Glossary extracted starting with automatic seeds, with PTM for the domain lit and language EN
discovered | A person or object on stage when the curtain is raised. |
multiconductor cable | An electrical cable that generally has more than three conductors. |
preset | To have something on a control console set up in advance of need. |
catwalk | A narrow walkway suspended above the stage and/or house from which lights and scenery can be hung and accessed. |
lullaby | A lullaby is a soothing song, usually sung to young children before they go to sleep, with the intention of speeding that process |
tropological | Not to be confused with either typology or the rhetorical device of the trope, the term tropological refers to the interpretation of literature in which the interpreter focuses on the ethical lesson presented in the text, i.e., "the moral of the story." See more discussion under fourfold interpretation. |
censorship ordinance of 1559 | This law under Queen Elizabeth required the political censorship of public plays and all printed materials in matters of religion and the government |
register dialect | A dialectal variation used only for a particular circumstance or for a specific purpose |
distanciation | in Brechtian performance, when actors maintain distance from their character by reminding the audience through often stylized gestures or behavior that they are simply people pretending, instead of trying to identify with their "character". |
antagonist | a character who seems to be the major force in opposition to the protagonist or main character |
octave | The opening eight-line section of a sonnet. |
paronym | A word derived from or related to another word; also, the form in one language for a word in another, as in the English canal for the Latin canalis. |
action | The series of events that make up the plot. |
resolution | Also called denouement, the portion of a play or story where the problem is solved |
foil | a character that serves as a contrast to another. |
eclipsis | Where parts of words are omitted. |
ionic | A Classical Greek and Latin double foot consisting of two unstressed syllables and two stressed syllables, either ionic a majore / ' ' ~ ~ / or ionic a minore / ~ ~ ' ' /. |
narration | A speeches that describes the dramatic action, especially off-stage action. |
kafkaesque | "Kafkaesque" is an eponym used to describe concepts, situations, and ideas which are reminiscent of the literary work of the Austro-Hungarian writer Franz Kafka, particularly his novels The Trial and The Castle, and the novella The Metamorphosis. |
efficacy | A measure of the luminous efficiency of a radiant flux, expressed in lumens per watt as the quotient of the total luminous flux by the total radiant flux |
frame narrative | This is a narrative technique where there is a principal story, around which there are other narratives to set the scene or interest the audience/reader |
courtly love | A type of idealised love portrayed in literature of the Middle Ages |
going dark | Warning to people on stage that the lights are about to be switched off. |
soft edge | A beam pattern edge that is not very distinguishable. |
prequel | A movie that presents the characters and events before the time of a previously filmed movie. |
flashforward | a plot-structuring device whereby a scene from the fictional future is inserted into the fictional present or is dramatized out of order. |
cleat | An iron or wooden fixture to which a cord can be tied for making scenery firm |
modulation | In poetry, the harmonious use of language relative to the variations of stress and pitch. |
anti-naturalism | an acting style in which the audience is kept aware that they are watching a performance rather than reality |
joryû bungaku | – JOE-REW BUN-GAH-COO (J: literature by women) Though much of Japan's greatest literature was (and is) written by women, the term is still sometime used as dismissive or pejorative. |
narrated monologue | a technique for the representation of a character's consciousness: the character's thoughts are reproduced in a way one would imagine the character to think, though the narrator continues to talk of the character in the third person |
satire | Literary device that crticizes beliefs, human failures, and social foibles in a light-hearted vein. |
style | The author's words and the characteristic way that writer uses language to achieve certain effects |
stage manager | 1 |
volta | pivot point of a |
denouement | See Resolution |
aside | in drama, a speech directed to the audience that supposedly is not audible to the other characters onstage at the time |
flat | 1 |
dimmer | A device used to control how much voltage is supplied to a lighting fixture. |
undercut | To speak a line softer than the previous line. |
image | An expression that describes a literal sensation, whether of hearing, seeing, touching, tasting, and feeling. |
syntax | The arrangement of linguistic elements in arbitrary but conventional sequences. |
hand-props | Properties that are brought on to the stage by the actor |
suspension of disbelief | An explanation for incredible or unrealistic elements in a work of literature |
runway model | Model who specializes in modeling clothes and accessories in runway shows. |
emotional memory | in Method acting, when an actor attempts to draw upon memories of prior emotions to match the emotions of their character. |
deictic | Words that point to particulars, as names and pronouns do for individual places and persons (such as Edwin Arlington Robinson's "Miniver Cheevy" and "Richard Cory"), and demonstrative-adjective-noun combinations (such as Benjamin Franklin King's "Here's that ten dollars that I owe" in "If I Should Die To-night") do for things. |
speech | the most mimetic narrative mode, since it seems to give an almost unmediated representation of 'actual' speech events. |
fable | A brief tale designed to illustrate a moral lesson |
poetry slam | A poetry slam is a spoken-word poetry competition. |
turn out | actor is to face downstage, toward the audience |
non-traditional casting | A cast which includes people of color, women, seniors and performers with disabilities. |
dark adaptation | The process of the eye adapting to changes from light to dark. |
gobo | A thin metal disc cut with a pattern and placed in front of a light source so the pattern can be projected. |
foley mixer | Someone who mixes the sound effects created by the foley artist. |
flashback | When the action of a story is interrupted by a scene from the past. |
transmission factor | The ability of a medium to allow for the transmission of light. |
dips | lights set into the stage floor usually covered by trapdoors. |
convention | a characteristic of literary genre that is understood and accepted by audiences because it has come, through usage and time, to be recognized as a familiar technique |
director | the person who leads a show |
parts of speech | A traditional classifying system for words in terms of their function. The main catagories are: |
imaginative/literary text | Fictional writing in story, dramatic, or poetic form |
best boy | Second in command to the gaffer or to the key grip |
non-linear editing | Computer-assisted editing of a movie. |
configuration | the sequential presentation of different characters together on stage. |
drama | A production that takes a thoughtful, serious attitude toward its subject matter. |
archaic language | language no longer in use |
modal | A modal is a verb that combines with another verb to indicate mood or tense. |
scene | A shorthand version of Scene Preset or Look. |
scansion | the chief object of this on-line tutorial: an analytic process of mapping the convergence and divergence (reinforcement and counterpoint) between the |
isotopy | a concept introduced by the critic A.J |
invocation | The act of invoking or calling upon a deity, spirit, etc |
lines for grid | 1¼" hemp or ½" wire rope |
parataxis | linking clauses just by sequencing them, often without conjunction(s) and only by means of associations that are implied, not stated. |
spelling rhyme | This occurs where the end words of a line are spelled similarly e.g |
melic poetry | Greek poetry written to be sung |
point of view | Flashback: A device used in literature to present action that occurred before the beginning of the story |
end-stopped | a verse line ending at a grammatical boundary or break, such as a dash, a closing parenthesis, or punctuation such as a colon, a semi-colon, or a period |
word-painting | the creation of vivid images of scenery and atmosphere in the viewer's mind by means of rhetorical devices . |
orchestra pit | The sunken area immediately in front of the stage. |
linguistics | Linguistics is the scientific study of human language |
pilgrimage | An act of spiritual devotion or penance in which an individual travels without material comforts to a distant holy place |
exitance | The density of light reflecting from a surface at a point, measured in lumens per square foot (formerly"footlamberts") |
scoop | A flood light using a large scoop-shaped reflector. |
tormentor lights | spotlights mounted on a vertical pipe batten on either side of the stage just behind the tormentors and used as side lighting |
dimmer | An apparatus for reducing the light on the stage |
personal manager | One who develops the career of a performer in exchange for an agreed upon percentage of earnings. |
syllable | One or more letters consisting of one or more vowel sounds in a word that work as a single unit of spoken language. |
peripetea | An unexpected reversal in fortune or a sudden change commonly used when describing the situation of a tragic hero. |
moral | The lesson taught in a work such as a fable; a simple type of theme |
filter | a device for changing, by transmission or reflection, the magnitude or spectral composition of the flux incident upon it |
synapheia | A Greek term meaning to fasten together |
pick up | To start a scene from a place other than the beginning, usually due to a problem with the original shot. |
tormentor | Lights mounted Upstage of tormentor |
ode | A poem in praise of something divine or expressing some noble idea |
tableau | moment in which a living picture is created on stage and held by actors without motion or speech |
first folio | A collection of Comedies, Histories and tragedies (36 in total) of Shakespeare's works, published in 1623. |
floodlighting | a system designed for lighting a scene or object to a luminance greater than its surroundings |
accent wash | A wash of light over an area, adding colour. |
speakeasy | Speakeasy are the promoters of some of the best local and national spoken word talent in the UK. |
argument | In logic, an argument is a set of one or more meaningful declarative sentences (or "propositions") known as the premises along with another meaningful declarative sentence (or "proposition") known as the conclusion |
verisimilitude | The sense that what one reads is "real," or at least realistic and believable |
tableau vivant | Tableau vivant (plural: tableaux vivants) is French for "living picture." The term describes a striking group of suitably costumed actors or artist's models, carefully posed and often theatrically lit |
exit access | the portion of a means of egress that leads to an exit. |
theater in the round | A performance taking place on an arena stage |
antithesis | Contrasting or combining two terms, phrases, or clauses with opposed or antithetical meanings. |
purgation | To purify or purge. |
act curtain | See "Grand Drape" |
dialogue | A verbal exchange between two or more people. |
western fiction | Western fiction is a genre of literature set in the American Old West frontier (usually anywhere west of the Mississippi River) and typically set during the late nineteenth century |
principal | A lead or starring role. |
blues poem | A poem that typically reflects the feelings and experiences of African Americans during the slave era |
dialogue | Conversation between two or more people that advances the action, is consistent with the character of the speakers, and serves to give relief from passages essentially descriptive or expository |
idiosyncratic | Idiosyncratic means a structural or behavioural characteristic peculiar to an individual or group. |
environmental theater | A theatrical performance in which the audience area and the acting area are intermixed with the action occurring all around the audience. |
eschatological narrative | A story about the end of the world. |
anti-semitic literature | Literature that vilifies Jews or encourages racist attitudes toward them |
proscenium arch | A large archway that separates the acting area from the audience area. |
primary text | direct speech/ text spoken by the characters of a play. |
id | A brief (10 seconds or less) commercial message which depicts or mentions a sponsor's name, product or service during broadcast over television or radio |
pyrrhic meter | A metrical foot comprising two unstressed syllables. |
allegory | A figurative illustration of truths or generalizations about human conduct or experience in a narrative or description by the use of symbolic fictional figures and actions which the reader can interpret as a resemblance to the subject's properties and circumstances. |
vomitory | An specially designed performer entrance that allows actors to enter and exit through the lower seating areas near the stage. |
soliloquy | A soliloquy is a device often used in drama whereby a character relates his or her thoughts and feelings to him/herself and to the audience without addressing any of the other characters |
end-stopped | When a line ends in a full pause, usually indicated by a mark of punctuation. |
repertoire | (a) The stock of plays that a company can perform |
genre | A class or category of artistic endeavor having a particular form, content, technique, or the like. |
narrator | In a story, the person speaking to the reader or telling the reader the story. |
familiar address | Not to be confused with the animal known as a witch's familiar (see immediately below), the familiar address is the use of informal pronouns in Middle English and Early Modern English |
wrangler | One who is responsible for the care and control of animals used for a production. |
diction | or lexis, or vocabulary of a passage refers to nothing more or less then its words |
anecdote | A very short tale told by a character in a literary work |
3 voucher system | A way of becoming eligible to join the Screen Actors Guild (SAG) by acquiring a total of three SAG work vouchers |
meter | Rhythm) |
ballad | A ballad is a form of verse, often a narrative set to music |
amphiteatres | type of theatre or stage, typical for example for theatre performance in classical antiquity (Greece and Rome), amphitheatres had a round stage almost entirely surrounded by the audience. |
figure of speech | ways of using language that deviate from the literal, denotative meanings of words in order to suggest additional meanings or effects; they say one thing in terms of something else. |
xfade | CROSS FADE. |
billboard | The opening announcements to a program. |
pantoum | A French verse form of four quatrains that repeats entire lines in a strict pattern, 1234, 2546, 5768, 7183 |
chiasmus | a figure of speech by which the order of the terms in the first of two parallel clauses is reversed in the second: "Pleasure is a sin, and sometimes sin's a pleasure." |
house lights | the general lighting system installed in the audience area (house) nf a theatre, film or television studio or arena. |
genre | a type or class of literature such as epic or narrative poetry or belles lettres |
comedy | The traditional plot of comedy is the reverse of tragedy |
cover | To block the audiences view of stage action or of another actor. |
germicidal effectiveness | See bactericidal (germicidal) effectiveness. |
turn in | actor is to face upstage, away from the audience |
front of house | refers to services including parking, concessions, ushering, and playbill distributing |
p.o.v. | Point of view |
paeon | Greek and Latin metrical foot consisting of three short and one long syllables: the first paeon / ' ~ ~ ~ /, the second paeon / ~ ' ~ ~ /, the third paeon / ~ ~ ' ~ /, and the fourth paeon / ~ ~ ~ ' /. |
slow motion | Mmovements on screen are slower than they would be in actual life. |
raked stage | A sloping stage which is higher at the upstage end then at the downstage end. |
mystery plays | A style theatre that dramatizes events from the Bible |
domestic drama | A production that explores the problems of ordinary people in a serious, non-tragic manner. |
glare index | A method of predicting the presence of discomfort glare due to daylighting |
bellicosity | readiness to fight boater: a kind of men's formal summer hat Boche: offensive term for a German, especially a soldier; pronounced the same as bosh, meaning nonsense bona fide: legitimate, genuine |
scene-plot | A list of the scenery used and the order of its use |
colour mediums | Sheets of coloured gelatine or glass for stage lighting |
tragedy | A serious literary work in which a change in fortune leads to the downfall or death of the protagonist. |
off-broadway | Small, professional New York theatres not located on or near the Broadway theatre district. |
enjambment | The use of a line that "runs on" to the next line, without pause, to complete its grammatical sense (compare end stop) |
storyboard | A series of illustrations that depict the action of a production. |
acoustics | the total effect of sound in a theatre, affected by size and shape of a space as well as its furnishings and floor coverings. |
community drama | Plays suitable for acting in a Community Theatre |
anti-masque | An anti-masque (also spelled antimasque) is a comic or grotesque dance presented before or between the acts of a masque, a type of dramatic composition |
sneak preview | Unannounced screening of a movie prior to the premiere |
kishōtenketsu | the structure of many Chinese and Japanese narratives, containing four parts |
dramatic structure | the identifiable framework of a dramatic work |
trip | to lift the bottom of a drop or flown scenery with another set of lines in theatres where there isn't enough fly space to lift the unit vertically to its entire length |
metaphor | – MET-A-FOUR (Gr: transference) A trope or figurative expression in which a word or expression is shifted from its normal usage to a context where it evokes new meanings |
dithyramb | An ancient Athenian poetic form sung during the Dionysia (see above) |
downward component | that portion of the luminous flux from a luminaire emitted at angles below the horizontal |
special | A fixture used for one specific object or effect. |
surrealistic drama | seeks its truth in the irrationality of the unconscious mind |
aphorism | A brief statement which expresses an observation on life, usually intended as a wise observation |
hype | Excessive praise or advertising. |
specular reflection | The process by which incident light is redirected at the specular (mirror) angle. |
background actor | ""extra, atmosphere, non-principal performer who does not have lines. |
beat | A heavy stress or accent in a line of poetry |
face change | To change character suddenly, from theater troupes in Europe where actors would wear paint based on the character they were portraying, typically an actor played the same character all season, so his makeup was always the same |
shamisen | SAH-ME-SEN J: A three-stringed banjo-like instrument either plucked with the fingers or a plectrum – a paddle-shaped piece of ivory. |
trouvère | Trouvère (is the Northern French (langue d'oïl) form of the word trobador (as spelled in the langue d'oc) |
impressionism | An early twentieth century movement embracing the use of images and symbols |
mind style | the way in which one expects the character to use language in his/her own mind |
exposition | The kind of writing that is intending primarily to present information |
cheating | the practice of turning one's body towards the audience even while keeping the head facing one's scene partner |
semiotic literary criticism | Semiotic literary criticism, also called literary semiotics, is the approach to literary criticism informed by the theory of signs or semiotics |
characterization | The method a writer uses to reveal the personality of a character in a literary work: Methods may include (1) by what the character says about himself or herself; (2) by what others reveal about the character; and (3) by the character's own actions |
community theatre | Local, non-commercial, amateur acting group that performs theatrical productions. |
uto-aztecan | A non-Indo-European language family found in Central America and the western sections of North America. |
chorus | In Greek drama, this is the group of citizens who stand outside the main action on stage and comment on it. |
decorum | In literary parlance, the appropriateness of a work to its subject, its genre and its audience. |
grand drape | The"main" curtain which separates the stage from the audience. |
avant-garde | Avant-garde (French pronunciation: [avɑ̃ɡaʁd]) means "advance guard" or "vanguard" |
18-to-play-younger | An actor who is 18 years or older but who can convincingly portray a younger character. |
strophe | one section of a lyric poem or choral ode in classical Greek drama |
flourishing | In medieval codices, this refers to |
stock characters | Standard or cliched character types: the drunk, the miser, the foolish girl, etc |
rhopalic verse | (Greek, ‘like a club') |
rime enchainée | links consecutive lines, with the last word of one line rhyming with the first word of the following line. |
verisimilitude | Verisimilitude, with the meaning Ëof being true or realË is a likeness or resemblance of the truth, reality or a fact's probability |
area lighting | The main visibility lighting for an acting area. |
crime novel | The term covers both detective fiction and other kinds of crime stories. |
aube | An aubade is a poem or song of or about lovers separating at dawn. |
fluorescence | the emission of light (luminescence) as the result of, and only during, the absorption of radiation of shorter wavelengths. |
hanging | Attaching lights or scenery to battens. |
back drop | a large piece of canvas, usually painted with a scene, suspended behind the rest of the scenery |
steadicam | A special handheld camera which is designed to reduce the effects of the camera operator's body movements. |
matte surface | Surface from which the reflection is predominantly diffuse, with or without a negligible specular component. |
script | The text of a play, motion picture, radio broadcast, or prepared speech that includes dialogue and stage directions. |
initial letter | Another term for an initial |
utopia | An idealized place |
proscenium arch | an arch over the front of a stage; the proscenium serves as a "frame" for the action onstage. |
double | An actor who briefly stands in place for another actor as for a stunt. |
hyperbole | the trope of exaggeration or overstatement |
rounds | The applause by the audience |
allusion | A reference in literature, or in visual or performing arts, to a familiar person, place, thing, or event |
parallelism – | PAIR-AH-LEL-ISM (Gr: side by side) The repetition of identical or very similar syntactic patterns in adjacent phrases, clauses or sentences |
field rep. | AFTRA or SAG union staff member who ensures contractual compliance on sets. |
fore-stage | See Apron |
autobiography | An autobiography (from the Greek, αὐτός-autos self + βίος-bios life + γράφειν-graphein to write) is a book about the life of a person, written by that person. |
rushes | First, unedited film footage processed for daily viewing as the shooting of the film progresses. |
primary / secondary sources | A primary source is the original text or materials |
mass noun | A noun that names things that cannot be counted |
symbolist movement | late 19th-century French writers, including Mallarmé and Valéry, whose verse dealt with transcendental phenomena or with images and actions whose meaning was associative rather than referential. |
dimmer | a device used to control the intensity of light emitted by a luminaire by controlling the voltage or current available to it. |
voice | Voice or voicing is a term used in phonetics and phonology to characterize speech sounds, with sounds described as either voiceless (unvoiced) or voiced |
diffuser | a device to redirect or scatter the light from a source |
emblem book | Emblem books are a category of illustrated book printed in Europe during the 16th and 17th centuries, typically containing a number of emblematic images with explanatory text. |
melic verse | An ornate form of Greek poetry of the 7th and 6th centuries BC which was written to be sung, either by a single voice or a chorus, to the accompaniment of musical instruments. |
anti-hero | In fiction, an antihero (sometimes antiheroine as feminine) is generally considered to be a protagonist whose character is at least in some regards conspicuously contrary to that of the archetypal hero, and is in some instances its antithesis |
new criticism | Group of (largely) American critics including: T.S.Eliot, I.A |
chanson de geste | Epos, Heroic Quatrain) (Compare Ballad, Narrative, Tragedy) |
stress | Emphasis given to a syllable in pitch, volume or duration (or several of these) |
epistle | An epistle (pronounced /i'pis.l/; Greek ἐπιστολή, epistolÄ, 'letter') is a writing directed or sent to a person or group of people, usually an elegant and formal didactic letter |
mixed metaphor | Occurs when two very dissimilar elements are connected, achieving a strange effect because the literal definitions of the elements are too unrelated to each other or because the resulting comparison is false, unlikely, or nonsensical. |
cliché | A trite or stereotyped phrase or expression |
mezzanine floor | A floor underneath the stage |
trio | Group of three singers. |
emblem | An emblem is a pictorial image, abstract or representational, that epitomizes a concept — e.g., a moral truth, or an allegory — or that represents a person, such as a king or saint. |
analog multiplex | A system that simultaneously transmits more than one analog signal. |
comic opera | An outgrowth of the eighteenth-century ballad operas, in which new or original music is composed specially for the lyrics |
shot composition | Arrangement of elements within the frame. |
c-clamp | Pipe clamp |
hola | Hispanic Organization of Latin Actors |
props | An abbreviation for stage properties |
syntax | word order; the way words are put together to form phrases, clauses, and sentences. |
foreshadowing | a hint or clue about what will happen at a later moment in the plot. |
single card | A credit on screen in which only one performer's name appears. |
prolepsise | Prolepsis may refer to: |
interior monologue | When a character’s thoughts and mental associations are used to indirectly convey action and external events; the character’s thoughts are usually not spoken aloud. |
homeric simile | An extended comparison that mounts in excitement and usually ends in a climax |
spontaneity | When words, ideas, feelings, and emotions flow naturally and spontaneously from a poet without contrivance. |
kenning | Ricochet Words) |
hyperbaton | An inversion of the normal grammatical word order; it may range from a single word moved from its usual place to a pair of words inverted or to even more extremes of syntactic displacement |
jump tune | A fast show tune with a strong beat. |
breakaway | Costume, prop or scenery element specially constructed to break or shatter easily. |
couplet | especially the closed or heroic couplet. |
rig | A complete structural assembly for hanging or supporting fixtures, scenery, and/or other production equipment. |
prop | in drama, an object used on the stage. |
particular setting | see setting |
jiamari | - J-EYE-AH-MAR-EE (J: excess character) |
motif | Theme) |
euphemism | The substitution of an agreeable or inoffensive expression for one that might offend or suggest something unpleasant. |
onomatopoeia | a word capturing or approximating the sound of what it describes; buzz is a good example. |
objectivism | A school of American poetry of the 1930s which sprang up as result of T.S |
exposition | that part of the structure that sets the scene, introduces or identifies characters, and establishes the situation at the beginning of a story or play |
psa | Public Service Announcement. |
per diem | A set daily paid for living expenses. |
realism | (1) generally, the practice in literature, especially fiction and drama, of attempting to describe nature and life as they are without idealization and with attention to detail, especially the everyday life of ordinary people |
typecasting | selection of actors based upon their physical similarity to a certain dramatic type or upon their reputation for specializing in that kid of role |
comedienne | A woman comic actor |
epistle | An epistle is a composition in prose or poetry written in the form of a letter. |
silent on camera | when one does not have a speaking role. |
plot time | see time |
acting edition | A copy of the script which has the stage directions, technical cues, prop lists and costume descriptions from the prompt script of the first production. |
anagogical | In fourfold interpretation, the anagogical reading is the fourth type of interpretation in which one reads a religious writing in an eschatological manner, i.e., the interpreter sees the passage as a revelation concerning the last days, the end of time, or the afterlife. |
allusion | An implied or indirect reference to something assumed to be known, such as a historical event or personage, a well-known quotation from literature, or a famous work of art, such as Keats' allusion to Titian's painting of Bacchus in "Ode to a Nightingale." |
imperfect rhyme | Occurs when consonant and vowels sounds are not echoed exactly between words, but are still similar, either by sight or sound. |
projection | Making voice, movements, and gestures clear to all sections of the house. |
stage hand | Member of the stage crew. |
unlimited point of view | see point of view |
characterization | the development of characters in fiction, drama, or poetry |
episodic | see loose plot. |
soliloquy | A speech in a dramatic work in which a character speaks his or her thoughts aloud |
cliché | A hackneyed or trite phrase that has become overused |
open circuit | A circuit that has a physical break or disconnection. |
old comedy | The Athenian comedies dating to 400-499 BCE, featuring invective, satire, ribald humor, and song and dance |
italian run-through | A rehearsal run at "double time" |
build | Rising intensity or climbing action that develops within a scene or entire play. |
anagram | a word spelled out by rearranging the letters of another word |
first person narrative | This type of narrative is often written from the first-person singular or first-person plural perspective |
tale | Tale may refer to: |
stage wait | A dramatic pause used to heighten suspense. |
interstitial | Brief, non-commercial, non-PSA material which fills short periods of time between main programs on pay or cable television. |
colloquialism | A word or phrase used everyday in plain and relaxed speech, but rarely found in formal writing |
tritagonist | an actor who played the third part in Greek tragedy following the protagonist and the deuteragonist |
protagonist | The main character in a work, on whom the author focuses most of the narrative attention |
homonyms | Two words having identical spellings and pronunciations, but different origins and meanings (i.e |
floor pocket | A wiring device with receptacles recessed into to the floor with a hinged cover. |
curtain line | Imaginary line across the performance space marking the point where the front tabs / curtain is flown. |
theme | central ideas or thoughts of a play that synthesize the audience's experiences |
role | Another term for an actor's part in a play. |
archetype | Something in the world, and described in literature, that, according to the psychologist Karl Jung, manifests a dominant theme in the collective unconscious of human beings |
morality play | The morality play is a genre of Medieval and early Tudor theatrical entertainment |
second unit | A crew responsible for filming shots of less importance than the main scenes (crowd scenes, scenery, etc.) |
stage screw | A large screw with a grip in it for fixing braces to the floor |
prescriptivist | A grammatical treatise or a lexicon is said to be prescriptivist if it has the goal of fashioning guidelines or "rules" for grammar, spelling, and word use, as opposed to describing unjudgmentally how a group of people tend to use language |
general interview | An initial meeting between a casting director or agent and actor, when no specific role is being auditioned. |
arcadia | A mountainous region of Greece which was represented as the blissful home of happy shepherds |
rehearsal | Session during which the cast, crew and director prepare a production for eventual performance. |
maker | A medieval and early Renaissance term for ‘poet.' |
situation | the basic circumstances depicted in a literary work, especially when the story, play, or poem begins or at a specific later moment in the action |
aphorism – | A-FOR-ISM |
chorus | In ancient Greece, the groups of dancers and singers who participated in religious festivals and dramatic performances |
props | Objects used by actor on the set. |
general manager | Under the producer, oversees all non artistic parts of the production. |
scop | The name for an Old English poet-singer. |
guild member | Dues-paying member of an industry union. |
comedy of manners | A type of drama where the social demeanour of a community is humorously depicted. |
vellum | The skin of a young calf used as a writing surface--the medieval equivalent of "paper." A technical distinction is usually made between vellum and parchment; the latter is made from goatskin or sheepskin |
prompt | To help an actor with lines. |
troupe | a theatrical company |
scene | a section or subdivision of a play or narrative that presents continuous action in one specific setting. |
iisute | – EYE-EYE-SUE-TEA J: An adjective describing a renga with not enough links, or an irregular number, of casual production and not felt worthy of recording. |
glossolalia | A type of language that cannot be understood, glossolalia is often referred to as "speaking in tongues." |
epic | a long narrative poem, told in a formal, elevated style, that focuses on a serious subject and chronicles heroic deeds and events important to a culture or nation |
aufklärung | The German term for the philosophical movement called in English "the Enlightenment" or the Neoclassical movement |
soap opera or soap | A melodramatic TV serial. |
rhyme | Normally end-rhyme, that is, lines of verse characterized by the consonance of terminal words or syllables |
drive-on pass | A pass which permits one to drive onto and park on a studio lot. |
chorus | A group of performers that make up the community of characters within a play, having few lines individually, and seen on stage as one entity. |
pleonasm | Redundancy or superfluous words. |
auditory imagery | Descriptive language that evokes noise, music, or other sounds |
cinquain – | SIN-QUAY-N The poetry form devised by Adelaide Crapsy around 1910, supposedly based on the tanka, in which five lines are filled with the syllable count of 2/4/6/8/2. |
amx | Abbreviation for Analog Multiplex. |
victorian | Verse written in the reign of Victoria, from 1837 to 1901. |
kouta | – KOH-OU-TA (J: little song) A broad classification for several varieties of short songs from traditional to popular which is most often associated with the popular songs made popular in the pleasure quarters of Edo (old Tokyo) where they were often composed and sung by geisha to the accompaniment of the shamisen. |
analogue | usually a semantic or narrative feature in one work said to resemble something in another work, without necessarily implying that a cause-and-effect relationship exists (as would be the case with source and influence) |
metaphor | A figure of speech in which a word or phrase literally denoting one object or idea is applied to another, thereby suggesting a likeness or analogy between them, as: |
connotation | associations and implications that go beyond the literal meaning of a word, which derive from how the word has been commonly used and the associations of the people making it |
thrust stage | a stage design that allows the audience to sit around three sides of the major acting area. |
trucking shot | Any moving shot where a camera is mounted on a movable vehicle. |
beat | A deliberate pause for effect. |
overcast sky | A sky luminance distribution three times brighter near (C.I.E |
post-colonial literature | This term refers to writings in the colonial language (e.g English, French etc) that derive from former colonies of Empires |
direct lighting | lighting by luminaires distributing 90-100% of the emitted light in the general direction of the surface |
aesthetic distance | See distance. |
anchorite | An eremite or hermit in the medieval period who requests permission from the local pastor to be sealed up in a small cell attached to the side of the church, where the anchorite would live out the rest of his days relying upon the charity of the local community to provide food and water through a small opening |
stunt coordinator | A person responsible for planning, designing and supervising stunts. |
homophones | Words which sound exactly the same but which have different meanings ('maid' and 'made'). |
antithesis | opposition, or contrast of ideas or words in a parallel sentence construction. |
erythemal effectiveness | the capacity of various portions of the ultraviolet spectrum to produce erythema. |
methodology | set of analytical tools used to investigate systematically a certain phenomenon. |
flourisher | In medieval times, this was a professional artist who works in conjunction with illuminators and rubricators to design pen-work decoration on initials and /or flourishwork on the borders of decorated books |
tercet – | TAIR-SET A verse unit of three lines |
dry tech | A rehearsal, usually without actors, during which the light and sound cues are worked out. |
upstage | The area on stage farthest from the audience. |
speed through | A rehearsal during which actors recite their lines quickly without blocking |
revue | A production composed of sketches, comedy routines and dance numbers. |
style | the way in which language is used |
groundlings | Members of an Elizabethan audience who paid a very low entrance fee and stood in the open area below and around the stage |
headlight | an alternative term for headlamp. |
voice | the verbal aspect of point of view, the acknowledged or unacknowledged source of a story's words; the speaker; the "person" telling the story and that person's particular qualities of insight, attitude, and verbal style |
metaphor | A figure of speech in which a word or phrase literally denoting one object or idea is applied to another, thereby suggesting a likeness or analogy between them |
mora | Mora (plural moras or morae) is a unit of sound used in phonology that determines syllable weight (which in turn determines stress or timing) in some languages |
strophe | A strophe is the first of three series of lines forming the divisions of each section of a Pindaric ode. |
afl-cio | American Federation of Labor/Congress of Industrial Organizations |
parataxis | Linking clauses just by sequencing them, often without conjunction(s) and only by means of associations that are implied, not stated. |
denotation | a direct or specific meaning, often referred to as the dictionary meaning of a word |
text | words of the dialogue and lyrics |
screen test | A brief, filmed audition fo later evaluation by casting people. |
super model | A model who is readily recognized by the general public. |
tiring-house | An enclosed area in an Elizabethan theater where the actors awaited their cue to go on stage, changed their costumes, and stored stage props |
ambiance | Loosely the term is equivalent to atmosphere or mood, but more specifically, ambiance is the atmosphere or mood of a particular setting or location |
escape stairs | Steps which are hidden from the audience's view, which are used by actors to exit or enter from upper-level platforms or doors. |
gothic novel | sub-genre of the novel which flourished in the late 18th and during the 19th century, usually set in the medieval period, the plots in gothic novels develop an atmosphere of gloom or even terror, they make liberal use of mystery, desolate castles with secret passages, sensational or supernatural occurrences. |
foul papers | Rough drafts of a manuscript that have not been corrected and are not to be sent to the printers |
pre-screen | To audition for a casting director to determin if an actor should be auditioned for the director. |
end-stopped | A verse line ending at a grammatical boundary or break, such as a dash, a closing parenthesis, or punctuation such as a colon, a semi-colon, or a period |
sound studio | A recording studio. |
liverpool poets | A 1960s group of popular writers from the west-England city of Liverpool, including Adrian Henri, Roger McGough, and Brian Patten. |
protest poem | An attack, sometimes indirect, on institutions or social injustices |
high-angle shot | A shot taken from above a scene as if looking down on the scene. |
counterpoint | Chapter 5 is called the Discovery of Form ( touches on Symmetry) and Chapter 6 is called the Discovery of Meter (this is where he makes the distinction between vers libre and vers libéré . |
thrust stage | Acting area that extends out into the audience permitting a view from three sides. |
trade show | A promotional event held in a convention center in which products marketed to retailers. |
sight gag | Visual humor includes funny props, costumes, makeup, hairstyles, or movements. |
corner | The "prompt corner"; the place from which the stage manager communicates with the actors and the production crew. |
trampoline | a framework of net, webbed or rubberized material used to cushion the fall of an actor from a height |
naturalism | A style of performance in which the actors strive for a "realistic" performance. |
free verse | Rhythmical but non-metrical, non-rhyming lines |
