOVE: A POSITION OR MOVEMENT ON STAGE UPSTAGE OR AWAY FROM THE AUDIENCE
3.
ACTION: MOVEMENT OR PROGRESSION OF A PLAY, SCENE OR CHARACTER
4.
AD LIB: TO IMPROVISE OR MOVE AWAY FROM THE SCRIPTED DIALOGUE
5.
ANALYSIS: SYSTEMATIC EXAMINATION OF THE COMPONENTS OF ANY ENTITY- A SCENE, A PLAY, A CHARACTER
6.
ANTAGONIST: THE OPPONENT OF THE PROTAGONIST IN A PLAY
7.
APRON: PART OF THE STAGE BELOW THE CURTAIN LINE
8.
ARENA OF "IN THE ROUND": A STAGING FORM WITH THE AUDIENCE SURROUNDING THE ACTION
9.
ASIDE: A LINE OR COMMENT THAT OTHER CHARACTERS IN THE SCENE ARE MEANT NOT TO HEAR. SOMETIMES IT IS SPOKEN DIRECTLY TO THE AUDIENCE
10.
AUDITION: THE PROCESS OF VIEWING ACTORS TO ASSIGN ROLES; NOT SYNONYMOUS WITH THE TERM TRY OUT
11.
BACKSTAGE: AREA BEHIND THE CURTAIN LINE
12.
BEAT: THE SMALLEST UNIT OF ACTION BY AN ACTOR
13.
BELOW: A POSITION CLISER TO THE AUDIENCE OR DOWNSTAGE
14.
BLACKOUT: TAKING ALL LIGHTING QUICKLY TO ZERO, LEAVING THE STAGE IN COMPLETE DARKNESS
15.
BLOCKING: THE PROCESS OF DEVELOPING STAGE POSITION AND MOVEMENT PATTERNS WITH ACTORS
16.
BOX SET: A ROOM SET, THREE WALLS AND A CEILING
17.
BUILD: AN INCREASE IN VOLUME, SPEED, OR INTENSITY OF THE ACTION IN A SCENE
18.
BUSINESS: ANY ACTION PERFORMED BY AN ACTOR- OFTEN INVOLVING A PROP
19.
CALL BOARD: A BOARD, USUALLY AT OR NEAR THE STAGE DOOR, WHERE ALL OFFICIAL CALLS AND OTHER NOTICES ARE POSTED
20.
CALL TIME: SCHEDULED TIME FOR ACTORS AND OTHER MEMBERS OF THE COMPANY TO REPORT TO THE THEATRE TO BEGIN A SHOW OR REHEARSAL
21.
CHEAT: TO ADJUST STAGE OR BODY POSITION WITHOUT TAKING FOCUS
22.
CHOREOGRAPHY: THE DESIGN AND COMPOSITION OF DANCE MOVEMENTS FOR MUSICAL NUMBERS IN A SHOW. CAN ALSO BE USED FOR STAGE COMBAT
23.
CLIMAX: THE HIGH POINT OF ACTION IN THE PLAY, WHICH IS THE TURNING POINT IN THE PLOT
24.
CLOSED: POSITIONED SO THAT THE FACE OF THE ACTOR OR OBJECT IS AWAY FROM THE AUDIENCE
25.
CLOSING BEAT: THE SMALL UNIT OF ACTION BY AN ACTOR AT THE END OF THEIR PERFORMANCE TO INDICATE TO THE AUDIENCE THEY ARE FINISHED. USUALLY USED IN MONOLOGUE AND SCENE WORK
26.
COMPANY: ALL THE PEOPLE INVOLVED IN WORKING ON A PRODUCTION
27.
CONFLICT: DRAMATIC OPPOSITION OF THE PROTAGONIST
28.
COUNTER: A DISCREET, COMPLEMENTARY MOVE MADE TO ADJUST TO ANOTHER ACTOR'S LARGER AND MORE IMPORTANT MOVEMENT
29.
