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Tech Theatre 1
Vocab for Tech Theatre - 2022 to 2023
| Term | Definition |
|---|---|
| APRON | THE AREA BETWEEN THE FRONT CURTAIN AND THE EDGE OF THE STAGE, CLOSEST TO THE AUDIENCE |
| CENTER STAGE | MIDDLE OF THE ACTING AREA |
| DOWNSTAGE | THE STAGE AREA TOWARD THE AUDIENCE |
| UPSTAGE | THE STAGE AREA AWAY FROM THE AUDIENCE |
| RIGHT STAGE | SIDE OF THE STAGE TO THE ACTOR’S RIGHT WHEN THEY ARE FACING THE AUDIENCE |
| LEFT STAGE | TO THE ACTOR’S LEFT WHEN FACING THE AUDIENCE |
| WINGS | OFFSTAGE TO THE RIGHT AND LEFT OF THE ACTING AREA |
| FOURTH WALL | THE IMAGINARY DIVISION THROUGH WHICH THE AUDIENCE VIEWS THE PLAY |
| ORCHESTRA PIT | IN FRONT OF THE STAGE, USUALLY SUNKEN, WHERE MUSICIANS AND CONDUCTORS WORK DURING A SHOW |
| PROSCENIUM | ARCHWAY AROUND THE STAGE |
| PROSCENIUM STAGE | STAGE WHERE THE AUDIENCE VIEWS THE PLAY FROM ONE SIDE |
| THRUST STAGE | AUDIENCE SITS ON THREE SIDES OF THIS TYPE OF STAGE |
| ARENA STAGE | AUDIENCE SITS ON ALL FOUR SIDES OF THE STAGE; SOMETIMES CALLED ‘IN THE ROUND’ |
| BLACK BOX | A STAGE WITH FEWER THAN 200 SEATS AND FLEXIBLE SEATING |
| RAKED STAGE | A SLANTED SPACE; UPSTAGE IS HIGHER THAN DOWNSTAGE |
| THESPIAN | ACTOR; THE NAME OF THE FIRST ACTOR IN HISTORY |
| STANISLAVSKI | DEVELOPED A METHOD OF TRAINING PERFORMERS TO ACT REALISTICALLY; FATHER OF MODERN ACTING |
| MARQUEE | A SIGN OVER THE ENTRANCE WITH THE PLAY’S NAME |
| HOUSE | WHERE THE AUDIENCE SITS |
| GRID | CRISS-CROSSING PIPES WHERE YOU HANG LIGHTING INSTRUMENTS |
| EXPOSITION | BACKGROUND INFORMATION PRESENTED IN A LITERARY WORK, USUALLY AT THE START |
| INCITING INCIDENT | EVENT THAT INTRODUCES THE CENTRAL CONFLICT |
| RISING ACTION | EVENTS LEADING UP TO THE CLIMAX |
| CLIMAX | MOST EXCITING MOMENT OF THE STORY; TURNING POINT |
| FALLING ACTION | EVENTS AFTER THE CLIMAX, LEADING TO THE RESOLUTION |
| RESOLUTION | END OF THE STORY WHERE LOOSE ENDS ARE TIED UP |
| PROTAGONIST | MAIN CHARACTER; CHARACTER THAT DRIVES THE ACTION OF THE STORY |
| ANTAGONIST | A CHARACTER OR FORCE IN CONFLICT WITH THE MAIN CHARACTER |
| ACT | MAJOR DIVISION OF A PLAY, SEPARATED BY AN INTERMISSION |
| SCENE | A SMALLER SEPARATION OF A PLAY, USUALLY INDICATED BY BLACKOUT OF LIGHTS |
| FRENCH SCENE | BEGINS WHENEVER A CHARACTER ENTERS OR EXITS AND CONTINUES UNTIL THE NEXT ENTRANCE OR EXIT |