interlude | A play belonging to the sixteenth century performed in a simple form either with dialogue or in dumb show |
voice-over | Performance that consists solely of recording a performers voice. |
in medias res | In medias res or medias in res (into the middle of things) is a Latin phrase denoting the literary and artistic narrative technique wherein the relation of a story begins either at the mid-point or at the conclusion, rather than at the beginning (cf |
modernism | An important movement in the early to mid-twentieth century that broke with traditional subjects and poetic forms to discover or create a new and contemporary means of personal expression |
sound effects | Sounds added during post-production. |
aimp | Association of Independent Music Publishers. |
sub-plot | A second or subsidiary plot to the main plot of a play |
thesis play | serious treatment of social, moral, or philosophical ideas |
puppet | A marionette |
over-the-shoulder | A shot taken over the shoulder of one actor, focusing on the face and upper torso of the other actor in a scene. |
curtain | A drape across the stage to conceal some or all of the performance space. |
"out" time | Time you are released after changing out of wardrobe and make-up. |
shared scene | Scene in which two actors receive equal emphasis. |
print work | Modeling assignments for use in print media. |
paronomasia | punning, a play of meaning by yoking similar-sounding words |
cadence | The convergence was more lexical than semantic, since the word came to mean whatever a writer liked |
chief electrician gaffer) | The head of the electrician crew. |
valley | hucks misspelling of valet.. |
crank-up stand | A stand that is raised and lowered with the aid of a rotatable handle and gear mechanism. |
anapest | An anapest is a metrical foot of three syllables, the first two short, the last long |
cue | (a) Words or action on which an actor speaks or acts |
payola | Illegal payment to broadcasters in exchange for airplay. |
epithet | Adjective expressing quality or attribute |
accent – | AC(t)-SENT (L: accentus – song added to speech) Greater articulary force, resulting from greater musculatory exertion in forming a sound |
throw away | Underplay a moment in a scene |
tragic flaw - hamartia | Hamartia (Ancient Greek: ἁμαρτία) is a term developed by Aristotle in his work Poetics |
epithalamion | lyric poem in praise of Hymen (the Greek god of marriage) or of a particular wedding, such as Edmund Spenser's "Epithalamion." |
glow lamp | an electric-discharge lamp whose mode of operation is that of a glow discharge, and in which light is generated in the space close to the electrodes. |
versification | Literally, the making of verse, the term is often used as another name for prosody |
non-fiction novel | The non-fiction novel or faction is a literary genre which, broadly speaking, depicts real events narrated with techniques of fiction |
troupe | A company of actors. |
goliardic verse | Verse written during the 12th and 13th centuries and attributed to the Goliards who were wandering scholars |
point of view | the perspective from which people, events, and other details in a work of fiction are viewed; also called focus, though the term point of view is sometimes used to include both focus and voice |
cosmic irony | occurs when a writer uses God, destiny, or fate to dash the hopes and expectations of a character or of humankind in general |
cycle | The aggregate of accumulated literature, plays or musical works treating the same theme |
denotation | What a word points to, names, or refers to, either in the world of things or in the mind. |
distal stimuli | any of the points |
lamp | an electric-discharge lamp in which the light-producing arc is stabilized by wall temperature |
doubling | Actor performing more than one part in a production. |
liverpool poets | Name given to Roger McGough, Brian Patten and Adrian Henri who came together in Liverpool in the 1960s |
front of house | The auditorium |
demo tape | (DEMO REEL) An audio or video tape containing scene or sound clips that actors and their agents use for auditions. |
ghost characters | This term should not be confused with characters who happen to appear on stage as ghosts |
grip | Crew member of a TV or film production, who is responsible for the adjustment and maintenance of production equipment on the set |
protagonist | The hero or central character of a literary work |
nonet | A group of nine. |
thrust stage/open stage/apron stage | wraparound theater space where the stage extends out into the audience and the spectators view the action from three sides |
light adaptation | The process of the eye adapting to changes from dark to light. |
liverpool poets | a 1960s group of popular writers from the west-England city of Liverpool, including Adrian Henri, Roger McGough, and Brian Patten. |
dialogue | the verbal exchanges between characters |
lost generation | A group of twentieth-century authors who grew disillusioned after World War I and lived in Europe as expatriates |
atmosphere | the mood of the play conveyed through stage business, lights, props, costumes, makeup, sound. |
commercial theatre | Professional theatre productions developed with the goal of making money for investors. |
experimental/visual poetry | The presentation of a poetic movement in a visual manner that implies other meanings or implications that aren't reflected in the words themselves |
evergreen | A song that continues being popular year after year. |
burlesque | A sex and comedy variety show. |
heat extraction | thermal factor the fractional lumen loss or gain due to passage of room air being returned to the plenum through the lamp compartment of a luminaire. |
neoclassicism | a movement which dominated during the eighteenth century and was notable for its adherence to the forms of classical drama |
metaphysical conceit - conceit | In English literature the term is generally associated with the 17th century metaphysical poets, an extension of contemporary usage |
tetrameter | A tetrameter is a line of verse that has four metrical feet. |
standby | Actor who is prepared to substitute for a lead actor in case the lead is unable to perform. |
give/take | To receive or give greater focus in a scene |
architectural set | a permanent structure that can be altered to suggest different locations by adding scenic pieces, draperies, and properties |
iambic pentameter | An iambic line of five feet |
angel | someone who provides financial support to a company or production. |
masking | Scenery, cloths or framed cloths that are being used to mask or hide the workings of the stage and off stage areas. |
low comedy | see comedy. |
tab | See "Batten" |
grand guignol | Le Théâtre du Grand-Guignol (French: "The Theater of the Big Puppet") — known as the Grand Guignol — was in the Pigalle area of Paris (at 20 bis, rue Chaptal) |
contemporary period | Broadly speaking the term covers literature written from 1939 to the present. |
picaresque novel | The picaresque novel (Spanish: "picaresca", from "pàcaro", for "rogue" or "rascal") is a popular sub-genre of prose fiction which is usually satirical and depicts, in realistic and often humorous detail, the adventures of a roguish hero of low social class who lives by his wits in a corrupt society |
extrametrical verse - acatalexis | An acatalectic line of verse is one having the metrically complete number of syllables in the final foot |
symbolist drama | seek its truth in symbols, myths, and dreams |
comic relief | A humorous scene, incident, character, or bit of dialogue occurring after some serious or tragic moment |
discovered | Said of a player when on the stage at the rise of the curtain |
spoonerism | An accidental switch of 2 sounds with humorous effect eg 'a crushing blow' becomes 'a blushing crow'. |
tragedy | a drama in which a character (usually good and noble and of high rank) is brought to a disastrous end in his or her confrontation with a superior force due to a fatal flaw in his or her character |
primum comparandum | one of the three elements of a verbal comparison: the original item that is to be described by the help of an image, in a metaphor the primum comparandum is not necessarily mentioned explicitly |
wattage | The power consumed by a circuit. |
"in" time | The time of day to begin the production day or to return from a break. |
kickoff | The start principal photography . |
lumen | The quantity of luminous flux emitted within a unit solid angle (one steradian) by a point source with one candella intensity in all directions. |
soundstage | A large, soundproof building which allows filmmakers control over sound, light, temperature, visitors, and security for the filming of a production. |
ionic | a Classical Greek and Latin double foot consisting of two unstressed syllables and two stressed syllables, either ionic a majore / ' ' ~ ~ / or ionic a minore / ~ ~ ' ' /. |
stop motion | Animation in which objects are filmed frame-by-frame with slight alterations of position from frame to frame. |
dresser | A wardrobe assistant assigned to help with costume changes costume maintenance throughout the run of a production. |
mood - setting tone | Authors set a Tone in literature by conveying emotions/feelings through words |
trick ending | Another term for an O |
hexameter | A line of poetry that has six metrical feet. |
prompt-desk | Small desk at prompt side of stage for the use of the stage-manager or prompter |
persuasion | The type of speaking or writing that is intended to make its audience adopt a certain opinion or pursue an action or do both. |
subtext | Implicit meaning of the text of a script. |
stage parent | Overly involved parent of a young actor. |
in flanders fields | " by Lt |
pararhyme | Pararhyme, also known as partial or imperfect rhyme is a term devised by the poet Edmund Blunden to describe a near rhyme in which the consonants in two words are the same, but the vowels are different |
f.o.h. | Front of House |
rescheduled booking | A confirmed booking in which the day and time is changed from what was initially agreed upon. |
theatre | A building designed for the performance of plays |
c-clamp | See "pipe clamp" |
imagism | Impressionism, Metaphysical, Objectivism, Realism, Romanticism, Symbolism) |
literary competence | the ability to produce and understand literary texts. |
focus puller | Camera crew member (assistant cameraman) who adjusts the focus of the camera during filming. |
bomb | A production that is a financial disaster. |
ad spectatores | ‘to the spectators': type of utterance in drama where the actor directly addresses the audience. |
waiting room | Green room |
interior | Scene filmed to represent a indoor location. |
open | Fully facing the audience. |
book flat | Two scenery flats hinged together in an "L" shape in order to be free standing. |
the lamb | " and "Tyger! Tyger!" |
bathos – | BA-TOES (Gr: depth) An attempt at elevated expression which misfires and so had the unintentional effect of sudden transport from the sublime to the ridiculous |
quatrain | a four line stanza |
hairstylist | Person responsible for maintaining actors' hairstyles during filming. |
dress stage | To slightly change position to balance the acting area after another actor made a cross. |
onomastics | The study of proper names, especially the names of people and places. |
aka | Also known as |
thesis | The unaccented part of a poetic foot; also, the first part of an antithetical figure of speech. |
harlem renaissance | A movement in the early 1900s in which African-Americans made strong, impressionable influences on American society, politics, music, literature, and culture after migrating from the South to a new suburb in New York City called Harlem |
fx | Special effects. |
set | the design, decoration, and scenery of the stage during a play; not to be confused with setting. |
catharsis | The purging of emotions in an act to cleanse one's soul; an important element prevalent in Greek tragedies. |
postcard | A 4x6 card upon which is printed an actor's photo and information about the actor |
batten | A pipe hung on a set of lines to which lighting or scenery can be hung. |
gaseous discharge | the emission of light from gas atoms excited by an electric current. |
episodia | The Greek word for episode |
attitude | An expressed position, feeling, or manner with regard to a person, idea, or thing. |
eye light | illumination on a person to provide a specular reflection from the eyes, teeth |
advance man | someone who travels ahead of any traveling production arranging for the theatre, publicity, housing, etc. |
light | a rhythmic light in which the light and dark periods are equal. |
flat characters | Characters who are two-dimensional because they do not develop during the course of the novel or play. |
accent | The prominence or emphasis given to a syllable or word |
autobiography | see biography. |
treatment | An abridged script ; longer than a synopsis |
feminist criticism | A discourse which addresses what it considers to be the patriarchal nature of society and literature, and attempts to think about equality of men and women. |
control board | A remote device used to control dimmers/moving lights etc. |
gunsaku | - GOO'N-SAH-KOO (J: group work) A term for poems written by a group of persons |
flood light | A metal box with a high powered light and a reflector, with or without a lens, used for lighting broad surfaces |
flashback | A method of narration in which present action is temporarily interrupted so that the reader can witness past events--usually in the form of a character's memories, dreams, narration, or even authorial commentary (such as saying, "But back when King Arthur had been a child |
omniscient point of view | see point of view. |
ear prompter | Ear device worn to assist actors with scripts that are difficult to memorize. |
mask | To hide from the audience's view, often with black velour curtains or other scenic elements |
easter uprising | On Easter Monday in 1916, about 1,200 Irish revolutionaries armed with only rifles engaged in an aborted rebellion against English domination of their country |
cliché | Language or ideas that have become trite or commonplace through overuse; stereotypical, boring, unoriginal language. |
enclosing method | Another term for framing method. |
announcer | A performer hired to deliver a message other than a commercial. |
dry up | To forget one's words in a play |
realism | the practice in literature of attempting to describe nature and life without idealism and with attention to detail |
temporal setting | see setting |
take five | slang term used to indicate that you are going to take a break from working for five minutes |
subgenre | see genre |
rapscallion | rascal |
credits | The names of the people responsible for a film or TV production; also a list of performance experience included on a resume or in a program. |
literary techniques | See literary devices. |
fly system | a system of weights, ropes, pulleys and battens which is used to raise and lower lights, scenery and equipment. |
read through | Usually the first rehearsal during which the cast and director sits and reads through the script. |
underground press | The phrase underground press is most often used to refer to the independently published and distributed underground papers associated with the counterculture of the late 1960s and early 1970s in the United States, Canada, United Kingdom, and other western nations |
foreign replay | Fee paid for rebroadcast outside the United States. |
rehearsal fee | Fee to a performer for attending a rehearsal. |
private theatricals | A performance of a play by amateurs in a private house |
passion play | Religious drama depicting the life of Christ. |
steal | To move on-stage without attracting the audience's attention. |
floor plan | 1 |
actress | a female actor. |
concrete diction | words that emphasize things immediately perceivable by the senses |
mora | A unit of measure in quantitative verse; namely the time taken up by a short syllable |
camera left | actor's right when facing the camera. |
go motion | A form of animation which incorporates motion blur. |
dog-town | A town in which a play is "tried-out" previous to its performance in the metropolis |
comedy | A work which is principally designed to amuse and entertain, and where, despite problems during the narrative, all ends well for the characters. |
tragedienne | A woman actor who plays leading parts in tragedy |
trimeter | A line of verse consisting of three metrical feet or three dipodies. |
multiculturalism | In literature, multiculturalism is the belief that literary studies should include writings, poetry, folklore, and plays from a number of different cultures rather than focus on Western European civilization alone |
iambic pentameter | See discussion under meter. |
local color | A detailed setting forth of the characteristics of a particular locality, enabling the reader to "see" the setting |
playgoer | One who habitually goes to the theatre to see the play |
spondee | A metrical foot of two syllables, both of which are long (or stressed). |
rhetorical question | The poet asks a question without expecting to learn anything from the response, or to pose any difficulty for the reader, the answer being something that the poet already implies and the reader infers. |
dynamic character | see character |
setting | the time and place of the action in a story, poem, or play |
stunt performer | An actor who is trained and knowledgeable in performing stunts. |
frame story | See frame narrative. |
conflict | Contractual limitation preventing, for a set amount of time, an actor who represents one client's product, from representing a competing product. |
motif | In narrative, a motif (pronunciation) (help·info) is any recurring element that has symbolic significance in a story |
on-stage | Performance area visible to the audience. |
translation | Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text |
golden line | The golden line is a type of Latin dactylic hexameter frequently mentioned in Latin classrooms in English speaking countries and in contemporary scholarship written in English. |
call beginners | Direction to the call-boy to call on to the stage the actors who open the play |
mermaid tavern | Tavern frequented by John Donne, Francis Beaumont, Ben Jonson and possibly William Shakespeare |
sandbag | Canvas bag filled with sand; used as a counterweight. |
point of view | The perspective from which you tell your story or make your point. |
candlepower | A term used in place of intensity . |
subplot | A minor or subordinate secondary plot, often involving a deuteragonist's struggles, which takes place simultaneously with a larger plot, usually involving the protagonist |
cliffhanger | A melodramatic narrative (especially in films, magazines, or serially published novels) in which each section "ends" at a suspenseful or dramatic moment, ensuring that the audience will watch the next film or read the next installment to find out what happens |
night premium | A fee paid for specified work performed after 8 p.m. |
stage crew | Peopel responsible for moving props and and scenery during the show. |
trilogy | A literary composition, usually a novel or a play, written in three parts, each of which is a complete unit in itself. |
trouveres | Its 60-line length provided increased range for elaboration of the subject matter, which often dealt with satirical observations as well as elevated topics. |
quatorzain | Volta) |
monologue | Text spoken by a lone speaker, for example Night of the Scorpion by Nissem Ezekiel. |
first electric | First row of lights hung from a batten behind the proscenium. |
property-man or master | The member of the stage staff in charge of properties |
discourse | Formal, extended expression of thought on a subject, either spoken or written. |
early modern english | The English language from 1475 to 1700.Chaucer is before this period. |
psychological/psychoanalytical criticism | an approach to literary criticism influenced by the work of Sigmund Freud which attempts to interpret literary texts with regard to the author's psychological state or the psychology of the text itself. |
syntax | In linguistics, syntax (from Ancient Greek σύνταξις "arrangement" from σύν syn, "together", and τάξις táxis, "an ordering") is the study of the principles and rules for constructing sentences in natural languages. |
elevation | A working drawing showing the side view of the set or lighting arrangement. |
maqama | Picaresque Arabic stories in rhymed prose |
verso sdrucciolo | In Italian prosody, any line that ends with a word where the dominant accent is on the antepenultimate syllable, making the line ending proparoxytonic. |
gaffer | Chief Lighting Technician |
disyllable | Monosyllable, Polysyllable) |
eisteddfod | Welsh bardic festival where poets and musicians competed for prizes |
business | Busy work for the actor while playing on the stage to establish character, setting, and situation. |
off-off-broadway | Very small, low-budget avante-garde productions often produced in lofts, warehouses or churches. |
celtic revival | Irish poets such as George Russell (AE), James Joyce, John M |
apocalypse | From the Greek word apocalypsis ("unveiling"), an apocalypse originally referred to a mystical revelation of a spiritual truth, but has changed in twentieth-century use to refer specifically to mystical visions concerning the end of the world |
narrator | someone who recounts a narrative or tells a story |
antihero | a protagonist who is in one way or another the very opposite of a traditional hero |
insert | A close-up shot that will be "inserted" into the final version of a film during editing. |
lycidas | by John Milton, is a noteworthy exception. |
workshop | An acting class which is not part of a formal actor training program. |
symbolism | Frequent use of words, places, characters, or objects that mean something beyond what they are on a literal level |
trod the boards | To be a professional actor. |
single plot | narratives or plays with only one plot line |
miracle of the virgin | A vita or a miracle play that dramatizes some aspect of humanity activity, and ends with the miraculous intervention of the Blessed Virgin |
ic flaw | A limitation or weakness of a character, which causes a their downfall |
perfidy | treachery or deceit philistine: Someone with no feeling for the arts; one regarded as being ignorant, uncultured, and indifferent or hostile to artistic and intellectual achievement |
pyrrhic | A pyrrhic is a metrical foot used in formal poetry |
speed-up | see summary |
thesis | the point of the essay |
fourth wall | 1 |
erythemal flux | radiant flux evaluated according to its capacity to produce erythema of the untanned human skin, It usually is measured in microwatts of UV radiation weighted in accordance with its erythemal efficiency |
quick change | (a) To change rapidly from one scene to another |
house | 1 |
faustian bargain | To agree to a sacrifice in exchange for knowledge. From the legend of Faust |
change pages | Changes made to a script during production |
bumper | A short, non-commercial announcement such as "we'll be right back". |
type | A character stereotype. |
punch line | Line designed to get a laugh. |
backing flat | a painted canvas positioned behind a window or door in a set. |
manner adverb | A manner adverb is an adverb (such as "quickly" or "slowly") that describes how the action of a verb is carried out. |
eponymous hero | the name of the protagonist is also the title of the narrative or play. |
quick change | A fast costume change. |
stanza | A group of lines roughly analogous in function in verse to the paragraph's function in prose. |
rewrite | Changes in the script |
toggle bar | horizontal pieces of wood used in constructing a flat to make it rigid |
stunt double | A stuntperson who performs stunts in place of a principal actor. |
plot hole | a particular item of the plot of a narrative which fails to uphold a reader's suspension of disbelief |
tercet | A group of three lines that rhyme together and/or rhyme with adjacent or nearby groups of three lines. |
low comedy | see comedy. |
stand-by | A warning given to crews that a cue needs to be executed soon. |
analepsis | A flashback. |
prop table | Backstage table upon which props are placed before use. |
asyndeton | lists of words, phrases, or expressions without conjunctions such as `and' and `or' to link them |
inversion | Deviation from normal word orderAnacoluthon Syntax is not merely inverted but deliberately ungrammatical, often changing gammatical structure mid-sentenceAposiopesis Syntactic effect to leave a sentence unfinishedAnthimeria Playing with grammatical expectations by substituting a "wrong" part of speech |
playwright | The writer of a play |
microcosm | a smaller version or little world" |
parallel structure | A repetition of sentences using the same structure |
in medias res | "in the midst of things" (Latin); refers to opening a plot in the middle of the action, and then filling in past details by means of exposition or flashback. |
costume designer | A person who designs the costumes for a production. |
monorhyme | A rhymescheme in which all lines rhyme (aaaa etc.) |
hubris | excessive pride which usually leads to the downfall of the tragic hero in Greek drama |
discomfort glare | Glare producing discomfort |
classics | See discussion under classical, above. |
cacophony | the term dissonance more strongly implies a deliberate choice. |
quantity | a metrical principle of Greek and Latin |
voice-over artist | An actor who performs solely with his/her voice. |
tragicomedy | Tragicomedy is fictional work that blends aspects of the genres of tragedy and comedy |
hard wired | A term used to describe an electrical connection that is intended to be permanent. |
running lines | Rehersal during which lines are rehearsed without blocking. |
timing | Choosing the right moment to deliver a line or perform an action for maximum effect. |
light shelf | A horizontal shelf positioned (usually above eye level) to reflect daylight onto the ceiling and to shield direct flare from the sky. |
phoneme | A linguistic term used to describe a unit in speech which carries meaning. |
denotative and connotative language | Describes the meaning and the emotions evoked by certain language, unlike concrete language. |
flashback | The interruption of the plot in order to present an event that occurred earlier. |
trickster tale | Story relating the adventures of a mischievous supernatural being much given to capricious acts of sly deception, who often functions as a cultural hero or symbolizes the ideal of a people. |
rhythm | the occurrence of the same or similar sounds at the end of two or more words (usually vowel and consonant sounds) |
emergency lighting | lighting designed to supply illumination essential to safety of life and property in the event of failure of the normal supply |
bury | To hide someone or something out of sight in a scene. |
evidence | Evidence in its broadest sense includes everything that is used to determine or demonstrate the truth of an assertion |
fluoren | a unit of " black light" flux equal to one milliwatt of radiant flux in the wavelength range 320-400 nm. |
general semantics | According to Algeo, "A linguistic philosophy emphasizing the arbitrary nature of language to clarify thinking" (319). |
cue | 1 |
convention | A widely used and device or technique that an audience traditionally agrees to accept as part of the theatrical production |
thesis | A dissertation or thesis is a document submitted in support of candidature for a degree or professional qualification presenting the author's research and findings |
skip | A large box which stores costumes and props for touring. |
subject | Usually the person or thing who is performing the action of a verb |
arsis | In music and prosody, arsis and thesis refer to the stronger and weaker parts of a musical measure or poetic foot |
conflict | The central tension and point of suspense in a literary work |
denotation | The literal or dictionary definition of a word |
glare | See direct glare, disability glare, discomfort glare, reflected glare. |
new criticism | a textimmanent approach to literature. |
additional photography | Recalling actors and crew to film scenes that need to be filmed to correct mistakes or to add additional film footage. |
turning point | The point in a story at which things change irrevocably for the characters. |
cabaret | Entertainment presented to any audience in night-clubs, hotel-restaurants or at dinners |
imagery | Mimesis) |
production coordinator | One responsible for practical matters of a production (ordering equipment, making travel and housing arrangements, etc.) |
pun | A comic effect suggesting two meanings from one word or phrase. |
parts model | One who models products thats focus body parts such as hands, feet, legs or arms. |
headlink | See discussion under |
epic | a long narrative, usually in verse, which deals with an event of major national or cultural importance written in a sublime style. |
epizeuxis | A type of repetition used as a device, where a word is repeated with emphasis. |
monograph | A monograph is a work of writing upon a single subject, usually by a single author |
counting feet | determining how many times a metric foot repeats in one line |
mic | Microphone. |
narrator time | see time |
places | Direction given to the actors and crew to take their positions for the performance. |
plot | The sequence of the events and actions. The plot consists of the beginning, the exposition; the middle, the rising action or complication, the crisis, and the falling action; and the end, the resolution or denouement. |
incipient | emerging insuperable: insurmountable interlocutor: one who takes part in a conversation or dialogue |
foley editor | Someone who edits the sounds created by the foley artist. |
fade | To gradually increase or decrease the intensity of light |
first person narrative | A narrative in which one of the characters narrates the story knowing only information that he or she can observe based on his or her limited perspective. |
ascap | American Society of Composers, Authors and Publishers. |
script | The printed book or manuscript of a play or part in a play |
acting area | a small area of the stage that has its own set of lights |
alba | A poem from the troubadour tradition in France, usually about lovers parting at dawn. |
out time | Actual time after which an actor has changed out of wardrobe and is released. |
inset | A small scene set inside a larger one. |
dress parade | Final check of costumes before the first dress rehearsal |
hebraism | Hebraism is the identification of a usage, trait, or characteristic of the Hebrew language |
heptameter | A line consisting of seven metrical feet |
trope | A figure of speech, such as metaphor or metonymy, in whch words are not used in their literal (or actual) sense but in a figurative (or imaginative) sense. |
cliché | A trite expression or idea that is so overused it has lost its effectiveness. |
acting area | That part of the stage on which the action of the play takes place |
setting | The time and place of the action in a story, play, or poem. |
shiori | - SHE-OH-REE (J: bent/withered) A delicate, pathetic quality for an image. |
alliteration | Alliteration is the repetition of the same starting sound in several words of a sentence: Peter Piper picked a peck of pickled pepper is an example of alliteration. |
carpe diem | A Latin expression that means “seize the day.” Carpe diem poems urge the reader (or the person to whom they are addressed) to live for today and enjoy the pleasures of the moment |
eclogue | A pastoral poem, especially a pastoral dialogue, usually indebted to the Virgillian tradition. |
antonomasia | Metonymy) |
allegory | (Greek, ‘speaking otherwise') |
gemel | A final couplet that appears at the end of a sonnet |
strip light | A row of lights used in any position to light a part of the stage or scenery |
onomatopoeia | Onomatopoeia means to use words to imitate sounds |
"single effect" theory | Edgar Allan Poe's theory about what constituted a good short story |
galoot | slang word for a big strong man who is stupid |
creative director | Person in an advertising agency who creates and develops advertisement concepts. |
use cycle | any 13-week period during which a commercial is aired. |
stock character | a character not fully developed who seems to represent a type more than a real personality (see also flat character) |
synesthesia | A marvel that occurs when something is sensed, felt, perceived, or described in terms of something else. |
personification | Presentation of inanimate objects as having human qualities, for example ‘And all that mighty heart is lying still!’ (Composed Upon Westminster Bridge by William Wordsworth). |
showcase | A stage show specifically designed to promote actors by giving them a performance opportunity in front of casting people. |
attitude | State of mind or emotion that a character brings to the action of a production. |
elevator | A mechanized stage that raises and lowers the floor to get scenery, properties, and performers on and off the stage. |
signatory | A producer who develops a production under the terms of a union contract. |
obstacle | something prevents a character from achieving their objectives. |
antimetabole | In rhetoric, antimetabole (pronounced /æntɨməˈtæbəliː/ AN-ti-mə-TAB-ə-lee) is the repetition of words in successive clauses, but in transposed grammatical order (e.g., "I know what I like, and I like what I know") |
first ass't. camera op. | First Assistant Camera Operator |
metonym | A metonym is a word or phrase used in place of another with which it is closely associated. |
catharsis | This is a term drawn from Aristotle's writings on tragedy |
western | (Oater) A film which is set in the United States late 19th-century "Wild West". |
oxymoron – | OX-EE-MORE-ON Two words which each make sense but combined indicate something unobtainable or satirical |
epitrite | Greek and Latin metrical foot consisting of short, long, long, and long syllables / ~ ' ' ' / in any order. |
advance | refers ot tickets sold before the productgion begins |
soft patch | Plugging dimmers into control channels electronically. |
numbers | Metrical feet or verse in general. |
backdrop | A curtain, or painted or plain cloth, dropped across the back of the scene |
making the rounds | Attending interviews and auditions in order to get work. |
corpse | laughing when on stage, as the actor, not the character, would |
onomatopoeia | A literary device wherein the sound of a word echoes the sound it represents |
amphitheater | a theater consisting of a stage area surrounded by a semicircle of tiered seats. |
walla walla | General background crowd noise. |
producer | An executive who manages the business aspects of a production. |
lapidary | A book of the properties and meanings of stones and gems. |
rising action | the development of action in a work, usually at the beginning |
lake poets | Collective term for Wordsworth, Coleridge and Southey who all lived in the Lake District in the early years of the 19th century |
conjunction | A word used to connect words or constructions |
npr | National Public Radio. |
squib | A small explosive device,worn by actors, which when detonated will simulate the effect of a bullet or puncture wound or small explosion. |
narrative essay | An essay that tells a story |
choka | Japanese form with alternating lines of five and seven syllables, ending with a couplet of seven-syllable lines. |
conventional symbol | meanings that are widely recognized by a society or culture |
decasyllable | Dodecasyllable, Hendecasyllable, Octosyllable) |
couplet | A pair of rhyming lines in verse, e.g The dog ate the cat/But forgot about the bat. |
mow | Movie of the Week. |
narrator | A person who tells a story, or a voice fashioned by an author to recount a narrative. |
choreographer | One who creates dance movements and supervises dancers in a production. |
blacks | Black clothing worn by technical personnel during productions. |
close-up | Detailed shot in which the subject extends beyond the boundry of the frame. |
stunt | A dangerous piece of physical action. |
macaronic verse | Nonsense Poetry) |
harlem renaissance | Neoclassical Period: See Neoclassicism |
third person omniscient narrative | A narrative in which the writer uses an all seeing or all knowing narrator who is aware of all of the private thoughts, emotions, and behaviors of each character. |
blocking agent | A person, circumstance, or mentality that prevents two potential lovers from being together romantically |
quantitative metre | A metrical system based on the length or 'weight' of syllables, rather than on stress |
goniophotometer | a photometer for measuring the directional light distribution characteristics of sources, luminaires, media and surfaces. |
lens | A transparent material, usually glass, shaped to bend light rays as they pass through it. |
novel | an extended piece of prose fiction. |
tetrameter | A line of verse consisting of four metrical feet. |
eschatology | The branch of religious philosophy or theology focusing on the end of time, the afterlife, and the Last Judgment |
fantasy | a genre of literary work featuring strange settings and characters and often involving magic or the supernatural; though closely related to horror and science fiction, fantasy is typically less concerned with the macabre or with science and technology |
lackeys | those who are excessively willing to obey lickspittle: toady; someone who shows undue deference toward social superiors |
discovery | Moment of revelation. |
tracks | slots in a stage floor created for guiding portable scenery, wagons, and properties |
image | A mental representation of a particular thing able to be visualized (and often able to be apprehended by senses other than sight). |
online writing | A text created with (and usually intended for viewing on) a computer, smartphone, or similar digital device. |
ballad measure | Traditionally, ballad measure consists of a four-line stanza or a quatrain containing alternating four-stress and three-stress lines with an |
climax | The climax (from the Greek word "κλῖμαξ" (klimax) meaning "staircase" and "ladder") or turning point of a narrative work is its point of highest tension or drama or when the action starts in which the solution is given. |
direct ratio | the ratio of the luminous flux reaching the workplane directly to the downward component from the luminaire. |
thespian | actor; after Thespis, the first Greek dramatist |
canticle | A hymn or religious song using words from any part of the Bible except the Psalms. |
genre | types or classes of literature, its members share many resemblance in form, types of character, topic, structure, etc. |
antagonist | See discussion under character, below. |
celtic | Of or relating to the Celts and their language. |
décor | The scenery, or setting of a play |
expense form | A form used by actors to document their job related expenses for tax purposes. |
voiced and unvoiced | consonants are voiced when the vocal cords move (/b/) and unvoiced when they remain still (/p/). |
direct-indirect lighting | a variant of general diffuse lighting in which the luminaires emit little or no light at angles near the horizontal. |
nice properties | NICE is an acronym for the four properties that distinguish auxiliary verbs from lexical verbs in English: negation, inversion, code, emphasis. |
intercut | To resume recording just prior to the point where an error was made. |
fly | To raise and scenery into the area above the stage (fly out) or lowered onto the stage (fly in). |
adjustment | specific, well-chosen phrases in the script that enable an actor to correctly accomplish his actions. |
exposition | Information essential to the understanding of the dramatic action |
zoom | To change the field of view through the use of an adjustable lens. |
downstage | The area of the performance space that is closest to the audience. |
partimen | The partimen, partiment, partia, or joc partit is a genre of Occitan lyric poetry composed between two troubadours, a subgenre of the tenso or cobla exchange in which one poet presents a dilemma in the form of a question and the two debate the answer, each taking up a different side |
monologue | A scene in which an actor speaks by himself |
metaphor | A metaphor is a figure of speech in which a term or phrase is applied to something to which it is not literally applicable in order to suggest a resemblance |
abby singer | The second-to-last shot of the day |
brail | To move a hanging piece of scenery by hauling it out of the vertical by attached ropes |
apocrypha | In the context of fiction, apocrypha includes those fictional stories that do not belong within a fictional universe's canon, yet still have some authority relating to that fictional universe |
bildungsroman | The Bildungsroman (German pronunciation: [ˈbɪldʊŋs.ʁoˌmaːn]; German: "formation novel") is a genre of the novel which focuses on the psychological and moral growth of the protagonist from youth to adulthood |
turnaround | The number of hours between dismissal one day and call time the next day. |
plot | The way an author represents a chain of events within a literary work |
blocking rehearsals | A rehearsal during which the actors' stage movements are rehearsed. |
unreliable narrator | see narrator |
tenor and vehicle | According to I |
point of view | The perspective or vantage point by which the reader is able to see or experience certain events within a story or poem |
teen model | A model between the ages of 13 and 17. |
revenge tragedy | type of tragedy which focuses on the revenge for an injustice to the protagonist or his family. |
commentary | A script used by the commentator (or announcer) to describe fashions for a fashion show. |
supporting | A non-starring, but significant role in a film. |
head shot | A black and white 8 X 10 photograph showing an actor's head and shoulders. |
tone | The attitude a writer takes toward his or her subject, characters, and readers |
alliosis | While presenting a reader with only two alternatives may result in the logical fallacy known as false dichotomy or either/or fallacy, creating a parallel sentence using two alternatives in parallel structure can be an effective device rhetorically and artistically |
hyundai- | HI-UN-DEE (K: modern) |
