THEATER FINAL VOCAB
Order by
89 terms
Terms | Definitions |
|---|---|
 ACTION | MOVEMENT OR PROGRESSION OF A PLAY, SCENE OR CHARACTER |
| AD LIB | TO IMPROVISE OR MOVE AWAY FROM THE SCRIPTED DIALOGUE |
| ANALYSIS | SYSTEMATIC EXAMINATION OF THE COMPONENTS OF ANY ENTITY- A SCENE, A PLAY, A CHARACTER |
| ANTAGONIST | THE OPPONENT OF THE PROTAGONIST IN A PLAY |
| APRON | PART OF THE STAGE BELOW THE CURTAIN LINE |
| ARENA OF "IN THE ROUND" | A STAGING FORM WITH THE AUDIENCE SURROUNDING THE ACTION |
| ASIDE | A LINE OR COMMENT THAT OTHER CHARACTERS IN THE SCENE ARE MEANT NOT TO HEAR. SOMETIMES IT IS SPOKEN DIRECTLY TO THE AUDIENCE |
| AUDITION | THE PROCESS OF VIEWING ACTORS TO ASSIGN ROLES; NOT SYNONYMOUS WITH THE TERM TRY OUT |
| BACKSTAGE | AREA BEHIND THE CURTAIN LINE |
| BEAT | THE SMALLEST UNIT OF ACTION BY AN ACTOR |
| BLACKOUT | TAKING ALL LIGHTING QUICKLY TO ZERO, LEAVING THE STAGE IN COMPLETE DARKNESS |
| BLOCKING | THE PROCESS OF DEVELOPING STAGE POSITION AND MOVEMENT PATTERNS WITH ACTORS |
| BOX SET | A ROOM SET, THREE WALLS AND A CEILING |
| BUILD | AN INCREASE IN VOLUME, SPEED, OR INTENSITY OF THE ACTION IN A SCENE |
| BUSINESS | ANY ACTION PERFORMED BY AN ACTOR- OFTEN INVOLVING A PROP |
| CALL BOARD | A BOARD, USUALLY AT OR NEAR THE STAGE DOOR, WHERE ALL OFFICIAL CALLS AND OTHER NOTICES ARE POSTED |
| CALL TIME | SCHEDULED TIME FOR ACTORS AND OTHER MEMBERS OF THE COMPANY TO REPORT TO THE THEATRE TO BEGIN A SHOW OR REHEARSAL |
| CHEAT | TO ADJUST STAGE OR BODY POSITION WITHOUT TAKING FOCUS |
| CHOREOGRAPHY | THE DESIGN AND COMPOSITION OF DANCE MOVEMENTS FOR MUSICAL NUMBERS IN A SHOW. CAN ALSO BE USED FOR STAGE COMBAT |
| CLIMAX | THE HIGH POINT OF ACTION IN THE PLAY, WHICH IS THE TURNING POINT IN THE PLOT |
| CLOSED | POSITIONED SO THAT THE FACE OF THE ACTOR OR OBJECT IS AWAY FROM THE AUDIENCE |
| 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 |
| COMPANY | ALL THE PEOPLE INVOLVED IN WORKING ON A PRODUCTION |
| CONFLICT | DRAMATIC OPPOSITION OF THE PROTAGONIST |
| COUNTER | A DISCREET, COMPLEMENTARY MOVE MADE TO ADJUST TO ANOTHER ACTOR'S LARGER AND MORE IMPORTANT MOVEMENT |
| COVER | TO OBSTRUCT SOMEONE'S VIEW, USUALLY THE AUDIENCE'S. TO HIDE A MISTAKE, AS IN A MISSED CUE OR FORGOTTEN LINES |
| CRITIQUE | EVALUATIONS WHERE BOTH STRENGTHS AND WEAKNESSES OF THE PRODUCTION ARE NOTED |
| CROSS | A MOVE FROM ONE PART OF THE STAGE TO ANOTHER |
| CUE | A SIGNAL, SUCH AS A LINE OR AN ACTION THAT LETS THE ACTOR KNOW THAT IT IS THEIR TURN TO SPEAK OR MOVE |
| CURTAIN | A PHRASE USED TO BEGIN AND END A PERFORMANCE. USED IN MONOLOGUE, IMPROV AND SCENE WORK |
| CUT | TAKE OUT; OR STOP ACTION |
| DOWNSTAGE | THE AREA TOWARDS THE FRONT OF THE STAGE CLOSEST TO THE AUDIENCE |
| DRESS REHEARSAL | A REHEARSAL WITH THE CAST IN COSTUME |
| DRY RUN THROUGH | SETTING AND RUNNING OF TECHNICAL CUES WITHOUT THE ACTORS |
| ENSEMBLE | THE COMPANY AS A TEAM |
| ENUNCIATION | TO PRONOUNCE WORDS INDISTINCTLY |
| FARCE | A PLAY IN WHICH THE COMEDY IS BASED ON EXAGGERATED OR ABSURD SITUATIONS |
| FOCUS | VISUAL OR MENTAL EMPHASIS |
| FORTH WALL | AN PROSCENIUM STAGE BOX SET, THE WALL THROUGH WHICH THE AUDIENCE SEES THE ACTION |
| GREENROOM | TRADITIONAL NAME FOR THE AREA WHERE THE ACTORS WAIT TO MAKE THEIR ENTRANCES |
| HOLD | WAITING FOR LAUGHTER, AN ACTION OR A LINE |
| 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 |
| INGENUE | THE YOUNG FEMALE CHARACTER IN THE PLAY |
| JUVENILE | THE YOUNG MALE CHARACTER IN THE PLAY |