| COMEDY | A STORY WHICH ENDS WELL FOR THE PROTAGONIST |
| COMMEDIA DELL’ARTE | A 16TH-CENTURY ITALIAN COMEDY, BASED ON STOCK CHARACTERS |
| COSTUME DRAMA | A PLAY WHERE PEOPLE WEAR HISTORICAL CLOTHING |
| FARCE | FAST-PACED, LIGHT-HEARTED PLAY (SLAMMING DOORS) |
| MELODRAMA | SENSATIONAL DRAMATIC PIECE; DAMSEL IN DISTRESS, HERO, VILLAIN |
| MIRACLE PLAY | A TYPE OF RELIGIOUS DRAMA IN THE MIDDLE AGES BASED ON STORIES OF SAINTS |
| MORALITY PLAY | MEDIEVAL DRAMA DESIGNED TO TEACH A LESSON; CHARACTERS WERE OFTEN REPRESENTING VIRTUES |
| MYSTERY PLAY | MIDDLE AGE DRAMA BASED ON BIBLICAL STORIES |
| READER’S THEATRE | FORM OF DRAMA WHERE ACTORS READ ALOUD FROM A SCRIPT AT STANDS OR ON CHAIRS |
| TRAGEDY | A STORY THAT ENDS POORLY FOR THE PROTAGONIST |
| ACTOR | THEATRICAL PERFORMER |
| CHOREOGRAPHER | PERSON WHO CREATES THE DANCES FOR STAGE PERFORMANCES |
| COSTUMER | PERSON WHO PLANS THE CLOTHING FOR A PRODUCTION |
| DESIGNER | PERSON WHO ENVISIONS AESTHETICS FOR A PLAY |
| DIRECTOR | PERSON WITH THE CENTRAL VISION OF THE PLAY; OVERSEES ALL ASPECTS OF THE PRODUCTION |
| DRAMATURG | RESEARCHER; HELPS EDIT A SCRIPT |
| PATRON | A PERSON WHO PROVIDES ANY KIND OF FINANCIAL OR OTHER SUPPORT FOR THE ARTS |
| PLAYWRIGHT | THE AUTHOR OF THE STORY FOR THE STAGE |
| PRODUCER | PERSON WHO PROVIDES FINANCIAL BACKING FOR A PRODUCTION |
| STAGE MANAGER | PERSON IN CHARGE OF ACTORS BACKSTAGE AND RUNS THE PERFORMANCES |
| AD LIB | UNSCRIPTED LINES MADE UP ON THE SPOT |
| AMATEUR | PRACTICING AN ART OR OCCUPATION FOR THE LOVE OF IT |
| ASIDE | LINE SPOKEN DIRECTLY TO THE AUDIENCE |
| CAMEO ROLE | VERY BRIEF ROLE, WITH OR WITHOUT LINES |
| CHEW THE SCENERY | TO OVERACT SHAMELESSLY |
| DOUBLE TAKE | TO LOOK TWICE AT A PERSON OR SCENE, USUALLY FOR COMEDIC EFFECT |
| GO UP | TO FORGET ONE’S LINES WHILE ON STAGE |
| MONOLOGUE | A LONG SPEECH FROM ONE ACTOR TO ANOTHER |
| PROFESSIONAL | ONE WHO DOES WHAT THE DO AND ARE PAID FOR THEIR EFFORTS |
| SOLILOQUY | A LONG SPEECH GIVEN ALONE ON STAGE |
| ACTING AREA | SPACE USED FOR ACTION ON STAGE |
| BACKDROP | PAINTED CLOTH OR SET WALL BUILT TO SERVE AS A BACKGROUND TO THE SETTING ON THE STAGE |
| BACKING | CURTAIN OR SCENERY THAT BLOCKS THE VIEW OF THE AUDIENCE THROUGH WINDOWS OR DOORS |
| BOX SET | A SET REPRESENTING THE WALLS OF A ROOM WITH THREE WALLS |