framing method | Using the same features, wording, setting, situation, or topic at both the beginning and end of a literary work so as to "frame" it or "enclose it." This technique often provides a sense of cyclical completeness or closure. |
reveal | Imitation thickness painted on scenery to represent the solid |
turnaround | To shoot a scene from another direction. |
off book | The time when lines are memorized and no longer read from the script. |
make-up | The make-up of the features by wigs, false hair, and cosmetics |
pardoner | In the Middle Ages, a member of the religious community with permission to sell Papal indulgences. Chaucer's The Canterbury Tales features a Pardoner. |
sketch | A short play with few characters dealing with a single incident, lasting from 5 to 20 minutes |
couplet | a rhymed pair of lines, which are usually of the same length |
enapalepsis | A type of repetition (phrase or word) with the repetition occurring at the beginning and again at the end of a sentence. |
otokode | – OH-TOE-KOH-DEH (J: men's hand) Actual handwriting done by a male, but also the more general term for works written by men and more particularly, writing with a high proportion of Chinese characters. |
soft focus | A slightly blurred achieved with a special filter or lens. |
new rhetoric | New rhetoric is a catch-all term for various efforts in the modern era to revive, redefine, and/or broaden the scope of classical rhetoric in light of contemporary theory and practice. |
schism | A schism is a split or division in the church concerning religious belief or organizational structure--one in which a single church splits into two or more separate denominations--often hostile to each other |
cretic | Greek and Latin metrical foot consisting of long, short, and long syllables |
unreliable narrator | a narrator who tells the story from a biased, erroneous perspective |
narrative past | the past tense used to tell a narrative. |
scenery | The visual environment created onstage using a backdrop and props |
imu | International Musicians Union. |
center stage | The middle point of the performance space, symbolized by CS in blocking notes. |
flush-mounted or recessed luminaire | a luminaire which is mounted above the ceiling (or behind a wall or other surface) with the opening of the luminaire level with the surface. |
poststructuralism | approaches to literary criticism influenced by poststructuralist philosophy, one of its chief tenets is the denial of the existence of universal principles which create meaning and coherence |
onomatopoeia | An onomatopoeia or onomatopœia (Greek ὀνοματοποιία; ὄνομα for "name" and ποιέω for "I make", adjectival form: "onomatopoeic" or "onomatopoetic") is a word that imitates or suggests the source of the sound that it describes |
digraph | Any use of two alphabetical letters to indicate a single phonetic sound |
denotation | The literal dictionary meaning(s) of a word as distinct from an associated idea or connotation. |
homily | A homily is a commentary that follows a reading of scripture |
low comedy | emphasis is placed on situation comedy, slapstick and farce. |
tragic flaw | The defect in the protagonist or an error in judgment which leads to his death or downfall. |
recognition | the point near the end of a classic tragedy when the protagonist recognizes the causes and consequences of his reversal |
catastrophe | The final climax of a play or story after which the plot is resolved |
apostrophe | Words that are spoken to a person who is absent or imaginary, or to an object or abstract idea |
dga | Directors Guild of America. |
terza rima | sequence of |
peirrot | A clownish travelling singer with a whitened face and a white costume |
amateur | (a) One who loves or is fond of or has a taste for the stage or the theatre |
tracking a platform | building a track into the stage that helps to guide a platform to its proper place |
allegory | When persons, places, things, events, and conflicts are representative of another more abstract equivalent. |
chant royale | A complex French form of the ballade, having various forms. |
consonants | All the letters of the alphabet except the vowels a, e, i, o and u |
actor | One who impersonates a character or acts a part on the stage |
antonym | A word that is opposite of another. |
stage craft | (a) The practical work of stage production |
adaptation | a play taken from a novel, a movie or other literary material; dates of earlier plays; musical adaptations of straight plays. |
eclogue | A poem in the form of a dialogue. |
unities | The unities of time, place, and action as principles of dramatic composition have been hotly debated since Aristotles Poetics |
models of composition | In current-traditional rhetoric, a sequence of essays or themes (compositions) developed according to familiar "patterns of exposition." |
mock-heroic | Mock-heroic, mock-epic or heroi-comic works are typically satires or parodies that mock common Classical stereotypes of heroes and heroic literature |
fixture | See luminaire. |
role | A character played by an actor. |
first-person narrator | see narrator |
asteismus | A sub-category of puns |
satirical | written in mock-epic form. |
macaronic language | Macaronic refers to text spoken or written using a mixture of languages, sometimes including bilingual puns, particularly when the languages are used in the same context (as opposed to different segments of a text being in different languages) |
rain light | A pinspot using a low voltage, narrow beam lamp. |
actor's studio | a well-known American training school devoted to teaching the Stanislavski system of acting. |
plot | The action or sequence of events in a story |
sight lines | 1 |
specular angle | The angle of mirror reflection (angle of incidence equals angle of reflectance). |
client | A person or company who hires a model. |
emblem | An emblem is a pictorial image, abstract or representational, that epitomizes a concept â e.g., a moral truth, or an allegory â or that represents a person, such as a king or saint. |
falling action | During the falling action, or resolution, which is the moment of reversal after the climax, the conflict between the protagonist and the antagonist unravels, with the protagonist winning or losing against the antagonist |
pastoral | Following Theocritus (3rd cent |
call | Alert announced to technicians and actors when they are needed on stage. |
falling action | the fourth part in Gustav Freytag's model to describe the overall structure of plays, in this part new tension is created through further events that delay the final catastrophe or dénouement. |
dustproof luminaire | a luminaire so constructed or protected that dust will not interfere with its successful operation. |
saint's life | Another term for the medieval genre called a vita |
profile right | To face stage right at a 90 degree angle from the full open position. |
freytag’s pyramid | a diagram of plot structure first created by the German novelist and critic Gustav Freytag (1816–1895). |
farce | a form of humor based on exaggerated, improbable incongruities |
aubade | a medieval love poem welcoming or lamenting the arrival of the dawn |
roman à clef | Roman à clef or roman à clé (French for novel with a key, is the term used for a novel describing real life, behind a façade of fiction |
model agency | A company that promotes, books, bills and pays models. |
character | The individual within the literary work |
run | The number of scheduled performances of a production. |
hit a mark | To move to a prearranged, marked location within an acting area so a scene can be played out properly or in film, in proper focus |
consonance | The effect created when words share the same stressed consonant sounds but where the vowels differ |
downstage | the front of the stage; in the direction of the audience. |
understatement | see meiosis. |
follow | A stage lighting term meaning to follow an actor with a spot light |
dress circle | in some theatres, a shallow gallery level above the main seating |
persona | a speaker created by a writer to tell a story or to speak in a poem; is not a character in a story or narrative, nor does it necessarily directly reflect the author's personal voice; a separate self, created by and distinct from the author, through which he or she speaks |
talent search | Scouting for new talent. |
regional theatre | Permanent, nonprofit, professional theatre companies established outside of the major theatre centers. |
cosmic irony | Another term for situational irony--especially situational irony connected to a fatalistic or pessimistic view of life |
eschatology | A branch of theology dealing with Judgement Day and the Second Coming. |
turn out | To face downstage toward the audience. |
lost generation | The "Lost Generation" is a term used to refer to the generation that came of age during World War I |
foreground cross | Action in a scene in which an extra passes between the camera and the principal actors. |
availability | (AVAIL) A courtesy extended by a performer or an agent to a producer indicating availability to work a certain job |
name | An informal term for a word or phrase that designates a person, place, or thing. |
practical | Scenery, props or lighting designed to be used by actors on stage in the same way the objects would be used off-stage. |
daisy chain | When electrical equipment is wired from one unit to the next. |
ultimate source | In linguistics, the earliest known or most ancient etymon for a particular word, as opposed to a direct source, the most recent source for a word. |
epitaph | – EH-PI-TAF (Gr: writing on a tomb) A literary work suitable to be inscribed on a monument or tombstone what indicates the salient facts or characteristics of the deceased |
volta | Also called a turn, a volta is a sudden change in thought, direction, or emotion near the conclusion of a sonnet |
fay light | A luminaire that uses incandescent parabolic reflector lamps with a dichroic coating to provide daylight illumination. |
exit sign | a graphic device including words or symbols that indicates or identifies an escape route or the location of, or direction to, an exit or emergency exit. |
ambiguity | Applied to words and expressions, the state of being doubtful or indistinct in meaning or capable of being understood in more than one way, in the context in which it is used. |
pay or play | A guaranteed to be paid regardless whether work is performed or not. |
non-equity | A play that is not under an Equity agreement. |
high comedy | Elegant comedies characterized by witty banter and sophisticated dialogue rather than the slapstick physicality and blundering common to low comedy. |
chorus | (1) A group of singers who stand alongside or off stage from the principal performers in a dramatic or musical performance |
stage readings | Reading a script before an audience |
return | A piece of scenery used for masking the back stage or the actors from the view of the audience |
lay | A lay is a long narrative poem. |
aside | In drama, a few words or a short passage spoken by one character to the audience while the other a |
character actor | An actor who specializes in playing a particular personality type using mannerisms, speech patterns and physical appearance. |
setting line | The setting line is an imaginary line that is drawn across the stage from the back of the Safety Curtain guide on one side of the stage to the back of Safety Curtain guide on the other side of the stage. This line is sometimes known as the Fireline. The Plasterline is a line drawn from the back of the Proscenium Arch and is consequently the width of the Safety Curtain down stage of the Fireline or Setting Line. The Setting Line is the furthest point downstage that scenery can be placed without special provision. |
back lot | Area on studio property used for constructing large open-air sets or for filming outdoor scenes. |
fûgetsu | – FUH-GET-SUE (J: wind and moon) |
enjambment | When a sentence, phrase, or thought moves from one line to the next without stopping. |
foreshadowing | Action or dialogue in one part of a script that hints at something that will happen in another part of the script. |
high concept | A film that includes elements that creates excitement in order to draw a large audience |
italian sonnet | see sonnet |
synonym | A synonym is a word that has the same or nearly the same meaning as another word in the language, such as joyful, elated, glad. |
oulipo | Oulipo (French pronunciation: [ulipo], short for French: Ouvroir de littà©rature potentielle; roughly translated: "workshop of potential literature") is a loose gathering of (mainly) French-speaking writers and mathematicians which seeks to create works using constrained writing techniques |
adaptation | (a) A play altered in translation from one language to another |
critical reading | Careful analysis of an essay's structure and logic in order to determine the validity of an argument |
vulgate | The Vulgate is a late 4th-century Latin version of the Bible, and largely the result of the labors of St |
d. p. | Director of photography |
old english | Old English was the language spoken in England from around 450 to 1100. |
raise cain | make trouble |
imagination | See discussion under fancy. |
decasyllable | Dodecasyllable, Hendecasyllable, Heptasyllable) |
stress | A syllable uttered in a higher pitch than others |
paraphrase | A brief restatement in one's own words of all or part of a literary or critical work, as opposed to quotation, in which one reproduces all or part of a literary or critical work word-for-word, exactly. |
profanity act of 1606 | This law passed under King James I required that any profanity in a publicly performed play or in published material would result in a ten-pound fine for the performer or printer, a substantial sum |
stage directions | descriptions (in the text of the play) of the set, the props, voice and movements of the actors, and the lighting |
figural narrative situation | the term introduced by the critic Franz Stanzel to denote the narrative situation of heterodiegetic narrator and internal focalisation. |
bullyragged | bullied:scared someone by using force |
acrostic | (Greek, ‘at the tip of the verse') |
realism | A movement in literature to represent life as it really is |
dramatis personae | literally, "persons of the drama" (Latin); the list of characters that appears either in a play's program or at the top of the first page of the written play. |
periphrasis | The substitution of an elaborate phrase in place of a simple word or expression, as "fragrant beverage drawn from China's herb" for tea |
pyrrhic | Two unstressed syllables in a metrical foot; syllables usually composed of two one-syllable words that are secondary to the meaning of the phrase |
cinquain | a verse form of five lines with lines of 2, 4, 6, 8, and 2 syllables. |
properties | Articles and materials used on the stage for furnishing a scene as distinct from the canvas and wooden scenery |
engager | Any person, producer, advertising agency, corporation or other entitiy that contracts and/or pays performers for their performance in a television or radio commercial. |
aea | Actors' Equity Association (Equity) Actor union for live and stage actors. |
copyright | Legal rights to control reproduction and sale of intellectual property. |
gag | Words introduced into a part by an actor, either impromptu or rehearsed without forming part of the book |
one quarter right | To face stage right at a 45 degree angle from fully open. |
disyllable | Monosyllable, Trisyllable) |
narrative | consisting of or characterized by the telling of a story |
trochee | A metrical foot of two syllables, one long (or stressed) and one short (or unstressed) |
finsen | a suggested practical unit of erythemal flux density equal to one E-viton per square centimeter. |
major character | see character |
epiphany | a sudden revelation of truth, often inspired by a seemingly simple or commonplace event |
formation light | a navigation light especially provided to facilitate formation flying. |
box office | Area where admission tickets are sold for a performance |
texture | A necessary quality of sensory detail that gives purpose and meaning to objects in the poetic text. |
name | A well-known performer, director or producer whose involvement in a production will increase interest in a production. |
vocal or dialogue coach | Someone hired to coach performers in vocal or script delivery techniques. |
crisis | in plot, the moment when the conflict comes to a head, often requiring the character to make a decision; sometimes the crisis is equated with the climax or turning point and sometimes it is treated as a distinct moment that precedes and prepares for the climax. |
specular transmission | The process by which incident flux passes through a surface or medium without scattering. |
dress the set | Add curtains, furniture, props, etc |
antonomasia | Cataphora) |
backdrop | Painted cloth or set wall built to serve as a background for the setting on stage. |
dramatic monologue | A poem written in the voice of a character, set in a specific situation, and spoken to someone |
lexis | In linguistics, a lexis (from the Greek: λέξις "word") is the total word-stock or lexicon having items of lexical rather than grammatical, meaning |
bestiary | A medieval treatise listing, naming, and describing various animals and their attribute |
safety | A fire-proof curtain that can be lowered in front of the tabs |
mime | A special kind of performance in which no words are spoken |
luminaire dirt depreciation | A multiplier used in lighting calculations to account for the reduction in illuminance produced by the accumulation of dirt on a luminaire. |
trochee | A metrical foot consisting of a heavy stress followed by a light stress. |
congress-water | salty mineral water from the congress springs |
dim | To lower the amount of voltage to a fixture, thereby decreasing its light output. |
syllable | A vowel preceded by from zero to three consonants ("awl" .. |
heavy | A villainous character. |
properties | 1 |
brechtian acting | an acting style in which the actors purposely try to alienate the audience from the characters in order to constantly remind them they are watching a play, based on the theories of Bertolt Brecht |
directing | Interpretation of a script and development of the action which is to take place. |
feminine rhyme | Lines rhymed by their final two syllables |
footlights | A row of lights with reflectors placed along the floor in front of the stage |
synonym | One of two or more words that are similar in meaning. |
message | a misleading term for theme; the central statement or idea of a story, misleading because it suggests a simple, packaged statement that pre-exists and for the simple communication of which the story was written |
modes of discourse | In composition studies, the four traditional types or categories of written texts: narration, description, exposition, and argument. |
on | Most formalist poets use it |
lipogram | A type of constrained writing that occurs when a writer decides to eliminate the use of words that contain particular letters of the alphabet. |
jacobean era | Jacobean era refers to the period in English and Scottish history that coincides with the reign of King James VI (1567â€"1625) of Scotland, who also inherited the crown of England in 1603 |
tragic hero | A tragic hero is usually the main character in a piece of work |
aside | Lines spoken to the audience |
calligraphic work | In medieval manuscripts, this is (as Kathleen Scott states), |
exposition | the beginning of a play, in this part the audience is informed about the ‘who', ‘what', ‘where', ‘when' and ‘why' of the events that follow. |
hot restrike | A term applied to an ignitor that will hot start an arc lamp. |
auditorium | The part of the theatre from which the audience witnesses the play |
falling action | the fourth of the five phases or parts of plot, in which the conflict or conflicts move toward resolution. |
figure of speech | one of many kinds of word-play, focusing either on sound and word-order (schemes) or on semantics (tropes) |
border batten | See Batten |
dropping lines | Unintentionally not speaking lines or inadvertantly speaking them so they that cannot be properly heard. |
galluses | suspenders |
exit | To leave the acting area |
ballerina | A female dancer in a ballet |
dactylic | a metrical foot in poetry consisting of two unstressed syllables followed by a stressed syllable: "Everywhere, everywhere, Christmas tonight." |
canon | someone's list of authors or works considered to be "classic," that is, central to the identity of a given literary tradition or culture. |
archetype | something in the world, and described in literature, that, according to the psychologist Karl Jung, manifests a dominant theme in the collective unconscious of human beings |
cold reading | a reading from a script or other text without any prior rehearsal, usually in the context of an audition or workshop. |
give stage | To take a weak stage position so another actor can have the focus. |
folk ballad | A story told in verse that is by an unknown author and meant to be sung. |
antihero | a protagonist who has the opposite of most of the traditional attributes of a hero |
volta | In literature, the volta, also referred to as the turn, is the shift or point of dramatic change in a poem |
riser | A platform on stage. |
stage left | The actor's left as he faces the audience. |
edda | Rune) |
mood | The overriding, dominant emotional quality present in a literary work, created by the author's description of theme, setting, or character. |
antiphon | Sung verse. |
meaning | In semantics, the message conveyed by words, sentences, and symbols in a context. |
foil | Of a character, to be used as a contrast. |
template | (pattern, gobo) a metal pattern that, when placed inside an ellipsoidal spotlight, throws a shadow pattern on the stage |
tempo | general rate of playing a scene |
performer | An entertainer. |
rising action | Those events in a play that lead to a turning point in the action. |
sea shanty | Sea shanties (singular "shanty", also spelled "chantey"; derived from the French word "chanter", 'to sing') were shipboard working songs |
idealism | Values standards of perfection through subjectivity and imagination more than formal qualities or the faithful portrayal of nature. |
closed turn | To turn away from the audience. |
epode | Third part of the triad in a Pindaric Ode |
theme | a generalized, abstract paraphrase of the inferred central or dominant idea or concern of a work |
consonance | Consonance is the repetition of consonants or of a consonant pattern, especially at the ends of words. |
physical drawback | A negative physical characteristic |
cans | Headphones. |
association of hispanic arts | Organization supporting Hispanic theatre companies with technical assistance, planning and financial management systems, identification of new and up-and-coming Hispanic playwrights and marketing. |
trap | An opening in the stage floor, covered by a flooring piece or scenery, through which actors can enter and exit. |
classical | The term for the culture, writings, and history of the period of the ancient Greeks and Romans, covering a time from approximately 450 BC to 500 AD. |
al fresco | open air theatre. |
end stopped line | A line of verse which ends with a grammatical break such as a coma, colon, semi-colon or full stop etc |
act | the division or unit of a dramatic narrative |
metonym | When one noun is used in place of another. |
general press agent | Individual responsible for the promotion of the production |
synecdoche | A figure of speech in which a part of something stands for the whole or the whole for a part, as wheels for automobile or society for high society. |
plot point | a particular event which strongly changes the course of action in a story, often changing a narrative's direction |
simile | a comparison made with "as," "like," or "than." |
w | A call sheet notation indicating that an actor is working that day. |
trope | The intentional use of a word or expression figuratively, i.e., used in a different sense from its original significance in order to give vividness or emphasis to an idea |
authorial narrative situation | part of the terminology introduced by the critic Franz Stanzel to denote a narrative situation where the narrator is not a character in the story but who knows everything about it. |
adaption | The process of the eye getting used to or reacting to changes in light intensity |
fresnel spotlight | A luminaire embodying a lamp and a fresnel lens, with or without the reflector, which has a soft beam edge |
epistolary novel | a type of novel where the narrative is conveyed entirely by an exchange of letters. |
agent | a professional representative who take care of bookings and negotiate performance contracts. |
slice of life | Slice of life is a theatrical term that refers to a naturalistic representation of real life, sometimes used as an adjective, as in "a play with 'slice of life' dialogue." The term originated in 1890â95 as a translation from the French phrase tranche de vie, credited to the French playwright Jean Jullien (1854â1919). |
pilot season | Time of year (late winter through early spring) when initial episode of proposed television series are produced. |
coda | A concluding section which rounds off a piece of literature, see epilogue. |
instrument | A lighting unit. |
three-quarter right | performer is in a position halfway between full back and right profile |
miles gloriosus | Miles Gloriosus (literally, "glorious soldier", in Latin) is a stock character of a boastful soldier from the comic theatre of ancient Rome, and variations on this character have appeared in drama and fiction ever since |
trough | a long metal container in which lamps are set |
pantomime | (a) A play in dumb show |
tetrameter | A line consisting of four metrical feet |
fire curtain | Non-flammable curtain hung directly behind the proscenium |
agrarians | An early 20th century movement of American writers who privileged the idea of 'back to nature' or 'back to grass roots'. |
trope | Trope has two meanings: (1) a rhetorical device or figure of speech involving shifts in the meaning of words--click on the tropes link for examples, (2) a short dialogue inserted into the church mass during the early Middle Ages as a sort of mini-drama. |
representation | The performance of a play on the stage |
side | A page of actor's script |
aubade | a poem in which the coming of dawn is either celebrated, as in Billy Collins's "Morning," or denounced as a nuisance, as in John Donne's "The Sun Rising." |
comitatus | (Latin: "companionship" or "band"): The term describes the tribal structure of the Anglo-Saxons and other Germanic tribes in which groups of men would swear fealty to a hlaford (lord) in exchange for food, mead, and heriot, the loan of fine armor and weaponry |
twist-lock | one of two common types of plugs on stage lighting instruments, it has three curved blades that lock when inserted and twisted |
dissonance | The use of discordant sounds either to create an unpleasant effect or to create an interesting variation from what is rhythmically expected. |
dead language | An extinct language where there are no longer native speakers of the language. |
tormentor | A wall-mounted pipe for mounting lighting fixtures. |
photo call | Actor call for publicity photos. |
mother tongue | A person's native language--that is, a language learned from birth. |
kaori | - KAH-OH-REE (J: scent or fragrance) A term for the relationship between stanzas in which both evoke the same feeling with very different images |
universal symbol | Another term for an archetype. |
iso booth | (isolation booth) A small room for recording a sound in isolation from other sounds. |
assonance | The rhyme-pattern produced inside the poetic line by repeating similar vowels, or clusters of consonants and vowels. |
foreshadowing | to hint at or to present an indication of the future beforehand |
word scenery | rhetorically created setting in a play. |
lort | League of Resident Theatres. |
centre | The centre of the stage |
oxymoron | An expression impossible in fact but not necessarily self-contradictory, such as John Milton's description of Hell as "darkness visible" in Book I of Paradise Lost. |
grisaille | Kathleen Scott tells us that, in the elaborate medieval artwork found in illuminated manuscripts, grisaille refers to |
catastrophe | the reversal of the tragic heros good fortune in Greek Tragedy |
stichomythia | Dialogue in alternate lines of verse e.g |
promotional model | A model employed to promote products, services, companies or events. |
encyclical | Refers to a letter which is meant for a general audience. |
literary ballad - ballad | Literary or lyrical ballads grew out of an increasing interest in the ballad form among social elites and intellectuals, particularly in the Romantic movement from the later 18th century |
actor proof | a term meaning the script is so good that any actor, regardless of his ability, could succedd in using it. |
periodic sentence | a sentence that is not grammatically complete until the end: "The child, who looked as if she were being chased by demons, ran." |
panorama | See Cyclorama |
floodlight | A lighting instrument that emits a wide, unfocused beam of light. |
advance bar | Lighting bar positioned just downstage of the proscenium arch |
katharsis | An alternative spelling of catharsis (see above). |
vouchsafe | condescend to grant; be graciously willing to tell |
comedy of manners | A comic drama consisting of five or three acts in which the attitudes and customs of a society are critiqued and satirized according to high standards of intellect and morality |
steal a scene | To attract audience attention that should be on another actor. |
strike | To remove a scene and properties when finished with at a rehearsal or performance |
lexis | See lexicon. |
pyrrhic | A metrical foot consisting of two unaccented syllables. |
utagaki – | (y)OU-TAH-GAH-KEY (J: poetic exchange) In very old times this was a kind of mating game |
eleven o'clock number | A big finish show tune that occurs shortly before the end of a musical. |
origin | An imaginary point positioned where the Centre Line bisects the Setting Line at the height of the stage where the Setting Line is drawn. |
footlights | A row of lights that are recessed or partially recessed into the front edge of the stage |
house tabs | Curtains hung across the front of the stage. |
epithalamion | From the Greek word for a bridal chamber, a lyric poem to be sung on the wedding night. |
slapstick comedy | Low comedy in which humor depends almost entirely on physical actions and sight gags |
character | A person who takes part in the action of a story, novel, or a play |
conflict | a struggle between opposing forces |
tabs | The curtain that is raised to reveal the stage and settings at the beginning of a performance and is lowered to signal the end of a performance or act. In a Proscenium Arch theatre it is usually immediately behind the Safety Curtain. |
ballad | A narrative poem, often composed to be sung |
diffuse transmittance | the ratio of the diffusely transmitted flux leaving a surface or medium to the incident flux. |
commercial agent | Agent or agency who represents talent who work in television, radio or movie commercials. |
imagery | Language that appeals to any sense or any combination of the senses. |
national commercial | A commercial produced for usefor broadcast throughout the country. |
disability glare | Glare resulting in reduced visual performance and visibility |
residual | Fee paid to a performer for rebroadcast of a commercial, film or TV program. |
foil | A character whose dramatic purpose is to set-off another character by contrast; a side-kick. |
foley effects | Incidental sound effects added in synchronization to filmed footage |
personal statistics | Age, weight, hair and eye color and body measurements, clothing sizes. |
property assistant | Responsible for the placement and maintenance of props. |
sermon | See discussion under homily. |
meter | – MEET-HER (Gr: metron – measure) The oldest and most important device of verse form which builds on the repeat of a feature of language such as stress, pitch, or length into a definable pattern |
theatre of the absurd | reveals man's inability to understand and control the world about him |
stage | Area upon which a performance is presented. |
amphitheatre | an oval or round structure having levels of seats rising outward from an open space or arena. |
ad lib | Unscripted dialog or action performed with little to no preparation. |
ext | Exterior |
alliteration | using the same consonant to start two or more stressed words or syll= ables in a phrase or verse line, or using a series of vowels to begin such words or syllables in sequence |
antagonist | The counterforce or opponent who provides conflict in the play or story, confronting or attempting to complicate the life of the central character, or protagonist. |
assistant camera | Assistant Camera Operator, First Assistant Cameraman, 1st Assistant Cameraman, 1st Assistant Camera, Assistant Cameraman, Camera Assistant |
meedyevil | hucks misspelling of midevil refering to the middle ages |
hiatus | In phonology, hiatus or diaeresis refers to two vowel sounds occurring in adjacent syllables, with no intervening consonant |
sightlines | Areas of the acting area that is visible to various parts of the house. |
mikasazuke - | ME-KAH-SAH-ZOO-KEY J: A kind of maekuzuke in which three people collaborated to write the three parts of a 5 / 7 / 5 unit maeku. |
scan | Scan may refer to: |
skene | a low building in the back of the stage area in classical Greek theaters |
villain | a character who not only opposes the hero or heroine (and is thus an antagonist) but also is characterized as an especially evil person or "bad guy." |
costume play | A play performed in classic historical or outmoded dress |
attitude | An attitude is a hypothetical construct that represents an individual's degree of like or dislike for an item |
act drop | A painted cloth that can be lowered in place of the tabs |
stigma of print | The stigma of print is the concept that an informal social convention restricted the literary works of aristocrats in the Elizabethan and Tudor age to private and courtly audiences — as opposed to commercial endeavors — at the risk of social disgrace if violated, and which obliged the author to profess an abhorrence of the press and to restrict his works from publication |
feudalism | The medieval model of government predating the birth of the modern nation-state |
drama | derived from the greek word dra, meaning "to do" or "to perform," the term drama may refer to a single play, a group of plays, or to all plays |
hyperbole | A bold, deliberate overstatement, e.g., "I'd give my right arm for a piece of pizza." Not intended to be taken literally, it is used as a means of emphasizing the truth of a statement. |
ingenue | A young, female lead role |
kakekotoba - | KAH-KAY-KOH-TOE-BAH (J: pivot word) The use of words which have double meanings |
simile | a direct, explicit comparison of one thing to another, using the words 'like' or 'as' |
production assistant | A person responsible for various odd jobs. |
scenery | (a) Wooden frames covered with canvas and painted |
foreshadowing | A prediction within the text |
elegy | A lament conveying the circumstances of a loss of a loved one; more broadly, a somber meditation on the passing of men and the things they value. |
encomium | A speech or composition in high praise of a person, object, or event. |
take a call | to acknowledge the applause of the audience at the end of a performance by bowing or showing some other form of appreciation |
poetry | An imaginative response to experience reflecting a keen awareness of language |
full back | When a performer's back faces the audience. |
editing | Process of combining together (manually or electronically) individual shots into a complete film. |
cel | A sheet, usually made of a clear material, upon which an image is drawn and which is then used as an animation frame. |
comic relief | The introduction of a comic character, scene, or dialog into a serious or tragic work in order to relieve tension. |
holding fee | Money paid by an advertiser to a performer to retain the right to use a performer's services, image or likeness. |
punch light | A high intensity luminaire that floods an area with light. |
periodic sentence | A long sentence that is not grammatically complete (and hence not intelligible to the reader) until the reader reaches the final portion of the sentence |
elizabethan | the era beginning with the reign of Elizabeth I, Queen of England from 1558 to 1603 and ending with the Puritans closing of the theaters in 1642 |
equity waiver | 99 or fewer seat professional theatres over which Equity has special contractual agreements |
palatalization | In linguistics, the process of making a sound more palatal--i.e., moving the blade of the tongue closer to the hard palate. |
simile | A comparison of one thing with another, using the words 'like' or 'as'. |
end-stopped line | a line of verse that contains or concludes a complete clause and usually ends with a punctuation mark |
legitimate theater | The term "legitimate theater" dates back to the Licensing Act of 1737, which restricted "serious" theatre performances to the two patent theatres licensed to perform "spoken drama" after the English Restoration in 1662 |
animation performer | Performer hired to voice a role or roles in an animated production. |
black box | A theatre, usually small where the audience is in close proximity to the actors and action. |
imagery | Strong, descriptive language evoking sensory impressions on the reader; a word or group of words referring to any sensory experience. |
kenning | A kenning is a poetic phrase of one line used in place of a person / place / object, for example 'a wave rider','for','a boat' |
limited point of view | see point of view |
deconstructionism | an approach to literature which suggests that literary works do not yield fixed, single meaning, because language can never say exactly what we intend it to mean |
commedia dell'arte | Developed in the sixteenth and seventeenth centuries in Italy, it was a popular comedy which featured improvisation of standard plots and traditional costumes with masks. |
acephalous | (Greek, ‘headless') |
hubris | Hubris (also hybris) means extreme haughtiness or arrogance |
foot | Feminine Rhyme: See Rhyme |
treatment | A narrative outline of a dramatic work for cinema or broadcast |
magic realism | a type of fiction that involves the creation of a fictional world in which the kind of familiar, plausible action and characters one might find in more straightforwardly realist fiction coexist with utterly fantastic ones straight out of myths or dreams |
tragedian | An actor who plays leading parts in tragedy |
metadiscourse | An umbrella term for words used by a speaker or writer to mark the direction and purpose of a text; broadly defined as "discourse about discourse." |
aesthetic distance | a detachment that allows a viewer's attention to be held, and his emotions appealed to while the viewer is aware that he is a spectator in the theatre. |
nonameter | Nine feet per line. |
characterisation | The method by which characters are established in a story, using description, dialogue, dialect, and action. |
argumentative essay | an essay that tries to prove a point by supporting it with evidence |
costume plot | A list of the characters in a play with their costumes for each act |
stock character | character who appears in a number of stories or plays such as the cruel stepmother, the femme fatale, etc. |
coefficient of utilization | The ratio of lumens from a luminaire received on the work plane to the total quantity of lumens emitted by the lamps of that luminaire. |
simile | A simile describes something or someone 'like' or 'as' something else |
alazon | A stock character in Greek drama, the alazon is a stupid braggart who is easily tricked by the clever eiron who tells the alazon what he wants to hear. |
canon | Body of work considered to represent the highest literary standards |
closure | The effect of finality, balance, and completeness that leaves the reader with a sense of fulfilled expectations. |
symbol | When a word, phrase or image represents a complex set of ideas, the meaning of which is determined by the surrounding context, for example, the gifts the jester gives to the Queen in The Cap and Bells by W B Yeats. |
genre | The types or classes of literary works like the novel, short story, poem, play or essay. Also refers to subclassificatons as the detective story or Gothic novel. |
kanji | – CAN-GEE J: Chinese written characters. |
tricolon | The repetition of a parallel grammatical construction three times for rhetorical effect |
mezozeugma | An alternative spelling of mesozeugma |
theatre of cruelty | 1930 movement designed to disrupt the logic of the audience and free their subconscious minds so that they might experience the mysterious forces of existence characterized by magic and myth |
attitude | the sense expressed by the tone of voice and/or mood of a piece of writing |
unit set | A set that can represent several different settings by making only slight changes to scenic elements. |
pyros | Short for Pyrotechnics. |
state | See "Cue" |
consonance | Repetition of consonant (non-vowel) sounds in some other position than in the beginning of a word |
refrain | A refrain (from Vulgar Latin refringere, "to repeat", and later from Old French refraindre) is the line or lines that are repeated in music or in verse; the "chorus" of a song |
leading man/leading woman | Actor who usually plays the most important roles in a production. |
lament | See elegy |
cross bar | A bar mounted horizontally on top of a stand. |
luminaire | A complete lighting unit, consisting of a lamp or lamps together with the components required to distribute the light, position the lamps, and connect the lamps to a power supply |
cyberpunk | A genre of science fiction. |
dialect coach | Specialist who trains actors in a specific dialect or accent. |
kotoba – koh-toe-bah (j: | words, diction, subject matter) The actual words used in poetry as opposed to the feelings the words evoke |