| MAGIC "IF" | CONDITIONS OF THE DRAMATIC FICTION. AN ACTOR ASKS "WHAT IF" IN TRYING TO GRASP THE CHARACTER |
| MONOLOGUE | A DRAMATIC SPEECH BY A SINGLE PERSON |
| MOOD | AN EMOTIONAL STATE, USUALLY THE RESULT OF A COMBINATIONS OF EMOTIONS |
| MOTIVATION | UNDERLYING FORCE THAT PROVOKES AN ACTION OR A RESPONSE. WHY THE CHARACTER DOES WHAT THEY DO |
| OBJECTIVE | CHARACTER MOTIVE OR INTENTION |
| OPEN | A POSITION THAT ALLOWS THE AUDIENCE TO SEE AS MUCH OF THE ACTOR'S FRONT AS POSSIBLE |
| OPENING | THE OPENING NIGHT OF A SHOW |
| 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 |
| ORCHESTRA PIT | THE AREA USED BY MUSICIANS THAT IS BETWEEN THE FRONT OF THE APRON AND THE FIRST ROW OF SEATS |
| PACE | LIVELY, ON-GOING ACTION WITH TEMPO AND RHYTM |
| PLACES | COMMAND TO CALL EVERYONE TO OPENING POSITIONS FOR A SCENE/ USUALLY GIVEN BY THE STAGE MANAGER |
| PLOT | THE SEQUENCE OF EVENTS IN A PLAY, THE PRODUCTION FORM USED IN STAGE ARRANGEMENTS |
| PROJECTION | THE SUPPORTING OF THE VOICE TO ENSURE CLARITY IN SPEAKING |
| PROPS | FURNISHINGS, SET DRESSINGS AND ACTOR'S ACCESSORIES |
| PROSCENIUM STAGE | PRICTURE FRAME OPENING THROUGH WHICH THE PLAY IS VIEWED |
| PROTAGONIST | THE CENTRAL CHARACTER IN A PLAY |
| RAKE | AN ANGLE OR SLOPE; AS IN A RAKED STAGE |
| RHYTHM | THE PULSE OR BEAT OF THE SCENE OR ACTION |
| ROYALTIES | FEE PAID TO THE PLAYWRIGHT TO PRODUCE THE SHOW, USUALLY THROUGH AN AGENT OR A PLAY SERVICE |
| SET PIEVES | SCENERY; FURNITURE, STAGE DRESSING, ETC |
| SIGHT LINES | THE LINES OF VISION FROM THE AUDIENCE TO THE STAGE |
| STAGE LEFT | THE STAGE TO THE LEFT OF THE ACTOR AS THEY FACE THE AUDIENCE |
| STAGE PLOT | THE PRODUCTION FORM USED IN STAGE ARRANGEMENT FOR A PLAY |
| STAGE RIGHT | THE STAGE AREA TO THE RIGHT OF THE ACTOR AS THEY FACE THE AUDIENCE |
| STRIKE | REMOVE FROM THE STAGE EITHER TEMPORARILY OR PERMANENTLY WHEN THE SHOW CLOSES |
| TECH REHEARSALS | REHEARSAL OF TECHNICAL CUES WITH THE ACTORS |
| TEMPO | RATE OF SPEED FOR A SCENE OR THE WHOLE PLAY |
| THEME | THE MAJOR PREMISE ON WHICH THE PLAY IS BASED |
| THRUST STAGE | STAGING FORM IN WHICH THE AUDIENCE VIEWS THE ACTION FROM THREE SIDES |
| UPSTAGE | AWAY FROM THE AUDIENCE TOWARDS THE BACK WALL OF THE STAGE |
| VILLAIN | THE CHIEF ANTAGONIST OF THE HERO IN A PLAY |
| WINGS | OFFSTAGE SPACE LEFT AND RIGHT |
| ABOVE | A POSITION OR MOVEMENT ON STAGE UPSTAGE OR AWAY FROM THE AUDIENCE |
| BELOW | A POSITION CLISER TO THE AUDIENCE OR DOWNSTAGE |
| 6 STAGE AREAS | THE MANNER IN WHICH THE STAGE IS DIVIDED FOR DIRECTION PURPOSES |
| FULL FRONT | WHEN THE ACTOR IS FACING DIRECTLY TOWARD THE AUDIENCE |
| QUARTER POSITION | WHEN THE ACTOR IS FACING ONE OF THE DOWNSTAGE CORNERS AND LEADING WITH THE UPSTAGE FOOT |
| FULL BACK | WHEN THE ACTORS BACK IS TOWARD THE AUDIENCE |
| THREE QUARTER POSITION | WHEN THE ACTOR IS FACING ONE OF THE UPSTAGE CORNERS OF THE STAGE |
| OPEN UP | WHEN THE ACTOR TURNS TOWARD CENTER STAGE, TURINING OFF STAGE |
| SHARED SCENE | ASSUMING A POSITION ON STAGE SO THAT EQUAL DRANATIC EMPHASIS IS ON EACH CHARACTER |
| PROFILE SCENE | TWO ACTORS FACING EACH OTHER; BOTH OF EQUAL EMPHASIS |
| GIVEN SCENE | TO ASSUME A LESS DOMINANT POSITION IN RELATIONSHIP TO ANOTHER ACTOR |
| TO COUNTER A MOVEMENT | ANY MOVEMENT IN OPPOSITION TO THE GENERAL MOVEMENT OF THE GROUP OR ANOTHER ACTOR |
| TO COVER SOMEONE | TO OBSCURE OR HIDE AN ACTOR OR PIECE OF BUSINESS FROM THE AUDIENCE |
First Time Here?
Welcome to Quizlet, a fun, free place to study. Try these flashcards, find others to study, or make your own.