Drama Terms (Alphabetical) S to V Words
Terms in this set (27)
A section of a play that occurs in a particular place and time.
The design of the whole performance environment to create a sense of time/place/context/emotion is referred to as the scenography. It is a more recent term that incorporates the possibilities offered by contemporary technologies which can use filmic elements, special effects sound and light and even smell as part of the design. It involves the consideration of all performance elements working together to engage the audience's human senses.
The environment of the stage space constructed to show the place and time of the dramatic action. Settings, scenery and the environment of the play (scenography) are created to look effective from the point of view of the audience. Natural features, walls, doors and windows for example, can be made of material, canvas or other light and easy to move materials.
Set strike lists
The Stage manager is in charge of the order for setting, striking and storing sets and props before, during and after a performance.
The place where the dramatic action is situated either through design elements, dialogue or non-verbal communication. This includes qualities about that place including temperature, features, light levels, population levels and other environmental factors.
Setting sets and props
Sets and/or props are set in place on stage before a performance or during a scene change by the backstage crew.
This protocol involves a list or book where performers and/or those involved in a production sign in as they enter the theatre each day for work. By the hour or half hour call, the stage manager can see at a glance who has not arrived and then problem solve a potential absence that has consequences for a production.
Social capital #
Social capital is wealth and assets that are not monetary but reflect the value of human interaction and connections. See Cultural values, Cultural Capital and Economic Capital.
Social cultural and economic particulars of the audience members
An audience that has in common, particular backgrounds, social status, age, wealth and/or politics, may respond to drama in a similar particular way based on their beliefs, attitudes, values, points of view and expectations.
A collection of sound effects (SFX) are sourced or recorded, and then edited to create the ambience or impression of a particular setting such as a factory, train station or beach. Soundscapes can also be used by actors using their voices and bodies (e.g. clapping), available props or improvised instruments such as tin cans, sticks etc.
The perceptions of and control of movement within the performance space as well as audience space. Spatial awareness helps an actor to move efficiently and effectively on stage knowing the whereabouts of other actors, sets, props, the limits of the stage and lighting as well as maintaining their movements within the same proportion of the stage even when the size of the stage changes in different venues.
Improvisation that has little or no preparation time often based on a given stimulus.
Lead by the stage manager, the stage crew work mainly back stage to maintain the safe operation of the performance space/stage. The stage crew will set and strike sets and props. They operate the mechanics of the performance environment space of the stage including the curtains, trucks, scenery, rostra, fly ropes, winches and special effects.
The instructions in a script that describe where, what, when and how something is to occur and who is going to do it.
The stage manager is in charge of and coordinates the performance of a play. They ensure that both actors and crew are in the right place at the right time with the necessary sets, props, lighting, sound and other special effects.
Konstantin Stanislavski developed a detailed approach to acting and production in reaction to the very stylised, larger than life, overacted performance style of the late nineteenth century. His work is connected to playwrights who focused on portraying what was 'natural' or 'realistic'.
The sense of power, authority, control and value a character or role holds in terms of themselves and also in comparison with other characters or roles in a drama performance.
Striking sets and props
Sets and/or props are removed from the stage after a scene or section of the play or at the end of the performance.
The meaning or narrative that underlies the main action of a drama is the subtext. It may be evident through the voice or non-verbal communication and/or the design of a drama. The subtext might never be openly stated or revealed.
Suspension of disbelief
The audience and/or the performers agree to suspend their disbelief and accept the 'make-believe' world of the play even though they know it is not 'real'.
The rehearsals where the focus is on the organisation, coordination, timing and running of the technical requirements (for example, design and stage management processes) of the production.
Particular theatre practitioners such as Brecht, Stanislavski or Grotowski developed ways of approaching the creation and production of theatre.
Top and tail
During technical rehearsals the actors are often asked to just perform the beginning and end of a scene or the parts that link to changes in lighting, sound and staging. This is known as topping and tailing.
Transitions involve the changes from one scene or section to another. It is important to achieve smooth transitions between scenes on and off the stage.
Front of house staff who check tickets, show patrons to their seats and manage health and safety considerations in the auditorium and refreshments areas.
This is a form of documentary theatre where the exact words of people are used to create the drama text. Verbatim theatre involves the working with extended interviews or transcripts (for example, of court or government proceedings) which are selected and shaped by the playwright or ensemble to share impressions of that phenomenon or incident. The participants will often make themselves part of the performance event identifying observations, biases and feelings in reaction to what is presented.
In the visual arts, these refer to the aspects of the visual medium that can be manipulated and controlled to create meaning and evoke responses. These include line, shape, texture, colour, tone/value, 3D form and space.