falling action | Action that is usually composed of the characters' immediate reactions and responses to the climactic events of a story |
aside | For an actor to speak directly to the audience (not always meant to be heard). |
independent | A broadcast station not affiliated with a network. |
memorandum | A short message or record used for internal communication in a business. |
false cognate | Words which appear in two languages, looking like the same word, but with different meanings. |
strike | To remove scenery, props and lights from the stage. |
rhyme | The use of words with matching sounds, usually at the end of each line, for example ‘Whenever Richard Cory went down town/We people on the pavement looked at him/He was a gentleman from sole to crown/Clean-favoured, and imperially slim.’ (Richard Cory by E A Robinson). |
apron | The frontmost section of a proscenium stage that is closest to the audience. |
jacobean era | Jacobean era refers to the period in English and Scottish history that coincides with the reign of King James VI (1567â1625) of Scotland, who also inherited the crown of England in 1603 |
unit set | A series of lowered or raised platforms on stage, often connected by various stairs and exits, which form the various locations for all of a play's scenes |
reflective poem/structure | a poem organized primarily around reflection on a subject or event and letting the mind play with it, skipping from one thought or object to another as the mind receives them. |
low comedy | Low comedy is a type of comedy characterized by "horseplay", slapstick or farce |
action | the incidents of a play as expressed through the dialogue and movement of the characters. |
log line | One-sentence of the storyline of a script. |
ecu | Abbreviation for extreme close-up. |
master property man | Stagehand responsible for all props and prop crew. |
wardrobe assistant | Individuals who assis with selection and care of the wardrobe. |
parenthetical phrase | A phrase set off by commas that interrupts the flow of a sentence with some commentary or added detail |
actor | A person who plays the role of a character |
kothorni | See buskins. |
pratfall | A stunt fall designed for comic effect. |
playbill | Poster that advertises a play |
curtains | Material suspended from above to screen the stage from the audience, or for draping the stage in place of scenery |
breakdown | A detailed description of roles to be cast for a production. |
mutual intelligibility | Mutual intelligibility is a situation in which two or more speakers of a language (or of closely related languages) can understand each other. |
colour frame | An apparatus used to hold colour filters. |
metaphor | the transfer of a quality or attribute from one thing or idea to another in such a way as to imply some resemblance between the two things or ideas: 'his eyes blazed' implies that his eyes become like a fire |
call board | A notice board usually placed near the stage door, on which notices affecting the staff or artists are displayed |
hiatus | Time during which a TV series is not in production. |
matinee | Afternoon performance. |
feature film: aka | A movie or videotape production, at least 40-45 minutes (2 reels) long and intended for mass release through movie theatres or broadcast. |
roman à clef | Roman à clef or roman à clà© (French for novel with a key, is the term used for a novel describing real life, behind a faà§ade of fiction |
run-on lines | Lines in which the thought continues into the next line, as opposed to end-stopped. |
ensemble | The general effect of a scene |
uralic | A non-Indo-European language family including Finno-Ugric and Samoyedic. |
luminaire | A complete unit for the purpose of generating usable and somewhat controllable light. |
meter | A unit of line measurement that combines a fixed or varying number of syllables per line with the pattern of stressed and unstressed syllables. |
echo | A reference that recalls a word, phrase, or sound in another text |
production number | Spectacular musical scene. |
jingle – | JING-GULL (Medieval English: gyngle) Any verse that pleases the ear by a catchy rhythm and pronounced sound repetition which is often at the expense of sense such as eeny, meeny, miny mo |
paradox | Apparent contradiction that suggests a deeper truth. |
contrast | The ratio of the luminance of an object to that of its immediate background. |
reversal | See peripeteia. |
shinku | - SHE'N-COO (J: closely related) Two stanzas that are related by images that fit closely together |
hon'i – hone-ee | (J: essential characteristic) |
perfect rhyme | Another term for exact rhyme or true rhyme |
dowser | Mechanical Dimming. |
denouement | A French word meaning "unknotting" or "unwinding," denouement refers to the outcome or result of a complex situation or sequence of events, an aftermath or resolution that usually occurs near the final stages of the plot |
line voltage | A term that usually means 120 AC volts. |
gallows humor | Gallows humor is a type of humor that arises from stressful, traumatic, or life-threatening situations; often in circumstances such that death is perceived as impending and unavoidable |
act | a major division in the action of a play |
xxx | A designation for a production that features a large amount of explicit sex. |
amphibrach | Three syllables in this order: unstressed, stressed, unstressed. |
outline | a hierarchical list, often used in pre-writing for the purpose of tersely organizing acts, chapters, and scenes |
metalanguage | Language used in talking about language. |
theme | A prevailing idea in a work, but sometimes not explicitly stated, as in Ogden Nash's "Candy is dandy, / But liquor is quicker," which is about neither candy nor liquor. |
anagram | A word, phrase, or sentence that can be rearranged to create another word, phrase, or sentence. |
literature | Literature (from Latin litterae (plural); letter) is the art of written works |
karumi | - KAH-RUE-ME (lightness) The quality in writing that Basho encouraged, especially in his later years |
heathens | people who dont believe in the God of the Bible |
fenestra method | a procedure for predicting the interior illuminance received from daylight through windows. |
par | Parabolic Aluminized Reflector, a lamp or lighting unit. |
promythium | A summary of the moral of a fable appearing before the main narrative |
actor manager | An actor with his own company who is (usually) his own producer and star player |
blues | Oral black American folk or popular melancholic songs of the early twentieth century. |
comic relief | a humorous scene or incident that alleviates tension in an otherwise serious work |
connotation | those words, things, or ideas with which a word often keeps company but which it does not actually denote |
pidgin | A type of language, developed by the simplification of two or more languages |
interior monologue | When a character's thoughts and mental associations are used to indirectly convey action and external events; the character's thoughts are usually not spoken aloud. |
asyndeton | which omits conjunctions; zeugma and syllepsis, which use one word to serve for two; and aposiopesis, which omits a word or phrase at the end of a clause or sentence for effect. |
star | An actor playing a leading part whose name is displayed as the leading actor in connection with a production |
dowser | See: "Dimmer" |
rhythm – | RI(d)-THUM (Gr: rheo – to flow; rhythmos) Cadence or musical quality based on repeats in a discernable pattern or an order in movement |
billing | The relative sizes, positions, and order of names and a production's title in printed publicity material as well as the opening credits. |
cycle | see sequence. |
parallelism | Two or more expressions that share traits, whether metrical, lexical, figurative, or grammatical, and can take the form of a list. |
pm | Production manager. |
masque | See Mask (a) |
feminine ending or rhyme | see Rhyme. |
wild | Recorded out of sequence or isolated from the rest of the scene. |
prima ballerina | Leading female dancer in a ballet |
four a's | Associated Actors and Artistes of America, the umbrella organization for AFTRA, SAG, and other performer's unions. |
ad. | Assistant director. |
negation | Negation is a grammatical construction that contradicts (or negates) part or all of a sentence's meaning. |
king's english | The standard, pure or correct English speech or usage, also called "Queen's English." |
egotistical sublime | Term coined by John Keats to describe (what he saw as) Wordsworth's self-aggrandising style |
content | Form, Motif, Style, Texture) |
crossing the bar | " demonstrates the effectiveness of this device: metaphorically, he compares a sandbar in the Thames River over which ships cannot pass until high tide, with the natural time for completion of his own life's journey from birth to death. |
periphrasis | Using a wordy phrase to describe something for which one term exists. |
prose poem – | P-ROSE POH-EM This oxymoron ends the either / or aspect of writing lines that cross the page to wrap around into the following space or lines ending mid-space to give a ragged right margin to the printed page |
fable | A brief narrative in prose or verse that illustrates a moral or teaches a lesson, usually in which animals or inanimate objects are personified with human feelings and motivations. |
rhyme driven poetry | And it's precisely this sort of writing that was acceptable right up until the start of the 20th century. |
autotelic | Autotelic is defined by one "having a purpose in and not apart from itself" |
acting area | The area of a stage where performance occurs. |
ellesmere manuscript | Usually referred to as "the Ellesmere," this book is one of the most important surviving fifteenth-century manuscripts of Chaucer's Canterbury Tales |
director's cut | A cut of a movie without studio interference as as the director would like it to be seen |
arena stage/theatre-in-the-round | theater space where the audience sits on all four sides of the auditorium and watches the action in an area set in the middle of the room |
groundrow | A raised section of scenery usually depicting bushes, rocks etc. |
writer | Someone who creates a written work. |
control booth | Room used to house equipment to operate lights and sound for a production. |
parallelism | Repetition of the same grammatical structure, especially at the beginning of lines. |
argumentation | A speech or writing intended to convince by establishing truth |
phatic communication | Speech used in social discourse or chit-chat, in order to harmonize relations with others. |
polysyndeton | The use of multiple conjunctions, usually where they are not strictly necessary ('chips and beans and fish and egg and peas and vinegar and tomato sauce') |
truss | a horizontal gridwork structure that is suspended from the ceiling or held up by towers on either end; designed to hold lighting instruments; standard equipment for larger industrial shows or rock-and roll concerts |
conflict | Dramatic tension created by opposing forces |
blue pages | Pages inserted into a script after it has been numbered and distributed |
impressionism | Impressionism was a 19th-century art movement that began as a loose association of Paris-based artists whose independent exhibitions brought them to prominence in the 1870s and 1880s |
monostich | A monostich is a poem which consists of a single line. |
grammar | The study of the structure and features of a language |
sitcom | A comedy series with recurring lead characters in self-contained episodes. |
conflict | The relationship or struggle between the protagonist and antagonist. |
schwa | A neutral single vowel sound representing the unstressed vowel in English. |
proscenium arch | a frame around the stage which separates the actors and the set from the audience |
lighting bridge | A narrow platform mounted above the performing area used for mounting luminaire's, often incorporated into a truss rig or into the grid in a theatre. |
ellipsoidal | A luminaire embodying a lamp, an ellipsoidal reflector, a framing device, and a single or compound lens system, together with provisions for accommodating a pattern holder and patterns. |
crepe hair | Prepared wool sold in a plaited form for use in make-up for beards, etc |
allegory | An allegory is a symbolic story that serves as a disguised representation for meanings other than those indicated on the surface |
underplot | a particular type of subplot, especially in Shakespeare's plays, that is a parodic or highly romantic version of the main plot |
angel | Financial backer of a production. |
scale +10 | Minimum payment plus 10% to cover the agent's commission. |
dark humor | A sardonic, sarcastic, paradoxical form of humor that allows readers or audiences to observe and find comedy in disastrous or sobering events such as death, illness, misforture, or other events that normally sadden and disturb. |
large size model | Female model size 12 and up. |
bacchic | Greek and Latin metrical foot consisting of short, long, and long syllables / ~ ' ' /. |
accentual meter | Lines of verse organized by number of stresses rather than by feet or number of syllables |
4-a's | Associated Actors and Artists of America; parent organization for AFTRA, Equity, SAG, and other performers' unions. |
follow spot | A high power lighting instrument that can be adjusted and swiveled so as to maintain a tight focus on a stage performer. |
epitaph | Monody) |
flashing light | a rhythmic light in which the periods of light are of equal duration and are clearly shorter than the periods of darkness, See group flashing light, interrupted quick-flashing light and quick-flashing light. |
ilium | An alternate name for the ancient city of Troy, the site of the Trojan war and the Trojan horse, a (now Turkish) city sacked by the Greeks |
automatic dialogue replacement | ADR, Dialogue Looping, Dialog Looping, Looping |
sound | gives a reinforcement to stresses, and can also serve as a subtle connection or emphasis of key words in the line, but alliterated words should not "call attention" to themselves by strained usage. |
antagonist | any character or force that is in opposition to the main character, or protagonist |
diacritic | An accent or change to a normal alphabetical letter to differentiate its pronunciation |
overhang | A horizontal building projection, usually above a window, for the purpose of shading. |
running crew | Group of people who perform all the technical tasks during the show. |
burlesque | a term applied to writing which sets out to satirise |
sides | Pages from a script used for auditions. |
pastoral | A literary work that has to do with shephards and rustic settings |
primary colours | Colours from which all other colours may be evolved by mixtures |
climax | The high point, or turning point, in a story—usually the most intense point near the end of a story |
three-quarter left | performer turns to a position halfway between left profile and full back |
curtain line | The last line of an act or play |
travel-time | Fee paid for time spent commuting to a non-studio film location. |
nonstandard english | (1) Any dialect of English other than Standard English |
i-as-witness | a homodiegetic narrator who witnesses and reports the events that are narrated but who is not the protagonist. |
dramatis personae | the list of characters in a play |
pick it up | To quicken the pace of a performance. |
parable | A brief story that teaches a lesson. |
temporal frame | deals with the question 'in what time / when does the action take place?' |
epic theatre | a theatrical movement originating with Bertolt Brecht which developed in reaction against realistic theatrical traditions and attempts to prevent the audience's emotional involvement and identification with characters or plot using effects (alienation or estrangement effects) such as a narrator for instance to constantly emphasise the ‘artificial' (i.e |
fresnel | A lighting instrument using a fresnel lens |
playwright | One who writes plays. |
opposite prompt or o.p. | The right-hand side of the stage opposite the prompt-side |
sight/eye rhyme | Two or more words which appear to rhyme to the eye, in that their spelling is nearly identical; to the ear, however, they do not rhyme. |
three-act structure | a common narrative pattern, containing an exposition, rising action, and climax |
comedy | a dramatic work in which the materials are selected and managed primarily in order to amuse the audience and make it laugh; the ending is by convention good and resolves previous problems, sub-categories of comedy are, for instance, the comedy of manners, the comedy of humours, romantic comedy or satiric comedy. |
protagonist | The good person in a story. |
byronic hero | The Byronic hero is an idealised but flawed character exemplified in the life and writings of Lord Byron, characterised by his ex-lover Lady Caroline Lamb (who said it before becoming Byron's lover) as being "mad, bad, and dangerous to know" |
footlambert | A unit of luminance equal to 0.3183010 candela per square foot, or to the uniform luminance of a perfectly diffusing surface emitting or reflecting light at a rate of one lumen per square foot, or to the average luminance of a surface emitting or reflecting light at that rate |
end-stopping | The effect achieved when the syntax of a line coincides with the metrical boundary at the end of a line |
aside | A speech (usually just a short comment) made by an actor to the audience, as though momentarily stepping outside of the action on stage |
débat | a medieval poem in dialogue that takes the form of a debate on a topic |
stage direction | Descriptions of the physical setting, atmosphere and actions which are included in the script. |
tenor | the meaning of an image, term introduced by the critic I.A |
envelope rhyme | for In Memoriam |
ms. | Manuscript. |
play | A specific piece of drama, usually enacted on a stage by diverse actors who often wear makeup or costumes to make them resemble the character they portray |
reversal | the change from good to bad fortune in classic tragedy; from bad to good fortune in classic comedy |
trimeter | three feet in a line |
falling action | the action which follows the crisis and climax (see also catastrophe, denouement, resolution, catharsis) |
synesthesia | A blending of different senses in describing something. |
emendation - improve | Improve means to make something better. |
renaissance | There are two common uses of the word. |
verisimilitude | from the Latin phrase verisimiles ("like the truth"); the internal truthfulness, lifelikeness, and consistency of the world created within any literary work when we judge that world on its own terms rather than in terms of its correspondence to the real world |
supernumerary | An extra who has no lines. |
phronesis | Phronēsis (Greek: φρόνησις) in Aristotle's Nicomachean Ethics is the virtue of practical thought, usually translated "practical wisdom", sometimes as "prudence". |
hot patching | Putting a circuit into a dimmer or hot pocket while it is on. |
character man/woman | Talent who specializes in mature roles or roles that require specialized physical or vocal skills. |
line producer | Proder responsible for keeping the director on time and budget. |
test | To evaluate a talent or performer. |
epic | A narrative poem of heroic exploits usual undertaken by a male hero who (like modern block-buster movie protagonists) disregards the rules |
foh | (FRONT OF HOUSE) The audience side of the proscenium arch. |
visual comfort probability | The rating of a lighting system expressed as a percentage of the people who, when viewing from a specified location and in a specified direction, will be expected to find it comfortable in terms of discomfort glare. |
denouement | the resolution of the plot in fiction or drama (an untying of the complications at the end of the story line) |
tag line | The final line of a scene or act just before the closing of the curtain. |
sleeper | A movie unexpectedly and suddenly attains prominence and success. |
tribrach | Greek and Latin metrical foot consisting of short, short, and short syllables / ~ ~ ~ /. |
hazard or obstruction beacon | an aeronautical beacon used to designate a danger to air navigation. |
subplot | A subplot is a secondary plot strand that is a supporting side story for any story or the main plot |
stage cloth | A floor covering for the stage |
holding | An area in which the Extras report and stay while waiting to perform. |
log-rolling | Where cliques of authors/poets favourably review each other's work in order to boost sales |
neorealism | A film style which uses documentary filmmaking techniques to produce a fictional situation. |
native speakerism | Native speakerism is the established belief (or bias) that native speakers of a language (with or without teaching credentials) are better qualified to teach that language than non-native speakers. |
ballast | An electrical apparatus that limits the electrical current through an arc source. |
aside | An aside is a dramatic device in which a character speaks to the audience |
backing | Financial support for a production. |
occupatio | a figure of rhetoric where a writer explains that he or she will not have time or space to say something but then goes on to say that thing anyway, possibly at length. |
menippean satire | The genre of Menippean satire is a form of satire, usually in prose, which has a length and structure similar to a novel and is characterized by attacking mental attitudes instead of specific individuals |
type | An earlier figure, event, or symbol in the Old Testament thought to prefigure a coming antitype (corresponding figure, event, or symbol) in the New Testament |
bombast | Hyperbolic or wildly exaggerating speech, so-called after a kind of cotton stuffing. |
diction | An author's choice of words based on their correctness, clearness, or effectiveness. |
ji | – J-EYE (J: ground) |
movie commercial | A filmed ad for film, played in movie houses. |
aside | A dramatic device in which a character speaks his or her thoughts aloud, in words meant to be heard by the audience but not by the other characters |
early modern english | Modern English covers the time-frame from about 1450 or so up to the present day |
episode | An episode is a part of a dramatic work such as a serial television or radio program |
middle comedy | Greek comedies written in the early 300s BCE, in which the exaggerated costumes and the chorus of the Old Comedy were eliminated |
upm | Unit production manager. |
hemispherical transmittance | the ratio of the transmitted |
onomatopoeia | The use of a word whose sound suggests its meaning, as in clang, buzz, twang. |
paradox | A statement that contains seemingly contradictory elements or appears contradictory to common sense, yet can be true when viewed from another angle. |
aesthetic movement | a literary belief that art is its own justification and purpose, advocated in England by Walter Pater and practised by Edgar Allan Poe, Algernon Charles Swinburne, Oscar Wilde, and others. |
cast party | Party for the cast (and often crew) of a production. |
ballad | Folklore: Traditions and myths preserved in a culture or group of people |
simile | Symbol) |
lamp | An electrically energized source of light, commonly called a bulb or tube. |
closed position | To face away from the audience. |
indicate | To play an action in an overly obvious manner. |
bad quarto | In the jargon of Shakespearean scholars, a "bad quarto" is a copy of the play that a disloyal actor would recreate from memory and then submit for publication in a rival publishing house without the consent of the author |
septet - | SEP-TET (It: sepette; Fr |
wide-angle lens | A lens that has a focal length shorter than normal |
lavalier | A small "tieclip" microphone worn inconspicuously in clothing, hair, wigs over the ear or on the face if heavily made-up. |
antistrophe | An antistrophe is the last of three series of lines forming the divisions of each section of a Pindaric ode. |
prompt-box | The prompter's box on the stage |
tone | The author's attitude towards the characters or the story. |
third person objective narrative | A narrative in which the narrator will act as an impartial observer, providing very little comment on the events of the story or behavior of the characters. |
cold reading | Unrehearsed reading of lines |
iambic | an unstressed/stressed combination of syllables in a metrical foot |
action poetry | Verse written for performance by several voices. |
point of view | The vantage point from which a narrative is told. |
scene | A dramatic sequence that takes place within a single locale (or setting) on stage |
pyrrhic | a metrical foot consisting of two unaccented syllables. |
first look | Right of first refusal for a script or project. |
casting | Process of selecting actors to play the characters in a production. |
irony | A disparity between what is said and what is meant, what is expected and the actual outcome, or what a character understands and what the reader or audience understands. |
anti-type casting | places the actor in parts at the extreme limits of his range. |
act curtain | the front of main curtain on a prescenium stage directly behind the grand drapery. |
anagnorisis | Anagnorisis (pronounced /ˌænəɡˈnɒrɨsɨs/; Ancient Greek: ἀναγνώρισις) is a moment in a play or other work when a character makes a critical discovery |
paradox | a self-contradictory phrase or sentence, such as "the ascending rain" or Alexander Pope's description of man, "Great lord of all things, yet a prey to all." Don Marquis's "quote buns by great men quote" (archys life of mehitabel [London: Faber and Faber, 1934]: 103-04), describes a drunk trying to go up a down-escalator as "falling upwards / through the night" (the poem also parodies Henry Wadsworth Longfellow's "St |
commonwealth literature | Post-colonial literature from countries who are members of the British Commonwealth of Nations. |
timing | selecting the right moment to say a line or do an action for maximum effectiveness |
canned | Pre-recorded effects interjected into a performance. |
humorism | Humorism, or humoralism, is a discredited theory of the makeup and workings of the human body adopted by Greek and Roman physicians and philosophers |
kaishi | - KAY-EE-SHE (J: pocket paper) Small, slim sheets of paper used for writing poems |
ambiguity | The possibility of more than one meaning, for example the ending of The Five Students by Thomas Hardy. |
tragic hero | as defined by Aristotle, a man of noble stature who is admired by society but flawed |
irradiance | The density of radiant flux incident on a surface. |
accent light | Directional lighting designed to emphasize a particular object or to draw attention to a part of the field of view. |
antagonist | the character, force, or collection of forces in fiction or drama that opposes the protagonist and gives rise to the conflict of the story |
fox wedges | Wooden wedges used under flats on a stage with a rake to keep them perpendicular |
speaker | The person, not necessarily the author, who is the voice of a poem |
agma | American Guild of Musical Artists |
trades | Newspapers and periodicals feature information about the entertainment industry. |
hypocorism | A hypocorism (from Greek ὑποκορίζεσθαι hypokorizesthai, "to use child-talk") is a shorter form of a word or given name, for example, when used in more intimate situations as a nickname or term of endearment. |
french scene | a section of a play between any entrance or exit of any character |
jeremiad | A jeremiad is a long literary work, usually in prose, but sometimes in poetry, in which the author bitterly laments the state of society and its morals in a serious tone of sustained invective, and always contains a prophecy of society's imminent downfall. |
actor's equity association | 165 West 46 Street, New York, New York 10036 |
image / imagery | descriptive language which helps us see, hear, smell, taste, or feel |
first a.d. | First Assistant Director. |
first refusal | Courtesy extended by an actor to a potential employer in which neither the actor nor the employer is committed to a job, but the actor may also actively seek alternate employment for the same day. |
canon | the range of works that a consensus of scholars, teachers, and readers of a particular time and culture consider "great" or "major." |
unities | Time, place and action |
spotlight | (spot) A lighting device with a beam which is focused through one or more lenses. |
apocope | In phonology, apocope (pronounced /əˈpɒkəpiː/, from the Greek apokoptein "cutting off", from apo- "away from" and koptein "to cut") is the loss of one or more sounds from the end of a word, and especially the loss of an unstressed vowel. |
satire | a literary work—whether fiction, poetry, or drama—that holds up human failings to ridicule and censure |
through-line | Unifying element of a scene, act or play. |
call board | Bulletin board for posting audition notices, casting calls, rehearsal schedules and the like. |
pit | In indoor theaters during the Renaissance, the most expensive and prestigious bench seating was the pit--an area directly in front of the stage |
motif | An image or action in a literary work that is shared by other works and that is sometimes thought to belong to a collective unconsciousness. |
aesthetic theory | the study of what makes some things seem beautiful that have no practical benefit and whether these things are necessary in some way |
take stage | director's request that an actor move into a more prominent position on stage; also that the actor needs to expend more energy in the scene |
camera presence | an actor's presence and sense of energy on camera. |
union member | An individual who has joined a union. |
goshû – | GO-SHOE (J: later collection) |
awg | American Wire Gauge |
house curtain | Drapery that separates the acting area from the audience. |
frame-piece | See Flat |
point method | A method of estimating the illuminance at various locations in a building using photometric data. |
depth of field | Area within the camera's view in which objects are in focus |
road company | Company of performers who tour to different cities to present their production. |
comparative literature | An examination of similarities and differences in pieces of literature. |
leonine verse | Verse using internal rhyme in which the middle and end of each line rhyme |
rondel | A French poem structure of considerable antiquity that was eight lines in length, with an AB aA ab AB rhyme scheme, with A and B representing refrains |
black comedy | A comedy in which the humour is derived from "serious" subjects such as death, war, suffering, and murder. |
rhythm | the pattern of |
burlesque | a work caricaturing another serious work |
bombast | hyperbolic or wildly exaggerating speech, so-called after a kind of cotton stuffing. |
thrust stage | Another term for an apron stage. |
narrative | That which tells a story. |
quire | A collection of individual leaves sewn together, usually containing between four and twelve leaves per quire |
ubi sunt | A literary motif dealing with the transitory nature of things, like life, beauty, youth, etc. |
age range/age category | Ages that an actor can believably portray. |
key grip | The chief of a group of grips. |
net fees | Income earned by a performer for work done in front of the camera or microphone |
cattle call | An audition during which a large number of actors are moved in and out of the audition area as quickly as possible. |
non-sag | A play that is not under a SAG agreement. |
climax | The culmination of events in the story, novel, or play |
summer stock | A theatre group which produces a number of productions throughout the summer vacation season. |
intercutting | Alternate scenes between action occuring at two different locations. |
parody | A ludicrous imitation, usually intended for comic effect but often for ridicule, of both the style and content of another work |
leko | A commonly used term for an ellipsoidal spotlight |
protagonist | the most neutral and broadly applicable term for the main character in a work, whether male or female, heroic or not heroic |
afi | American Film Institute |
rahil – | RAH-ILL (A: desert journey) The middle part of a qasida that describes the poet's journey, and usually his mount in great detail, in the resolution of his great unhappiness which is either to regain a lost love or vanquish an enemy. |
classical poets/poetry | Pre-Christian Roman and Greek poets such as Homer, Horace, Virgil, Ovid etc |
box-scene | A scene constructed of flats, joined together to make an interior |
balcony spot | A spot light placed on the front of the balcony to light the front of the scene |
lallans | Scottish literary language - as used by Hugh MacDiarmid and Robert Burns |
pin spot | A fixture providing a narrow beam of light. |
talent agent | A individual who acts as a performer's business representative by securing auditions, handling contracts and pay in exchange for a percentage of the performer's earning. |
mini strip | A compact striplight that uses 1 to 4 groups of ten 12 volt lamps wired in a series circuit. |
second unit director | Diector of the second unit. |
opera | A play in which the performers sing their roles. |
etymon | A |
mondo – | MON-DOE J: question and answer dialogue |
naga-uta | Japanese form of indeterminate length that alternates lines of five and seven syllables and ends with an additional seven-syllable line. |
symbolism | In literature, the serious and extensive use of symbols |
monitor | A raised section of roof that includes a vertically (or near-vertically) glazed aperture for the purpose of daylighting illumination. |
this is poetry | Elizabethans did not talk like this |
big and tall men | Male models wearing size 44 suit and up. |
comic opera | A light opera with a happy ending |
dramatist | One who writes plays. |
troubadour | One of a class of Occitan lyric poets and poet-musicians, often of knightly rank, who flourished from the 11th through the 13th centuries in Southern France and neighboring areas of Italy and Spain, and who wrote of courtly love. |
assistant stage manager | the all-purpose technical assistant; the backstage entry-lever position |
flat character | a character not fully developed who seems to represent a type more than a real personality (see also stock character) |
dry ice | Frozen carbon dioxide which produces a low-lying mist or fog when dropped into boiling water. |
work lights | lights that illuminate the stage when there is no performance. |
excursus | A detailed discussion appended, such as in an afterword or an appendix. |
paronomasia / pun | wordplay, using words with the same or similar sounds or spelling but different meanings, usually for comic or satirical effect |
agency commission | A percentage of a performer's earnings that is payed to the agency representing performer. |
dirge | A brief funeral hymn or song |
irony | Verbal irony is a figure of speech in the form of an expression in which the use of words is the opposite of the thought in the speaker's mind, thus conveying a meaning that contradicts the literal definition, as when a doctor might say to his patient, " the bad news is that the operation was successful." Dramatic or situational irony is a literary or theatrical device of having a character utter words which the reader or audience understands to have a different meaning, but of which the character himself is unaware |
dress rehearsal | 1 |
shin buster | A fixture placed as close to the stage floor as possible. |
farce | Comedy that relies on ridiculous situations, horseplay and slap-stick action. |
prosody | study or practice or study of versification: what this tutorial is all about. Also called “metrics” in the case of |
off | The part of the stage not in view of the audience |
denotation | The literal sense of a word or its strict dictionary definition, as opposed to connotation which refers to the attitudes, emotions and values which may be usually evoked by the word, or which may be evoked by it in a specific context. |
upstage | To draw the audiences attention onto oneself at the expense of another performer in the scene |
character model | A model who has unusual an look or skill. |
structure | the organization or arrangement of the various elements in a work |
simile | A comparison between two words or ideas using “like” or “as.” |
green-room | A room, near the stage, for the use of the actors, where they may meet and wait for their "calls." |
enjambed | Line of verse whose thought continues at the line's end to the next line |
dramatic irony | 1 |
throw distance | the distance from the lighting instrument to th eperson or thing it is lighting |
shikishi | – SHE-KEY-SHE (J: square paper) |
ground row | Low pieces of scenery to form walls, fences, hedges, etc |
memoir | see biography |
back to one! | Cue for actors to return to the start of a scene. |
shôfû | (or shôfu) – SHOW-FU (J: right style) a shortened name for Basho's style of writing and also the name of his school in his later years. |
teleprompter | A device which allows a performer to read a script while looking into the camera lens. |
analepsis | a flashback. |
aside | a type of utterance in drama where the actor speaks away from other characters, either to himself, secretly to other characters or ad spectatores |
dolly grip | A person responsible for physically moving the camera during a shot. |
shaped poetry | See concrete poetry. |
farce | A type of comedy based on a farfetched humorous situation, often with ridiculous or stereotyped characters. |
blind mode | Setting up a lighting scene or preset when another is active. |
book | The spoken dialogue in a musical or play. |
cadence | The progressive rhythmical pattern in lines of verse; also, the natural tone or modulation of the voice determined by the alternation of accented or unaccented syllables. |
body double | An actor who replaces another actor in a scene because the double's body or part of the double's body is more suitable for the shot |
comedy | A play with an agreeable ending |
feathering | As Kathleen Scott describes this sort of decoration, it is |
lexical set | words that are habitually used within a given environment constitute a lexical set |
grid | The structure above the stage, usually used to support the battens. |
match cut | a cut intended to blend two shots together unobtrusively (opposed to a jump cut). |
incubus | See discussion under succubus. |
aphesis | the omission of the initial syllable of a word |
satire | A literary work which exposes and ridicules human vices or folly |
tragedy | A serious play in which the chief character, by some peculiarity of psychology, passes through a series of misfortunes leading to a final, devastating catastrophe |
consider | See discuss. |
safety curtain | A fire proof panel between the auditorium and stage directly behind the Proscenium Arch that fills the entire opening when winched down into place from the Fly Tower. |
foot | The metrical unit of verse comprising a number of stressed and unstressed syllables |
down stage | The portion of the stage nearest to the audience |
classification | Classification is a figure of speech linking a proper noun to a common noun using the or other articles. |
decasyllable | Hendecasyllable, Heptasyllable, Octosyllable) |
historical novel | a sub-genre of the novel which takes its setting and some of the (main) characters and events from history. |
personification | A figure of speech in which things or abstract ideas are given human attributes: dead leaves dance in the wind, blind justice. |
pantomime | Acting out without dialogue or props. |
empathy | A kind of sympathy that allows us to identify with the experiences, emotions, situations, and motives of another person or character. |
producer | One who controls the players and the stage and is responsible for the interpretation of the play as a whole |
out of frame | Outside the camera range. |
elizabethan theatre | Period in English theatre associated with the reign of Queen Elizabeth I (1558-1603) |
mental grammar | The generative grammar stored in the brain that allows a speaker to produce language that other speakers can understand. |
apron | Front part or area of the stage extending past the main act curtain, also called lip. |
trimeter | a line of poetry with three feet: "Little | lamb, who | made thee?" (Blake). |
equipment operating factor | the flux of a high-intensity discharge (HID) lamp-ballast-luminaire combination in a given operating position as a fraction of the flux of the lamp-luminaire combination (1) operated in the position for rating lamp lumens and (2) using the reference ballasting specified for rating lamp lumens |
fast motion | Cinemagraphic technique where movement appears more rapid than normal. |
block characterisation | an explicit characterisation given in a block, usually when a character is introduced. |
elision | The omission of part of a word (oer, neer) to make a line conform to a metrical pattern. |
background action | Actgion performed in the background of a shot. |
cabaret agreement | Union/producer agreement for cabaret theatres. |
control cable | A cable used to transmit digital or analog signals from a control console to the apparatus to be controlled. |
flyting | A poem of invective by two speakers trying to out-humiliate one another. |
death of the novel | The death of the novel is the common name for the theoretical discussion of the declining importance of the novel as literary form |
imperfect foot | A metrical foot consisting of a single syllable, either heavily or lightly stressed |
travesty | A work that deflates something that is treated by another work with high seriousness. |
apostrophe | Used to address someone or something invisible, an inanimate object, a dead or absent person, or a spirit |
farce | a play or scene in a play or book that is characterized by broad humor, wild antics, and often slapstick or physical jokes |
syllable | Each pronounced part of a word is a syllable |
poets' corner | A portion of the South Transept of Westminster Abbey which contains the remains of many famous literary figures, including Chaucer and Spenser, and also displays memorials to others who are buried elsewhere. |
absorption | A process by which incident radiant flux is converted to another form of energy, usually (and ultimately) heat. |
hyperbole | Hyperbole (from ancient Greek ὑπερβολή 'exaggeration') is the use of exaggeration as a rhetorical device or figure of speech |