| CYCLORAMA | A LARGE PIECE OF FABRIC, USUALLY SEAMLESS, TO PROJECT LIGHTS |
| FLOOR PLAN | BLUEPRINT; VIEW FROM ABOVE |
| GREEN ROOM | A PLACE FOR PERFORMERS TO RELAX WHILE WAITING TO GO ON STAGE |
| RIGGING | SYSTEM OF ROPES USED TO FLY SCENERY |
| SCENERY | ONSTAGE DECORATION TO HELP ESTABLISH THE TIME AND PLACE OF A PLAY |
| SCRIM | THIN FABRIC THAT IS TRANSPARENT WHEN LIT FROM BEHIND AND OPAQUE WHEN LIT FROM THE FRONT |
| ACTING EDITION | A SCRIPT OFTEN WITH PROP LISTS, BLOCKING AND DESIGN SKETCHES FROM THE ORIGINAL PRODUCTION |
| BREAK CHARACTER | WHEN AN ACTOR LOSES CONCENTRATION |
| CHEAT SHEET | OUTLINE THAT HELPS AN ACTOR REMEMBER ENTRANCES, EXITS, COSTUME CHANGES, AND PROPS |
| DRESS REHEARSAL | PRACTICE SESSIONS WITH COSTUMES |
| LOAD-IN | PROCESS OF BRINGING THE SET AND AND OTHER TECH ELEMENTS INTO THE PERFORMANCE SPACE |
| OFF-BOOK | REHEARSING WITHOUT A SCRIPT AFTER LINES ARE MEMORIZED |
| PICK-UP REHEARSAL | PRACTICE HELD BETWEEN PERFORMANCES TO KEEP LINES FRESH |
| RUN | LENGTH OF TIME A PLAY PERFORMS, EITHER ON THE CLOCK OR CALENDAR |
| SWING | ACTOR WHO LEARNS ALL THE ROLES AND CAN STEP IN FOR ANYONE WHO CAN’T PERFORM |
| UNDERSTUDY | AN ACTOR ABLE TO REPLACE A REGULAR PERFORMER WHEN REQUIRED (ONE) |
| ELLIPSOIDAL | LIGHT INSTRUMENT WITH A LONG, NARROW BEAM |
| FOLLOW SPOT | LIGHT SOURCE THAT MOVES WITH THE ACTOR |
| FOOTLIGHT | LIGHTS AT FRONT OF STAGE THAT ARE ON THE FLOOR AND FOCUSED UP |
| FRESNEL | LIGHT WITH A RIDGED LENS THAT THROWS A SOFT BEAM, LESSENS SHADOWS |
| GEL | COLORED FLEXIBLE FILTERS USED TO ADJUST THE COLOR OF THE BEAM |
| GOBO | METAL TEMPLATE, ATTACHES TO A LIGHT FIXTURE TO CREATE PATTERNS OR SHAPES ON STAGE |
| HOTSPOT | THE BRIGHTEST PART OF A LIGHT BEAM |
| PRACTICAL | LIGHT ACTUALLY ON STAGE AND TURNED ON OR OFF BY ACTORS |
| SCOOP | FLOODLIGHT WITH BROAD BEAM AND NO LENS |
| SPECIAL | LIGHTING INSTRUMENT USED FOR VERY SPECIFIC PURPOSES |
| PANTOMIME | USING GESTURES AND BODY MOVEMENTS WITHOUT WORDS |
| PLAYBILL | PRINTED PROGRAM CONTAINING INFORMATION ABOUT CAST, CREW, ETC. |
| PRESENTATIONAL | STYLE OF PERFORMANCE THAT MAKES IT CLEAR THERE IS AN AUDIENCE |
| PROMPT | TO GIVE A CUE TO AN ACTOR |
| PROP | AN OBJECT AN ACTOR USES IN A PLAY |
| REPERTORY | GROUP THAT PERFORMS ONE PLAY AND REHEARSES THE NEXT AT THE SAME TIME; IN TANDEM |
