A
Acoustics
The factors that affect the reproduction of sound in a space.
Ad-lib
To say or do something extra to what is planned in a performance.
Arena
A stage area where the audience sits on either three or four sides (usually the audience forms a circle and the stage action takes place in the centre of the circle).
Articulation
To speak clearly and distinctly.
Aside
A comment or speech said by a character that the audience hears but the other characters on stage do not.
B
Back-stage
The space beyond the acting area.
Barndoor
A metal device attached to the front of a light to define its beam.
Backdrop
A large cloth or canvas at the back (upstage) of the acting area.
Batten
A pipe to which scenery, curtains or lights is attached.
Bathos
An anti-climax created by an unintentional and, often extreme, change in mood.
Beat
A small section in a play depicting a shift/change of some kind in a character's intention, objective, motivation, etc.
Bird's eye view
Looking from above e.g. what the set looks like from above.
Black-out
A deliberate period of total or partial stage darkness.
Borders
Similar to a tab, often used to cover the top edge of a proscenium.
Box set
A set with walls on three sides used often in naturalistic plays.
Brace
The support that holds up a piece of scenery or other stage equipment.
Breathing
Remember the singers motto: more air, less effort.
Business (or 'stage business')
Actions performed by an actor often involving the use of a prop, costume item and/or elements of the set.
C
Call
The time at which something is to occur e.g.: 'the actors' call is 7:00 p.m: (meaning the time they must arrive at the theatre).
Catharsis
A release of repressed emotions.
Characterisation
Where an actor puts all the facets of a character together to bring it to life on stage.
Climax
This is the part of the play where the conflict comes to a head or reaches its breaking point. The term comes from the Greek word for ladder, meaning that this is the high point of the play. For an audience this is where our own emotions are likely to be the strongest as we watch the play. For example, this may be the point where we feel the most empathy for the character/s or where we feel the angriest or thrilled about what is happening to them. Once the climax has been reached the remainder of the play is often focused on the aftermath or resolution of the climax. Depending on the play, the resolution may not necessarily be a happy one. A play can have more than one climatic point. For example, there may be smaller climaxes throughout it that further the action towards the major climax. Some plays like those that are Absurdist or Epic in style may deliberately work against having an obvious climax, but this is intentional. (see also 'denouement').
Compare
To point out the similarities and differences between two or more things (such as the work of two or more actors in the same play).
Costume Parade
When the actors dress up in their costumes and stand in front of the costume designer. lighting designer, and director to see how they look under lights
Cue
When a change of some sort occurs in a play.
Cue to Cue run through
A rehearsal where you start at the beginning of the play, miss out long bits of dialogue and skip forward to where something does happen, be it a lighting cue, sound cue, an actors entrance, a sequence where an actor has to get off to do a quick change and then back on again.
Crossfade
Lowering one lighting state at the same time as heightening another.
Cyclorama (Cyc)
The plain backcloth or painted wall at the back of the acting area (often painted white).
D
Demeanour.
The way the characteristics of a character come across to the audience. What the character is like.
Denouement
The resolution of the plot of a play.
Dialogue
The speeches said by characters in a play.
Diction
How words are pronounced.
Downstage
(See 'Stage Positions').
Dramatic irony
A playwriting technique where information is given to the au ence that one or ore ch racters in the play do not know (e.g. in Romeo and Juliet the audience knows Juliet has taken a sleeping potion>but Romeo does not know this and thinks she has died).
Dramatisation
Converting, (usually) a source that isn’t already a script (e.g. a novel, poem, historical document) into a performance text.
E
Embodiment
Conveying meanings through the body.
Empathy
When the audience identifies with or feels for a certain character/s in a play.
Emphasis
The amount of stress or force placed on a word or physical action.
Enactment
To act out something.
Entrance
• When an actor moves onto/into the stage area/acting space.
• The place from where an actor can enter the stage.
Exaggeration
Where an actor performs in such a Wa}' that they emphasise a characteristic of the character e.g. they may emphasise a character's walk, gestures or way of speaking.
Exposition
Where background information about a character and/or the plot and story of a play is given to the audience (usually early in the play).
Expressive skills
The skills required to physically become someone else and to express emotions are known as 'expressive skills'. Sometime these are used synonymously with 'acting skills:
F
Fade out
To slowly dim lights or sound.
Flashback
A scene which takes place at an earlier time than that of the main action of the play.
Flashforwards
A scene which takes place at some time in the future.
Flat
A wooden frame or metal frame covered in canvas.
Flies
The area above the stage where the lights and scenery are hung.
Fluid
Used to describe movement that is evenly paced, or which flows smoothly from one image to the next.
Follow-spot
A spotlight used to follow an actor around the stage. During the performance a technician operates it.
Fourth wall
The imaginary barrier between the audience and the actors on a proscenium arch stage.
Fresnel
A type of theatre lantern, one that has a lens that gives it a beam of light with soft edges.
G
Gait
The way a character moves, especially walking.
Gate
Flexible shutters used in some theatre lanterns to define a beam of light.
Gel
A coloured plastic filter put into a lantern. It is held in a gel frame.