front elevation | A scale drawing of the front view of a set. |
formula | An often repeated phrase, sometimes half-a-line long and metrically distinctive. |
melodrama | The term melodrama refers to a dramatic work which exaggerates plot and characters in order to appeal to the emotions |
explore | See discuss |
typecast | To cast a role based upon specific physical characteristics or likeness to a specific dramatic type |
ensemble | A group of actors who work together with no one actor outshining any others. |
parody | A not-uncomplimentary send-up of another work, such as Geoffrey Chaucer's "Sir Thopas" in The Canterbury Tales |
post-structuralism | This discourse relates to post-modernism |
thesis | An attitude or position taken by a writer or speaker with the purpose of proving or supporting it |
denotation | the literal, dictionary definition of a word |
assonance | The relatively close juxtaposition of the same or similar vowel sounds, but with different end consonants in a line or passage, thus a vowel rhyme, as in the words, date and fade. |
scene chewing | ("Chewing the scenery") An over-the-top performance that dominates the scene. |
symbol | a person, place, thing, event, or pattern in a literary work that designates itself and at the same time figuratively represents or "stands for" something else |
interpretation | an analysis of a work to determine its meaning |
exordium | In Western classical rhetoric, the exordium was the introductory portion of an oration |
image | an expression that describes a literal sensation, whether of hearing, seeing, touching, tasting, and feeling. |
gonzo journalism | Gonzo journalism is a style of journalism that is written subjectively, often including the reporter as part of the story via a first-person narrative |
atmosphere | The mood or pervasive feeling insinuated by a literary work. |
narrative | Telling a story |
digital multiplex | A system that simultaneously transmits more than one digital signal. |
beryl | Aquamarine or emerald, a transparent precious stone. |
dedication | A formal, printed inscription printed in a book dedicating it to a person, cause, etc. |
new comedy | The Greek comedy the developed circa 300 BCE, stressing romantic entanglements, wit, and unexpected twists of plot. |
connotation | Any association or attitude that is embedded in a word's meaning or is brought to mind by the mention of a word or phrase |
take the corner | A direction to move to the right or left corner of the stage |
auditions | competitive tryout for a performer seeking a role in a theatre production |
couplet | Two successive lines of verse, which often rhyme. |
assistant director | AD, First Assistant Director, 1st Assistant Director |
narrative | The story. |
drapes | Stage Curtains. |
syntax – sin-tax | The placement of words in an arbitrary but conventional sequence |
caricature | a depiction in which a character's characteristics or features are so deliberately exaggerated as to render them absurd |
alliteration | The repetition of the same or similar sounds at the beginning of words: “What would the world be, once bereft/Of wet and wildness?” (Gerard Manley Hopkins, “Inversnaid”) |
synecdoche – | SIN-NECK-DOUGH-SHE (Gr: "understanding one thing with another) A figure of speech that is formed by a part of the phrase which is substituted for the whole phrase |
subversion | when a concept or text aims to undermine an established idea. |
motif | it is preferable to recognize the difference between the two terms. |
booth | area in the theatre with the light and sound boards |
inference | A judgement based on reasoning rather than on direct or explicit statement |
fortuny system | A system of stage lighting by indirect means by an Italian inventor |
resume' | An 8X10 sheet of paper that lists an actor's pertinent artistic credits, training, personal statisics and special skills |
isocolon | A line or lines that consist of clauses of equal length. |
roundelay | A lyric poems with a refrain. |
content | Form, Motif, Persona, Texture, Tone) |
tie-off | to fasten a set of lines to a pin rail or other stationary object |
protagonist | the main character in a work, who may or may not be heroic |
trunk show | A travelling fashion show. |
primal scene | In psychoanalysis, the primal scene is the initial witnessing by a child of a sex act, usually between the parents, that traumatizes the psychosexual development of that child |
raked | 1 |
variorum | A variorum edition is any published version of an author's work that contains notes and comments by a number of scholars and critics |
diffuse transmission | the process by which the incident flux passing through a surface or medium is scattered. |
octosyllabic | Having eight syllables. |
anchorhold | In medieval times, an enclosure in the wall of a church where an anchorite or anchoress would be sealed up alive as a gesture of faith. |
grid | Metal or wooden framework suspended above the stage on which flown scenery, drops and lighting battens are supported. |
dimmer | A device which controls the intensity of lights. |
patter song | Singing many words quickly. |
aleatory verse | Uses chance (random words from a book, etc) to determine word choice. |
"boards" | a slang term for the stage. |
drop | suspended cloth flown rite stage area. |
chansons de geste | An epic poem written in assonant verse about historical or legendary events or figures. |
alliteration | Using the same consonant to start two or more stressed words or syllables in a phrase or verse line, or using a series of vowels to begin such words or syllables in sequence |
the chambered nautilus | " by Oliver Wendell Holmes, or "The Cloud," by Percy Bysshe Shelley. |
narratio | The part of an argument in which a speaker or writer provides a narrative account of what has happened and explains the nature of the case. |
literal meaning | A meaning that is the primary or strict meaning of a word or phrase; not figurative or metaphorical. |
dissociation of sensibility | Term invented by T.S |
amphibrach | A metrical foot of three syllables: one weak, one strong, and one weak. |
bouts-rimés | Bouts-Rimés, literally (from the French) "rhymed-ends", is the name given to a kind of poetic game defined by Addison, in the Spectator, as |
turn allocation | the number of lines in a character's speech in a play |
wabi | - WAH-BEE (J: poverty) Beauty judged to be the result of living simply |
static character | see character |
scènes à faire | Scène à faire (French for "scene to be made" or "scene that must be done"; plural: scènes à faire) is a scene in a book or film which is almost obligatory for a genre of its type |
platform stage | A performance area which is elevated above the normal stage floor. |
gallery | The elevated seating areas at the back and sides of a theater. |
conjunctivitis | inflammation of the conjunctiva also known as pink-eye conscripted: put into military use contiguously: alongside contraposed: separated into opposing groups convivial: festive/merry cravenly: so lacking in courage as to be worthy of contempt |
copyright notice | Please respect the fact that all the material on this site is copyright © Sydney University Library and the individual authors and copyright owners |
costume parade | A process during which actors, wearing their costumes, parade and pose in front of the director and costume designer who approve or suggest changes to the costumes. |
daytime drama | Soap opera. |
innuendo | An innuendo is a baseless invention of thoughts or ideas |
reflectance | The ratio of reflected flux to incident flux. |
romanzo d' appendice | Romanzo d'appendà¬ce (Italian for Feuilleton) was a popular genre in literature, which originated in England and France, in the second half of the 19th and the beginning of the 20th. |
load | The lamp or lighting instruments placed on a circuit. |
metadrama | Drama in which the subject of the play is dramatic art itself, especially when such material breaks up the illusion of watching reality |
foley walker | One who specializes in foley effects. |
hokku | Hokku is the opening verse of a linked verse series |
falling action | In the plot of a story, the action that occurs after the climax |
epithalamium | – EH-PI-THA-LA-MEUM (Gr: at the bridal chamber) A wedding song sung outside the bridal chamber on the wedding night |
graybody | a temperature radiator whose spectral emissivity is less than unity and the same at all wavelengths. |
three unities | in the 16th and 17th centuries, critics of the drama in Italy and France added to Aristotle's ‘unity of action' two other unities, to constitute one of the rules of drama known as ‘the three unities'; on the assumption that the achievement of an illusion of reality in the audience of a stage play (verisimilitude) requires that the action represented by a play approximate the actual conditions of the staging of the play, they imposed the ‘unity of place' (that the action represented be limited to a single location) and the requirement of the ‘unity of time' (that the time represented be limited to the two or three hours it takes to act the play, or at most to a single day of either 12 or 24 hours). |
trim clamp | a metal clamp used to hold several lines to a counterweight system so that scenery can be held in trim |
voiced and unvoiced | Consonants are voiced when the vocal cords move (/b/) and unvoiced when they remain still (/p/). |
foil | A secondary character whose purpose is to highlight the characteristics of a main character, usually by contrast |
two shot | A medium close-up shot of two people. |
beast epic | A genre beginning with Aesops fables (6th century BC) and common in the middle ages |
fueki | – F(y)OU-EE-KEY |
daylight factor | a measure of daylight illuminance at a point on a given plane, expressed as the ratio of the illuminance |
stage carpenter | (a) The member of the staff in charge of scenery |
standard english conventions | The widely accepted practices in English punctuation, grammar, usage, and spelling that are taught in schools and employed by educated speakers and writers |
arbor | in a flying system, the cage where the operators put the counterweight to balance the weight of the scenery. |
situation comedy | See Sitcom. |
sightline | Imaginary lines drawn from extreme audience positions to define what areas of the stage that can be seen by that section of audience. They are used to check that entrances and performance positions can be seen by the whole audience. They are also used to check that Masking is effective. |
scribe | A literate individual who reproduces the works of other authors by copying them from older texts or from a dictating author |
rolling! | Verbal cue that the film and audio tape is ready and rolling. |
denotation | The direct and literal meaning of a word or phrase (as distinct from its implication) |
direct component | that portion of the light from a luminaire which arrives at the workplane without being reflected by any room surfaces |
exposition | The part of a play, story, or novel in which the author establishes setting, situations, and often central characters and themes. |
at rise | The stage when ready for the rise of the curtain |
occupatio | A figure of rhetoric where a writer explains that he or she will not have time or space to say something but then goes on to say that thing anyway, possibly at length. |
history | History is one of the three main genres in Western theatre, alongside tragedy and comedy |
full front | When a performer performer faces the audience. |
morality play | type of medieval drama which presented allegories of man's life and search for salvation. |
textuality | Textuality is a concept in linguistics and literary theory that refers to the attributes that distinguish the text (a technical term indicating any communicative content under analysis) as an object of study in those fields |
onnade | – ON-NAD-DEH J: female hand |
Called by the director after a take that indicates the take is good enough to be printed. | |
amber | the yellow-red light filter varying from light straw to dark flame. |
taft-hartley act | A federal statute which allows a non-union actor to work at a union job for 30 days before being required to join a union. |
crossing | moving from one point on the stage to another, especially to a diametrically opposed point. |
hysteron proteron | In Medias Res) |
corpus christi play | A religious play performed outdoors in the medieval period that enacts an event from the Bible, such as the story of Adam and Eve, Noah's flood, the crucifixion, and so on |
focusing instrument | A lighting instrument whose beam size can be varied. |
ambivalence | When the reader has mixed feelings or opposing views towards an event, character or object. |
form | The original Japanese haiku was written in a one-line format |
day player | A principal performer hired on a day to day basis. |
end-stopped | Denoting a line of verse in which a logical or rhetorical pause occurs at the end of the line, usually marked with a period, comma, or semicolon. |
paradox | A situation or a statement that seems to contradict itself, but on closer inspection, does not |
opera | A dramatic composition set to music with or without spoken dialogue, in which the music is the main feature |
sliding tree | A coupling used to hang a lighting fixture from 1/2 pipe. |
tetrameter | A line of poetry that has four metrical feet. |
round character | see character |
apologue | Another term for a moral fable--especially a beast fable. |
juxtaposition | the location of one thing as being adjacent or juxtaposed with another, to create a certain effect |
dailies | Film and sound clips that are quickly processed for next day viewing. |
continuity | Attention to progression of story-line and acton, expression of dialog, and matching the details of set dressing, props, and wardrobe to prevent discrepancies in same from shot to shot. |
oulipo | Oulipo (French pronunciation: [ulipo], short for French: Ouvroir de littérature potentielle; roughly translated: "workshop of potential literature") is a loose gathering of (mainly) French-speaking writers and mathematicians which seeks to create works using constrained writing techniques |
paralipsis | a figure of thought where less information is supplied than appears to be called for by the circumstances. |
91 day out clause | A contractual agreement that allows the performer to terminate the contract if the performer doesn't earn a minimum amount of money within 91 days after signing the contract |
ellipsoidal reflector spotlight | a spotlight in which a lamp and an ellipsoidal reflector are mounted in a fixed relationship directing a beam of light into an aperture, where it may be shaped by a pattern, iris, shutter system or other insertion |
moral | a rule of conduct or a maxim for living (that is, a statement about how one should live or behave) communicated in a literary work |
mystery play | Mystery plays and Miracle plays (which are two different things) are among the earliest formally developed plays in medieval Europe |
pastiche | Work patched together from excerpts of other writers, or from passages clearly recognizable as imitating others. |
portfolio | A book which contains pictures and other examples of a model's work. |
genetic fallacy | The genetic fallacy is a fallacy of irrelevance where a conclusion is suggested based solely on something or someone's origin rather than its current meaning or context |
turn-around | An item comprising two connectors that are of the same type and sex, electrically connected together. |
maker | a medieval and early Renaissance term for `poet.' |
thegn | A warrior who has sworn his loyalty to a lord in Anglo-Saxon society |
lock it down | A direction given by the assistant director instructing everyone on the set to be quiet. |
cliché | A word or phrase that once had originality, but has now become exhausted through overuse, e.g |
star | A widely known actor. |
anacreontic verse | Imitations of the 6th-century B.C |
couplet | A pair of successive rhyming lines, usually of the same length, termed "closed" when they form a bounded grammatical unit like a sentence, and termed "heroic" in 17th- and 18th-century verse when serious in subject, five-foot iambic in form, and holding a complete thought. |
rain box | A box containing dried peas or some other small pellet, which produces a rain-like sound effect when tipped. |
class a commercial | the most lucrative remuneration for performance in a commercial. |
round character | a fully developed character with the complexities of real person |
content | Form, Motif, Persona, Style, Texture, Tone) |
minor role | 1 |
blacklight | A luminaire with a beam whose wavelengths are too short to be visible, i.e.., 320 to 380nm |
eiron | In Greek comedy, the eiron was a stock male character known for his ironic understatement |
schtick | A repeated bit of comic business, routine, or gimmick used by a performer. |
plot | The plan of action in a play |
heroic drama | Period play, written in verse, in which there is a happy ending or in which the deaths of the main characters are considered an heroic triumph. |
at rise | often the beginning of a play script describing who is onstage, what they are doing, and where they are placed. |
slant rhyme | see inexact-rhyme. |
meaning | In linguistics, meaning is what is expressed by the writer or speaker, and what is conveyed to the reader or listener |
conflict | n |
personification | Treating an abstraction as if it were a person, endowing it with humanlike qualities |
archetype | An original after which other similar things are patterned. |
comedy | A performance primarily meant to amuse. |
rhetorical question | A rhetorical question is a figure of speech in the form of a question posed for its persuasive effect without the expectation of a reply (e.g.: "Why me?") Rhetorical questions encourage the listener to think about what the (often obvious) answer to the question must be |
climax | the third part of plot, the point at which the action stops rising and begins falling or reversing; also called turning point or (following Aristotle) peripeteia |
headlamp | a major lighting device mounted on a vehicle and used to provide illumination ahead of it |
dialect | Regional variations in speech of a common language |
gauze | A lightweight, coarsely woven cloth flown in front of a scene |
tempo | Rate of speed at which a scene is played. |
stress | a syllable uttered in a higher pitch than others |
floor pocket | a small box, sunk into the stage floor; contains an electrical outlet. |
technical director | Individual responsible for executing the stage set and for controlling the set during a performance. |
camera operator | Member of the camera crew who operates the camera. |
overscale | Payment that is higher than the amount in the standard union contract. |
conclusion | also called resolution, the fifth and last phase or part of plot, the point at which the situation that was destabilized at the beginning becomes stable once more and the conflict is resolved. |
jour printer | a person trained in a trade or craft |
cold reading | 1 |
network approval | Approval of an actor for a production controlled by a network studio. |
eponymous | having a name used in the title of a literary work |
first folio | A set of Shakespeare's plays published in 1623 |
line | A unit in the structure of a poem consisting of one or more metrical feet arranged as a rhythmical entity. |
trochaic meter | Poetry in which each foot consists primarily of trochees (poetic feet consisting of a heavy stress followed by a light stress) |
sino-tibetan | A group of languages spoken in China, Tibet, and Burma, including Mandarin. |
house | The audience |
primary objective | Most important goal which motivates the basic actions of a character in a scene. |
bar | See Batten |
working light | An independent light on the stage used for working by |
lay down | To record something. |
adverb | A word which qualifies or adds to the action of a verb: as in 'he ran quickly', or 'he ran fast' |
tautology | A statement redundant in itself, such as "The stars, O astral bodies!" |
epizenxis | repetition of a word several times without connectives. |
catharsis | The purging of emotions in an act to cleanse one’s soul; an important element prevalent in Greek tragedies. |
drama | a literary genre consisting of works in which action is performed and all words are spoken before an audience by an actor or actors impersonating the characters |
prompt corner | desk at the side of the stage from which the stage manager runs the show. |
featured role | A non-speaking role that performs specific business in the scene. |
drop | A piece of cloth, often painted to depict scenery, which is lowered from above the acting area to set a scene. |
minor character | see character |
preforeordestination | term that huck made up.. |
upper circle | Highest balcony in the auditorium |
patch | Tying a circuit into a dimmer or a dimmer into a control channel. |
super | A supernumerary actor; one who takes a small part in a play without being required to speak except in a crowd |
character actor | an actor or actress who specializes in playing secondary roles |
sides | 1 |
straight line | Dialog that sets up a punch line so it will get a laugh. |
slice of life | Slice of life is a theatrical term that refers to a naturalistic representation of real life, sometimes used as an adjective, as in "a play with 'slice of life' dialogue." The term originated in 1890–95 as a translation from the French phrase tranche de vie, credited to the French playwright Jean Jullien (1854–1919). |
throw away | underplay a moment in a scene; de-emphasize a line reading or a piece of business |
italian sonnet | Another term for a Petrarchan sonnet |
freezing | when an actor forgets their lines (either through stage-fright, under-rehearsal or plain absent-mindedness) and remains rooted to the spot in panic, unable to move or speak. |
ballast factor | The ratio of lamp lumen output on a particular ballast as compared to that lamp's rated lumen output on a reference ballast under ANSI test conditions (free, unmoving air at 25° C) |
piece-bien-fait | The French term for the dramatic genre called the "well-made play." See discussion under well-made play. |
poetry | a form of speech or writing that harmonizes the music of its language with its subject |
scene | (a) One of the divisions of a play |
extended metaphor | the meaning of an allegory is more direct and less subject to ambiguity than a symbol; it is distinguishable from an extended metaphor in that the literal equivalent of an allegory's figurative comparison is not usually expressed. |
commission | Percentage of a performer's earnings paid to agents or managers. |
stage right | Right side of the stage when facing the audience. |
flashback | A reversion back to events that have previously taken place |
homonym | A word that has the same sound and the same spelling as another word. |
new comedy | A period of classic Greek Comedy of thelate 4th and 3rd Centuries B.C |
variorum | A variorum is a work that collates all known variants of a text |
asyndeton | The artistic elimination of conjunctions in a sentence to create a particular effect |
personification | A figure of speech in which an animal, an object, a natural force, or an idea is given personality, or described as if it were human. |
particular setting | see setting. |
althing | The closest approximation the Icelandic Vikings had to a government/court system/police--a gathering of representatives from the local things to decide on policy, hear complaints, settle disputes, and proclaim incorrigible individuals as outlaws (see below) |
epiphany | Christian thinkers used this term to signify a manifestation of God's presence in the world |
truck | A platform on wheels upon which scenery is mounted and rolled into position on stage. |
turning point | see climax |
catharsis | meaning "purgation," it describes the release of the emotions of pity and fear by the audience at the end of a tragedy |
go up | When a show does not start, it "goes up". |
scan | Scansion) |
penny dreadful | A cheap novel, usually with a sensational plot |
mezzanine | Seating area above the orchestra and below the balcony |
litterateur - intellectual | An intellectual is a person who uses intelligence (thought and reason) and critical or analytical reasoning in either a professional or a personal capacity. |
foil | A character in a play who sets off the main character or other characters by comparison |
rhyme | The occurrence of the same or similar sounds at the end of two or more words |
script | the printed text of a drama |
cadence | Ictus, Modulation) (Compare Polyphonic Prose) |
antonym | Paronym, Synonym) (Contrast Sight Rhyme) |
assonance | The repetition or a pattern of similar sounds, especially vowel sounds: “Thou still unravished bride of quietness,/Thou foster child of silence and slow time” (“Ode to a Grecian Urn,” John Keats). |
double bill | Two movies shown consecutively. |
minnesingers | Lyric poets of Germany in the 12th to 14th centuries, all men of noble birth who received royal patronage and who wrote mainly of courtly love |
method acting | A style of acting in which actors draw emptions and experiences from their own personal lives to develop the character they are playing. |
romanzo d' appendice | Romanzo d'appendìce (Italian for Feuilleton) was a popular genre in literature, which originated in England and France, in the second half of the 19th and the beginning of the 20th. |
feeder cables | A set of electric cables, usually individually insulated conductors with a high ampacity, used to remotely connect portable racks, power distribution racks etc. |
repetition | Repetition is the simple repeating of a word, within a sentence or a poetical line, with no particular placement of the words, in order to emphasize |
quicksilver | mercury |
plot | The sequence of events or happenings in a literary work |
amphitheatre | A circular, semi-circular or oval building with a central arena |
deconstruction | An interpretive movement in literary theory that reached its apex in the 1970s |
connotation | what is suggested by a word, apart from what it literally means or how it is defined in the dictionary |
anncr | Announcer. |
theme | The central idea, topic, or didactic quality of a work. |
realism | Poets of the realist movement endeavored to accurately portray nature and real life without idealization, employing simple language, simple form, and clear images. |
marginalia | Drawings, notation, illumination, and doodles appearing in the margins of a medieval text, rather than the central text itself. |
off-camera | Dialogue delivered out of the view of the camera. |
tercel | A male bird of prey |
sprung rhythm | Also called "accentual rhythm," sprung rhythm is a term invented by the poet-priest Gerard Manley Hopkins to describe his personal metrical system in which the major stresses are "sprung" from each line of poetry |
aestheticism | A literary movement in the nineteenth century of those who believed in art for arts sake in opposition to the utilitarian doctrine that everything must be morally or practically useful |
techie | A stage technician. |
personal wardrobe | Clothing owned by an actor. |
orthophemism | Straight talk; direct or neutral expressions that are not sweet-sounding, evasive, or overly polite (euphemistic), nor harsh, blunt, or offensive (dysphemistic). |
connotations | so both the poet and the reader must exercise sensible discretion to avoid misinterpretation. |
amptp | Alliance Of Motion Picture And Television Producers. |
effects stock | Special film stock that is used to generate computerized composites. |
enclitic | Collocated to the end of another word, with a dependent meaning. |
genetic classification | A grouping of languages based on their historical development from a common source. |
catchword | This phrase comes from printing; it refers to a trick printers would use to keep pages in their proper order |
short story | A story from 500-15,000 words. |
ekphrasis | Figure of Speech, Trope) |
treadmill | moving belts on a stage floor on which scenery or actors may give the illusion of moving in full view of the audience |
pun | an expression that uses a homonym (two different words spelled identically) to deliver two or more meanings at the same time |
nsp | A lamp designation that means narrow spot . |
fresnel | A lighting instrument with a special lens designed project an even, soft-edged beam of light. |
negritude | A literary, ideological movement of French-speaking black intellectuals that utterly opposes and rejects the social, political, and moral domination of the West. |
storyline | A brief summary of a production. |
tragicomedy | a play which is a blend of tragic and comedic elements |
agency | Refers to model or talent agency or to an advertising agency.Model and talent agencies handle booking work for models or actors |
wind machine | A large fan for creating wind on the set. |
samoyedic | A non-Indo-European branch of Uralic languages spoken in northern Siberia. |
tab | a vertical drape just inside the proscenium that masks performers in the wings; also a term meaning to pull a drape aside |
trims | the heights of flying scenery and masking |
acl light | A very narrow beam, low voltage Par aircraft land light. |
twofer | A special power cord that has one male connector electrically connected to two female connectors via two separate cables. |
rhythm | the modulation of weak and strong elements in the flow of speech |
dry tech | is when the running crew practices each scene change without actors onstage |
curtain-raiser | A short play performed before the main item of the programme |
martini shot | Last shot of the day. |
internal conflict | see conflict |
squib | Small explosive charge detonated electrically by two attached wires connected to a remote switch and a direct-current power supply (battery); most used often in gunfight scenes to simulate a bullet hitting a target |
general diffuse lighting | lighting involving luminaires which distrihute 40-60% of the emitted light downward and the batanee upward, sometimes with a strong component at 90° (horizontal) |
dauphin | title of the eldest son of the king of france |
video audition | An audition that is videotaped for review at a later date. |
verse | Language given rhythmic order and arranged into lines. |
fish-eye | an extreme wide-angle lens. |
sae | Self-addressed envelope with appropriate postage affixed for return to the sender. |
assonance | – ASS-OH-NONCE (L: assonare – to answer with the same sound) An aural device in which one word echoes another |
fu poetry | Flowery, irregular "prose-poem" form of Chinese literature common during the Han period |
infixation | Also called epenthesis, infixation is placing an infix (a new syllable, a word, or similar phonetic addition) in the middle of a larger word |
prompt book | Stage manager's copy of the script |
take call | To take a call is to be called on the stage before the audience at the dose of a play or act |
broadside | Single sheet of paper upon which poetry is printed |
changeover | The process of changing from one play's settings to another. This usually takes place within a repertoire system where a theatre has several plays running at the same time. |
skaz | A form of story telling or oral narrative. |
lament | A poem or song for expressing grief |
orchestra | Main floor seating area. |
genre | A term used to designate a type of literature according to its subject matter and how the subject is treated. |
light | Radiant energy that is capable of exciting the retina and producing a visual sensation |
star treatment | Special agreed upon services provided to a star performer. |
wash light | A light that illuminates the entire acting area. |
dipless cross fade | A cross fade whose transition from one setting to another is completely smooth and even. |
casting director | Producer's representative responsible for pre-auditioning performers for consideration by the director and or producer. |
verse novel | A verse novel tells a long and complex story with many characters, much as a novel would, through the medium of narrative verse |
irony | Words implying meaning opposite to their normal meaning. |
shakespearean sonnet - sonnet | * Sicilian octave |
symbolist movement | Late 19th-century French writers, including Mallarmé and Valéry, whose verse dealt with transcendental phenomena or with images and actions whose meaning was associative rather than referential. |
overtime | Work which goes beyond the contractual work day. |
comedy | In general, a literary work that is amusing and ends happily. |
on the road | See On Tour |
safety curtain | A fireproof curtain that separates the audience from the stage. |
ethnic dialect | A dialect used by a racial or national group, as opposed to a caste dialect or regional dialect. |
eponymous author | The eponymous author of a literary work, often a work that is meant to be prophetic or homiletic, is not really the author |
asemic writing | Asemic writing is a wordless open semantic form of writing |
central consciousness | a character whose inner thoughts, perceptions, and feelings are revealed by a third-person limited narrator who does not reveal the thoughts, perceptions, or feelings of other characters. |
engo – | EN-GO (J: verbal association) Words thought to be associated by meaning, convention or sound |
pathos | To evoke sympathy, sorrow or pity. |
narrative structure | a textual organization based on sequences of connected events, usually presented in a straightforward, chronological framework |
colour correction | Adjusting the colour temperatures of various luminaire's so that they are all the same, or to make them match existing light sources. |
analects | Lunyu (English: Analects) (simplified Chinese: 论语; traditional Chinese: 論語; pinyin: Lún Yǔ), also known as the Analects of Confucius, are considered a record of the words and acts of the central Chinese thinker and philosopher Confucius and his disciples, as well as the discussions they held. |
cast album | An audio recording featuring music from a live musical production. |
medium | (1) A channel or system of communication |
run-through | An uninterrupted rehearsal of a scene, act or an entire play |
tragedian | an actor who plays tragic roles |
histrionic | Used of actors and acting |
extras | Ladies or gentlemen engaged to walk on |
broadside | A broadside is the side of a ship; the battery of cannon on one side of a warship; or their simultaneous (or near simultaneous) fire in naval warfare. |
closet drama | a play that is written to be read rather than be performed onstage |
fairy tale | see tale |
black out | An instantaneous switching off of all lights on the stage |
verism | Verism is the artistic preference of contemporary everyday subject matter instead of the heroic or legendary in art and literature; a form of realism |
juggernaut | Juggernaut is a term used in the English language to describe a literal or metaphorical force regarded as unstoppable. |
voice | the personality or style of the writer or narrator that seems to come to life in the words |
densitometer | a photometer for measuring the optical density (common logarithm of the reciprocal of the transmittance or reflectance) of materials. |
royalties | Fee paid for the rights to perform a script. |
author time | see time |
theater of dionysus | The outdoor theater in Athens where Greek drama began as a part of religious rituals on the sloped side of the Acropolis in Athens. |
sublime | The main characteristic of great poetry, Longinus held, was sublimity or high, grand, ennobling seriousness. |
stage door | The entrance to that part of a theatre used by the players as distinguished from the public entrance |
full rhyme | Another term for perfect rhyme, true rhyme, or exact rhyme, see above. |
synaesthesia/ synesthesia | The description of a sense impression (smell, touch, sound etc) but in terms of another seemingly inappropriate sense e.g |
hand prop | A small item used by an actor in performance. |
theme | A unifying, central subject or idea that provides a literary work with its stance or approach |
objectivity and subjectivity | An objective treatment of subject matter is an impersonal or outside view of events |
ambience | Broadly an alternative word for atmosphere |
gel | A plastic colour media for modifying a beam of light. |
lumen method | A method of estimating the interior illuminance due to window daylighting at three locations within a room |
field rep | Union staff member who assures contractual agreements are met. |
ingenue | An actress who plays a young girl's part |
three estates | See feudalism |
key light | The principal source of light which establishes the character of the actor and mood of the scene. |
tanka | A form of Japanese verse that originated in the seventh century, consisting of thirty-one syllables in lines of five, seven, five, seven, and seven |
burlesque | An imitation of a literary style, or of human action, that aims to ridicule by incongruity of style and subject |
flicker photometer | See visual photometer. |
second person narrative | Considerably more rare than first or third person |
language interpretation | Language interpretation is the facilitating of oral or sign-language communication, either simultaneously or consecutively, between users of different languages |
slow take | Actor slowly looks out toward the audience. |
music-plot | A list of the music for a play with the cues indicating where it is required to be played |
long syllable | Any syllable with (1) a long vowel or (2) any syllable with a short vowel and two or more consonants following it |
oration | An oration is a speech delivered in a formal and dignified manner. |
fixture | A lighting unit, or luminaire. |
distributed stress | When uncertainly occurs regarding which of two consecutive syllables is stressed |
romance | A play dealing with love in an imaginative manner |
jargon | Language used in a certain profession or by a particular group of people |
freytag's pyramid | a diagram of plot structure first created by the German novelist and critic Gustav Freytag (1816–1895). |
talent scout | an agent who seeks out talented people to work in the acting or modeling business. |
sidearm | A pipe and C-clamp arrangement used to hang a fixture. |
story within a story | This is a narrative technique where there is a principal story, within which there is another major fictive narrative, generally told by the characters of the principal story |
false stage | A temporary stage floor laid upon the permanent stage floor. |
understatement | Understatement is a form of speech which contains an expression of less strength than what would be expected |
octosyllabic | Having eight syllables in a line of verse |
encomium | A poem praising a person, object or idea. |
native speaker | A speaker who uses a first language or mother tongue. |
inamorata | The female love interest |
anti-climax | a high point in the action of a play which occurs after the main climax and is of lesser importance. |
fitting model | A model who stands while a fashion is being pinned and draped on her by a designer. |
upstage | Toward the back of the stage. |
vaudeville | Type of American theatre that combined comedy, song, dance, and other entertainment |
outer circle | Post-colonial countries in which English, though not the mother tongue, has for a long period of time played a significant role in education, governance, and popular culture. |
director of photography | Responsible for technical and artistic decisions required for filming of scenes as desired by the director. |
bed-trick | The term for a recurring folklore motif in which circumstances cause two characters in a story to end up having sex with each other because of mistaken identity--either confusion in a dark room or deliberate acts of disguise in which one character impersonates another |
stichomythia | a special turn allocation where the speakers' alternating turns are of one line each |
ansi code | A three letter system that has been devised to describe lamps of different manufacture but the same application. |
objective | The goal toward which a character strives. |
cosine law | The law that the illuminance on any surface varies as the cosine of the angle of incidence |
nuremberg light | A light hitting the performer from almost straight below, an uplight |
bifocal spot | spotlight with special shutters to allow hard and soft edges. |
out | Away from the center of the stage. |
syntax | the way words are put together to form phrases, clauses, and sentences |
imagery | Use of a comparison, often between an idea or emotion and a concrete object, to convey the idea or emotion more vividly. |
analogue | The term analogue is used in literary history in two related senses: |
anceps | A metrical unit that can be long or short, stressed or unstressed |
fly | To hang anything above the stage |
ode | A lyric poem form usually rhymed and in the form of an address |
classical unities | as derived from Aristotle’s Poetics, the three principles of structure that require a play to have one plot (unity of action) that occurs in one place (unity of place) and within one day (unity of time); also called the dramatic unities |
beginners | A call given to the actors who appear in the first part of a play. |
pathos – | PAH-TOES (Gr: suffering or passion that causes suffering) Evoking an audience's emotions in order to use them for persuasion or for a cathartic effect |
atmosphere | the mood or pervasive feeling insinuated by a literary work. |
cliché | Hackneyed or timeworn expression e.g |
stalls | Floor level seating area. |
lamp bar | A pipe, usually aluminum, that has a fixtures attached at even intervals. |
vers | Not to be confused with verse, below, a vers is a song in Old Provencal almost indistinguishable from the chanson, but vers is the older term. |
melodrama | plays with elaborate but oversimplified plots, flat characters, excessive sentiment, and happy endings |
lay | A long narrative poem, especially one that was sung by medieval minstrels called trouvères |
first-run syndication | Television programs produced for and sold to independent TV stations across the country. |
climax | Rhetorically, a series of words, phrases, or sentences arranged in a continuously ascending order of intensity |
exitance | See luminous exitance and radiant exitance. |
