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.

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.

when two or more opposing forces and objectives collide.

Often one side loses ground, one side gains ground

A movement in the opposite direction in adjustment to

the cross of another actor.

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.

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.

when two or more opposing forces and objectives collide.

Often one side loses ground, one side gains ground

A movement in the opposite direction in adjustment to

the cross of another actor.

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.

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.

when two or more opposing forces and objectives collide.

Often one side loses ground, one side gains ground

A movement in the opposite direction in adjustment to

the cross of another actor.

A movement in the opposite direction in adjustment to

the cross of another actor.

the actor remembers certain

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

character in that moment,

occurs when the actor is facing 100% away from the

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

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 movement in the opposite direction in adjustment to

the cross of another actor.

the actor remembers certain

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

character in that moment.

occurs when the actor is facing 100% away from the

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

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 movement in the opposite direction in adjustment to

the cross of another actor.

the actor remembers certain

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

character in that moment.

occurs when the actor is facing 100% away from the

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

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 movement in the opposite direction in adjustment to

the cross of another actor.

the actor remembers certain

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

character in that moment.

occurs when the actor is facing 100% away from the

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

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.

the conditions of the moment that affect the

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

the area above the performance space where lighting and sound

equipment are attached.

Spontaneous performance that comes from instinct,

imagination, and awareness of surroundings

This is the moment that takes place before the

character walks onstage at any given point in the play.

the conditions of the moment that affect the

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

the area above the performance space where lighting and sound

equipment are attached.

Spontaneous performance that comes from instinct,

imagination, and awareness of surroundings

This is the moment that takes place before the

character walks onstage at any given point in the play.

the conditions of the moment that affect the

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

the area above the performance space where lighting and sound

equipment are attached.

Spontaneous performance that comes from instinct,

imagination, and awareness of surroundings

This is the moment that takes place before the

character walks onstage at any given point in the play.

the conditions of the moment that affect the

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

the area above the performance space where lighting and sound

equipment are attached.

Spontaneous performance that comes from instinct,

imagination, and awareness of surroundings

This is the moment that takes place before the

character walks onstage at any given point in the play.

The immediate goal of a character in a beat. Often the need

is opposed by the need of another character – this creates conflict,

a piece of literature meant to be performed in the theatre.

A term coined by Konstantin Stanislavski, which

means the ability to perform an action in front of an audience as

though the actor was alone without any spectators.

Play practice.

The immediate goal of a character in a beat. Often the need

is opposed by the need of another character – this creates conflict,

a piece of literature meant to be performed in the theatre.

A term coined by Konstantin Stanislavski, which

means the ability to perform an action in front of an audience as

though the actor was alone without any spectators.

Play practice.

The immediate goal of a character in a beat. Often the need

is opposed by the need of another character – this creates conflict,

a piece of literature meant to be performed in the theatre.

A term coined by Konstantin Stanislavski, which

means the ability to perform an action in front of an audience as

though the actor was alone without any spectators.

Play practice.

The immediate goal of a character in a beat. Often the need

is opposed by the need of another character – this creates conflict,

a piece of literature meant to be performed in the theatre.

A term coined by Konstantin Stanislavski, which

means the ability to perform an action in front of an audience as

though the actor was alone without any spectators.

Play practice.

Recreating in the mind , hopefully manifesting in the

body, the feeling of sensory impulses.

Directions either written in the script or spoken by

the director that instruct the actor to move to a certain place onstage or

to perform a specific action.

The overarching need and desire of a character

throughout their entire existence, which drives their actions beat by

beat in the play.

an arrangement of actors in a moment ‘frozen in time’ to

convey a meaning.

Recreating in the mind , hopefully manifesting in the

body, the feeling of sensory impulses.

Directions either written in the script or spoken by

the director that instruct the actor to move to a certain place onstage or

to perform a specific action.

The overarching need and desire of a character

throughout their entire existence, which drives their actions beat by

beat in the play.

an arrangement of actors in a moment ‘frozen in time’ to

convey a meaning.

Recreating in the mind , hopefully manifesting in the

body, the feeling of sensory impulses.

Directions either written in the script or spoken by

the director that instruct the actor to move to a certain place onstage or

to perform a specific action.

The overarching need and desire of a character

throughout their entire existence, which drives their actions beat by

beat in the play.

an arrangement of actors in a moment ‘frozen in time’ to

convey a meaning.

Recreating in the mind , hopefully manifesting in the

body, the feeling of sensory impulses.

Directions either written in the script or spoken by

the director that instruct the actor to move to a certain place onstage or

to perform a specific action.

The overarching need and desire of a character

throughout their entire existence, which drives their actions beat by

beat in the play.

an arrangement of actors in a moment ‘frozen in time’ to

convey a meaning.

Recreating in the mind , hopefully manifesting in the

body, the feeling of sensory impulses.

Directions either written in the script or spoken by

the director that instruct the actor to move to a certain place onstage or

to perform a specific action.

The overarching need and desire of a character

throughout their entire existence, which drives their actions beat by

beat in the play.

The society, worldview, social structure, time

period of the play.