Gesamtkunsterk
Where all the arts (or as many as possible) work together (as in a production).
Gobo
A metal stencil placed inside a spotlight to produce a design (e.g. a commonly-used gobo is one which creates the effect of dappled light on stage as if the light is coming through trees).
Grotesque
A distorted feature (especially facial).
Ground plan
A technical drawing showing the precise position of the lights, set and props for a production.
Ground row
Set of floor-lights bracketed together, often used to light a cyclorama.
H
House lights
The lights that illuminate the audience before and after (and occasionally during) a production
I
Inflection
Where the actor puts stresses on certain words or sounds.
Influence
This is the capacity for something or someone to have a specific impact and/or desired effect on the development of something or someone else. For example, the influence of costume design on the ways in which an audience perceives the historical context of a production, or the influence the director has on the way the actors perform in a play.
Ingenue
An innocent young female character in a play, who often lacks worldly experience.
Intention
Toe driving force behind something (e.g. the intention of a character).
J
Juxtapose
Place together for contrasting effect.
K
Kinaesthetic
Learning through feeling or sensing the body (or parts of the body).
L
Lantern
The generic name given to a theatre light.
Leading role
The actor playing the main character in the play (often referred to as the principal role).
LED
LEDs (light-emitting diodes) are increasing being used for theatre lighting. LED light bulbs are a more environmentally friendly alternative to incandescent bulbs, last longer, and do not get nearly as hot as conventional theatre lights.
Legs
A thin hanging (vertical) curtain that is used to cover the wing space.
Lighting Grid
The grid used to hang the lanterns on.
M
Masking
· Where an actor (accidently, or deliberately) stands in front of another, which prevents them from being seen properly by the audience.
· Covering set with required light source but dropping some parts into shadow or darkness.
· Using curtains or set to cover up part of the stage.
Mechanist technician
Person operating backstage machinery (e.g. flying set, revolving stage, etc.)
Mechanistic
Equipment used in a production with moving parts (e.g. trucks, trolleys, pulleys, trapdoors, etc.).
Mellifluous
Smooth flowing, especially voice.
Mise-en-scène
The arrangement of the sets, props, actors, etc. on the stage of a theatrical production or on the set of a film. Roughly translated from French to mean, “setting the stage”.
Monochromatic
Where the colours or tones used are all based on the same colour.
Montage
A performance made of several smaller episodes. The episodes are linked by a common theme or intent. Often a montage is delivered where the episodes are presented in rapid succession, a bit like the images in a music-video clip.
Mood
This is the general feeling or atmosphere that is inherent within a play. The words of the play, its setting, characters, images and ideas all contribute to the mood. Mood is often enhanced through the use of acting, direction and design.
Motivation
Toe reason behind a character's actions.
N
Narrative
The storyline or the story being told in a performance.
O
Observe/observation
To watch attentively, to view with a special purpose. When observing you are looking for what is significant and noteworthy. When observing you may be required to make notes at the time or to make them later, relying on your memory of what happened at the time.
P
Pace/tempo
The speed at which a scene or speech is delivered.
Pathos
An element in drama that arouses feelings of pity and compassion in an audience.
Pause
A lull or stop in dialogue or action.
Personal props
Small props used by the one character and usually carried with or on them (sometimes called 'hand props').
Perspective
A head-on or front-on view of a set having the illusion of depth.
Physicalisation
The skills the actor uses to bring a character to life on stage. This can include using the body to portray a character in the acting space. To do so the actor uses their acting skills utilising both body and mind. The body performs in the space and the mind controls the body.
Physical theatre
A style of theatre, which is centred on the movement of the human body.
Pitch
The highness or lowness (register) of the voice, levels of sound in the voice.
Play interpretation
This is the process of interpreting a script for performance to an audience. It requires a range of people working collaboratively in specific production areas/roles.
Play-within-a-play
Where the characters in a play put on a play. If the play the characters put on is performed, then tl1ere may also be an audience made up of characters in the play as well. The Australian play 'Cosi' by Louis Nowra
(1992) is a good example of this.
Poetic drama
A drama/theatre presentation that has poetic qualities. It may be written in verse and/or have other poetic links and associations.
Practitioner
A director, actor, designer, playwright who has had a notable influence on the development ofdrama/theatre.
Production
The play as it is staged.
Projection
How well the actor uses their voice to be heard.
Lighting term relating to a light source projected onto a given area of the stage or character.
Prompt
To provide actors with words or lines they have forgotten.
Prompt Copy
The copy of the script maintained by the Stage Manager, that includes all cues for the actors and technicians.
Pronunciation
Using the correctly acknowledged way of saying a word.
Proscenium
An arch or opening between the stage and the audience.
Proscenium stage/ Proscenium arch stage
A stage that has a proscenium arch.
Protagonist
The main character in a play.
Protagonist position
The central 'Upstage' point on Lhe stage space.
Prowess
Level of ability.
Purpose (in relation to a character in a play)
The reason the playwright has placed the character in the play. The function the character has in the play.