| ROYALTY | MONEY, PAYMENT FOR COPYRIGHTED MATERIAL |
| SIGHTLINES | IMAGINARY LINES INDICATING VISIBILITY OF AUDIENCE |
| SPIKE | TO MARK THE FLOOR OF THE STAGE, INDICATING WHERE SET PIECES GO |
| STRIKE | BREAK DOWN THE SET, PUT AWAY COSTUMES AND PROPS; PUT THE SHOW ‘TO BED’ |
| FLAT | A FRAME COVERED WITH CANVAS OR LUAN USED TO IMITATE WALLS ON SET |
| FLY | TO RAISE A PIECE OF SCENERY OR ACTOR |
| FOH | FRONT OF THE HOUSE; THE LOBBY |
| GAFFER TAPE | HEAVY DUTY TAPE, USED TO SECURE WIRES |
| GHOST LIGHT | A LIGHT LEFT ON IN A DARK THEATRE FOR SAFETY OR WARDING OFF SPIRITS |
| INTERMISSION | HALF TIME; BREAK BETWEEN ACTS |
| KILL | TURN OFF; STOP; REMOVE FROM STAGE |
| LUAN | VERY THIN PLYWOOD USED FOR FLATS |
| MASKING | USUALLY CURTAIN; MATERIAL USED TO SHIELD THE AUDIENCE FROM SEEING WHAT’S BEHIND WINDOWS OR DOORS ON STAGE |
| PACE | THE TEMPO OF A SHOW |
| CALL | THE TIME ACTORS AND CREW ARE EXPECTED AT THE THEATRE; OR THE CUES STAGE MANAGER GIVES |
| CURTAIN CALL | AT THE END OF THE PLAY; ACTORS BOW TO AN APPLAUDING AUDIENCE |
| DARK | EMPTY THEATRE BETWEEN SHOWS; GOING COMPLETELY BLACK IN THE SPACE |
| DEUS EX MACHINA | “GOD OUT OF A MACHINE” A MIRACULOUS WAY TO GET CHARACTERS OUT OF BAD SITUATIONS |
| DIALOGUE | TWO OR MORE PEOPLE TALKING ON STAGE |
| DRESSING | SET DECORATION; PUTTING CLOTHES ON AN ACTOR |
| DUTCHMAN | STRIP OF FABRIC COVERING CRACKS BETWEEN FLATS |
| ELEVATION | VIEW OF A SET DESIGN FROM THE AUDIENCE’S POINT OF VIEW |
| EXEUNT | A SOMEWHAT DATED TERM MEANING ALL CHARACTERS EXIT A SCENE |
| FITTING | TRYING COSTUMES ON TO SEE IF THEY WORK |
| AUDITION | ACTORS SHOWING THEIR TALENTS IN ORDER TO GET CAST IN A PLAY; TRY OUT |
| BLOCK (ING) | THE PLAN THE DIRECTOR HAS FOR MOVEMENT ON STAGE; WHERE TO MOVE ACTORS |
| BOX OFFICE | WHERE TICKETS ARE SOLD |
| BREAK A LEG | THE TRADITIONAL WAY FOR THEATRE PEOPLE TO SAY “GOOD LUCK” |
| CASTING | A DIRECTOR ASSIGNING ROLES TO ACTORS |
| CATHARSIS | AN EMOTIONAL RELEASE, EITHER HAPPY OR SAD; WHAT AN AUDIENCE COMES TO THE THEATRE FOR |
| BARN DOOR | A METAL PIECE ON A LIGHT INSTRUMENT THAT SHAPES THE BEAM |
| BLEED | EXTRA LIGHT THAT ‘LEAKS’ FROM THE AREA A DESIGNER WANTS |
| LAMP | THE BULB OF A LIGHT INSTRUMENT |
| WASH | GENERAL LIGHTING ON STAGE |
Created by:
csowah5819
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