Stage Directions Guide
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Proscenium
Thrust
Arena or “Theatre in the
Round”
The audience is located on one side
of the stage with the remaining
sides hidden and used by the
performers and technicians.
 The audience directly faces the
stage--which is typically raised
several feet above front row
audience level--and views only one
side of the scene.
 This one side is commonly
known as the invisible FOURTH
WALL of the scene.
 The proscenium arch evolved from
the proskenium in Ancient Greek
theatres. This was the space in front
of the skene or backdrop where the
actors actually played.
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The first indoor theatres were
created in French tennis courts and
Italian Renaissance palaces where
the newly-embraced principles of
perspective allowed designers to
create stunning vistas with
buildings and trees decreasing in
size toward a "vanishing point" on
the horizon.
 Documentation shows the first
official Proscenium stage came
about in the 1580’s at a Parisian
Opera House (France)
 Stage floors were raked upward
slightly from front to back, in order
to contribute to the perspective
illusion, and also to make groups of
actors more visible to audiences
who were at first seated on a flat
floor.
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Later, audience seating was raked, and balconies were added to
give audiences a fuller view. By the end of the 1800’s most stages
had level floors, and much of the audience looked down on, rather
than up to, the stage.
The proscenium hides the sides of the stage, called the wings:
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May be used by theatre personnel working on the particular
performance as well as a space for storage of scenery and theatrical
properties (props), typically obscured by side curtains, or framed
scenery pieces, called legs. Several rows of short curtains across the
top of the stage, called teasers, hide the backdrops which are hidden
above in the stage loft until ready for use.
Often, a stage may extend in front of the proscenium arch which
offers additional playing area to the actors. This area is a referred to
as the apron. Underneath and in front of the apron is sometimes an
orchestra pit which is used by musicians.
The orchestra pit may sometimes be covered and used as an
additional playing space in order to bring the actors closer to the
audience.
The stage is often raised higher than the audience. Space above
some proscenium stages may include a fly-loft where curtains,
scenery, and battens supporting a variety of lighting instruments
may hang.
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A thrust stage is one that
extends into the audience on
three sides and is connected to
the backstage area by its
upstage end.
Similar to proscenium stages
but with a platform or
performance area that extends
into the audience space so that
the audience is located on
three sides
A thrust has the advantage of
greater intimacy between
audience and performer than a
Proscenium, while retaining
the utility of a backstage area.
Entrances onto a thrust are made
from backstage, although some
theatres provide for performers to
enter through the audience using
side entrances.
 As with an arena, the audience in
a thrust stage theatre may view
the stage from three or more
sides. If a performance employs
the fourth wall, that imaginary
wall must be maintained on
multiple sides.
 Because the audience can view the
performance from a variety of
perspectives, it is usual for the
blocking, props, and scenery to
receive thorough consideration to
ensure that no perspective is
blocked from view.
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The audience is located on all four sides of the stage.
This method of stage design consists of a stage situated in the centre of the
theatre, with the audience facing it from all sides. The audience is placed
quite close to the action which provokes a feeling of intimacy and
involvement.
In-the-round stages require special considerations in production such as:
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Scenery that does not obscure actors and the rest of the stage from parts of the
audience.
Backdrops and curtains cannot be used, so the director must find other ways to
set the scene.
Lighting design is more difficult than for a Proscenium stage, since the actor
must be lit from all sides without blinding nearby audience members.
Entrances and exits must be made either through the audience, making
surprise entrances very difficult, or via closed-off walkways, which must be
inconspicuous. As a result, stage entrances are normally in the corners of the
theatre.
The actors need to ensure that they do not have their backs turned to any part
of the audience for long periods of time, in order to be seen and heard clearly.
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Created and Found
Spaces:
The fourth type of stage
incorporates created
and found stages which
may be constructed
specifically for a
performance or may
involve a space that is
adapted as a stage.
 A stage can also be
improvised where ever
a suitable space can be
found.
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Examples:
 Staging a performance in
a non traditional space
such as a basement of a
building, a side of a hill
or, in the case of a
troupe, the street.
 A makeshift stage can be
created by modifying an
environment. For
example demarcating the
boundaries of a stage in
an open space by laying
a carpet and arranging
seating before it.
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Proscenium and In-The-Round stage
types are only the basic templates
for stage layout. There are also
extras which can be added in order
to improve the stage:
Boxes :
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feature of more modern stage
designs in which temporary walls
are built inside any proscenium
stage, at a slight angle to the
original walls, in order to allow
audience members located to the
left or right of the proscenium (the
further out, the larger the angle) to
see the entirety of the stage.
They enable the creation of rat
runs around the back of the stage,
which allow cast members to walk
between entrances and exits
without being seen by the
audience.
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Aprons:
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pieces of stage added to the front
of a proscenium stage which
protrudes past the proscenium
arch, pushing out into the audience
in order to make them feel more
involved.
Aprons can usually also be
removed to uncover the theatre
orchestra pit. Thus, it is only used
when there is an event not needing
an orchestra while taking place (i.e.
a concert).
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Areas of the stage are named from the actor’s point
of view. If you are standing on stage looking out at
the audience, stage right will be to your right and
stage left to your left.
Upstage is towards the back wall and downstage is
closest to the audience.
This terminology comes from the days when
stages were raked, or angled down, towards the
audience so that everyone standing on the ground
could see (now our theater seating is usually raked
instead).
The proscenium arch is the vertical frame around
the stage.
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Upstage: moving away from the audience,
towards the back of the stage.
Downstage: Moving towards the audience,
towards the front of the stage.
Stage Right: Moving towards the Left (as the
audience will see you moving right-remember
they are viewing you from the opposite direction)
Stage Left: Moving towards the Right.
Cross: Crossing the stage to a predetermined
position.
An example in a prompt book might look like: "X
(cross) DSL to DSC (down stage center), X US
(upstage), and out (exit) SR (stage right).
Backstage
Stage Right
Upstage Right
Upstage Left
Wing
USR
USC
USL
Stage Right
Center Stage
Stage Left
SR
CS
SL
Downstage Right
DSR
Downstage Left
DSC
DSL
Proscenium
Apron (sometimes called the “lip of the stage”
Orchestra “Pit” – Only in Some Theatres
“The House” aka the audience
Stage Left Wing