box set | A theatrical structure common to modern drama in which the stage consists of a single room setting in which the "fourth wall" is missing so the audience can view the events within the room |
acrostic | An acrostic is a series of lines or verses in which the first, last or other particular letters, when taken in order, spell out a word or phrase. |
theme | A central idea or abstract concept that is made concrete through representation in person, action, and image |
speaker | A person who speaks, as well as someone who gives a speech or a talk. |
cut and hold | A verbal cue to have all principal action stop and freeze in position until told to release. |
"fourth wall" | the invisible wall open to the audience in a box set (see also box set) |
downstage | The area on stage that is closest to the audience. |
deconstruction | a poststructuralist approach to literature which owes its development to the writings of the French philosopher Jacques Derrida |
unit production manager | Individual responsible for the administration of a specific movie. |
front piece | A short play or scene preceding the main item of the programme, some times called a "curtain-raiser." |
second team | Actors who substitute for principal actors for camera blocking and technical setups. |
aube | A dawn-song or aubade, but specifically one sung by a friend watching over a pair of lovers until dawn to prevent any interruption to their love-making or to cover up the noise of the love-making |
flyting | A popular pastime in which two people try to outdo each other in the richness of their rhetorical scorn. |
pyrotechnics | Explosive special effects. |
dialogue | a reciprocal conversation between two or more persons; the speaking lines of a script. |
point of view | The vantage point from which a story is told |
accentual-stress meter | Lines of verse based on the metrical foot |
analogue | A comparison between two similar things |
arena stage | An arrangement of performance and audience space in which the audience is seated around most if not all of the performance space. |
stand-in | Actor who substitutes for a principal actor for camera blocking and technical setups. |
craft service | The catering company that feeds the cast and crew. |
assonance | The repetition or resemblance of similar accented vowel sounds. |
explication de texte | Explication de Texte is a French formalist method of literary analysis that allows for limited reader response, similar to close reading in the English-speaking literary tradition |
acute accent | A diacritical mark indicating primary stress. |
bunches | A metal hood or reflector containing a number of lamps for stage lighting |
dress circle | Seating area above the stalls and below the balcony. |
ushin | – (y)OU-SHE'N (J: with heart) - See |
wardrobe allowance | A fee paid to talent for the use and cleaning of the talent's own clothing. |
zed card | A composite card used by a commercial actor or model |
little theatre | Non-professional, community theatre. |
foil | A character who sets off another character by contrast |
church summoner | Medieval law courts were divided into civil courts that tried public offenses and ecclesiastical courts that tried offenses against the church |
auditor | an imaginary listener within a literary work, as opposed to the reader or audience outside the work. |
sky cloth | A back curtain painted to represent sky in the distance |
adr | Automated Dialogue Replacement |
border light | See Batten |
screenplay | A script intended to be produced as a movie. |
affectation | A pretentious style of writing which is deemed unsuited to the form or subject matter. |
broadway | Area of New York city on and adjacent to the street named Broadway where the commercial theaters of the united states are located. |
canon | Someone's list of authors or works considered to be "classic," that is, central to the identity of a given literary tradition or culture. |
trochee | A metrical foot consisting of an accented syllable followed by an unaccented syllable |
smoke machine | A machine which produces clouds of white non-toxic fog |
plot | The structure of the story |
tragedy | classic tragedy follows the plight of a noble person who is flawed by a defect and whose actions cause him to break some moral law and suffer downfall and destruction |
key light | The primary source of illumination. |
anachronism | A person, place, or thing that is chronologically out of place, most times belonging to an earlier time period. |
acephaly | The omission of a syllable at the beginning of a line of verse |
act | (1) The largest divisions of the sections of a play |
parable | A brief story, told or written in order to teach a moral lesson |
italo-celtic | Together, the Italic and Celtic branches of Indo-European are called Italo-Celtic; the two groups share many general linguistic traits but are still too different to be considered a single branch. |
coverage | All camera shots except the master shot. |
group flashing light | a flashing light in which the flashes are combined in groups, each including the same number of |
nudity code | Specific guidelines and restrictions pertaining to the use of nudity by performers in auditions, rehearsals and performances. |
ajust | See discussion under humors. |
aesthetic movement | A literary belief that art is its own justification and purpose, advocated in England by Walter Pater and practised by Edgar Allan Poe, Algernon Charles Swinburne, Oscar Wilde, and others. |
beat generation | The Beat Generation is a group of American post-WWII writers who came to prominence in the 1950s, as well as the cultural phenomena that they both documented and inspired |
screenwriter | A writer who develops a screenplay. |
focal length | Distance from the focal point of a lens to the plane of the film. |
stock character | see character. |
lamp lumen depreciation | The decrease over time of lamp lumen output, caused by bulb wall blackening, phosphor exhaustion, filament depreciation and other factors. |
flashback | A reference to an event which took place prior to the beginning of a story or play |
fair use | (law) A stipulation in the Copyright act of 1976 (Section 107) under which some limited "fair use" may be made of a protected work without permission" for purposes such as criticism, comment, news reporting, teaching |
contracts | Legal agreement entered into by a performer and agents, managers and/or producers which defines the services to be rendered and the type of compensation to be paid. |
dissonance | cacaphony, or harsh-sounding language. |
script | A written description of the action, dialogue, and camera shots for a screenplay, radio or stage play. |
wardrobe call | An assigned time and place for a wardrobe fitting. |
short syllable | In linguistics, any syllable containing a short vowel, but followed by only one consonant or no consonant at all |
dramatist | A writer of plays |
player | See Actor |
on | The word "within" is metrical padding |
hanging piece | Any piece of scenery that is flown |
choreography | The art of stage dancing |
overcranking | Increasing the frame rate of a camera so when the film is played at the normal frame rate the action appears to be in slow motion. |
georgic poems | characterizing the life of the farmer. |
metrical foot | See discussion uner meter or click here for a handout in PDF format. |
melodrama | 1 |
buyout | An agreed-to offer of full payment to a performer in lieu of residuals. |
choric figures | Characters within a play or novel who remark upon the action while contributing to it, e.g |
discriminated occasion | a specific, discrete moment portrayed in a fictional work, often signaled by phrases such as "At 5:05 in the morning |
point of view | Onomatopoeia: The use of words whose sounds express or suggest their meaning |
profile spotlight | Any spotlight, usually an ellipsoidal spotlight, that has framing shutters. |
exposition | In drama, the presentation of essential information regarding what has occurred prior to the beginning of the play |
set | (a) The complete parts of a scene |
moonhak | - (K: literature) This is the adjective given to designate classical sijo from modern or non-traditional sijo. |
read | To read or audition for a part. |
tone | The emotional approach or attitude that the writer chooses to use to color the work |
ballad | a narrative poem, usually sung or recited |
composite | A variety of photos printed on one sheet; represents an actor's different looks. |
robinsonade | Robinsonade is a literary genre that takes its name from the 1719 novel Robinson Crusoe by Daniel Defoe |
table work | Rehearsals during which the script is read, usually around a table, in which interpretation and character are discussed. |
feed | To play up in a scene to the leading actor |
comedian | A comic actor |
allusion | Symbol) |
magnetic ballast | A ballast that uses a magnetic filed to limit electrical current. |
tech rehearsal | A rehearsal in which technical elements of a production are tried out. |
providence | divine guidance or care |
on-camera | within the view of the camera. |
style | the choice of words and sentence structure which makes each authors writing different |
belles-lettres | Belles-lettres or belles lettres is a term that is used to describe a category of writing |
guild card | Another name for a union membership card. |
ad-lib | To make up words or dialogue on the spot, to speak at liberty. |
sequel | A film that begins at a time after a previous film ends. |
theme | The main subject or topic. |
script supervisor | Crew member responsible for recording all script changes or actions throughout the production. |
print ad | Advertisement in print media. |
paradox – | PAIR-A-DOCKS A statement that unties seemingly contradictory ideas but which upon closer examination proves to have an unexpected meaning and truth |
fay light | a luminaire that uses incandescent parabolic reflector lamps with a dichroic coating to provide "daylight" illumination. |
structuralism | Structuralism is an intellectual movement that developed in France in the 1950s and 1960s, in which human culture is analysed semiotically (i.e., as a system of signs). |
n-plural | The plural form of a few modern English weak nouns derives from the n-stem declension or n-plural of Anglo-Saxon (Old English) |
apron stage | The apron is any part of the stage that extends past the proscenium arch and into the audience or seating area |
checking the gate | To check the lens on the camera before proceeding to the next shot. |
try back | A direction at rehearsal to repeat a scene or part of a scene |
stage right | The actor's right as he faces the audience. |
take 5 | Take a five minute break. |
atmosphere | the dominant mood or tone of setting |
biographic picture | (Biopic) A filmed story of a person's life story. |
synesthesia | a blending of different senses in describing something. |
understudy | A performer prepared to perform a lead role if the lead actor is unable to perform. |
alliteration | Two or more words with the same initial sound (or cluster of sounds) occur in a line or phrase. |
septet | A seven-line stanza |
comedy | A literary work which is amusing and ends happily |
synesthesia | Figurative expression of the perception of one sense in terms of another |
dim | Decreasing the intensity of lights. |
chewing the scenery | An actor who gives an over-the-top (hammy) performance. |
scriptorium | An area set aside in a monastery for monks to work as scribes and copy books. |
tz'u | A Chinese genre of poetry invented during the T'ang period |
dips | Small traps in the floor of the stage containing adaptors for plugging in lighting units |
dimeter | A line containing only two metrical feet |
alliteration | The use of repeated consonants in neighbouring words |
top hats | round metal objects that are placed in the color frame holder of lighting instruments to cut down on stray light |
exegesis | (1) In Roman times, the term exegesis applied to professional government interpretation of omens, dreams, and sacred laws, as Cuddon notes (315) |
pyrrhic | line |
neutral conductor | A current carrying conductor that is electrically connected to neutral. |
camera right | actor's left when facing the camera. |
diction | choice of words |
secondary text | those parts of the dramatic text which are not spoken on stage: stage directions, description of setting, etc. |
chorus | a group of actors in a drama who comment on and describe the action |
overstructuring | a term deriving from formalist and structuralist theories indicating a greater use of phonological, morphological, syntactic or structural patterns in literary texts, especially poetry, than in other types of text. |
w/n | Will notify |
dramatic monologue | A poetic form in which the character (not the author) speaks directly to the audience |
couplet | Two lines written as a unit |
intertitles | A title card appearing intercut with a scene |
talent manager | Individual who advises and counsels performers in aspects of their careers |
lenaia | An Athenian religious festival occurring shortly after the Dionysia |
litote | a figure of speech that emphasizes its subject by conscious understatement: "Last week I saw a woman flayed and you would hardly believe how it altered her appearance for the worse." |
rhetoric | The art of speaking or writing effectively; skill in the eloquent use of language. |
conventions | Unrealistic devices or procedures that the reader (or audience) agrees to accept. |
marlowe's mighty line | Reading Marlowe's verse now, with 500 years of history between, the verse appears inflexible and monochromatic |
puppeteer | One who manipulates the puppets or marionettes in a marionette theatre |
entr'acte | a musical interlude between play acts. |
caesura | mid-line pause, often marked by punctuation but not always |
assistant production manager | Assistant to the production co-ordinator. |
on tour | Said of actors when performing in a play from town to town |
art director | Person who conceives and designs the sets. |
tercet | A stanza structure of three lines, metrically aligned |
curtain call | The final appearance of the by cast at the end of a performance to receive applause and take bows. |
colour changer | An apparatus that attaches to a luminaire and allows one to remotely introduce one or more colour frames into the beam. |
deck | the stage area |
pejoration | A process of language change where, over time, the meaning of a word changes to take on a more negative meaning than the original meaning. |
globe | a transparent or diffusing enclosure intended to protect a lamp, to diffuse and redirect its light or to change the color of the light. |
juvenile | Role of a young man. |
rhetorical trope | a device of figurative language which represents a deviation from the common or main significance of a word or phrase (semantic figures) or include specific appeals to the audience (pragmatic figures). |
teaser | a horizontal drape across the stage, designed to hide the first electric |
didactic literature | Literature disigned explicitly to instruct as in these lines from Jacque Prevert's "To Paint the Portrait of a Bird." Paint first a cage with an open door paint then something pretty something simple something handsome something useful for the bird Return to Menu |
tripping | folding a piece of flying scenery as it goes out; generally done to save space |
open stage | Platform stage surrounded on three sides by the audience. |
master shot | A wide camera shot that includes the principal actors and background scene |
redaction | In the study of literature, redaction is a form of editing in which multiple source texts are combined (redacted) and subjected to minor alteration to make them into a single work |
haikaika | - HI-K-EYE-KAH or haikaika no uta |
take | An unedited performance of a filmed scene. |
forestage | (Apron) Area of stage that extends into the house side of the proscenium. |
anecdote | a brief personal story used to illustrate a point |
caricature | A style of writing (or drawing) which intentionally amplifies particular features of its subject or character, usually for comic and/or satirical effect |
wrap party | A party following the completion of principal photography. |
sono mama | - SO-NO MA-MA (J: as it is) To present an image without flourishes or embellishment. |
areas | Divided portions of the stage. |
meiosis | An understatement; the presentation of a thing with underemphasis in order to achieve a greater effect, such as, "the building of the pyramids took a little bit of effort." |
cliffhanger | A moment of high suspense, frequently used at the end of a serial drama |
plot | the arrangement of the action |
rock musical | Musical that features rock music. |
backstage | Area off stage not seen by the audience. |
miracle play | A religious play of the middle ages |
historiated initial | In the artwork of medieval manuscripts, a historiated initial is an enlarged, introductory letter in a written word that contains within the body of the letter a pictoral scene or figure related to the text it introduces |
cross below | To move downstage. |
travelling matte shot | (Bluescreen, Greenscreen) A shot in which action is digitally superimposed on a seperately filmed background. |
scriblerus club | Association of writers, including Jonathan Swift, Alexander Pope, John Gay and John Arbuthnot, who met during 1714 to satirise 'all the false tastes in learning' |
michi – | ME-CHEE (J: way or path) Used as way, road or path in the physical sense but also in the spiritual realm as representing the way to enlightenment |
claque | A body of hired applauders |
floodlight | A luminaire consisting of only a lamp and reflector with fixed spacing; generally, the reflector has a diffused finish and is often physically large in size |
closed text examination | An examination where the texts studied are not allowed to be taken in or used during the assessment. |
a.s.m. | Assistant stage manager |
prosthetic appliances | Three dimensional makeup piece applied to an actor to hide, enhance or create physical features. |
falling action | (or resolution) is characterized by diminishing tensions and the resolution of the plot's conflicts and complications |
macspaunday | Composite nick-name (devised by Roy Campbell) for Louis MacNeice, Stephen Spender, W.H.Auden and C |
eyeline match | A technique used in special effects to assure a live actor is looking at the "face" of the special effects character who will later be inserted into the scene. |
trilogy | A series of three movies which are closely connected by plot. |
master electrician | Stagehand responsible for all lighting and of the lighting crew. |
close reading | The careful and vigorous examination of literary texts; a technique advocated by the New Critics |
dustlight luminaire | a luminaire so constructed that dust will not enter the enclosing case. |
guignol - grand guignol | Le Théâtre du Grand-Guignol (French pronunciation: [ɡʁɑ̃ ɡiɲɔl]: "The Theater of the Big Puppet") — known as the Grand Guignol — was in the Pigalle area of Paris (at 20 bis, rue Chaptal) |
domestic comedy | A production that explores the contradictions and eccentricities among individual characters. |
directional lighting | lighting provided on the workplane or on an object predominantly from a preferred direction |
dramatic poem | A composition in verse portraying a story of life or character, usually involving conflict and emotions, in a plot evolving through action and dialogue. |
anachronism | Placing an event, person, item, or verbal expression in the wrong historical period |
gross fee | Total compensation paid to a performer not including money paid for contracted expenses such as per diem allowances or travel costs. |
temperance revival | religious meetings that stress the evils of alcohol |
inter-act | Music, dancing or some other entertainment performed between the acts of a play |
character look | Physical appearance of a character type. |
commercial sound studio | A studio that provides space, equipment and engineers to ad agencies, producers and others for a fee. |
negative capability | John Keats, in a letter of October 27, 1818, suggested that a poet, possessing the power to eliminate his own personality, can take on the qualities of something else and write most effectively about it. |
flashback | Breaking normal chronology by shifting to a past time. |
substitution | An acting technique by which the actor, uses a personal circumstance that is different from the given circumstances of the play |
drama | A story acted out, usually on a stage, by actors and actresses who take the parts of specific characters |
floor lamp | a portable luminaire on a high stand suitable for standing on the floor |
counterweight system | A system used for raising and lowering scenery and lights which uses heavy weights to counterbalance the weight of the scenery and lights. |
set | Location where a scene is being filmed. |
proscenium lights | Lights fixed to a vertical pipe placed behind the tormentor |
elision | The omission of one or more letters or syllables from a word |
quick change room | A small dressing room in the wings for the use of a performer who has to make a quick change of costume |
location scout | A person who looks for suitable locations for filming. |
boom microphone: aka | Boom Mike, Boom, Fishpole, Giraffe A long pole with a microphone on the end |
summoner | Medieval law courts were divided into civil courts that tried public offenses and ecclesiastical courts that tried offenses against the church |
backing | Sections of scenery used to mask doors, windows or other openings |
light-plot | A schedule of the lighting for a play with the cues indicating where it is required in the scene |
aside | unspoken thoughts of a character delivered directly to the audience with the other characters on stage but unable to hear what is being said |
pun | A word or phrase, sometimes referred to as a “play on words,” that suggests multiple meanings or interpretations. |
phonology | A study of language which considers the distribution of speech patterns and their rules. |
color temperature | The absolute temperature of a blackbody radiator having a chromaticity equal to that of the light source (see correlated color temperature). |
investor | Financial backer for a commercial production. |
camera crew | Crew members involved with operation of the camera . |
fleshly school of poetry | Derogatory term coined by Robert Buchanan (writing as Thomas Maitland) to describe the work of D.G |
house | (a) The auditorium |
interlude | A scene that suspends the main flow of action. |
monologue | (1) a speech of more than a few sentences, usually in a play but also in other genres, spoken by one person and uninterrupted by the speech of anyone else, or (2) an entire work consisting of this sort of speech |
air play | Radio broadcasting. |
rerun | Rebroadcast of a TV program. |
hubris | The excessive pride or ambition that leads to the main character's downfall (another term from Aristotle's discussion of tragedy). |
fretwork | ornamental woodwork frogging: a type of decorative braiding/trim on a jacket fust: become moldy |
aesthetic values | Light effects, costumes, sets or other elements that create the production's sense of style and visual appeal. |
summary | the material condensed to its main points |
half hour | Warning to a production company given thirty-five minutes before a performance is to begin. |
laureate | In English, the word laureate has come to signify eminence or association with literary or military glory |
drama | (a) Plays in general |
oriku | - OH-REE-COO J: Tanka or haikai with the given topic (dai) concealed in an acrostic, charades, or conundrum |
cognates | Words having a common linguistic origin |
tape the stage | the process of depicting the outlines of the set on the rehearsal room floor, using colored tape; generally done by the stage manager before the first rehearsal |
shûka | – SHOE-KAH J: An outstanding waka, worthy of being a model for emulation. |
front-of-house | The complete area of the theatre in front of the stage. |
characterization | The way the author describes a character. |
anthology series | a series each episode of which contains a separate complete story or other complete program entity, without a character or characters common to each of the episodes but held together by the same title, trade name or mark or identifying device or personality common to all of the episodes |
nature poets/poetry | Term used to describe poets whose subject matter predominantly concerns animals, birds, insects and vegetation |
buskins | Originally called kothorni in Greek, the word buskins is a Renaissance term for the elegantly laced boots worn by actors in ancient Greek tragedy |
kidai | - KEY-DAY'EE (J: season topic) A system that designates a season by agreement among poets which makes the full moon a sign of autumn |
asl | American Sign Language. |
heavy | role of a villain. |
paper | A ticket of admission to a theatre for which no payment is made |
downgrade | Reduction of a performer's on-camera role from principal to extra. |
loose sentence | A loose sentence is a type of sentence in which the main idea (independent clause) comes first, followed by dependent grammatical units such as phrases and clauses |
repertory theatre | A theatre group which produces a number of productions throughout a season. |
convention | in literature, a standard or traditional way of presenting or expressing something, or a traditional or characteristic feature of a particular literary genre or subgenre |
divan – | DIE-WAN (A: collection) |
kigo | - KEY-GO (J: seasonal word) Nouns which imply the season because they have been traditionally associated with certain times of the year in Japanese literature and/or real life |
floodlight | a weatherproof unit so |
archetypal criticism | The analysis of a piece of literature through the examination of archetypes and archetypal patterns in Jungian psychology |
color rendering index | A measurement of the amount of color shift that objects undergo when lighted by a light source as compared with the color of those same objects when seen under a reference light source of comparable color temperature |
representative character | A flat character who embodies all of the other members of a group (such as teachers, students, cowboys, detectives, and so on) |
sight rhyme | Words which are similar in spelling but different in pronunciation, like mow and how or height and weight |
trap | opening in the stage floor, normally covered, which can be used for special effects, such as having scenery or performers rise from below, or which permits the construction of a staircase which ostensibly leads to a lower floor or cellar |
trailer | An filmed advertisement for a movie which contains scenes from the film. |
end stopped line | A poetic line in which the end of the line coincides with the end of the grammatical unit, usually the sentence. |
revolving stage set | A circular platform that can be turned 360 degrees to show different sets. |
symbolist poets | Group of 19th century French poets including Verlaine, Rimbaud, Mallarmé and Laforgue who reacted against the objectivity and realism of the Parnassian movement |
blocking | an actor's movement around a set, or the notations regarding movement in an actor's script |
outtake | A bad take that will not be used in the final film. |
conventions | Devices and features of a literary work such as themes, subjects, attitudes, or figures of speech. |
photocell | A device that measures the amount of incident light present in a space. |
cyc | A curved wall at the back of the stage |
paralepsis | Making a statement while pretending not to. |
confidant | a close friend of the protagonist in whom he/she can confide and thus disclose his/her innermost thoughts. |
haibun | - HI-BUN (J: prose in the style of haikai) By adopting and adapting the practice of ancient diary keepers of Japan who combined prose with tanka, Basho created a new style by combining his diary accounts with his hokku |
fourth wall | The invisible "wall" that separates the audience and the performers |
task light | Light that is directed to a specific surface or area to provide illumination for visual tasks. |
coming-of-age story | see initation story |
apology | Apologetics (from Greek αÏολογία, "speaking in defense") is the discipline of defending a position (usually religious) through the systematic use of reason |
remote | TV or radio session held outside of the studio. |
fixed cycle | For commercials, a 13-week period for which the advertiser pays a holding fee to retain the right to use performer's services, likeness and image in a previously produced advertisement. |
adaptation | The reworking of one medium into another |
second-person narrator | see narrator |
experiencing i | in a homodiegetic narrative situation the narrator's perception of events at the time of their occurence (compare |
amateur | an actor who is not a member of one of the acting unions. |
logical fallacy - fallacy | In logic and rhetoric, a fallacy is incorrect reasoning in argumentation resulting in a misconception |
set | structures on the stage which represent the setting of the play |
monitor | Person in charge of checking actors in to a theatre audition, providing them with sides and determining in which order that actors will read. |
deadpanning | To get laughs using a neutral facial expression. |
harlequin | or Arlequin, one of the minor characters of the Commedia dell 'arte; now one of the characters in the Harlequinade |
ambient light | Electric and/or natural lighting throughout a space that produces uniform general illumination. |
tragi-comedy | A form of tragedy which, though ending unhappily, contains comic elements and some possibility of a happy ending. |
shi/shih | Chinese term for different types of poetry/poems |
liturgy | A liturgy is a form of public worship. |
fallacies of reasoning | Consider Reviewing: Ad Hominem Argument from Authority Argument from Adverse Consequences Appeal to Ignorance Begging the Question Observational Selection Statistics of Small Numbers Non Sequitur Post Hoc, Ergo Propter Hoc False Dichotomy |
flat | Unit of scenery consisting of a wooden frame, covered with muslin, canvas or a wooden veneer which is painted with scenic elements. |
fenestration | any opening or arrangement of openings (normally filled with media for control) for the admission of daylight. |
dramatis personae | The characters of a play |
scene shift | To move from one setting into another. |
french scene | A numbering system for a play in which a new scene is numbered whenever characters exit or enter the stage |
property plot | A list of all the properties, etc., used in each scene of a play, with plans of the arrangement of the furniture |
ode | a formal lyric poem recited for ceremonial occasions |
mime | An actor; "to mime" is to act |
interplay | the tension between the abstract metrical grid and the actual linguistic and metrical realisation of verse, the term was introduced by the critics W.K |
variety program | A production that consists of a mixture of songs, music, dance, comic sketches and specialty acts. |
jongleur | Trouvere) |
carpet bags | traveling bag or suitcase made of carpet |
hard edge | A beam pattern edge that is very clear and distinguishable. |
dying rhyme | Another term for feminine metrical endings |
stage left | Left side of the stage when facing the audience. |
objectivist poetry | Poems are treated as objects that can be analyzed in terms of mechanical features |
syllable | a vowel preceded by from zero to three consonants ("awl" .. |
concrete language | Points to actual events or facts as opposed to abstractions or vague language that speaks of events in terms that only the poet and a close circle of family and friends could understand. |
futurism | Theatrical movement that emphasized the impact of technology on society. |
yallar-boys and yaller jackets | gold coins |
fill light | Supplementary illumination used to reduce shadows |
conflation | The blending or bringing together of two texts into a whole. |
texture | In the thought of John Crowe Ransom and the New Critics, "texture" involves poetic details such as the modification of the metrical pattern, associations attached to words, and the aural values of spoken sounds |
tetractys | The poetic form of the tetractys only has five lines |
bobbins | Wooden runners on the curtain wire to which curtain hooks are attached |
documentation | accounting for and giving credit to the origin of a source |
rearstage | The section of the stage farthest away from the viewing audience, the back of the visible stage as opposed to "backstage" and out of sight. |
stichomythia | In both Greek and Latin drama, this is line-by-line conversation between two characters |
consonance | The repetition of consonants, other than those at the beginning of words. |
orchestra | The part of the theatre immediately in front of the stage for the use of instrumental performers |
voice | A vehicle through which private vision is translated to the world. |
death role | a character who dies. |
medieval romance | See discussion under romance, medieval. |
scenery | Everything on stage except the props. |
antonomasia | Kenning, Periphrasis) |
lyric poetry | Term originally derived from the Greek word meaning 'for the lyre' and indicating verses that were written to be sung |
effect wash | Effect Lighting covering a broad area. |
in medias res | Latin for "in the midst of things." One of the conventions of epic poetry is that the action begins in medias res |
estates | See discussion under feudalism. |
uta – | (y)OU-TAH (J: song) |
farce | Today we use this word to refer to extremely broad humor |
universality | Universality may refer to: |
requiem | A song of prayer for the dead. |
legend | A story which has been passed down through the generations and is believed to have some historical truth (although legends are fictions). |
scènes à faire | ScÈne à faire (French for "scene to be made" or "scene that must be done"; plural: scÈnes à faire) is a scene in a book or film which is almost obligatory for a genre of its type |
high hat | A top hat. |
anapest | A metrical foot of three syllables, two short (or unstressed) followed by one long (or stressed), as in seventeen and to the moon |
spot-light | A metal box with a high powered light, lens and reflector, used to direct light upon particular parts of the stage |
audition | A try out for a film, tv or stage part |
epilogue | (1) in fiction, a short section or chapter that comes after the conclusion, tying up loose ends and often describing what happens to the characters after the resolution of the conflict; (2) in drama, a short speech, often addressed directly to the audience, delivered by a character at the end of a play. |
truck | a dolly for moving heavy equipment |
running gag | Comic business that is repeated throughout a production. |
side wings | Flats stood at an angle at the sides of the stage for a scene |
picaresque novel | The picaresque novel (Spanish: "picaresca", from "pícaro", for "rogue" or "rascal") is a popular sub-genre of prose fiction which is usually satirical and depicts, in realistic and often humorous detail, the adventures of a roguish hero of low social class who lives by his wits in a corrupt society |
syntax | Refers to the order in which words are placed |
round character | A character who is more developed or complicated, exhibiting a range of responses, emotions, and loyalties. |
onomatopoeia | Refers to the property of a word whose pronunciation sounds like the thing it describes |
exposition | a narrative device, often used at the beginning of a work, that provides necessary background information about the characters and their circumstances |
climax | The most powerful, dramatic moment in a script |
antithesis | contrasting or combining two terms, phrases, or clauses with opposed or antithetical meanings. |
ad libbing | acting without having planned what to do or say |
dnouement | The events following the climax of a production in which the resolution or clarification takes place |
criticism | Refers to the concept of analysis, evaluation and interpretation of literature. |
eschatological narrative | Eschatalogy in Christian theology is the study of the end of things, including the end of the world, life-after-death, and the Last Judgment |
open class | The category of content words--that is, parts of speech (or word classes) that readily accept new members. |
changes | The different clothing that is worn for a performance. |
aside | a brief comment by an actor, heard by the audience, but not the other characters on stage |
first person narrative situation | the term used by the critic Franz Stanzel to denote a narrative situation where the narrator is also a character in the story and refers to him- or herself using the first person pronoun (equivalent to Genette's homodiegetic narration) |
parent union | An actor's first union that may provide eligibility into another actor union. |
production | Performance of a creative endeavor. |
parable | a short fictional story that illustrates an explicit moral lesson through the use of analogy |
exit discharge | the portion of a means of egress between the conclusion of an exit and a public way. |
buskin | A buskin is a knee- or calf-length boot made of leather or cloth which laces closed, but is open across the toes |
disyllable | Polysyllable, Trisyllable) |
negative capability | Term coined by John Keats to describe the (true) poet's ability of 'being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason' |
dramatis personae | literally, "persons of the drama" (Latin); the list of characters that appears either in a play’s program or at the top of the first page of the written play. |
cadence | Modulation, Rhythm, Sprung Rhythm) |
narrator | The person telling the story. |
motif | the frequent repetition of one significant phrase or image within one work or a type of situation or formula that occurs frequently in literature, see also |
jazz poetry | Closely associated with the Harlem Renaissance; has evolved over time from its conception in the early 1900s by African-Americans, to being maintained in the 1950s by counterculture and Beat poets, and now modernized with the coming of hip-hop music and Poetry Slams. |
fluorescent lamp | a low-pressure mercury electric-discharge lamp in which a fluorescing coating (phosphor) transforms sonic of the UV energy generated by the discharge into light |
vates | The earliest Latin writers used vates to denote "prophets" and soothsayers in general; the word fell into disuse in Latin until it was revived by Virgil |
accentual rhythm | See discussion under sprung rhythm. |
meiosis | Understatement |
major markets | The large entertainment markets, New York City, Los Angeles and Chicago. |
cue | A verbal or physical signal that indicates when actor is to move, speak a line, execute stage business or execute a technical effect. |
perfect rhyme | Also called true rhyme or exact rhyme, a rhyme which meets the following requirements: (1) an exact correspondence in the vowel sound and, in words ending in consonants, the sound of the final consonant, (2) a difference in the consonant sounds preceding the vowel, and (3) a similarity of accent on the rhyming syllable(s). |
arena | Type of performance space with audience surrounding all sides of the stage. |
anecdote | a brief story or tale told by a character in a piece of literature |
apotropaic | Designed to ward off evil influence or malevolent spirits by frightening these forces away |
act | (a) One of the main divisions of a play |
chorus contract | Used for those actors who are primarily performing chorus work. |
allusion | A brief or implicit reference to something outside the text. |
blacks | black curtains at the back and sides of the stage. |
mood | the atmosphere or tone of a work |
theatre in the round | an arena style production in which the audience surrounds the acting stage, and the actors use the various aisles for exits and entrances |
boulevard theatre | Boulevard theatre is a theatrical aesthetic which emerged from the boulevards of Paris's old city. |
talent agency | A company that represents talent. |
exitance coefficient | the ratio of the average initial (time zero) wall or ceiling cavity exitance to the lamp flux per unit floor area |
stock character | see character |
co-star | A supporting lead role. |
center line | A line (real or imagined) that divides the acting area into two equal parts |
limbo | A background having no detectable detail. |
film festival | An event during which numerous films are shown, usually in competition. |
meter | The arrangement of a line of poetry by the number of syllables and the rhythm of accented (or stressed) syllables. |
kanshi – | CAN-SHE (J: Chinese poem) |
symbol | an object or action that represents more than itself |
driving beam | See upper (driving) beams. |
time sheet | A written record of a performer's time of arrival, breaks and time of departure. |
commercial actor | Actor (male or female) who performs in commercials. |
falling action | The events that follow the climax and lead to the resolution. |
monosyllable | Polysyllable, Trisyllable) |
harlequin | A stock character originating in Commedia dell'Arte |
heptameter | A line of poetry that has seven metrical feet. |
"cans" | a slang term used for communication head-sets used during shows |
box set | A type of setting that is built on the stage to look like the interior of a house or room, having three walls and no ceiling. |
clean speech | A take in which dialogue is performed without error. |
characterization | The physical attributes of a character as performed by an actor. |
fourfold meaning | Another term for fourfold interpretation, this word refers to the medieval idea that every passage in the Bible can be interpreted according to at least one of four possible levels of meaning |
high comedy | see comedy |
honey wagon | A vehicle containing one or more dressing rooms and/or lavatories. |
alternative literature | Literatures that, during their time, seem to be outside the conventional |
main character | See Protagonist |
slow burn | Comic device in which disgust and anger slowly builds within the actor until the actor explodes in rage. |
jargon | Language that is not common to all or that cannot be understood by all due to either its association, it being unintelligible or meaningless, or its pretentious vocabulary. |
