Final for Acting
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| begins right after casting is complete. Actors and designers work as a group to gain an overall understanding of the play. The Director discusses their concept for the show | Reading rehearsal
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| conducted on stage or in a large room where the ground plan is taped on to the floor. Actors work on moving within the scene/play environment. | Blocking rehearsal
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| focuses on projecting emotions, relating to other characters. Actors may also use props and costume pieces during these rehearsals. | developing rehearsal
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| about the little finishing touches that make a performance great. The pacing and rhythm of the play are perfected. Murky moments between actors are cleaned up and strengthened. | Polishing rehearsal
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| must be held on stage in order to synchronize lighting and sound cues with the actors. | Technical rehearsal
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| final rehearsal before performance and includes costumes, makeup and all other elements of production. It should run exactly like the performance except there is no paying audience. | Dress rehearsal
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| rich warm speaking quality. | Resonance
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| the relative highness of lowness of the voice | Pitch
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| the speed at which you speak. | Rate
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| clearly pronouncing words | articulation
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| the problem to be solved or resolved in the play | conflict
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| the small mmovements that define character traitsor attitude such as shrugging shoulders or waving. | gestures
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| the diagram that shows the layout of the entrances, exits, and furniture that will be used in the performance of the scene. | ground plan
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| the spontaneous style of theatre through which scenes and dialogue are created with limited rehearsal and no script. | improvisation
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| anything that gets in the way of an objective | obstacle
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| telling a story by using facial expression, gestures, and body movements rather than words | pantomime
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| the detailed bits of action a character does in a scene such as knitting or setting the table | business
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| when an actor moves from one area of the stage to another | cross
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| the last words or actions of one actor that comes immediately before another actor's speech or action | cue
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| when an actor on stage moves away from the audience they are moving | upstage
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| when an actor on stage moves toward the audience they are moving | downstage
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| means the actors are sharing what is happening in the scene with the audience rather than being closed off | stay open
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| the elements the playwright has given the actors to work with in terms of where you are, who you are, what you are doing, and why you are doing it | given circumstances
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| character enters a scene announcing: "Wow! would you look at that very big box that has appeared in the middle of my living room?" | example of narrating
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| the process where prospective actors perform in front of a group of individuals who are looking to cast specific roles | audition
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| an expierence between actors and audience | theatre
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| objects used by characters on stage during a play | props
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| the jaw, teeth, tongue, and lips are examples of | articulators
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| the chest cavity, the throat, and mouth are examples of | resonators
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| the act of improperly taking attenion from an actor who should be the focus of attenion | upstaging
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| when an actor laughs at something or makes a comment about the performance and it is not apart of the script | breaking character
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| the height of an actor's head as determined by his or her body position | levels
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| the audience must be able to see the reason behind the movement, business, and dialouge, making all elements of stage performance ___ | justified
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| the written text of the play | script
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| what actors do before rehearsing that releases tension and stress and prepares them to fully engage in the rehearsal or performance | warm - ups
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| the different actions taken to try to overcome the obstacle | tactics
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| instruction about blocking and business either in the script or created by the director | stage directions
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| the goals, intentions, desires, or wants of a character | objectives
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| the relative loudness or softness of sound | volume
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