theatre final

Sections of a play, marked off by the actions and or objectives in

a scene. A scene may have many beats – each character can have his

own.

(a)  

to turn and quarter the body to the audience in such a

way that is unnatural in real life but is effective and necessary on the

stage.

(a)  

when two or more opposing forces and objectives collide.

Often one side loses ground, one side gains ground

(a)  

A movement in the opposite direction in adjustment to

the cross of another actor.

(a)  

To move from one part of the stage to another. (often written in

script notes as an ‘X’)

(a)  

This is when the actor remembers certain

experiences in their own life to create the appropriate emotion for the

character in that moment, or they imagine what they would do if they

were in the circumstances of the character – Magic If - ; or the actor can

create completely different scenarios in their imagination to bring about

the necessary emotion; this is called substitution.

(a)  

occurs when the actor is facing 100% away from the

audience. Rarely used; often for stylistic purposes when implemented.

(a)  

occurs when the actor is facing 100% Downstage, their

body and face ‘head-on’ with the audience directly; not angled to either

Stage Right, Stage Left or Upstage.

(a)  

the conditions of the moment that affect the

character. 5 W’s: Who, What, When, Where, Why? This affects the

character each and every moment of the play, including the

‘moment before’. These are the things to think about when a director

tells an actor to ‘get into character.’

(a)  

the area above the performance space where lighting and sound

equipment is attached.

(a)