R
Readers' Theatre
Where a script is read out loud for an audience ,vitlh accompanying actions and blocking.
Re-contextualise (recontextualise)
To alter contextual aspect/s of a script to another/other suitable one/s. When interpreting a script (such as through acting, direction or design) aspects of the context, which can be re-contextualised include:
• The time period/era.
• The setting/place/location.
• The circumstances.
It is important when recontextualising to consider the playwright’s original intentions, the intended meanings of the play, and whether the re-contextual choices could work for an interpretation of the script as a whole (not just for a section of it that you may be working on). As a general rule, older plays such as those by Shakespeare and classical plays, such as Greek tragedies, commedia dell'arte plays, restoration comedies
and so on can lend them themselves more easily to re-contextualisation than modern plays. When recontextualising, remember that 'the play’s the thing' - each play has to be considered on its own merits as to how well it lends itself to re-contextualisation.
Rehearsing in your head
This is an activity developed by the authors of this book where as an actor, you visualise in your mind your performance oaf script for the purposes of rehearsal. This technique can be most useful when you wish to rehearse but are unable to physically get up and do so (such as 'rehearsing' on the bus on the way home). To do so, you imagine what the acting space looks like before you enter. You then see yourself entering the space. In your head you deliver your first line or perform your first non-verbal action. You continue to work through your performance in this way, concentrating hard to see in your 'mind's-eye' the details of your performance as vividly and as accurately as possible. You keep going until you reach the end of your performance. Sometimes when 'rehearsing in your head' a new idea might come to you, which will enhance your performance. If so, stop the visualisation and note the idea so you don't forget it. Using this technique will also enhance your skill to use focus as an actor.
Rehearsal Schedule
A schedule of all rehearsals given out at the beginning of the rehearsal phase.
Resonance
The tone when sound waves strike the chambers of the throat, head, chest, nose and mouth.
Role play (or (role-play' or (roleplay')
An improvisation, simulating real life, where the actors attempt to re-create how people might react in a given situation.
Rostrum
A platform used for acting. It may or may not be collapsible. The plural of the term is rostra.
Royalty/royalties
The fee paid to the playwright for permission to perform their work.
S
Sand bag
A canvas or vinyl bag filled with sand used to weigh down scenery, equipment or props on or off stage. A shot bag is essentially the same thing, except it is filled with small metal balls and is heavier.
Season
The period in which the various performances of a play occur (usually in the same venue). For example, a season may have three evening performances and a lunchtime performance all of which take place in the
Drama Room.
Short responses
A (usually) written or oral response to a question not requiring a fully-formed or lengthy answer. The usual length, unless otherwise specified, is one to two paragraphs per written response or one-two minutes per oral response.
Sight lines
The limit to which the audience can see the stage.
Soundscape
A sequence of sounds that is either performed live or pre-recorded. It can accompany the action on stage or be a performance in its own right.
Spotlight
A lantern where the beam can be controlled precisely.
Staccato
In an abrupt style, sharply accentuated., especially movement or sound.
Stage directions
Additional material in a script (besides dialogue) such as:
· Where and when the play is set.
· Acting directions, such as how to deliver a particular line.
· Technical information, such as a suggested sound effect or a change of the set.
· Character information e.g. 'Rose is a short, 40-year old woman, with jet-black hair and a slight stoop'.
Stage positions:
· Up-Stage - the rear section of the performance space.
· Centre-Stage - the central section of the perforrnance space.
· Down-Stage - the front section of the performance space.
· Prompt side (PS) - the left-hand side of the performance space (from the actors' point of view), often called Stage Left.
· Off prompt side (OP) - the right-hand side of the performance space (from the actors' point of view), often called Stage Right.
Stage prop
A properties item on the stage e.g. a chair, table, lamp, etc.
Storyboard
A sequence of images (often drawn cartoon-like) that show how the action on stage progresses from one main moment to the next.
T
Tab (or 'leg')
A strip of curtain, usually black, used to mask part of the stage.
Technical
Refers to equipment that is used in areas as sound and lighting in a production.
Theatre-in-the-round
Where the audience sits on all four sides of the acting area.
Thrust
A stage that extends into the audience space. Often the audience sits on three sides of the stage area (often referred to as the 'apron').
Timbre
The.character or quality' of a sound (e.g. music or spoken voice).
Tone
The feeling of a speech or scene.
Tragedy
A play which depicts tragic events and where the main character does not survive or is worse off at the end of the pJay compared to the start.
Tragic flaw
A failing of a character that leads to their downall.
Truck
A low platform on wheels on which set items are moved into position on stage.
U
Upstage
Where an actor does something that draws attention to them away from what the audience should be watching. Not to be confused with the stage position, 'tip-stage:
W
Walk-on
A very small acting part in a play or other performance type (usually with little or no dialogue).
Wings
The areas either side of (or off from) the acting area. Often the wings are behind or on the side of the tabs.
Z
Zanni
Commedia dell'arte serva11t characters (usually one intelligent and one stupid servant).
Zeal
Energetic and full of enthusiasm.
Zealous
Filled with or inspired by eagerness/enthusiasm.