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)  

 Spontaneous performance that comes from instinct,

imagination, and awareness of surroundings

(a)  

This is the moment that takes place before the

character walks onstage at any given point in the play. This is

manifested in the imagination of the actor to give the character more

authenticity when he makes his entrance. It often is a combination of

emotional and sensory imagination.

(a)  

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

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

which is the heartbeat of drama. (Eg., ‘Character A wants to get a drink

of water, Character B wants no one to use the faucet.

(a)  

a piece of literature meant to be performed in the theater. Consists of Acts, which are broken down into Scenes; scenes are further

broken down into Beats by the actors, directors and designers.

(a)  

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. (e.g. combing hair

in front of a mirror, writing a love poem and practicing it)

(a)  

Play practice. (a)   progress to run throughs which

progress to cue to cue, which progresses to final dress rehearsal before

the show ‘goes up,’ or begins official performances.

Recreating in the mind , hopefully manifesting in the

body, the feeling of sensory impulses. (Eg. The heat, weight, scent and

sound of drinking a hot cup of coffee).

(a)  

Directions either written in the script or spoken by

the director that instructs the actor to move to a certain place onstage or to perform a specific action.

(a)  

The overarching need and desire of a character

throughout their entire existence, which drives their actions beat by

beat in the play. (Eg., ‘to rise above,’ ‘to be remembered forever.’)

(a)  

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

convey a meaning.

(a)  

The society, worldview, social structure, time

period of the play.

(a)  

the artist responsible for bringing the words of the play to life.

(a)  

the artist responsible for creating and enhancing the

atmosphere of the ‘world of the play.’

(a)  

the head of the artistic vision of the play. Works directly with

actors, producers and scenic artists.

(a)  

The group of actors. The team of performers. In terms of

casting a play, it refers to the actors who are not the key roles and may

play a multiple number of characters, sometimes unnamed

(a)  

The writer of the play.

(a)  

 Often part of or most of the financial backing of a

production. They have the final say in creative decisions

(a)  

The ‘go-to’ person during the rehearsal and production

process. The director’s right hand person.

(a)