STAGE POSITIONING

Apron- The front of the stahe extending into the auditorium beyond the
proscenium arch. This is usually at stage level, but sometimes it is built lower than
the stage.

Backdrop/Backcloth- A scene canvas across the width of the upstage area,

usually fixed at both the top and the bottom.

Downstage- Stage area towards the audience.

Flies- The space above the stage where most sets can be taken up.

Front Cloth- A movable cloth immediately behind the proscenium arch.

House Curtain- The proscenium curtains, also called ‘front tabs’ or ‘house tabs’.

Rostrum/platform- Platform for raising parts of the stage. One of a series of

rostra for building a movable stage.

Stage right- The right side of the stage as determined by actor standing in the
center facing the audience. (Opposite is called House Right)

Stage left- Left side of stage as determined by an actor standing in the centre and
facing the audience.
Trap- A door in the stage floor for special effects and entrances.

Up-stage- Towards the rear of the stage.

Wings- The flats or drapes masking the sifes of ther stage. As a general term, used
to designate all areas at the sides of the stage.

House- refers to the part of the theatre house where the audience is seated or
stands.

Tips for performing

Performance- Elements of presentation for communication to include focus

projection, interpretation and awareness in realising concept/intent.

Level- Any platform or other raised portion of the stage.

Creating Levels refers to the height of an actor’s head as determined by his or her
body position. (e.g. sitting, lying, standing, or elevated by an artifical means).

Mask- To hide or conceal unwanted areas or machinery from audience.

Up-stage- To distract from the focus of attention on stage.

Movement- should be natural and begin with using the upstage foot.

Real life- performances should be as close to real life as is possible.

Performance Space

Any space is which actors can perform. The performance area can be permanent
or temporary. Permanent performance spaces generally refer to the theatre houses.

There are generally 4 types of stage structures:

 Thrust or Open stage

 Proscenium
  Arena

 Black box

Thrust Stage- a stage that extends out into the auditorium so that the audience sits
on three sides of the actors.

Proscenium- is the name given a wall which seperates the stage from the
auditorium. The proscenium arch is the opening cut into that wall that allows the
actors and audience to see and hear one another.
Arena- An acting area surrounded by audience, either totally or on two or three
sides.

Black box- This form of open staging, also know as a flexible or adaptable theatre,
is distinguished by the absence of a permanent configuration.

Performance Skills

Acting is the creation of material on stage or on screen. It is the image of a

character involved in a series of actions and situations usually outlined by an
author, or set out in a script or scenario, and conveyed by that actor to an audience.
The tools an actor uses to express character are his or her own attributes; vocal and
physical apparatus, and emotional and kinetic responses.

An actor’s performance is enhanced by:

- An ability to put personal skills like imagination, emotional honesty and

understanding at the service of a creative process.

- An ability to focus/concentrate and listen

- Vocal training for greater power, expressiveness and clarifty

- Physical training stressing general fitness, flexibility and grace.

- Insight into the psychology of human behaviour.

- A ready understanding of an love for language.

- High level reading, research and text analysis.

Actor’s Machinery

Voice- An actor’s voice is one of the more important tools and is quite naturally the
first element to be considered. The basic elements of voice include:

- Voice (Breathing, phonation and resonance)

- Speech (Articulation, pronunciation and phrasing)

- Projection

Movement- this typically involves exercises and instruction designed to create

physical relaxation, muscule control, economy of action and expressive rhythms
and movement patterns.

Fundamentals of Movement

- Centering

- Gravity

- Balance
 - Posture

- Gesture

- Rhythm

- Moving in space

Actor’s mind- The actor must use their imagination to make the artificiality of
theatre real enough to himself in order to convey this sense of reality to the
audience.

The actor must imagine himself in an interpersonal situation/relationship created

by the play e.g. To be in love.

The actor’s imagination must go beyond the sterotype to become a creative force
that makes characterization a high art. Each actor creates his or her role uniquely.

Performance Techniques for Body and Mind

- Role play

- Mime

- Improvisation

- Reflective images

- Thought-tracking

- Thought tunnelling

- Roll-on-the-wall