Theater 191; ch 9
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44 terms
Terms | Definitions |
|---|---|
 skene | in ancient Greece, a stage house up stage of the circular orchestra (our source for the words scene & scenery) |
| orchestra | (1)in a modern proscenium theater the audience seating area at the floor level immediately in front of the stage (2)in ancient Greece a typically circular performance space, literally, "dancing space" |
| pinakes | flat, painted scenery, referred to in a late classical account of theater architecture in Greece and Rome |
| periaktoi | prism-shaped, 3-sided scenic units that could be painted and revolved, referred to in a late classical account of theater architecture of Greece and Rome |
| wing, drop, and border scenery | flat pieces of scenery painted to look 3-D including float painted panels on either side of the stage (wings), a large expanse of painted fabric upstage (drop or shutters), and strips of cloth or panels hung horizontally acorss the tops of the wings (borders). this type of scenery was typical in Europe and beyond from the Renaissance to the late 19th century |
| ground low | low, flat, painted scenery at stage level. when combined with wing, drop and border scenery, these rows extended the line of the wing out toward center stage |
| box set | scenery that imitates the interior of a room with walls, sometimes ceiling, furniture, and visual detail, standard in Europe and North America after 1830 |
| antiquarianism | in 19th century Europe, the practice of reseaching and recreating authentic styles of dress, architecture, and interior design when producing plays written or set in the past. this term was later replaced by "historical accuracy" |
| revolve | a circular portionof the stage floor that can rotate, first developed for the Bunraku and Kabuki theater in Japan in 1758 and adopted in the West in the late 19th century |
| ground plan | a drafting of the plan of the set as seen from overhead. this plan shows where any scenic pieces or set props (like furniture) are to be placed |
| section | a drafting showing the vertical elements of the set and permanent theatrical elements and their relative positions (for example, the heights at which scenery, lighting, and masking are to be hung) |
| rendering | a picture created by a designer to communicate with other production personnel. EX) like pictures of costumes for each actor in each scene; with color |
| model | a 3-D miniature version of the set, built to scale (usually one-quarter or one-half inch to the foot) |
| front elevation | drafting the set, breaking it into units to be built and showing each piece of scenery from the front |
| unit set | a single scenic unit that is used to represent many different locations |
| painter's elevation | a color picture showing the plan for painting each piece of scenery |
| rear elevation | a drafting showing each scenic piece from the back; these elevations are important in constructing the scenery, since a rear view may show how each piece of scenery is to be built |
| sight lines | the set designer's determination of what the audience can and cannot see |
| masking | black velour or flats hung or placed vertically and horizontally across the stage to cut off udience view of backstage areas |
| technical director | a staff member who is responsible for the safety of the theater space, for scheduling, for construction and equipment installation, and for making sure designs are executed according to designers' specifications |
| scene shop foreman | a staff member who oversees construction of the set by a crew of carpenters, scenic painters, and other craftspeople |
| props manager | a staff member who organizes the collection or building of all properties in a show |
| scrim | a translucent piece of fabric. when lit from the front, the scrim seems solid. when the scrim lighting is extinguished and an object behind it is lit, the scrim seems to disappear, and the object becomes visible |
| intensity | brightness of lighting on the stage; is controlled by the number of lumens pumped onto the stage, which depends on the number of lighting instruments used |
| color | an important design element in theater. different colors tend to create different responses in human beings; designers think not only about the effect that a particular color will have on the audience, but also about the message that it sends about the world of the play. in lighting, color is created by filtering the light with color media or color filters |
| distribution | an element of lighting design determined by where lighting instruments are placed as well as the types of instruments used. angle is an important part of distribution since it affects the mood and appearance of the actors as well as suggesting time of day |
| orchestration or movement | in lighting design, a change of intensity, color, or distribution of light on the stage. also called movement |
| spotlight | a type of lighting instrument that is used frequently in the theater. glass lenses create a focused and controllable beam of light and various shaped metal and glass reflectors affect the quality of light and shape of the beam |
| Fresnel | a spotlight that is used to create a soft beam of light that blends with others to create the appearance of an even area of light |
| ellipsoidal | spotlight that created a hard-edged beam and includes 4 shutters around the circular lens to further control its focus |
| par lamp | a parabolic aluminated reflector; a type of lighting instrument used to create parallel rays |
| lighting console | a lighting control board with a memory system |
| crossfade | 2 or more simultaneous changes in lighting made possible by the creation of dimmers and lighting consoles in the 20th century |
| gobo | a lighting projection using a metal cutout like a stencil in front of the light source to black solid areas of light, casting shadows on the stage to suggest leaf patterns, prison bars, and so on |
| practical | a visible light source on stage that is often enhanced by unseen lighting instruments.other lights help intensify the known light source thats on stage. like a desk lamp |
| lighting plot | a technical drawing created by the lighting designer showing where each instrument is to be hung, along with the type of instrument and color filters to be used |
| master electrician | a staff member who works closely with the lighting designer and directs a lighting crew to hang, focus, and filter the lighting instruments and to set up circuitry, the lighting console, and sometimes sound equipment also |
| cue-to-cue | a technical rehearsal in which only the parts of the play including cues are run; most dialoague or action in between is skipped; the stage manager organizes and runs this |
| silhouette | the outer shape of a costume. is particularly indicative of time period and culture. also called line. |
| texture | an element of costume; the feel of the fabric (fine, smooth, soft, rough) |
| accent | the details of a costume. buttons, lace, piping along edges, embroidery, jewelry, are all examples of this |
| costume shop manager | staff member who coordinates the efforts of cutters, stitchers, and other personnel in building costumes |
| costume plot | a chart that records items of clothing worn by each actor in each scene of a play |
| raked stage | set at an angle. in early proscenium theaters. the stage was elevated much higher at the back of the stage (upstage) than closer to the audience (downstage). the seating is elevated in the back of the house too to be able to see |
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