Blevins Theatre Arts - Vocabulary
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| Box set | a set that consists of two or three walls built flats sometimes covered by a ceiling
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| Cut out | a two dimensional stage sets
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| Curtain set | a set that uses cycloramas for the back drops
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| Thrust Stage | a low platform stage that projects into the audience
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| Permanent set | a set that remains the same through out the play
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| Screens | two or three folds flats used as walls or to cover openings a quick means of changing scenes
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| Ground row | a type of low cut-out used to break the line between the floor and the drop
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| Theatre conventions | the stage setting practices that are traditionally accepted in place of realistic depiction
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| Arena stage | a stage completely surrounded by an audience; also called theatre-in-the-round
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| Teatro olimpico | Italian theater built in 1508 that is modeled after roman theaters
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| Floating-screen set | a set made of single flats or narrow drops placed at various depths parallel to the front of the stage
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| Selective realism | the style of design that claims that an impression of actuality is better than actuality itself
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| Multiple plane set | another term for floating-screen set
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| “Forth wall theater” | theater that creates the illusion of a wall through which the audience observes the onstage action
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| Shutters | movable flats built on tracks that are used for quick scene changes
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| Periaktoi | triangles made of flats and mounted to a carriage that can be pivoted; also called prisms
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| Naturalism | the style of design that is photographically accurate
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| Skeleton set | a set that consists of frames and openings
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| Unit set | set that is made of several scenic sections that can be moved and turned to create different settings
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| Profile set | as set constructed of scenes forming the entire perimeter of the setting; also called cut-down sets
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| Predesigned checklist | the considerations a scenic designer must address before set designing begins
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| Pink | this color communicates a fanciful or romantic mood
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| Warm color | red, orange and yellow
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| Shape | an artistic value that often influences the concept of mass and the psychological reaction to objects on stage; outline
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| Black | in light, the absence of all colors
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| Mass | an artistic value in staging that takes bulk and weight into consideration
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| Sight line | the height and angle for the sidewalls and the elevation of a set that is established by viewing the stage from the front corners and other balcony seats
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| Balance | the visual symmetry of a stage achieved through line, mass, and shape
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| Primary pigment colors | red, yellow, and blue
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| Primary colors of light | red, green, and blue
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| Central axis | the focal point of a design; the deepest point on stage just off-center
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| Saturation | the brightness or dullness of a color
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| Line | an artistic principal in staging that altars proportion and affects the audience psychologically
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| Hue | the purity of a color
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| Tents | light or pastel colors, containing light
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| Proportion | the principal in stage setting that takes a human being as the unit of measurement
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| Unity | the principal that all elements of a set must form a hole, centering around the theme of the play
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| Shades | dark or deep colors containing black
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| Value | the lightness or darkness of a color
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| Purple | this color indicates a mournful mystic or regale mood
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| Intensity | another term for saturation
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| Cool colors | blue, green, and violet
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| Color coating | identifying the emotional tone of a scene by its color dominance
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| Emphasis | the accentuation of a particular abject on stage, causing the audience to focus attention on it
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| Rendering | a sketch made by the scenic designer that scenically expresses the meaning of a play
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| “Heads!” | theater term that warns of falling scenery
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| Edging | preparing to run a flat by getting it up on one side
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| Miter joint | a joint formed by cutting the ends of pieces at an angle and fitting them together
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| Plastics and paper-mache | materials most frequently used in creating three dimensional scenery
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| Jack | a triangular wooden brace placed on wheels or hinged to fold out of the way
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| Scrumble | the painting technique in which two or more tones of bass coat are blended together
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| Walking | edging a flat by raising the top rail and moving hand-over-hand toward the person who is pressing against the bottom rail with his or her foot
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| Floor plate | a piece of wood with a nonslip pad on its underside; used if the stage floor may not be drilled
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| Sizing | a glue-water mixture that is applied to the muslin of a flat
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| Dutchman | a four to five inch wide strip of muslin that is used to cover cracks between flats
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| Gridding | the process used to enlarge a sketch to a drop
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| Set pieces | scenery that can be carried or rolled onto the stage
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| Flat | the basic unit of construction for box sets, screens, periaktoi, and cut-down scenery
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| Butt joint | a joint formed by fastening pieces together end to end
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| Texture coat | the layer of paint that hides flaws and covers Dutchman
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| Toggle rail | bar that adds support to a flat
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| Floating | lowering a flat by placing a foot on the bottom rail and pushing the flat over, allowing it to fall to the floor
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| Running | moving a flat by lifting an edge and sliding it to another location
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| Keeper hook | a piece of hardware that can be hung over the top and toggle rail of a flat, strengthening a wall
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| Foot iron | the L shaped piece of strap iron attached to the back of a flat and anchored to the floor
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| Primary light source | the direction and origin of the predominate illumination
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| Framing square | pull that has at least one ninety-degree angle and at least two straight edges
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| Deluge system | a fan-shaped water curtain placed between the stage and the audience; a fire safety system
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| Floor block | a piece of wood tacked to the floor on both sides of a flat or to each union where two flats meet
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| Methods of texturizing with paint | spattering, rag rolling, sponging, stippling, featherdusting, dry brushing, and wet brushing
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