2nd six weeks vocab

ad-lib (TA 6, 7) -- to add in words and actions that are not in the script

articulation (TA 6, 7) -- the sounding out of each syllable/sound in a word clearly

aside - an actor speaks directly to the audience through the 4th wall so the other characters on stage "can't" hear.

blackout (TA 6, 7) -- a fast darkening of the stage, all stage lights out at once and quickly.

breaking character (TA 6, 7) -- when an actor does anything that is not consistent with what the character would do.

build (TA 6, 7) -- to increase the loudness, rate, and energy of a line, speech, scene or song in order to reach a climax.

business (TA 6, 7) -- activity performed by an actor during a scene that is done in addition to blocking in order to make a scene more realistic (ironing, eating, folding laundry, doodling).

character (TA 6, 7) – a “person” in a story; the type of person you are (characteristics).

characterization (TA 6, 7) -- representation of a character’s qualities or peculiarities through dialogue, gesture, movement, costume and makeup.

coloring your words (TA 6, 7) – using your voice to add emphasis and enhance the meaning of the word being said – usually done by elongating the vowel sounds.

cue (TA 6, 7) -- signal (line, piece of business) to an actor or stage technician that the next line or stage function is to occur.

director (TA 6, 7)-- in modern theatre, the major interpretive figure, the artistic visionary whose job it is to bring to life the playwright’s script. The director’s primary objective is to provide artistic meaning to the theatre experience. The director might have a number of professional assistants to work with him/her: casting director, movement coach, speech consultant (vocal coach). In musicals, the music director and the choreographer are also major interpretive figures. In charge of rehearsing with the actors and giving them blocking.

doubling - one actor plays multiple roles in the same show (Bob is the Prince AND the Fairy Godmother.

double-- two different actors play the SAME role on different nights (Sara is Cinderella on Tuesday and Jane is Cinderella on Wednesday).

drama (TA 6, 7) -- a serious form of theatre (genre) that takes a thoughtful, sober attitude toward its subject matter. It puts the audience in a frame of mind to think carefully about what it sees and to become involved with the characters on stage.

dramatic time (TA 6, 7) -- the period of time that elapses in a script as opposed to physical time which indicated the actual length of the production.

duet (TA 6, 7) – a scene for two people.

effect (TA 6, 7)-- sound, visual, lighting cues intended to enhance a production.

flashback (TA 6, 7)-- theatrical convention in which the audience is able to see scenes from the past through the eyes of one of the characters in a play.

floor plan (TA 6, 7) -- line drawing of a stage set as seen from above showing the placement on the stage floor of the scenic elements; ground plan.

genre (TA 6, 7) -- group or category of compositions that have common characteristics.

gesture (TA 6, 7)-- the use of hand, body and facial movement to make the actor’s dialogue more meaningful or to make a point without dialogue.

ground plan (TA 6, 7)-- a drawing of the stage setting including the major furniture props as seen from above

implicit directions (TA 6, 7) – stage directions that are given in dialogue (“Please sit down.”).

inflection (TA 6, 7) – the “musical” quality to a voice, uses a variety of pitch, tempo, volume .

motivation (TA 6, 7)-- the reason behind an actor speaking a line or making a movement, what a character wants or needs to happen; goal; objective; intention.

narrator (TA 6, 7) – a character outside of the action of the play who makes commentary with the audience or to the audience about the show and characters.

off-stage focus – (TA 6, 7) – when the actors break the 4th wall and talk directly to the audience.

open (TA 6, 7)-- actor is to turn front and face the audience.

open turn (TA 6, 7)-- actor is to turn toward the audience.

pitch (TA 6, 7) – the highness or lowness of a sound or voice.

presentational plays (TA 6, 7)-- plays which are presented to the audience as the actors work directly to the crowd much of the time with little attempt at illusion – the 4th wall is deliberately broken.

punch line (TA 6, 7)-- line that should get a laugh; the last line in an improvisation that makes the scene feel finished.

quality (TA 6, 7) – what makes a voice unique – stuffy, nasal, robotic, gravelly, breathy, etc.

