Theatre Arts Glossary
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action—events within the play that move the plot along
ad-lib---to improvise lines or make them up on the spot
aesthetics─an idea or set of criteria for what is beautiful or artistic
articulation---the clear delivery of speech or lan guage utilizing all of the
articulators (lips, teeth, tongue, soft and hard palettes, larynx, and glottis.)
5. audition—a tryout for a theatrical role or to try out for a role
6. balance—arrangement of design elements and actors to create visual stability on
stage
7. batten---a length of metal pipe hung from the gridiron, for suspending scenery or
equipment, as drops, flats, or lighting units. Also called a pipe batten.
8. beat(s)---one or more rhythmic beats; used for timing of lines or pauses in lines
9. blocking—directing the movement of all actors on stage
10. break a leg---an encouraging comment used in the theatre in lieu of “good luck,”
which is thought to bring bad luck instead of good luck.
11. business—movements that mime or make use of props, costumes and make-up to
strengthen the personality of a character the actor is portraying
12. call---a notification of a working session, e.g. rehearsal call
13. callboard---a bulletin board on which, among other things, call notices are
posted. Other things might include, for example, th e cast list after auditions,
special announcements, prop or costume needs, etc.
14. catwalk---(aka gridiron) a narrow walkway in the flies above the theatre stage
used to provide access or allow workers to stand or more
15. character—a person, animal, or thing in a scene, story, or play
16. character development—creating a character from a text who uses tactics to
overcome obstacles to achieve objectives through choices in physical action,
vocal qualities and believable emotions that are sustained throughout the
performance
17. conflict—a struggle between two or more opposing forces, events, ideas,
characters in a scene or play
18. costumes—the clothing an actor wears to create a character
19. costumier---[kos-STOO-mee-er] the person who designs or supplies the costumes
[Fr. koss-TOOM-mee-yay]
20. crew--- term covering all those who work on a show backstage, e.g. prop crew,
lighting crew, set crew, etc.
21. cross---to move from one area of the stage to another as instructed by the director
during blocking and designated by an X in the actor’s script during the blocking
process, e.g. XUL (cross up left)
22. cue---signal for a performer or technician to perform an action or say a line.
23. cyclorama---a perfectly plain screen with a uniform surface extending around and
above the stage to give a feeling of infinite space. It can also be used for the
projection of designs and shadows.
24. dead black out---the total extinguishing of all light on stage (abbreviated DBO)
25. design – purposeful plan f or the spectacle of a play (such as costumes, set, props,
lighting, sound) based on an overall concept
26. dialogue— a conversation between two characters in a theatrical performance
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27. diaphragmatic breathing—using the diaphragm muscle to support the breath.
28. diction—choice and use of words; enunciating clearly
29. drama—a literary composition (a play) intended for a performance before an
audience
30. dramatic structure—the composition of a theatrical work including play, scene
or improvisation that includes exposition, inciting incident, rising action, conflict,
climax, falling actio n, and resolution.
31. elements of drama— setting, character, conflict, dialogue, plot, and theme
32. emphatic figure---the actor on stage that attracts the audience’s attention the
most due to stage placement, sight lines, the grouping of actors, stage picture,
other characters looking at the actor, etc.
33. ensemble—a group of actors working together cooperatively and responsibly to
achieve the group’s goal through problem solving and creativity . Ensemble acting
is a major goal of any theatre company.
34. enunciation – saying the vowels and consonants correctly
35. esprit de corps-- the spirit of comradeship, enthusiasm, and devotion in a group
that makes the members want the group to succeed
36. expression—the way the character says words to convey meaning and emotion
37. facial expression—movements of the face that show feelings or ideas
38. flat---a wooden-framed, rectangular object over which canvas is stretched. It is
the basic element in constructing a set.
39. flat character---a character that does not change during the course of the play.
(opposite of round character)
40. flies---(aka fly space or fly loft)---the large open area above the stage used for
“flying” backdrops, set pieces , scrims, etc. attached to a batten until they’re
needed on the stage during a performance.
41. focus (1)—the intended point of interest on stage
42. fourth wall---the imaginary wall through which the audience views the show.
43. genre—the particular characteristics of a theatrical work that pertains to a
historical period or culture
44. given circumstance—the information given in the text by the playwright
concerning character, setting, and relationships
45. house---the theatre term for the auditorium or seating area for the audience
46. house manager---The staff member in a theatre responsible for the audience and
of house facilities , such as concessions, programs, and ticket selling. He also
supervises the ushers and other house crew members.
47. improvisation—with minimal preparation actors establish a story with
objectives, setting, character and relationships in a spontaneous performa nce
48. improvisational theatre—a structured, yet non-scripted scene or play
49. inflection/pitch—the use of high and low sounds in speech to convey meaning
and emotion
50. interior monologue---a passage of writing presenting a character’s inner thoughts
and emotions in the form of a monologue
51. jump a line---to skip a fellow actor’s line(s)
52. levels---vertical height of an actor or set piece from the stage floor.
53. lighting—using a variety of instruments to illuminate both the actors and sets on
stage
54. make-up—cosmetics applied to the face and body to enhance character
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55. mime— act out movement or use of object without words or props (totally silent)
56. monologue—a speech within a play delivered by a single actor alone on stage
57. movement—physical action used to establish meaning and emotion to create
character including:
a. blocking---actor’s traffic pattern on stage
b. business---movements that mime or make use of props, costumes and
make-up to strengthen characterization
c. facial expression—movements of the face that show emotions and/or
ideas
d. gestures—movement of a body part (arm, leg, hand, etc.) which is used to
communicate.
e. posture/stance—the position of the limbs and the carriage of the body as
a whole which communicate character
f. whole-body movements—locomotive and non -locomotive use of the
body which communicates character
58. objective—the character’s wants, needs, and desires
59. obstacle—what stands in the way of the character achieving his/her objectives
60. open or open up – maintaining a body position where the character’s face/frontal
body can be seen by the audience in a proscenium or thrust stage setting.
