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| Background sounds suggestive of time & place |
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| Sounds that evoke emotional states (i.e. howling wind & a creaking door in a haunted house) |
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| Music played under a scene or monologue to evoke emotional response |
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| On or off-stage sounds tied to specific events (i.e. gunshots, car horns, doorbells) |
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| Two or more sound elements combined to form an incident effect, ambience or atmosphere |
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| Editing a sound so that it can be repeatedly played end-to-end while still sounding natural |
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| Changing timbre of sound by boosting or cutting specific audio frequencies |
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| Creating the illusion of space and apparent distance of sound |
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| Where the sound is coming from relative to the audience |
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| The degree to which the apparent size of the theatrical space is defined by the sounds the audience hears |
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| The number of distinct sound elements audible to audience in a given period of time |
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| Degree of contrast between softest, quietest sounds and loudest sounds in production |
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| Where designers communicate their ideas to director & producer |
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| A setting composed of a painted backdrop & smaller painted flats or curtains to the left & right of the stage |
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| Depicts a specific time & place in the real world |
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| Hard flats hinged together to suggest three walls of a room |
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| Based on visual images that evoke, suggest, or make a visual statement about play's theme, mood, or sociopolitical implications |
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| Create different levels on stage |
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| Sturdy wooden frames covered in plywood, luan or fabric, treated to represent walls, windows, doorways, etc. |
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| Usually a black curtain or flat used to hide stage areas, equipment, or actors from sight |
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| Main curtain in a proscenium stage separating actors from audience |
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| A system of pipes, ropes, & pulleys for raising & lowering scenery & lighting instruments |
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| Flat scenic elements lowered to stage by fly system |
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| A drop that is transparent when lit from one side & opaque when lit on the other |
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| Circular sections of stage that are motorized & able to turn at various speeds |
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| Platforms on pneumatic lifts that can raise & lower actors & scenery out of trapdoors in stage floor |
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| Rolling platforms on wheels or tracks that move actors & scenery on & off stage |
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| Includes furniture, decorative elements on/in the set & objects directly handled & manipulated by actors |
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| A designer or artisan who purchases or creates props for a production under supervision of scenic designer |
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| Ensures audience sees what it's meant to see |
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| Directs audience's attention to what is most dramatically important at a given moment |
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| Light appears to be coming from identifiable sources |
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| Diagram showing each light, its' type, position, wiring, wattage, & color |
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| List of specific moments of play when lights change in intensity & or color, identified by letters or numbers |
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| Provides intense, hard-edged & closely-focused beam of light |
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| Provides a wide, less defined & less shapable beam |
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| High-intensity, tightly focused lights manually operated to follow an actor |
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| Can make rapid changes in direction, brightness & color using computer control |
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| Cut out patterns placed in front of lights to create patterned shadows on stage floor or walls |
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| A series of quick sketches suggesting overall direction of design |
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| Drawings defining specific costume choices for each character |
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| Visual & tactile record of production costume designs |
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| Costumes owned by a theatre company altered to meet specific needs of performance |
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| Clothing worn by actors during rehearsal to help them get the feel of the costume they will be wearing |
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| First time director sees all of the actors in costumes for the show |
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| First time actors run show in full costume |
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| Responsible for assisting with costume changes, also laundering, maintenance |
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| Raising or lowering the pitch of a sound, without changing the sounds' duration |
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| Where the sound is placed in audible space |
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main character, usually masked and representing a ghost or spirit |
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character who witnesses the story of the shite
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supporting character, often a servant to the waki |
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comic interludes shown between acts |
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where shite actor gets into character |
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| 20’ bridge leading to stage |
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a humorous song consisting of long strings of words and clever wordplay
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