BASIC

THEATRE
TERMINOLOGY

FUNDAMENTALS OF THEATRE I
 ASIDE
Words spoken by a character to the audience rather than
to the other characters, who supposedly DO NOT hear the
speech.
AUDITION
Tryout for a
part in a play,
t.v. show or
movie.
 BACKDROP / DROP
A painted canvas or
muslin curtain hung
from a batten to
form part of the
scenery.
 BACKSTAGE
The area behind
the scenery not
visible to the
audience.
 BATTEN
A horizontal pipe
suspended over the
stage, from which
scenery, lights or
curtains are hung;
also called a rail.
 BLOCKING
The director’s
planned
movement
for the actor’s.
 CASTING
The process of
selecting actors
for various
roles.
 COLD READINGS
When an actor auditions for a
role without having read the
script beforehand.
 COUNTER-CROSS
Moving in the opposite direction –
and out of the way- of another
actor who is moving across the
stage.
 CUE
A
directive
for
action.
 DIRECTOR
The person responsible
for interpreting the
script, creating a viable
production concept,
and directing the
actor’s.
 DRESS REHEARSALS
A run-through with
all technical
elements, including
costumes and make-
up.
 EXTERNAL TRAITS
Characteristics that make up a
character’s physical appearance,
such as posture, gestures,
mannerisms, voice and clothing.
 FLATS
Pieces of canvas or
plywood attached to
wooden frames,
painted and linked
together, to create
walls and doors on
stage.
 FLY SPACE
The area above the
stage where
scenery, drops and
lights are hung when
not in use.
 FOURTH WALL
The imaginary
wall through
which the
audience views
the play.
 “GOING-UP”
When an actor forgets lines during
rehearsal or a performance; also
called blanking.
 GRAND DRAPE
The curtain that
covers the
opening of the
proscenium
arch.
 GRAND VALANCE
Used in conjunction
with the grand drape. It
masks the scenery and
equipment just up stage
of the proscenium arch.
 HOUSE
The place
where the
audience sits.
 HOUSE LIGHTS
Auditorium lights
used before and
after the play and
during
intermission.
 ILLUSION OF THE FIRST TIME
The actor’s ability to perform in a show
over and over while making it appear
that the dialogue and situations are
happening for the first time.
 IMPROVISATION
An impromptu scene where the
actors make up the dialogue and
action on the spot.
 LEGS
Narrow,
vertical stage
drapes used
for masking.
 LOAD-IN
The moving of scenery
and associated
equipment into the
theatre and their
positioning on the
stage.
 Method Acting
An approach that
calls on the actor to
use personal
experience and
sense memory to
develop a character.
MONOLOGUE
A long
speech
spoken by
one actor.
 MOTIVATION
A specific reason for
saying or doing
something.
 OFF-BOOK
Having a part
memorized so
that a script is no
longer needed.
 PANTOMIME
Telling a story or
presenting an idea
through bodily
movement and
expression
without words.
 PLAYWRIGHT
Person who
writes and
develops the
script.
PRODUCER
Person who selects
the script, finds the
financial backing
and hires all
production
personnel.
 PROJECT
Increase voice
so it will carry
to the
audience.
 PROMPT BOOK
A book (usually in a 3-
ring binder) that
contains the script with
the director’s,
technicians, stage
manager’s (etc.) ideas,
cues, and blocking
notations.
 PROPS
Items handled by
actor’s such as
books, ornaments, a
broom, a glass,
glasses, a suitcase
etc.
 RAKED STAGE
A slanted stage,
where upstage is
slightly higher
than downstage.
READERS THEATRE
A form of theatre
in which actors
are seated and
read aloud from a
script.
 ROLE
A part in a play,
t.v. show or
movie.
 RUN-THROUGH
A rehearsal
without
interruption.
 SCENERY
The background
pieces such as flats
and drops to create
the play’s setting.
 SIGHTLINES
Imaginary lines
indicating visibility
of stage areas from
different points in
the house.
 STAGE CREW
Those who shift
the sets and
props during
rehearsals and
performances.
 STAGE MANAGER
Person who assists the
director during
rehearsals and manages
all backstage/tech
activity once the play
has opened.
 STRIKE
Taking down the set
following the
conclusion of a
play’s production
run.
UPSTAGING
Drawing the
audience’s attention
to yourself when it
should be focused
on another
character.