COVER: TO OBSTRUCT SOMEONE'S VIEW, USUALLY THE AUDIENCE'S. TO HIDE A MISTAKE, AS IN A MISSED CUE OR FORGOTTEN LINES
30.
CRITIQUE: EVALUATIONS WHERE BOTH STRENGTHS AND WEAKNESSES OF THE PRODUCTION ARE NOTED
31.
CROSS: A MOVE FROM ONE PART OF THE STAGE TO ANOTHER
32.
CUE: A SIGNAL, SUCH AS A LINE OR AN ACTION THAT LETS THE ACTOR KNOW THAT IT IS THEIR TURN TO SPEAK OR MOVE
33.
CURTAIN: A PHRASE USED TO BEGIN AND END A PERFORMANCE. USED IN MONOLOGUE, IMPROV AND SCENE WORK
34.
CUT: TAKE OUT; OR STOP ACTION
35.
DOWNSTAGE: THE AREA TOWARDS THE FRONT OF THE STAGE CLOSEST TO THE AUDIENCE
36.
DRESS REHEARSAL: A REHEARSAL WITH THE CAST IN COSTUME
37.
DRY RUN THROUGH: SETTING AND RUNNING OF TECHNICAL CUES WITHOUT THE ACTORS
38.
ENSEMBLE: THE COMPANY AS A TEAM
39.
ENUNCIATION: TO PRONOUNCE WORDS INDISTINCTLY
40.
FARCE: A PLAY IN WHICH THE COMEDY IS BASED ON EXAGGERATED OR ABSURD SITUATIONS
41.
FOCUS: VISUAL OR MENTAL EMPHASIS
42.
FORTH WALL: AN PROSCENIUM STAGE BOX SET, THE WALL THROUGH WHICH THE AUDIENCE SEES THE ACTION
43.
FULL BACK: WHEN THE ACTORS BACK IS TOWARD THE AUDIENCE
44.
FULL FRONT: WHEN THE ACTOR IS FACING DIRECTLY TOWARD THE AUDIENCE
45.
GIVEN SCENE: TO ASSUME A LESS DOMINANT POSITION IN RELATIONSHIP TO ANOTHER ACTOR
46.
GREENROOM: TRADITIONAL NAME FOR THE AREA WHERE THE ACTORS WAIT TO MAKE THEIR ENTRANCES
47.
HOLD: WAITING FOR LAUGHTER, AN ACTION OR A LINE
48.
IMPROVISATION: A REHEARSAL TECHINQUE TO DISCOVER THE ESSENCE ABOUT A SITUATION, A CHARACTER, OR A RELATIONSHIP THROUGH NON SCRIPTED INTERATION WITH THE OTHER CHARACTERS IN THE SCENE OR ALONE
49.
INGENUE: THE YOUNG FEMALE CHARACTER IN THE PLAY
50.
JUVENILE: THE YOUNG MALE CHARACTER IN THE PLAY
51.
MAGIC "IF": CONDITIONS OF THE DRAMATIC FICTION. AN ACTOR ASKS "WHAT IF" IN TRYING TO GRASP THE CHARACTER
52.
MONOLOGUE: A DRAMATIC SPEECH BY A SINGLE PERSON
53.
MOOD: AN EMOTIONAL STATE, USUALLY THE RESULT OF A COMBINATIONS OF EMOTIONS
54.
MOTIVATION: UNDERLYING FORCE THAT PROVOKES AN ACTION OR A RESPONSE. WHY THE CHARACTER DOES WHAT THEY DO
55.
OBJECTIVE: CHARACTER MOTIVE OR INTENTION
56.
OPEN: A POSITION THAT ALLOWS THE AUDIENCE TO SEE AS MUCH OF THE ACTOR'S FRONT AS POSSIBLE
57.
OPEN UP: WHEN THE ACTOR TURNS TOWARD CENTER STAGE, TURINING OFF STAGE
58.
OPENING: THE OPENING NIGHT OF A SHOW
59.
OPENING MOMENT: THE SMALLEST UNIT OF ACTION FROM AN ACTOR TO INDICATE THAT THEY HAVE BEGUN THEIR PERFORMANCE. THE PREVIOUS MOMENT IS USED IN CREATING THIS ACTION
60.