lake poets | The Lake Poets are a group of English poets who all lived in the Lake District of England at the turn of the nineteenth century |
commentator | One who comments on the action of a film. |
forced call | A call to work less than 12 hours after dismissal on the previous day. |
amphitheater | An open-air theater, especially the unroofed public playhouses in the suburbs of London |
in the round | Seating arrangement where the acting area is enclosed on all sides by seating. |
colloquial language | Informal writing of literate people; ordinary conversation as opposed to formal writing. |
rising action | The increasing conflict or struggle within a story, the culmination of which will result in the climax |
blackout | Rapidly dimming lights to total darkness. |
haigon | - HI-GO'N (J: haikai words) Words not allowed in serious poetry meaning those words in foreign languages or those too vulgar for polite company |
greenscreen | A technique similar to bluescreen in which a scene is shot against a large green backdrop |
narrative | The narration of an event or story, stressing details of plot, incident, and action |
alexander's feast | " bears a resemblance to the dithyrambic form. |
edwardian period | The period in England when Edward VII was on the throne (1901- 10), i.e |
fabliau | A bawdy medieval verse narrative, originally French but adapted by Geoffrey Chaucer's in "The Miller's Tale," "The Reeve's Tale," "The Merchant's Tale," and others of The Canterbury Tales. |
episodic | Series of self-contained productions sharing a common title and featuring recurring lead characters, and any number of transient secondary characters. |
catastrophe | The tragic denouement, or unknotting of a play or story. |
below | Toward the audience. |
apron stage | the apron is that part of the stage which projects beyond the proscenium arch; any stage which consists primarily or entirely of an apron and on which the action is not seen as framed within the proscenium; the apron stage was used in the Elizabethan theatre. |
theme | a prevailing idea in a work, but sometimes not explicitly stated, as in Ogden Nash's "Candy is dandy, / But liquor is quicker," which is about neither candy nor liquor. |
ethos | Ethos is an English word based on a Greek word and denotes the guiding beliefs or ideals that characterize a community, a nation or an ideology |
role | A part taken by an actor in a play |
nowell codex | The common scholarly nickname for the medieval manuscript that contains Beowulf |
incantation – | IN-CAN-TA-SHUN (L: incantore – to chant, bewitch, cast a spell) Use of a ritualistic formula spoken to produce a magical effect or to charm |
prompt-copy | The special copy of the play from which the prompter prompts the actors |
principal photography | The filming of significant components of a movie which involve lead actors. |
action | any event or series of events depicted in a literary work; an event may be verbal as well as physical, so that saying something or telling a story within the story may be an event |
flat | A section of scenery constructed of timber covered with canvas |
walking-on | To take a part without dialogue |
chorus | In ancient Greek theatre, a character or group or characters who comment on the action, provide exposition and advance the plot |
actor trap | a slang term assigned to any technical situation that will trip up an inattentive actor ,e.g., an uneven step on a staircase. |
poet | Poetry) |
satire | A literary technique in which ideas, customs, behaviors, or institutions are ridiculed for the purpose of improving society |
protagonist | The major character around whom the action revolves; also called the hero or heroine. |
above the title | In an a dvertisement, placement of a performer's name before the title of the production |
low-key | Light which provides dim lighting with heavy, dark shadows. |
bio | Short for biography |
session fee | Fee paid to an actor for a single airing of a commercial. |
gamebook | A gamebook (also sometimes referred to as choose your own adventure books or CYOA books, not to be confused with the series by that title) is a work of fiction that allows the reader to participate in the story by making choices that affect the course of the narrative, which branches down various paths through the use of numbered paragraphs or pages |
anchor | Secure a set piece to the stage floor. |
soliloquy | a form of monologue, where no other person is present on stage beside the speaker, usually reveals the speaker's thoughts or feelings. |
spoonerism | The comic (and usually unintentional) transposition of two initial consonants or other sounds |
focalization | Dutch literary theorist Mieke Bal coined the term focalization to describe a shift in perspective that takes place in literature when an author switches from one character's perspective to another |
fourteener | cf |
rhythm | A rhythm is a uniform or patterned recurrence of beat, accent or similar |
film magazines | A reel of film ready to be placed into the camera. |
flashback | a plot-structuring device whereby a scene from the fictional past is inserted into the fictional present or is dramatized out of order. |
imagism | Impressionism, Objectivism, Realism, Symbolism) |
crisis | a turning point in the action of a story that has a powerful effect on the protagonist |
high comedy | a type of comedy that appeals to the audience's intellect and has a serious purpose. |
symbol | Word, sign or image that stands for something other than itself. |
paraphrase | Paraphrase is restatement of a text or passages, using other words |
tone | The means of creating a relationship o |
countercross | A cross by an actor to re-establish visual balance of the acting area after another actor's cross. |
shakespearian sonnet | The most popular form in English is the English or Shakespearian Sonnet |
germicidal lamp | a low-pressure mercury lamp in which the envelope has high transmittance for 254-nm radiation |
alternate rhyme | See rhyming couplets |
conflict | A struggle between two opposing forces or characters in a short story, novel, play, or narrative poem |
copy | the written words of a script or advertisement. |
simile | is an announced comparison introduced with the words like or as" |
accentual verse | Lines whose rhythm arises from its stressed syllables rather than from the number of its syllables, or from the length of time devoted to their sounding |
broadside ballads | Poems printed on one side of a single sheet during the Renaissance period. |
flash frame | A shot which lasts only a few frames. |
standard union contract | Standard union approved contract which specifies base levels of pay, benefits and other terms provided by the producers in exchangge for an actor's services. |
subplot | Secondary action that is interwoven with the main action in a play or story |
independent film | A movie produced by a production company not controlled a major studio. |
breakdown script | A list of all items, people, props, equipment, etc needed for a shoot on a daily basis. |
inciting incident | Action near the beginning of a play that gets the main action going. |
alliteration | the repetition of usually initial consonant sounds through a sequence of words—for example, "While I nodded, nearly napping" in Edgar Allan Poe’s "The Raven." |
progymnasmata | Progymnasmata (Greek "fore-exercises", Latin praeexercitamina) are rhetorical exercises gradually leading the student to familiarity with the elements of rhetoric, in preparation for their own practice speeches (gymnasmata, "exercises") and ultimately their own orations. |
stage manager | Responsible for rehearsals and maintaining all the technical aspects and artistic integrity of a production once the performance has begun. |
chorus | A person or group of people which stand outside the action and remark upon it |
hot-cathode lamp | an electric-discharge lamp whose mode of operation is that of an arc discharge |
hexameter | A hexameter is a line of poetry that has six metrical feet. |
echo | Reverberanting sound |
open call | A tryout open to all who attend. |
ground plan | Plan for a set design which shows, as seen from above, the exact position of walls, doors, scenery, furniture and the like |
répétion générale | A private performance preceding the public performance of a play |
accent | There is a normal pattern of stressed and unstressed syllables associated with each word in a language |
story | A succession of events, which become a plot once the events are structured into a narrative. |
biographical criticism | an approach to literature which suggests that knowledge of the author's life experiences can aid in the understanding of his or her work |
tautology | Pointless repetition. |
scene-dock | A storage place for scenery |
floodlight | a projector designed for lighting a scene or object to a luminance considerably greater than its surroundings |
crossfade | To fade from one scene to another. |
anglican church | The Protestant Church in England that originated when King Henry VIII broke his ties to the Vatican in Rome (the Catholic Church). |
bulb | The glass part of a lamp. |
picaresque novel | an early form of the novel, some critics call it a precursor of the novel, originating in Spain, which tells of the escapades of a lighthearted rogue or rascal, usually episodic in structure. |
host | A performer who introduces or segues segments of a program |
consonance | Sometimes just a resemblance in sound between two words, or an initial or head rhyme like alliteration, but also refined to mean shared consonants, whether in sequence ("bud" and "bad") or reversed ("bud" and "dab"). |
musical | Production in which a major component of the storytelling is accomplished through music, song and dance. |
cowboy shot | A shot framed from mid-thigh up |
top | To deliver a line more energetically than the line delivery preceding it. |
diction | the choice and use of words in a text. |
trim height | The height from the stage floor at which a batten is set. |
infant model | A baby between 6 and 18 months old who appears in commercials or print ads. |
syllabic verse | A type of verse distinguished primarily by the syllable count, i.e., the number of syllables in each line, rather than by the rhythmical arrangement of accents or time quantities. |
ellipsis | The non-metrical omission of letters or words whose absence does not impede the reader's ability to understand the expression |
emissivity/emittance | The ratio of radiance (for directional emissivity) or radiant exitance (for hemispherical emissivity) of an element of surface on a temperature radiator to that of a blackbody at the same temperature |
chorus | A group of actors in Greek drama who comment on the action of the play |
drop curtain | A painted cloth to let down between the acts |
flash-pot | A small box that contains pyrotechnics which will cause a noisy explosion of smoke when ignited. |
complication | in plot, an action or event that introduces a new conflict or intensifies the existing one, especially during the rising action phase of plot. |
initiation story | a kind of short story in which a character—often a child or young person—first learns a significant, usually life-changing truth about the universe, society, people, or himself or herself; also called a coming-of-age story |
narrative verse | Verse which tells a story e.g |
apron | The apron of a stage is the front floor area of a stage, in front of the Proscenium Arch, when there is a stage area in front of the proscenium. Sometimes the apron is a temporary stage area that covers the Orchestra Pit. |
petrarchan sonnet | The oldest form of the sonnet is the Italian or Petrarchan Sonnet (named for its greatest practitionerPetrarch) |
orchestra pit | Depressed area between the audience and stage, that often reaches back under the front of the stage. This is where the orchestra is positioned for musicals and operas. |
protagonist | The central character in a piece of drama or fiction |
erythemal flux density | the erythemal flux per unit area of the surface being irradiated |
tie lines | small cotton lines used to attach drapes and drops to battens |
preposition | A part of speech which indicates a connection, between two other parts of speech, such as 'to', 'with', 'by' or 'from' |
boom | A vertical pipe mounted in a base, used to hang lighting fixtures |
formula | an often repeated phrase, sometimes half-a-line long and metrically distinctive. |
dress rehearsal | A complete rehearsal of a play immediately before the actual performance |
hendiadys | Prolepsis) |
tension | Term coined by Allen Tate for the totality of meaning within a poem |
uplight | Light from below the actors. |
scrim | A gauzy curtain, used for special effects, that is transparent if lit from behind, but opaque when lit from the front. |
agva | American Guild of Variety Artists |
set-up | Each time the camera changes position. |
wga | Writers guild of America. |
rhetorical device | In rhetoric, a rhetorical device or resource of language is a technique that an author or speaker uses to convey to the listener or reader a meaning with the goal of persuading him or her towards considering a topic from a different perspective |
mesostic | Similar to an acrostic but where the significant vertical phrase occurs in the middle of the lines rather than at the beginning or end |
voice-over agent | A talent agent submitting clients for voice-over work. |
controlling image | A single image or comparison that extends throughout a literary work and shapes its meaning |
atmosphere | The emotional tone or background that surrounds a scene. |
metonymy | Metonymy refers to the substitution of one thing for another closely identified thing, like "the White House" signifying the activities and policies of the president. |
convention | an accepted or traditional feature of a work (e.g., the Greek Chorus, the Shakespearian aside, blank verse) |
simile | a comparison between two objects or ideas which is introduced by 'like' or 'as' |
trope | Figure of speech such as a metaphor or personification. |
exit | a stage direction which specifies which person goes off stage. |
illuminance | The density of incident luminous flux on a surface; illuminance is the standard metric for lighting levels, and is measured in lux (lx) or footcandles (fc). |
cothurni | A style of acting which is tragic. |
i had | It feels arbitrary |
didactic poetry | Poetry which is clearly intended for the purpose of instruction -- to impart theoretical, moral, or practical knowledge, or to explain the principles of some art or science, as Virgil's Georgics, or Pope's An Essay on Criticism. |
legend | a type of tale conventionally set in the real world and in either the present or historical past, based on actual historical people and events, and offering an exaggerated or distorted version of the truth about those people and events |
ricochet words | Tmesis) |
leaf - bookbinding | Bookbinding is the process of physically assembling a book from a number of folded or unfolded sheets of paper or other material |
jingle | A short commercial message set to music. |
hypotaxis | Hypotaxis is the grammatical arrangement of functionally similar but "unequal" constructs (hypo="beneath", taxis="arrangement"), i.e., constructs playing an unequal role in a sentence. |
euphemism | A mild word of phrase which substitutes for another which would be undesirable because it is too direct, unpleasant, or offensive |
scale | Minimum amount paid to an actor as specified by union contract. |
tab curtain | a front curtain that is permanently secured at the top edge which is gathered by diagonal ropes when lifted |
rizoku | – RYE-ZOH-COO (J: abstain from the low) – the haikai maxim of Yosa Buson. |
epistle | An epistle (pronounced /i'pis.l/; Greek ἐπιστολή, epistolē, 'letter') is a writing directed or sent to a person or group of people, usually an elegant and formal didactic letter |
groundlings | While the upper class paid two pennies to sit in the raised area with seats, and some nobles paid three pennies to sit in the Lords' rooms, the majority of viewers who watched Shakespeare's plays were called groundlings or understanders |
episode | a distinct action or series of actions within a plot. |
hair side | The side of a sheet or parchment or vellum that once carried the animal's hair |
drama/dramatic literature | A play; a form of literature that is intended to be performed before an audience |
ecologue | A pastoral poem (after Virgil). |
catharsis | An emotional discharge that brings about a moral or spiritual renewal or welcome relief from tension and anxiety |
maxim - saying | A saying is something that is said, notable in one respect or another, to be "a pithy expression of wisdom or truth." |
sermon joli | Another term for a sermon joyeaux |
cut-off angle | The critical viewing angle beyond which a source can no longer be seen because of an obstruction (such as a baffle or overhang). |
spine | The motivational or structural unity of a scene, play, or character. |
profile shot | A view of the side of a subject. |
tragedy | A form of Western drama originating in Athens, Greece in the 6th century B.C |
decoration | The adornment of a play, the stage setting |
pathya vat | The Pathya Vat is a Cambodian verse form, consisting of four lines, where lines two and three rhyme |
protagonist | Main heroic character of a production. |
apron | the stage area in front of the proscenium arch. |
lament | A poem of sadness or grief over the death of a loved one or over some other intense loss. |
hero/heroine | a character in a literary work, especially the leading male/female character, who is especially virtuous, usually larger than life, sometimes almost godlike |
iris | An arrangement of thin, movable, heat-resistant metal plates (leaves) that form an adjustable circular opening. |
epizenxis | Repetition of a word several times without connectives. |
character | a person presented in a dramatic or narrative work, and characterization is the process by which a writer makes that person seem real |
molossus | Greek and Latin metrical foot consisting of long, long, and long syllables / ' ' ' /. |
fable | a legend or short story often using animals as characters |
aftra | American Federation of TV and radio artists |
virgule - slash | The slash is a sign, "/", used as a punctuation mark and for various other purposes |
floor cloth | Painted canvas sheets placed on the stage floor to achieve a specific effect. |
padding | Fabricated credits on one's resume. |
zoom | An optical system where the lenses adjust. |
realism | A method of writing, acting or producing a play to resemble real life |
quiet on the set | Direction given before shooting a scene instructing cast and crew to be quiet. |
tragedian | actor |
fourth wall | This refers to an imaginary wall, as if separating the actors on stage from the audience. |
dark theatre | A day or night with no performance. |
move in | To cross toward the center of the stage. |
blank verse | Poetry that is written in unrhymed iambic pentameter |
elision | Omission of words or parts of words. |
go-see | A modeling interview with a client for a booking. |
over-dub | To record a part onto a multi-track recording. |
backdrop | A painted or plain surface hung from the grid and used to form a set on stage. |
anaphora | In rhetoric, an anaphora (Greek: ἀναφορά, "carrying back") is a rhetorical device that consists of repeating a sequence of words at the beginnings of neighboring clauses, thereby lending them emphasis |
buzzer | Sound device used in a film/TV production that cues everyone to be quiet for the shooting of a scene, and later that a scene has finished shooting. |
characterization | The personality a character displays; also, the means by which an author reveals that personality |
digital multiplex or dmx | a communications protocol used in stage lighting; may also refer specifically to DMX512 cable |
concert batten | The first lighting batten, behind the tabs, known also as No |
apophasis | Denying one's intention to talk or write about a subject, but making the denial in such a way |
columbine | The female part in the Commedia dell 'arte |
figure of sound | Conveys and reinforces the meaning or experience of poetry through the skillful use of sound. |
beam apple | The angle at which the beam edges are 50% of the centre beam candlepower. |
drabble | an extremely short work of fiction containing exactly 100 words |
colour temperature | A factor given for lamps, comparing their colour to that of a blackbody at a given temperature. |
archetypes | recurrent designs, patterns of action, character types, themes, or images which are identifiable in a wide range of literature |
zuihitsu | – ZOO-HIT-SUE (J: following the brush) A style of writing that was loose, impulsive, and casual |
jargon | specialized or technical language of a trade, profession, or similar group |
decibel or db | n., A unit of sound volume. |
sonnet | A lyric poem that is 14 lines long |
dream-vision | A type of poem in which the narrator experiences a dream or vision, usually with a guide, which enables the story to be told. |
burner lights | Round or square clusters of lamps on standards |
theatre in the round | Performance in which the stage is surrounded on all sides by the audience. |
balcony | Upper tier of seating in the auditorium. |
parable | a short work of fiction that illustrates an explicit moral but that, unlike a fable, lacks fantastic or anthropomorphic characters |
up stage | Toward the back of the stage |
near rhyme | half rhyme, and perfect rhyme function to distinguish between the types of rhyme without prejudicial intent and should not be interpreted as expressions of value. |
litotes | Meiosis) |
type scene | A type scene is a literary convention employed by a narrator across a set of scenes, or related to scenes (place, action) already familiar to the audience |
line | A unit of verse whose length is prescribed by a criterion other than the right-hand margin of the page (e.g., a certain length in syllables, meeting a boundary rhyming word, completing a phrase). |
fresnel lens | A lens that acts similarly to a piano-convex lens but is thinner and lighter due to steps on the convex side |
analogy | Resemblance in certain respects between things that are otherwise unlike; also, the use of such likeness to predict other similarities. |
hamartia | tragic flaw of a character which causes the downfall of this character. |
traveler | a horizontally drawn curtain |
bungei | BUN-GEE J: Literature or art. |
call time | The time an actor is to be on the set ready to work. |
pathos | A scene or passage in a work evoking pity, sorrow, or compassion in the audience or reader, such as the poignant summation of the old man's grief in Wordsworth's Michael: |
catalectic/catalexis | Where one or more unstressed syllables are missing from the end of a regular metrical line |
noh drama | An ancient, lyrical Japanese dramatic form |
prequel | A literary or dramatic work that is set before an existing work which it is linked to. |
curtain line | 1) the line on the stage floor where the front curtain touches when brought in |
flood | To adjust a luminaire usually by moving the lamp closer to the lens; enlarging the diameter of the beam of light emitted. |
liturgical drama | Liturgical drama or religious drama, in its various Christian contexts, originates from the mass itself, and usually presents a relatively complex ritual that includes theatrical elements. |
walk-through | A rehearsal in which the actors go through the blocking. |
contextual symbol | can be a setting, character, action, object, name, or anything else in a work that maintains its literal significance while suggesting other meanings |
pension and health payment | An amount of money paid by the producer to cover actor's union benefits. |
action | The movement of a play as carried on by the actors. |
critical essay | an essay which interprets and/or evaluates |
katauta – | KAH-TAH-OU-TAH (J: side poem) |
motif | a recurrent device, formula, or situation within a literary work |
assonance | The repetition of vowel sounds without the repetition of consonants |
idealism | Imagism, Impressionism, Metaphysical, Objectivism, Realism, Symbolism) |
house lights | Lights that illuminate the audience area. |
decorated initial | In medieval manuscripts, this term refers to an introductory letter of a text division, embellished with some type of abstract design, i.e., a design not necessarily containing a picture (which would make it an inhabited initial) and not necessarily containing a scene from the story (which would make it an historiated initial) |
fresnel spotlight | a luminaire containing a lamp and a Fresnel lens (stepped "flat" lens with a textured hack) which has variable field and beam angles obtained by changing the spacing between lamp and lens (flooding and spotting) |
anapest | is called a rising or ascending rhythm; a rhythmic pattern with the accent occurring on the first syllable of each foot, as in the dactyl or trochee, is a falling or descending rhythm. |
equivalence | In quantitative verse, the rule that two short syllables equal one long syllable |
prompt-bell | A bell used by the prompter in the theatre to summon an actor |
lamp | The complete assembly of a bulb, filament, base, etc. |
fly loft | Space above the stage where scenery is "flown" out of sight of the Audience. |
character part | A part in which peculiarities or eccentricities of character are stressed in make-up and playing |
encores | audience demands or requests for a repeat peformance |
out clause | Section of a contract which defines the circumstances under which a performer can terminate the contract. |
afm | American Federation of Musicians |
scrivener | Another term for a scribe |
dirge | See discussion of elegy, below. |
99-seat | The Actors Equity Association's agreement for low-budget theatres with a capacity of no more than 99 audience seats |
dumb show | 1 |
cross fader | A control for fading from one preset scene to another |
epic | a long narrative poem, usually depicting the values of a culture through the adventures of a hero |
slam | Please see Poetry Slam for definition. |
conflict | When an agency has too many of an actor's "type". |
scene number | A reference number designated for each scene in a production. |
abstract language | words which represent broad qualities or characteristics (e.g., interesting, good, fine, horrible, lovely) |
acting play | one having a wide variety of dramatics as opposed to a literary play which depends on the effective delivery of lines for success. |
lamp | a high-intensity discharge (HID) lamp in which light is produced by radiation from sodium vapor operating at a partial pressure of about 1.33 X l0 Pa (100 Torr) |
interval | The time between the performance of one act of a play and another |
terminus ad quem | The latest possible date that a literary work could have been written, a potential ending point for dating a manuscript or text |
social novel | also industrial novel or Condition of England novel, associated with the development of nineteenth-century realism gives a portrait of society, especially of lower parts of society, dealing with and criticising the living conditions created by industrial development or by a particular legal situation |
masculine ending | line ending where the last syllable is stressed. See also |
house manager | Person in charged the auditorium and anything related to the audience |
tie line | (Also known as "trick" line) |
psychonarration | a type of representation of consciousness: the narrator reports the character's thoughts in his or her (the narrator's) language, the level of mediation remains noticeable. |
reader-response criticism | Reader-response criticism is a school of literary theory that focuses on the reader (or "audience") and his or her experience of a literary work, in contrast to other schools and theories that focus attention primarily on the author or the content and form of the work. |
caesura | A caesura is a distinct pause or break in the flow of a line of verse, usually towards the middle. |
reaction shot | Shot showing characters reacting to an action or statement. |
anachronism | Hysteron Proteron) |
entrance | Entering the acting area |
scene shop | The place where scenery is constructed. |
x-ray | See striplight. |
offstage | Backstage area not seen by the audience. |
garrulity | excessive or pointless talkativeness gnomic: characterized by the expression of pithy moral sentiments |
matching | To perform the same physical movements and dialog from take to take in order to preserve the visual continuity over a range of camera angles. |
escape literature | formula literature follows a pattern of conventional reader expectations |
cravat | necktie; slang for hangmans noose |
analepsis | Flashback (also called analepsis, plural analepses) is an interjected scene that takes the narrative back in time from the current point the story has reached |
mix | To blend a multi-track recording into a master recording. |
blocks | Wooden or steel cases surrounding a pulley wheel over which the line travels for flying scenery |
act change | a change of setting, props, lights, and/or costumes between acts. |
language poetry – | An American poetry style that emerged in the 1970s that deliberately flattened tonal register with the extensive use of non-sequitur |
protagonist | the main character in a story or drama |
bungaku | BUN-GAH-COO J: The study of literature. |
purgation | See discussion under catharsis. |
picture-stage | Methods of staging and playing in which the proscenium arch is regarded as a frame for the stage picture |
picture's up! | Verbal warning that the scene is about to begin. |
conflict | the struggle of opposing external or internal forces |
monologue | a speech by a single character |
genre | A literary type or form |
upstage | 1 |
cothurni | The Greek word for the elevator-shoes worn by important actors on stage |
lines | The dialogue of a script. |
literature | The art of written works |
props | objects or items used by the actors on the stage |
belt | To sing in a forceful manner. |
black mountain poets | Charles Olson, Robert Creeley, and Robert Duncan, all associated with Black Mountain College, North Carolina, and all promoting a non-traditional poetics. |
weather day | A day during which an outdoor shoot takes place |
terminus a quo | The earliest possible date that a literary work could have been written, a potential starting point for dating a manuscript or text |
juvenile | An actor or actress who plays a young man's or a young woman's part |
tight shot | To frame of a shot with little or no space around the central figure. |
asyndeton | The omission of a conjunction from a list ('chips, beans, peas, vinegar, salt, pepper') |
fourth wall | an imaginary surface at the edge of the stage through which the audience watches a performance |
ku | - COO (J: verse) Verse or stanza or link. |
inductive/deductive reasoning | inductive reasoning moves from observation of specific circumstances and makes a general conclusion; deductive reasoning takes a general truth and applies it to specific circumstances |
house right | Right side when seated in the audience. |
baroque | Baroque (pronounced /bəˈroʊk/ bə-rohk in American English or /bəˈrɒk/ in British English) is an artistic style prevalent from the late 16th century to the early 18th century in Europe |
elizabethan | Occurring in the time of Queen Elizabeth I's reign, from 1558-1603 |
thespian | An actor. |
soliloquy | A speech, usually lengthy, in which a character, alone on stage, expresses his or her thoughts aloud |
poetry slam | Form of performance poetry pioneered by Marc Smith in Chicago U.S.A. |
critic | Journalist who writes reviews of recorded or live productions. |
in | Toward the center of the acting area. |
ata | Association of Talent Agents. |
specialist lead | An actor who specialises in leading parts of a certain type |
favored nations | Contract provision that states if another specified actor or actors receive better terms or conditions than the contracting actor, then the contracting actor is entitled to the same terms or conditions of the other specified actor or actors. |
ploces | among others. |
diffusing panel | a translucent material covering the lamps in a luminaire to reduce the luminance by distributing the flux over an extended area. |
matte shot | Combining two different shots on one print so it looks as if a single had been taken all at once. |
humour | Humour or humor (see spelling differences) is the tendency of particular cognitive experiences to provoke laughter and provide amusement |
preview | A showing of a performance prior to the official premier showing. |
epilogue | A short scene at the end of the main action of a production which explains or comments upon the action. |
traps | Holes cut in the stage floor sufficiently large to allow an article or person to be lowered to the mezzanine floor |
ground cyc | A cyclorama light used from the floor. |
short | A film under thirty minutes in length. |
tragicomedy | a sub-genre of tragedy which intermingles conventions derived from both comedy and tragedy, usually with a tragic ending. |
dramatic | Action on the stage, particularly striking or impressive action |
nikki | – KNEE-KEY (J: journey (literature)) |
fable | an ancient type of short fiction, in verse or prose, illustrating a moral or satirizing human beings |
beauty shot | On TV soaps |
set-piece | Any piece of scenery that stands on the stage and is not flown |
sentence | This is a term which professional linguists still find impossible to define adequately |
ode | A lyric poem (rhymed or unrhymed) that praises someone or something |
fable | A moralistic story, told most often through animals, that were very popular in Ancient Greece |
flash fiction | an extremely short work of fiction, containing 300-1000 words |
interior monologue | A monolog understood by the audience to represen the unspoken thoughts of a character. |
executive producer | A producer who is who is responsible for funding an overall production but not involved in the technical aspects of the production. |
seasonal ad | Advertisement used during a specific season or holiday |
gobo | A silhouette pattern used to project images from an ellipsoidal spotlight. |
union card | A union membership card. |
altar poetry | A poem that takes on the approximate shape of its subject or central movement |
set dresser | Production staff member who is responsible for the props and furniture that are required on the set. |
inner proscenium | False prosecenium that temporarily reduces the opening of the permanent proscenium. |
palindrone | A word, line, phrase or sentence which can be read the same backwards as forwards |
naturalism | A movement that developed around the idea that art should represent nature and the world exactly and without moral judgment |
discomfort glare factor | the numerical assessment of the capacity of a single source of brightness, such as a luminaire, in a given visual environment for producing discomfort capacity of a single source of brightness, such as a luminaire, in a given visual environment for producing discomfort (this term is obsolete and is retained only for reference and literature searches) |
expressionism | A stylized form of theater in which greater value on emotion than realism |
pornographic film | A film which is produced primarily to depict explicit sexual acts. |
organized numerically | " That's just nonsense |
prologue | (1) In original Greek tragedy, the prologue was either the action or a set of introductory speeches before the first entry (parados) of the chorus |
busker | Itinerant open-air street players such as jugglers, conjurers or acrobats. |
antithesis | A figure of speech in which words and phrases with opposite meanings are balanced against each other. |
tang-ka – | TONG-KAH (K: poem part) |
aleatory writing | Where words and punctuation have seemingly been constructed arbitrarily |
mock-heroic | Treating something trivial with high seriousness, as in John Philips' The Splendid Shilling. |
ansi | American National Standards Institute. |
musical comedy | A play with music and dancing of a light and vivacious kind |
climax | The climax (from the Greek word âκλῖμαξâ (klimax) meaning âstaircaseâ and âladderâ) or turning point of a narrative work is its point of highest tension or drama or when the action starts in which the solution is given. |
karuta - | KAH-REW-TAH J: Any of a number of card games which involve the matching of one element with another – somewhat in the manner of our Old Maid |
amphibrach | A 3-syllable metrical foot of one accented or stressed syllable between two unstressed syllables |
paraphrase | a restatement of a text in different words, often to clarify meaning |
euphemism | substitution of an agreeable or at least non-offensive expression for one whose plainer meaning might be harsh or unpleasant. |
box set | a stage set composed of flats or connected walls enclosing three sides of the stage, with an invisible fourth wall open to the audience |
antithesis | A figure of speech in which a thought is balanced with a contrasting thought in parallel arrangements of words and phrases, such as, "he promised wealth and provided poverty," or "it was the best of times, it was the worst of times, " or from Pope's An Epistle to Dr |
merlin | A small hawk. |
tabi no uta – | TAH-BE NO OU-TAH (J: travel poem, poems or poetry) |
in post | During post-production. |
aristeia | An aristeia or aristia (Ancient Greek: ἀριστεία, IPA: [aristéːa], "excellence"; English: /à¦rɨËstiË.É/) is a scene in the dramatic conventions of such works as the Iliad in which a hero in battle has his finest moments (aristos = best) |
back projection | (Rear Projection) Live action is filmed in front of a screen upon which background action is projected. |
antinovel | An antinovel is any experimental work of fiction that avoids the familiar conventions of the novel |
trim chain | short pieces of chain used to fasten a batten to a scenic piece used to keep the piece in trim |
commercial modeling | Modeling something other than fashions. |
illustration model | A model who poses for an artist or with a product (excluding fashion.) |
catharsis | An emotional release felt by an audience or reader as they observe the fate of a tragic hero |
setting | the environment in which the work takes place |
experimental novel | Experimental literature refers to written works - often novels or magazines - that place great emphasis on innovations regarding technique and style. |
clip | a brief excerpt from a filmed ot taped performance |
end-stopped | Line of verse whose thought ends at the line's end |
multilingualism | Multilingualism is the ability of an individual speaker or a community of speakers to use multiple languages. |
director's guild of america | DGA |
foreshadowing | The use of hints or clues in a narrative to suggest what action is to come |
flashtube | a tube of glass or fused quartz with electrodes at the ends and filled with a gas, usually xenon |
terza rima | a sequence of three-line stanzas rhyming aba bcb cdc etc. |
flat character | A character who is easily describable or represented with a one-track personality or who is representative of a stereotype. |
black light | ultra violet light. |
oeuvre | all of the works verifiably written by one author. |
metaphorical language | Metaphorical language is the use of a complex system of metaphors to create a sub-language within a common language which provides the basic terms (verbs, prepositions, conjunctions) to express metaphors. |
parody | A literary work that imitates the style of another literary work |
technical director | the person who figures out how the set will be built and then oversees construction; sometimes in charge of lighting as well |
effects projector | Lantern used to project an image onto a stage or, more commonly, the cyclorama. |
catastrophe | The "turning downward" of the plot in a classical tragedy |
slate | In an audition, to orally stating one's name and agency representation at the beginning of the audition. |
dubbing | After filming, matching an actor's voice with the lip movements of the same or a different actor on the screen |
classic | Three broad meanings include, firstly, works from ancient Greece or Rome ('classical' times) |
sag | Screen Actors Guild |
intermission | A formal break between acts of a performance during which the audience can usually move about the house, get refreshments, etc. |
pastoral | following Theocritus (3rd cent |
false proscenium | A temporary frame made of canvas or flats, used to reduce the opening of the permanent proscenium |
trimeter | A line of poetry of three metrical feet |
beam component | That component of flux received directly (or by specular reflection or transmission) from a point source (such as the sun or small lamp) |
pun | A word play suggesting, with humorous intent, the different meanings of one word or the use of two or more words similar in sound but different in meaning, as in Mark A |
under 5 | A role with five lines or less. |
ugly-up | To make less attractive. |
green room | Room near the stage where the actors to meet and relax. |
playhouse | A theatre |
youth theatre | Theatre performed by young people. |
sets | The physical objects and props necessary as scenery in a play (if they are left on-stage rather than in a character's possession). |
serial | A series that presents a story in regular installments. |
picturesque | A preoccupation in 18th century literature where many poets, such as Addison and Pope, sought out the beauty in nature to incorporate it in their writing |
legit voice | A classically trained voice. |
antonymy | semantic contrasts. |
thrust stage | a stage that extends into the audience |
regionalism | In literature, regionalism or local color fictionality refers to fiction or poetry that focuses on specific features – including characters, dialects, customs, history, and topography – of a particular region. |
folk tale | An account, legend, or story that is passed along orally from generation to generation |
melodrama | A performance in which the plot is simplistic, characters are clearly defined as hero, villian, etc |
age of reason | See enlightenment. |
amphitheater | a semi-circular large, outdoor theater with seats rising in tiers from a central acting area |
profile left | To face stage left at a 90 degree angle from the full open position. |