61. pause—the moment of silence within a speech used to show meaning, emotion ,
tension and/or to develop character
62. performance---a structured presentation of theatrical work in front of an
audience .
63. phrasing—the use of punctuation, pause, and word or phrase emphasis to create
meaning and emotion
64. play—a form of writing intended for live performance
65. plot—the storyline that includes exposition, inciting incident, rising action,
climax and re solution of a conflict
66. proscenium---the large opening onto the stage that is usually covered by a large
curtain when the play is not in progress. A stage constructed with a proscenium is
called a proscenium stage .
67. Production---a structured performance created and presented for an audience.
68. props/properties—objects used by an actor on stage; called hand props if they
are actually handled or carried by an actor
69. projection/volume— the appropriate use of loud and soft sounds that convey
meaning and e motion so that it is heard by the entire audience
70. pronunciation—the correct way in which the word is spoken or articulated
71. rate/cadence—the speed with which words are spoken to convey meaning and
emotion
72. readers’ theatre---an orchestrated reading presentation relying primarily on
vocal characterization, without the use of visual theatre elements such as
costuming, sets, or blocking. May include choral reading.
73. rehearsal—the period of time used to prepare a play for performance for an
audience (Actors rehearse ; they do NOT practice !)
74. resonance—fullness of voice created by vocal vibrations
75. scene— a subdivision of a play with a single situation or unit of dialogue
76. scrim---a large piece of cotton or linen fabric of open weave used as a drop,
border, or the like, for creating the illusion of a solid wall or backdrop under
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certain lighting conditions or creating a semitransparent curtain when lit from
behind
77. script---the written, published text of the play used by the actors during rehearsals
until lines are memorized
78. set—the on-stage space and its structures (scenery) in which the actors perform
that represents the setting of the play
79. setting—the time, place, and atmosphere in which the scene or play occurs
80. stage manager---The member of the production team responsible for the smooth
running of a performance. Before a production opens the Stage Manager attends
rehearsals and meetings with other members of the production, and in smaller
companies is often the coordinator of all of the various aspects of the production.
During the performance the Stage Manager, using a copy of the script annotated
during rehearsals, cues the actors and the various technical departments. On larger
shows this last function will be performed by the Deputy Stage Manager.
81. step on a line---(aka walk on a line) to deliver a line at the same time another
actor delivers his line
82. sound—the process of using music, audio effects and reinforcement to enhance
setting and mood
83. stage—the place where the actors perform
84. status – importance or lack thereof of a character or object on the stage.
85. subtext – implied meaning or unspoken complication, generally, running
concurrently with the main plot .
86. sustainability—no noticeable break or lapse in the actor’s character portrayed
throughout the entire performance
87. stage geography – physical areas of the stage labeled “center stage (C), down
center (DC), up center (UC), stage right (R), stage left (L), up stage left (UL),
down stage left (DL), up stage right (UR), and down stage right (DR).
88. stage picture – visual image crea ted using any combination of set, costume,
props, lighting, and character placement.
89. style – the distinctive character istics or technique s of an individual artist, group,
or period as seen in a work of theatre
90. tactics—the possible ways the character can overcome obstacles
91. technical design—the plan for costumes, set, props, lighting, sound, make-up and
special effects in the production based on an overall concept
92. text analysis (script) – the examination of the theatre elements of a text to gain
greater understanding and meaning into the theme and character which the actor
portrays.
93. theater—the place where plays are presented to an audience
94. theatre—the art of creating performances
95. theatre etiquette---appropriate behavior of audience, performers, or technicians
in a variety of theatre settings.
96. theme—central idea of a play that is revealed to the audience
97. thespian (Thespis)---Thespis is considered to be the “father” of drama. A Greek
playwright who had a member of the chorus to separate from the group to perform
alone and in dialogue with the chorus, Thespis, in so doing, created the first actor.
Consequently, actors today are called “thespians” after the man Thespis.
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98. three-dimensional character (aka a round character)--–a character that is well
developed emotionally, psychologically, and physically and experiences some
type of change in the play
99. upstaging---when two actors share a scene and one stands on a plane upstage of
the other one, thereby forcing the downstage actor to turn away the audience in
order to “converse” with him and, consequently, drawing attention to the upstage
actor.
100. venue---a place where a performance is held
101. vocal placement---resonating the voice in different parts of the body, such as
chest, head, nose, and throat.
102. voice—vocal qualities used to convey meaning and emotion that create
character including:
a. articulation – the clear delivery of speech or language utilizing all of the
articulators (lips, teeth, tongue, soft, and hard palettes, larynx, and glottis.)
b. breath support—the use of the diaphragm in correct breathing
c. enunciation- saying vowels and consonants correctly
d. expression—the way the character delivers words to convey meaning and
emotion
e. inflection/pitch—the use of high and low sounds in speech to convey
meaning and emotion
f. projection/volume—the appropriate use of loud and soft sounds that
convey meaning and emotion so that it is heard by the entire audience
g. rate/cadence—the speed with which words are spoken to convey meaning
and emotion
h. pause—the moment of silence within a speech used to show meaning,
emotion and/or develops character
i. pronunciation—the correct way in which the word is spoken or
articulated
j. word emphasis—selection of the most important word or words in each
phrase or sentence to create meaning, show emotion and convey
character (pointing up the word)
103. wings---backstage areas on each side of the stage where actors await their
entrances and go to when exiting. May also store set pieces, furniture, props, etc.
until they are needed on the stage.
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