ORCHESTRA PIT: THE AREA USED BY MUSICIANS THAT IS BETWEEN THE FRONT OF THE APRON AND THE FIRST ROW OF SEATS
61.
PACE: LIVELY, ON-GOING ACTION WITH TEMPO AND RHYTM
62.
PLACES: COMMAND TO CALL EVERYONE TO OPENING POSITIONS FOR A SCENE/ USUALLY GIVEN BY THE STAGE MANAGER
63.
PLOT: THE SEQUENCE OF EVENTS IN A PLAY, THE PRODUCTION FORM USED IN STAGE ARRANGEMENTS
64.
PROFILE SCENE: TWO ACTORS FACING EACH OTHER; BOTH OF EQUAL EMPHASIS
65.
PROJECTION: THE SUPPORTING OF THE VOICE TO ENSURE CLARITY IN SPEAKING
66.
PROPS: FURNISHINGS, SET DRESSINGS AND ACTOR'S ACCESSORIES
67.
PROSCENIUM STAGE: PRICTURE FRAME OPENING THROUGH WHICH THE PLAY IS VIEWED
68.
PROTAGONIST: THE CENTRAL CHARACTER IN A PLAY
69.
QUARTER POSITION: WHEN THE ACTOR IS FACING ONE OF THE DOWNSTAGE CORNERS AND LEADING WITH THE UPSTAGE FOOT
70.
RAKE: AN ANGLE OR SLOPE; AS IN A RAKED STAGE
71.
RHYTHM: THE PULSE OR BEAT OF THE SCENE OR ACTION
72.
ROYALTIES: FEE PAID TO THE PLAYWRIGHT TO PRODUCE THE SHOW, USUALLY THROUGH AN AGENT OR A PLAY SERVICE
73.
SET PIEVES: SCENERY; FURNITURE, STAGE DRESSING, ETC
74.
SHARED SCENE: ASSUMING A POSITION ON STAGE SO THAT EQUAL DRANATIC EMPHASIS IS ON EACH CHARACTER
75.
SIGHT LINES: THE LINES OF VISION FROM THE AUDIENCE TO THE STAGE
76.
STAGE LEFT: THE STAGE TO THE LEFT OF THE ACTOR AS THEY FACE THE AUDIENCE
77.
STAGE PLOT: THE PRODUCTION FORM USED IN STAGE ARRANGEMENT FOR A PLAY
78.
STAGE RIGHT: THE STAGE AREA TO THE RIGHT OF THE ACTOR AS THEY FACE THE AUDIENCE
79.
STRIKE: REMOVE FROM THE STAGE EITHER TEMPORARILY OR PERMANENTLY WHEN THE SHOW CLOSES
80.
TECH REHEARSALS: REHEARSAL OF TECHNICAL CUES WITH THE ACTORS
81.
TEMPO: RATE OF SPEED FOR A SCENE OR THE WHOLE PLAY
82.
THEME: THE MAJOR PREMISE ON WHICH THE PLAY IS BASED
83.
THREE QUARTER POSITION: WHEN THE ACTOR IS FACING ONE OF THE UPSTAGE CORNERS OF THE STAGE
84.
THRUST STAGE: STAGING FORM IN WHICH THE AUDIENCE VIEWS THE ACTION FROM THREE SIDES
85.
TO COUNTER A MOVEMENT: ANY MOVEMENT IN OPPOSITION TO THE GENERAL MOVEMENT OF THE GROUP OR ANOTHER ACTOR
86.
TO COVER SOMEONE: TO OBSCURE OR HIDE AN ACTOR OR PIECE OF BUSINESS FROM THE AUDIENCE
87.
UPSTAGE: AWAY FROM THE AUDIENCE TOWARDS THE BACK WALL OF THE STAGE
88.
VILLAIN: THE CHIEF ANTAGONIST OF THE HERO IN A PLAY
89.
WINGS: OFFSTAGE SPACE LEFT AND RIGHT