readers’ theatre (TA 6, 7)-- an oral interpretation of prose, sometimes drama, by a group of performers standing or sitting onstage with a script in hand and limited movement

role (TA 6, 7)-- a part in a play, a character.

skit -(TA 6, 7)-- - a short dramatic sketch, usually humorous and without a complete pl

stage business (TA 6, 7)-- -- all visual activity an actor does on stage other than personal business that fills out the details of his character – in addition to blocking.

static scene (TA 6, 7)-- scene with little movement and no drive; to be avoided at all cost.

steal a scene / steal (TA 6, 7)-- -- to attract attention that should be on another actor.

stereotype (TA 6, 7) – making assumptions about a person/character based on physical characteristics (hair color, gender, race, clothing, etc).

theme (TA 6, 7)-- -- central ideas or thoughts of a play that synthesize the audience’s experiences.

Middle School Level 2 Vocabulary

above (TA 7) -- the acting area of the stage farthest away from the audience. A written stage direction might call for an actor to "cross above table." Also called upstage. Term originated from original raked stage which was angled to give audience member a better view of entire stage.

acoustics (TA 7) -- the total effect of sound in a theatre, affected by size and shape of a space as well as its furnishings and floor coverings.

adaptation (TA 7) -- a play taken from a novel, a movie or other literary material.

allegory (TA 7) -- a drama in which a character becomes a symbol for a concept or idea.

articulation (TA 6, 7) -- the sounding out of each syllable/sound in a word clearly

auditions (TA 6, 7)-- competitive tryouts for a performer seeking a role in a theatre production. The process may include interviews, cold readings from the script, the presentation of a prepared piece, improvisations, or any combination of these.

batten (TA 7) -- long iron pipe that stretches above the stage and upon which scenery, drops, or lights are hung

black-box theater (TA 7) – flexible, black room for theater performances where the audience seating and playing areas can be rearranged in any way that suits the needs of the individual production

box set (TA 7) -- realistic, interior setting made of flats to simulate the three interior walls, and sometimes a ceiling. The audience views the play through the imaginary fourth wall.

center line (TA 6, 7) -- an imaginary line down the center of the stage, from upstage to downstage.

closing (TA 6, 7) -- the last night of a run of shows.

cold reading (TA 7) – an audition style where you are sent up to read from a script you’ve never seen before

coloring your words (TA 6, 7) – using your voice to add emphasis and enhance the meaning of the word being said – usually done by elongating the vowel sounds.

crew (TA 6, 7) – all the technicians in a play.

crisis (TA 6, 7) -- turning point of a play, a time of decision forcing the climax of the play to occur.

cross (TA 6, 7) -- movement of an actor from one position on the stage to another; usually indicated in a script by a “X.”

cross above (TA 7) -- to move upstage/behind a person or prop.

cross below (TA 7) -- to move downstage/in front of a person or prop.

curtain call (TA 6, 7) -- bowing and receiving the audience’s applause at the end of the show, or, sometimes in opera, at the end of an act.

curtain line (TA 6, 7)-- imaginary line at which the main drape meets the floor.

dress rehearsal (TA 7)-- final rehearsal in which all visual elements of production, including costumes, are used. A rehearsal process typically includes three dress rehearsals, each rehearsal striving to duplicate, insofar as possible, an actual performance.

duet (TA 6, 7) – a scene for two people.

floor plan (TA 6, 7) -- line drawing of a stage set as seen from above showing the placement on the stage floor of the scenic elements; ground plan.

focus (TA 7) -- controlling the audience’s attention. A director may have to ask an actor not to steal focus with excessive movement on another actor’s line.

implicit directions (TA 6, 7) – stage directions that are given in dialogue (“Please sit down.”).

levels (TA 6, 7)-- steps, platforms etc., that raise the actor from the stage; varying the levels of the actors on stage helps to create better stage pictures and visual interest.

monologue (TA 6, 7)-- uninterrupted speech delivered by one character in a play to other characters who are at least present, if not listening- usually a speech that is at least 30 seconds in length.

obstacle (TA 6, 7) – what gets in the way of what the character wants.