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| The stage area within the set, visible to the audience |
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| The stage areas outside the set, not visible to the audience |
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| The entire part of the theatre that is not accessible to the audience |
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| The entire part of the theatre accessible to the audience (e.g. foyer, box office, auditorium) |
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| The central point of the stage area |
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| The actor's right as he faces the audience |
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| The actor's left as he faces the audience |
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| Downstage of someone or something |
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| Upstage of someone or something |
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| Towards the center of the stage |
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| Away from the center of the stage |
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| Look in the direction of the audience |
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| Move from one place to another on stage |
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| Move in the opposite direction to balance the move or cross of another actor |
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| Turn to face the audience |
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| Adjust your position so the audience can see more of you |
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| The part of the stage that extends into the auditorium beyond the curtain line |
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| Arena theatre/Theatre-in-the-round |
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| A threatre having the acting area in the center of the auditorium with the audience seated on all sides |
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| A line spoken to the audience that the other actors are not supposed to hear. A convention, as obviously they can hear it. |
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| The reading or performing by heart of a speech or scene before the director to enable him to judge your suitability for a part in the play |
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| A large area of painted canvas used for a background which hangs straight at the back of the stage. |
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| The director's movment of actors on the stage (for a play). |
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| Increase the tempo and/or the volume of a speech towards a climax. |
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| Business or Stage Business |
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| Small actions such as using a handkerchief, taking of gloves, telephoning |
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| Small part with one or very few lines |
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| The group of actors who are performing together in a play |
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| Notice to actors backstage announcing the amount of time before the curtain, normally at half-hour, fifteen minutes and five minutes. Also notice of rehearsal or performance placed on the callboard and reiterated by the stage manager. |
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| a role usually depicting an old, unusual or eccentric person. |
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| Turning the body towards the audience slightly more than absolute naturalism would demand. |
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| The group of people gather together to put on a play. |
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| Dissolve into misplaced laughter on stage |
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| The stage manager and technicians involved in running a production. |
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| A signal in dialogue, action or music for an actor's action or speech, or a technician's dute backstage. |
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| The large ____ that is either lowered or drawn from the sides that separates the stage areas from the audience. Also used to mean the time a show starts |
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| A fully blocked and rehearsed appearance of the actors after the performance to acknowledge the applause of the audience |
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| An imaginary line across the stage which marks the position of the front curtain when it is down or closed. Also means the last line of a scene whcih is the cue for the curtain to fall. |
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| usually a huge (often curved), semaless backing sheet of material (can be curved or straight plaster wall) which may be lit to indicate sky |
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| The lines spoken by the characters in a play |
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| To play two or more roles in the same play. |
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| When an actor forgets his lines |
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| A technical rehearsal without the actors |
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| literally means he exits. Also means the place where the actor exits |
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| Extra/Walk-on/Super (supernumerary) |
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| A small non-speaking role. |
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| Canvas covered frames used e.g. as walls of a set |
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| The space above the stage where scenery is hung and from where it is lowered |
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| To lift scenery our of view of the audience by lines from the grid |
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| Name given to the hypothetical wall of separation between the stage and the audience in a proscenium theatre |
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| To forget one's lines. Also common usage as "What time does the curtain go up?" meaning what time does the show start. Thirdly, "to go up for a role" |
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| A lounge backstage for the use of the actors |
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| A framework of steel located in the flies for hanging scenery |
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| Spontaneous invention of lines and/or business by performers |
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| Auditorium. Also means the size of the audience. |
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| Those that provide light for the audience in the auditorium |
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| Shallow performance devoid of intention or psychologial motivation |
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| To take an article off a set. To extinguish lights or stop sound or other effects. |
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| Process of moving all of a company's equipment into a theatre |
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| Process of moving all of a company's equipment out of a theatre |
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| A piece of scenery used to conceal backstage from the audience |
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| A speech of some length spoken by one actor |
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| Exaggerated facial expressions |
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| Come in on cue more quickly, i.e., start your line of dialogue as the other actor finishes his line. Adds pace to a scene. |
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| A call given by the stage manager for the actors to be in their positions on stage for the beginning of an act |
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| Giving special emphasis to a word or line. |
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| Something that is usable, e.g. a pair of doors might be made so that only one opens. The one that opens is the _________one. |
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| Copy of the script including all business, action and cues needed for the production. Marked during rehearsal by the stage manager. |
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| The arched opening in the wall through which the audience can see the play |
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| Length of a stage engagment or the total number of performances |
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| an uninterrupted rehearsal of a scene, act, or entire play |
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| A large piece of fine material (usually taking the place of a flat or drop) through which light (and consequently the set) may or may not be seen. |
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| Page of an actor's part. When bound together called ______. |
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| Imaginary lines which divide the area the audience can see from the area they cannot see |
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| A speech consisting of the thoughts of a character, spoken aloud when he is alone on the stage |
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| To mark the position of a piece of the set on the stage floor, usually with tape |
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| The _____through which the actors enter and leave the theatre |
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| An actor's temporary replacement (e.g. in case of illness) who does not have to be in the theatre during performances in which he is not playing. He is, however, on call and must hold himself available to come to the theatre when needed. |
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| Taking the audience's attention when it should be elsewhere |
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| A role without marked eccentricities |
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| To clear the stage of scenery, props, etc. |
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| The actor's thoughts that give meaning to his lines and actions. |
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| Technical rehearsal (tech) |
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| A rehearsal at which the technical aspects of the production are integrated |
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Definition
| Overlapping speeches so that one actor speaks before another has finished. It accelerates the pace and helps build twoards a climax |
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| To "build" a line higher in volume and/or pitch and/or intensity than the one before it |
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| The _______or opening in the stage floor |
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| Cast in a role very close to the actor's own personality |
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| An actor's temporary replacement (in case of accident or illness) who has to remain in the theatre, whether or not he is performing that show, until the last act of the play has started. |
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| When one actor forces another actor to face ____ or away from the audience, usually by moving farther_______himself and thus forcing his partner to turn his back on the audience in order to address him |
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| Vom (short for vomitorium) |
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| Exit (or entrance) from the stage to backstage, often in the form of a tunnel whose entrance is beyond the stage in teh first few rows of the audience |
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| A low platform on wheels on which a set may be placed and then rolled quickly into place on stage |
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| Space outside the acting area, at the right and left of the stage. |
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| Martha: deceptive, manic, bi-polar, cruel, insensitive, fragile, abusive, vulgar, relentless, victim, loud |
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| A circular stage mounted on top of the permanent stage electrically or manually turned to effect scene changes |
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