wild spot | A commercial that runs on a non-network station on a station-by-station basis in different markets across the country. |
thesis | An attitude or position on a problem taken by a writer or speaker with the purpose of proving or supporting it. |
silent part | a part for which there are no spoken lines. |
freelance | Actors who work non-exclusively through more than one talent agent |
expository essay | an essay which shares, explains, suggests, or explores information, emotion, and ideas |
in medias res | "in the midst of things"; refers to opening a story in the middle of the action, necessitating filling in past details by exposition or flashback |
call | The time one must be at the Theatre or ready to go onto to stage. |
box light | A metal box with a high powered light and a reflector, but no lens |
homophone | A word that has the same sound as another word but a different spelling and meaning. |
resolution | The point during a drama when the conflict is resolved. |
feature men | Actors who specialise in "star" roles and only appear as such |
tragic flaw | the tragic heros flaw (often excessive pride or hubris") which leads directly to a reversal of his good fortune (catastrophe) |
ambiguity | When words, sentences and texts have more than one meaning |
upgrade | Promoting an extra performer to the category of principal performer. |
dark adaptation | the process by which the retina becomes adapted to a luminance less than about 0.034 cd/m^2. |
poet – | POH-ET (Gr: poiein - to make; piortes – maker L: poeta) The definition - a person who writes poetry is surely far too simple |
editorial omniscience | refers to an intrusion by the narrator in order to evaluate a character for a reader, as when the narrator of The Scarlet Letter describes Hester's relationship to the Puritan community |
oxymoron | A contradiction in terms. |
setting | the time and place in which a portion of the story is taking place |
character breakdown | Concise description of a character for casting purposes. |
emotion | A conscious state of feeling created by the writer to convey joy, sorrow, love, hate etc to the reader |
turn in | To face upstage away from the audience. |
feminine rhyme | Occurs between words in which an unstressed syllable follows a stressed syllable. |
treatment | Written outline of a script |
electric discharge | See are discharge, gaseous discharge and glow discharge. |
acrostic | A poem in which the first or last letters of each line vertically form a word, phrase, or sentence |
point of view | The perspective from which the narrator speaks to us |
spenserian stanza | The Spenserian stanza is a fixed verse form invented by Edmund Spenser for his epic poem The Faerie Queene |
after-piece | A short play or scene following the main item of a programme |
polishing rehearsal | Rehearsal that focuses on timing and tempo of a production. |
diction | Choice of words (i.e |
envelope | Rondeau) |
germicidal exposure | See bactericidal (germicidal) exposure. |
call sheet | List of actors and crew required for various scene rehearsals |
noise | In communication studies, anything that interferes in the communication process between a speaker and an audience. |
omniscient | All knowing or able to see everything at once |
verisimilitude | Verisimilitude, with the meaning ˝of being true or real˝ is a likeness or resemblance of the truth, reality or a fact's probability |
dressing room | Rooms near the stage in which the actors dress and make-up |
true rhyme | Another term for perfect rhyme or exact rhyme |
casting | the process of choosing the actors for a play. |
first sound shift | An explanation for the shift in pronunciation and form which occurs between Indo-European languages. |
major character | see character |
glow discharge | an electric discharge characterized by a low, approximately constant current density at the cathode (on the order of 10 jiA/mm2) at low cathode temperature, and a high voltage drop (typically 50 V or more) |
neoclassicism | A "new classicism," as in the writings of early 18th-century writers like Addison and Pope who imitated classical Greek and Latin authors. |
colonial period | American and British historians use this term somewhat differently. |
right | The actor's right-hand side of the stage when facing the audience |
naturalism | See Realism |
radio commercial | A commercial produced for radio broadcast. |
auxesis | Another term for rhetorical climax |
farce | An amusing play consisting of absurd and improbable situations |
apologue | An apologue (from the Greek "αÏολογοÏ," a "statement" or "account") is a brief fable or allegorical story with pointed or exaggerated details, meant to serve as a pleasant vehicle for a moral doctrine or to convey a useful lesson without stating it explicitly |
prompter | Teleprompter; a device used to supply lines to actors |
agent | A person responsible for the professional business dealings of an actor, director, or other artist (talent) |
enjambment | provides a variation by making a pause in the thought appear at some place other than the end of a line, but they should not be over-used. |
trilogy | A group of three literary works that together compose a larger narrative |
pander to an audience | To gain audience approval at the expense of artistic development of a production. |
subplot | a secondary plot in a work of fiction or drama |
erotic poetry | Explicit poetry dealing with sex or sexual love e.g |
cast | the actors in a play. |
topos | a commonplace, an older term for motif deriving from classical rhetoric and denoting recurring formulas or types of situation in literary texts. |
quick change booth | Temporary dressing rooms used for quick changes of costumes, wigs, makeup, etc. |
allegory | a drama in which a character becomes a symbol for a concept or idea. |
pantomime | 1 |
effect lighting | Lighting intended to create a mood or an impression. |
epizeuxis | In linguistics, an epizeuxis is the repetition of words in immediate succession, for vehemence or emphasis. |
meiosis | Understatement, the opposite of exaggeration: "I was somewhat worried when the psychopath ran toward me with a chainsaw." (i.e., I was terrified) |
atmosphere actors | Actors who appear in a scene to help establish the time, place, or mood of a scene |
hazer | A machine that produces clouds of white, non-toxic fog through the vaporisation of mineral oil. |
peg | See Stage Screw |
matrix | A patching apparatus that can be a patch panel or diode pin matrix. |
anticlimax | The intentional use of elevated language to describe the trivial or commonplace, or a sudden transition from a significant thought to a trivial one in order to achieve a humorous or satiric effect, as in Pope's The Rape of the Lock: |
fill light | Light which fills dark areas and the shadows that the key light creates. |
semantic marking | When the meaning of a word is limited semantically, that word is said to possess a semantic marking |
back story | The history and personal relationships of a character before the events written in the script. |
sharefû | SHAH-REH-FOO (J: witty style) The name of the school and style of haikai writing established by Basho's student Kikaku after Basho's death |
connotation | Those words, things, or ideas with which a word often keeps company but which it does not actually denote |
consisting | Made up of or composed of. |
prose | Writing or speaking in the usual or ordinary form |
stage whisper | An acting technique by which an actor gives the impression of whispering yet is actually speaking loudly enough to be heard by the entire audience. |
kva | Abbreviation for Kilovolt-Ampere. |
neoclassic couplet | See discussion under heroic couplet. |
ham | A performer who exaggerates movement or voice. |
loose plot/episodic plot | a plot where there is little emphasis on the causal connections between events in the narrative, episodes might be linked by a common character or a common theme, also called episodic plot (opposite: tight plot). |
fight captain | Company member responsible for fight choreography and safety of actors engaged in staged fights. |
radiant energy | Energy traveling in the form of electromagnetic waves |
tragedy | Dramatic form in which the protagonist suffers a grave loss or death at the end |
non-dim | A circuit supplying electrical power to a luminaire by means of a switch or a relay in order to permit an on-off function rather than a dimming function. |
prosody | the diaeresis was a break or pause in a line of verse occurring when the end of a foot coincides with the end of a word. |
top | pick up the energy, the pace, and the volume of a scene: one actor tops the other thereby building tension and emotional impact |
autofollow | A cue which is automatically run as soon as the preceding cue is complete. |
book | The prompt copy of a play |
anagnorisis | A character's self revelation or self discovery, particularly when the revelation initiates a turning point in the action. |
iau | Italian Actors' Union. |
rhythm | Refers to the pattern of stressed and unstressed syllables. |
narrative poetry | Poetry that tells a story |
drawing room comedy | Witty, upper-class comedies popular from the turn of the century. |
hommondori- | HOME-MON-DOOR-EE J: the direct borrowing or taking over of a passage from an older work more or less as it was |
near rhyme | Term used to describe a number of devices which come close to full rhyme but don't create the perfect chiming sound associated with words such as 'cat' and 'mat' |
cliché | an idea or expression that has become tired and trite from overuse, its freshness and clarity having worn off |
voice lessons | Instruction in voice quality. |
sarcasm | Another term for verbal irony--the act of ostensibly saying one thing but meaning another |
curtain call or walkdown | when the actors come to the front of the stage to bow at the end of a performance. |
rhyming couplet | Rhyming couplets are a pair of lines that are the same length and usually rhyme and form a complete thought |
floor lights | Lights which emit a general fixed spread of light. |
book | To be offered and accept a role. |
hyperbole | exaggeration beyond reasonable credence |
against type | playing a different sort of character than expected |
regency novel | Regency novels are either: |
transient adaptation | The process of the eye adapting from viewing an area at one level of light to an area of higher or lower level. |
arena stage | A theater arrangement in which viewers sit encircling the stage completely |
fancy | Fancy was used interchangeably with imagination in the eighteenth century but during the Romantic period came to signify the faculty of arranging ideas and images in pleasant combinations, as opposed to imagination which was more profound, intellectual and radically inventive. |
textual criticism | Textual criticism (or lower criticism) is a branch of literary criticism that is concerned with the identification and removal of transcription errors in the texts of manuscripts |
audiobook | Sound recording of a dramatic reading of a literary work. |
cut | A direction given by the directo to stop the action of a scene |
caudate rhyme | Another term for tail-rhyme or rime couée |
auditorium | Area of a theater seating or accomodating the audience. |
runway | A long, narrow, raised platform that projects from a main stage into the auditorium upon which models display fashions. |
low-angle shot | A shot taken from below a subject. |
internal conflict | In literature, internal conflict is the struggle occurring within a character's mind |
trivium | In medieval universities, the trivium comprised the three subjects that were taught first: grammar, logic, and rhetoric |
ballad stanza | A quatrain that alternates tetrameter with trimeter lines, and usually rhymes a b c. |
one quarter left | To face stage left at a 45 degree angle from fully open. |
assonance | Assonance is also called 'vowel rhyme' |
crane shot | A shot, usually from overhead, taken by a camera mounted on a crane. |
satire | ridiculing stupidity, vice, folly through exaggeration and humor |
resolution | Also called denouement, |
model's book | A model's portfolio of pictures. |
incandescent | A term used to describe a lamp, or a luminaire that utilizes such a lamp, that employs the incandescence of a filament such as a light source. |
type character | A literary character with traits commonly associated with a particular class of people. |
straight part | A part played without character make-up |
sign-in sheet | A sheet of paper signed by an actor upon arriving for an audition. |
follow spot | any instrument operated so as to follow the movement of an actor |
voice | See speaker, poetic. |
decasyllable | Dodecasyllable, Heptasyllable, Octosyllable) |
fly-rail | A rail on the fly floor to which the lines used for flying scenery are tied to pins or cleats |
anapest | A fairly uncommon metrical foot where two unstressed syllables are followed by a stressed syllable. |
stage director | See Producer |
romantic comedy | type of comedy which usually presents a pair of lovers and their struggle to be united. |
gloss | A gloss (from Latin: glossa, from Greek: γλῶσσα glóssa "tongue") is a brief notation of the meaning of a word or wording in a text |
victorianism | Victorianism is the name given to the attitudes, art, and culture of the later two-thirds of the 19th century |
stage convention | Unrealistic circumstances that the audience will accept as "real" within the context of the play. |
didactic | teaching a lesson or having a moral" |
airs | actions of a person who thinks he or she is superior to others |
ballet | A theatrical dance with pantomime |
romantic comedy | Sympathetic comedy that presents the adventures of young lovers trying to overcome social, psychological, or interpersonal constraints to achieve a successful union |
set-back | A framing for doors and windows to give the appearance of thickness to a scene |
burlesque | A work caricaturing another serious work |
callback | A second, more specific audition where a director looks closer at given actors. |
rhyme | when final vowel and consonant sounds in the last syllable of one word match those of another, usually at the end of lines |
lamp | an arc light source utilizing mercury vapor and metal halide additives for an approximation of daylight (5000-6000-K) illumination |
jeweled escapements | jeweled watch and clock parts |
spokesmodel | An individual who represents a product, service or company. |
exposition | the introduction of essential characters, setting, circumstances of a story or play |
house position | A lighting position located in Front-Of-House. |
"break a leg" | a saying for actors before they go out on stage, meaning "good luck". |
diffused lighting | lighting, provided on the workplane or on an object, that is not predominantly incident from any |
flies | Area above a stage in which scenery, lighting and other equipment are suspended from pipes (battens.) |
accent | A stressed syllable |
pardons | Another term for papal indulgences |
high-mast lighting | illumInation of a large area by means of a group of luminaires which are designed to he mounted in fixed orientation at the top of a high mast, generally 20 m (65 ft) or higher. |
fovea | A small region at the center of the retina, subtending about two degrees and forming the site of the most distinct vision and greatest color discrimination. |
expressionism | a movement in drama which emphasizes subjectivity of perception |
assistant film editor | Assistant Picture Editor, Assistant Sound Editor, Assistant Editor, First Assistant Editor, Second Assistant Editor, Apprentice Editor |
fluency | Automatic word recognition, rapid decoding, and checking for meaning. |
mystery play | type of medieval drama based on the Bible; 'mystery' is used in the archaic sense of the 'trade' conducted by each of the medieval guilds who sponsored these plays. |
pathetic fallacy | The ascribing of human traits or feelings to inanimate nature for eloquent effect, especially feelings in sympathy with those expressed or experienced by the writer, as a "cruel wind," a "pitiless storm," or the lines from Shelley's Adonais: |
ground row | Lighting strips aimed up from the base of a cyclorama or drop |
masking | 1 |
arena stage | a stage design in which the audience is seated all the way around the acting area; actors make their entrances and exits through the auditorium. |
structuralism | A term coined by Jakobson in 1929, which represented a new scholarly paradigm for the humanities and social sciences as well as a dialectical synthesis of the two global paradigms dominating European thought in the 19th century—Romanticism and Positivism |
call time | the time at which each individual actor is expected to be at the theater |
russian formalism | a theory which considers literary language as deviant from everyday language and postulates the concept of poetic function of literary texts. |
mos | (Mit Out Sound) A shot without dialogue or sound. |
heterodiegetic narration | a narrative which is told by a narrator who is not a character in the story, terminology introduced by the critic Gérard Genette. |
analogue | Usually a semantic or narrative feature in one work said to resemble something in another work, without necessarily implying that a cause-and-effect relationship exists (as would be the case with source and influence) |
university wits | University Wits were a group of late 16th century English playwrights who were educated at the universities (Oxford or Cambridge) and who became playwrights and popular secular writers |
wheel | an alliterative rhyming quatrain with four-stress lines that follows the so-called bob, known together as a bob-and-wheel. |
sentimentality | evoking a predictable emotional response with a clichéd prompt |
clause | The word is often used but very hard to define |
cockney school of poetry | a mocking name for London romantic poets such as John Keats and Leigh Hunt (from a scathing review in Blackwood's Magazine in October 1817). |
mythography | The commentary, writings, and interpretations added to myths |
tetrameter | Four feet, a measure made up of four feet |
dialect | the language and speech idiosyncrasies of a specific area, region, or group of people |
call | (a) When an actor is summoned to a rehearsal |
epistrophe | Successive phrases, lines, or clauses that repeat the same word or words at their ends. |
diamante | The diamante, or diamond, poem is a style of poetry made up of 6 lines, using only 13 words, and forms the shape of a diamond |
flashback | A scene in a short story, novel, play, or narrative poem that interrupts the action to show an event that happened at an earlier time. |
film noir: literally | Genre of film which features brooding characters, corruption, crime, detectives, and the seedy side life. |
guest star | On a TV program, prominent one-time or multiple-episode lead actor who is not a regular. |
rhetorical question | A question solely for effect, with no answer expected |
nonce word | for a particular circumstance or occasion. |
jump cut | A cut which conveys an abrupt change in time and/or place. |
dry tech | 1 |
dissonance | The deliberate use of inharmonious syllables/words/phrases in order to create a harsh-toned effect |
rapacity | greediness recumbent: reclining, more or less horizontal redolent: suggesting |
amplification | Rhetorical figures of speech that repeat and vary the expression of a thought. |
ellesmere manuscript | An illustrated (or illuminated) manuscript thought to date from the fifteenth century of Chaucer's, The Canterbury Tales. |
emblem | A symbol which is representative of something. |
satire | The use of wit or humour to attack something. |
script reading | Recitation of lines from a script for an audition or rehearsal. |
city dionysia | See discussion under dionysia. |
synecdoche | A rhetorical figure in which a part is substituted for the whole or a whole for the part. |
high-bay lighting | interior lighting where the roof truss or ceiling height is greater that approximately 7.6 m (25 ft) above the floor. |
proscenium | 1 |
imagism | A poetic movement signifying important elements such as visual imagery and dry, clear language; advocated free verse as well as new rhythmic effects, colloquial language, and the expression of ideas and emotions with clear, well-defined images. |
romance | Alexandre le Grand, written about 1180, in which the measure was first used. |
iambic | See discussion under meter. |
monologue | Characterized by a single speaker. |
center stage | The middle of the performance space. |
phonetic symbolism | Sound suggestiveness; the association of particular word-sounds with common areas of meaning so that other words of similar sounds come to be associated with those meanings |
fable | A short, simple story that teaches a lesson |
boom | A pipe or pole supporting an overhead microphone, light or camera. |
quarter | Call given twenty minutes before curtain goes up. |
lament | A lament or lamentation is a song, poem, or piece of music expressing grief, regret, or mourning. |
proscenium | An arch that frames a box set and holds the curtain, thus creating a sort of invisible boundary through which the audience views the on-stage action of a play. |
field angle | The angle a which the beam edges are 10% of the centre beam candlepower. |
burlesque | A play or part in which exaggerated mockery is made of persons or a situation |
tercet | A verse unit of three lines, usually rhymed, mostly used as a stanzaic form. |
poetry – | POH-EH-TREE (L: poema, poetria) Bound speech that convey a heightened form of perception, experience, meaning or consciousness |
hand model | Performer whose hands are featured in movies, television or commercial productions. |
topic | See subject. |
overplay | To exaggerate. |
hôraku – | WHORE-AH-COO J: Votive poetry composed for presentation to or expressive of the wishes of the gods or of Buddha |
lead role | Principal performer in a movie or a television show. |
overplot | especially in Shakespearean drama, a subplot that resembles the main plot but stresses the political implications of the depicted action and situation. |
backlight | A light that illuminates the actors from an upstage position. |
cheat out | A body position for the stage wherein the actor faces more towards the audience. |
acrostic – | A-CROSS-TIC (Gr |
stream of consciousness | a concept developed in psychology by William James which denotes the idea that one's thoughts are not orderly and well-formulated but more of a jumbled-up sequence of associations, these are not necessarily verbal but also include other sensual perceptions. |
monody | Any elegy or dirge represented as the utterance of a single speaker |
cyhydedd naw ban | A syllabic verse form in ancient Welsh poetry in which some lines are composed of nine syllables |
limited point of view | a perspective confined to a single character, whether a first person or a third person |
hazardous location | an area where ignitable vapors or dust may cause a fire or explosion created by energy emitted from lighting or other electrical equipment or by electrostatic generation. |
chorus performer | Performer hired as a group of singers, dancers or actors. |
narrative modes | the kinds of utterance through which a narrative is conveyed. |
travesty | - Travesti, transgendered men in South America - Travesti (theatre), about men and women playing the opposite sex in Western opera, ballet and theatre |
climax | The high point of action or conflict within a scene or a play. |
dramatic monologue | a type of lyric poem in which a character ( the speaker) addresses a distinct but silent audience imagined to be present in the poem in such a way as to reveal a dramatic situation and, often unintentionally, some aspect of his or her temperament or personality |
out-take | Filmed scenes not used in a movie. |
imitative poem/structure | a poem structured so as to mirror as exactly as possible the structure of something that already exists as an object and can be seen. |
dialect | A distinct regional or linguistic speech pattern. |
fûga – | FUH-GAH J: true art |
fair copy | A corrected--but not necessarily entirely correct--manuscript that a dramatist might submit to a theatre company, as distinct from the draft version known as "foul papers." |
diction | The social position (the sociolect or idiolect) indicated by the choice of words for the poem. |
book | The stage manager's copy of the script which includes all cues and notes |
disability glare | the effect of stray light in the eye whereby visibility and visual performance are reduced |
technical rehearsal | rehearsal for perfecting the technical elements of a show, such as the scene and property shifts, lighting, sound, and special effects |
cretic | Greek and Latin metrical foot consisting of long, short, and long syllables. |
epithet | An adjective or adjectival phrase, usually attached to the name of a person or thing, such as "Richard the Lion-Hearted," Milton's "ivy-crowned Bacchus" in "L'Allegro," or Homer's "rosy-fingered dawn." |
abecedarian | The abecedarian is a poetic form from pre- Biblical times |
colloquial | ordinary language, the vernacular |
try-out | A test performance of a play in the provinces prior to its appearance in a metropolitan theatre |
legitimate theatre | Term which refers to live theatre performed on a stage. |
canon | The concept of an accepted list of great literature which constitutes the essential tradition of English |
tragedy | dramatic sub-genre marked by representations of serious actions which end in disaster for the protagonist. |
kabuki | Popular theatre of Japan usually featuring stock, superhuman heroes and villains. |
barndoor | Shutters attached to lights to control the amount of illumination. |
high-key lighting | a type of lighting that |
verbal irony - irony | Ironic statements (verbal irony) often convey a meaning exactly opposite from their literal meaning |
idyll | An idyll is either a short poem depicting a tranquil country scene, or a long poem telling a story about heroic deeds or extraordinary events of myth and legend. |
ambiguity | A statement with two or more meanings that may seem to exclude one another in the context |
concert border | The border used to mask in the No |
retina | A light-sensitive membrane lining the posterior part of the inside of the eye. |
free | Clearly, if something is free, implying in this case that it lacks form (is not formal) then there can't be, by definition, a prosody |
mock-heroic | treating something trivial with high seriousness, as in John Philips' The Splendid Shilling. |
heavy-stress rhyme | Another term for a masculine ending in a rhyme. |
limited point of view | See discussion under point of view. |
composition | (of writing) The putting together of words in a correct and effective way. |
dressing rooms | Rooms in which actors change into their costumes and apply make-up. |
flicker index | a measure of the cyclic variation in output of a light source, taking into account the waveform of the light output |
text | The words of a script. |
mansion of many apartments | Theory devised by John Keats stating that people are capable of different levels of thought |
above | that area of the stage farthest away from the audience |
stage brace | See Brace |
properties | Objects used by actor on the set. |
cheat | When an actor turns toward the audience or the camera a small amount so as to show more full-face |
triad | A triad in simplest terms is defined as a "group of three". |
antithesis | The place of a line or one of its parts against another to which it is opposed to form a balanced contrast of ideas. |
manikin | Another name for marionette |
action | 1) A verbal cue which indicates that the scene is to begin and that the camera is filming |
fool | A professional role |
clown | An ancient stage character, a jester, dressed in motley, and usually shown as a fool or knave; in Shakespeare sometimes a yokel |
promo | Short for promotional |
denouement | Pronounced Dee-noo-ma, the denouement is that part of a drama which follows the climax and leads to the resolution, sometimes synonymous with resolution. |
guignol - grand guignol | Le Théâtre du Grand-Guignol (French pronunciation: [ɡʁɑ̃ ɡiɲɔl]: "The Theater of the Big Puppet") â known as the Grand Guignol â was in the Pigalle area of Paris (at 20 bis, rue Chaptal) |
ushers | Members of Front-of-House staff who attend to audience members. |
dead-head | A member of the audience who has made no payment for his seat |
buffo | A burlesque actor |
lay | Virelay) |
ghost light | A light, usually by the stage door, that is always left burning. |
monophthongization | The tendency of diphthongs to turn into simple vowels over time, or the actual process by which diphthongs turn into such vowels |
house open | when the audience is allowed into the auditorium. |
company | Cast, crew and other staff associated with a production. |
false proscenium | A structure placed around the Proscenium to lessen the height and breadth of the stage |
acting edition | softbound copy of the script which often contains the stage directions, sound and light, cues, prop lists and costume descriptions from the prompt script of the world premier production |
denouement | Pronounced Dee-noo-ma, the denouement is that part of a drama which follows the climax and leads to the resolution |
casting couch | Refers to the highly unethical practice of pressuring talent into providing sex in return for a role. |
extra | A performer who appears in a non-specific, non-speaking character usually as part of a crowd or in the background of a scene. |
exposition | the first phase or part of plot, which sets the scene, introduces and identifies characters, and establishes the situation at the beginning of a story or play |
follow spot | 1 |
chorus | in greek tragedies, a group of people who serve mainly as commentators on the characters and events |
choric figure | Any character in any type of narrative literature that serves the same purpose as a chorus in drama by remaining detached from the main action and commenting upon or explaining this action to the audience |
gvs | The abbreviation that linguists and scholars of English use to refer to the Great Vowel Shift |
gas-filled lamp | an incandescent lamp in which the filament operates in a bulb filled with one or more inert gases. |
figurative language | language that uses figures of speech. |
spot | a commercial message. |
underplot | a particular type of subplot, especially in Shakespeare’s plays, that is a parodic or highly romantic version of the main plot |
largess | Generosity; a boon or favor granted by a noble person. |
decorum | In order to observe decorum, a character's speech must be styled according to her social station, and in accordance with the occasion |
proverb | A proverb (from Latin: proverbium) is a simple and concrete saying popularly known and repeated, which expresses a truth, based on common sense or the practical experience of humanity |
footlights | a set of striplights at the front edge of the stage platform used to soften face shadows east by overhead luminaires and to add general toning lighting from below. |
costume | Clothing and accessories worn by an actor for a production. |
box set | A set (usually of an interior space) composed of a back and two side walls and sometimes a ceiling. |
resolution | see conclusion. |
bell board | A sound effects board on which are mounted different types of bells (doorbells, phone bells, etc.) |
classicism | A movement or tendency in art, music, and literature to retain the characteristics found in work originating in classical Greece and Rome |
gnomic poetry | Gnomic poetry consists of sententious maxims put into verse to aid the memory |
plot summary | a brief recounting of the principal action of a work of fiction, drama, or narrative poetry, usually in the same order in which the action is recounted in the original work rather than in chronological order. |
epinicions | his name is enduringly associated with that genre of poetry. |
dramatic irony | A device whereby the audience (or reader) understands more of a situation or of what is being said than the character is aware of |
int. | A scene shot indoors. |
director | One who guides or controls a company of players or a play |
back-up | Actor who is hired to work only if the designated performer can't perform satisfactorily. |
ground cloth | Heavy piece of cloth used to cover the stage floor. |
acting | creating an illusion with behavior attributed to a particular character, project by voice and movement to an audience. |
catharsis | The purifying of the emotions or relieving of emotional tensions. |
autobiography | A non-fictional account of a person's life--usually a celebrity, an important historical figure, or a writer--written by that actual person |
hard light | light that causes an object to cast a sharply defined shadow. |
break character | Speaking or acting which is not in keeping with the character. |
mesozeugma | See discussion under zeugma. |
little theatre | (a) A small theatre, without necessarily any other characteristics |
apron | The stage area which is downstage of the proscenium arch. |
tag line | final line of a scene or act, or the exit line of a major character |
resonance | The quality of richness or variety of sounds in poetic texture, as in Milton's: |
ray light reflector | A retrofit reflector and lamp socket assembly, creates a narrow, almost cylindrical shaped beam. |
true rhyme | Words that rhyme on a single stressed syllable. |
fantasy | Fantasy is a genre that uses magic and other supernatural phenomena as a primary element of plot, theme, and/or setting |
claque | People hired for the purpose of initiating and sustaining applause, cheering, whistling, or other enthustic displays of appreciation for a performer or a performance |
inflected | An inflective or inflected language is one like Latin, German, or Anglo-Saxon, in which special endings called declensions appear on the end of noun-stems to indicate case |
logopoeia | Term coined by Ezra Pound to describe a poem which induces both melopoeia and phanopoeia by 'stimulating the associations (intellectual or emotional) that have remained in the receiver's consciousness in relation to the actual words or word groups employed' |
principal actor | A performer who speaks eleven or more lines or who performs a major role without lines. |
sarcasm | a form of verbal irony in which apparent praise is actually harshly or bitterly critical |
episteme | Episteme, as distinguished from techne, is etymologically derived from the Greek word ἐπιστήμη for knowledge or science, which comes from the verb ἐπίσταμαι, "to know". |
satire | A kind of writing that holds up to ridicule or contempt the weaknesses and wrongdoing of individuals, groups, institution, or humanity in general. |
emotional memory | A technique of acting by which an actor recalls the intricate details of a past experience and the emotions experienced for the purpose of evoking a similar emotion which is then used by the actor in performance. |
fly bars | Metal bars to which scenery and lanterns are attached for flying above the stage. |
cameo | A bit part played by a notable actor who would normally only perform larger roles. |
set | Stage area that is visible to the audience. |
setting | The place where a story occurs |
shahed | SHAH-HEED (A: witness) When using H |
tract | A tract is a literary work, and in current usage, usually religious in nature |
fly gallery | See Fly Floor |
rounds | Trips to casting offices which an actor visits on a regular basis. |
glare | the sensation produced by luminance within the visual field that is sufficiently greater than the luminance to which the eyes arc adapted to cause annoyance, discomfort or loss in visual performance and visibility |
stage direction | A direction inserted in a play to indicate the appropriate action, etc |
phrenology | studying the shapes of a person head for clues of intelligence and abilities |
acetone | strong solvent used to remove spirit gum or other adhesives used in makeup. |
ring down | To close the front curtain. |
payday | The day paychecks are distributed. |
float | See Footlights |
comic relief | A comedic line or scene included in what is otherwise a serious production |
antagonist | a character or a nonhuman force that opposes or is in conflict with the protagonist. |
lux | The SI unit of illuminance equal to one lumen per square meter. |
victorian | verse written in the reign of Victoria, from 1837 to 1903. |
arc | The progression of plot throughout a story and how those changes effect the various characters. |
cold submission | Sending an unsolicited headshot and resume to a casting person. |
teaser | A preview of a program used to enticing the listener to watch the program. |
voice | the verbal aspect of point of view, the acknowledged or unacknowledged source of a story’s words; the speaker; the "person" telling the story and that person’s particular qualities of insight, attitude, and verbal style |
ear poetry | see Concrete poetry. |
junior model | A young looking teen model who fits the smaller sizes. |
third person narration | When a story is told by someone who is an outsider and not a character |
inky | A small fresnel spotlight with a 1.5 to 3 lens. |
back | The portion of the stage behind the scene |
resolution | The outcome of the conflict in a play or story |
ga – | GAH (J: elegant or elegance) The highest form of any art in opposition to zoku |
nobel prize for literature | Nobel Prizes were instigated by the Swedish chemist Alfred Bernhard Nobel |
syllable | A word or part of a word representing a sound produced as a unit by a single impulse of the voice, consisting of either a vowel sound alone as in oh or a vowel with attendant consonants, as in throne. |
apostrophe | addressing a person, personified object, abstract quality, or idea as if it was actually present. |
tracking shot | A shot taken with a mobile camera mounted on a dolly or a moving vehicle. |
stress | The prominence or emphasis given to particular syllables |
colonial criticism | See post-colonial criticism. |
pageantry | Spectacular, highly theatrical performance. |
asm | Assistant Stage Manager. |
anapodoton | Deliberately creating a sentence fragment by the omission of a clause: "If only you came with me!" If only students knew what anapodoton was! Good writers never use sentence fragments? Ah, but they can |
counter | When an actor moves, another actor may shift their own position to balance the composition of a scene. |
gather | Gather, gatherer, or gathering may refer to: |
feature presentation | The main movie shown during a screening. |
tormentor | flats or drapes at the sides of the proscenium arch that may be used to alter the with of the stage opening |
catharsis | Much disputed term used by Aristotle in his Poetics where he suggests that tragedy should purge the emotions of pity and fear and, hence, lead to a catharsis |
touring show | a play performed by a company at numerous locations |
cloth | Canvas scenery suspended from above |
playbill | A bill or poster announcing a theatrical performance |
go | Word used by stage managers to cue technical effects. |
narrative present | the present tense used to tell a narrative. |
hold | A contractual obligation to reserve a block of time to work |
cancel | A bibliographical term referring to a leaf which is substituted for one removed by the printers because of an error |
stare | This is the way grammar works in normal English sentences |
living newspaper | Living Newspaper is a term for a theatrical form presenting factual information on current events to a popular audience |
power distribution | A term used to describe electrical equipment that is specially designed to intake electricity and route it to output wiring device or devices. |
breve | A mark in the shape of a bowl-like half circle that indicates a light stress or an unaccented syllable. |
dodecasyllable | Hendecasyllable, Heptasyllable, Octosyllable) |
cinquain | A verse form of five lines with lines of 2, 4, 6, 8, and 2 syllables. |
house lights | General lighting provided for the audience area. |
pathetic fallacy | Describing an inanimate object as though it were animate. |
pose | A position or stance assumed for visual effect. |
hau | Hebrew Actors' Union. |
cast | The talent hired to play the characters in a production |
prompter | One who has charge of the book of the play and follows the actors when speaking their words |
dramaturge | a theatrical scholar |
fairy tale | A story, generally for children about magical beings or the supernatural, often with a moral or message. |
fictional character | An imaginary person represented in a work of fiction (play or film or story). |
wardrobe | Clothing a performer wears for rehearsals and the performance. |
revenger type | major character in revenge tragedies who seeks revenge for some injustice done to him or his family (usually the death of a beloved person or a family member). |
telescoping | Acting technique in which one actor speaks before another is finished. |
breakdown services ltd. | A company that provides to talent agencies descriptions of roles being cast for film and television projects. |
caesura - | SAY-SURE-A (F |
act | A section or a major division within a play |
bridge | Walkway above the stage to reach stage equipment. |
ladder lights | See Proscenium Lights |
cross | To move from one area of the performance area to another. |
pararhyme | Term coined by Edmund Blunden to describe a form of 'near rhyme' where the consonants in two different words are exactly the same but the vowels vary |
assistant art director | An assistant to the art director . |
fox fire | moss or fungus that appears to glow |
follow spot | A lighting instrument used to follow a performer on stage. |
diction | a writer's choice of words, phrases, sentence structures, and figurative languages, which contribute to help create meaning |
cast | (a) The list of players taking part in a play |
quantitative metre | Lines whose rhythm depends on the duration or length of time a line takes to utter |
haikai | Another term for haikai renga or renku |
colour filter | Any coloured transparent material that can be placed in front of a beam to colour the light. |
scene | a small unit in a narrative, in which an event happens in a single setting |
theme | a central message or insight into life revealed through a literary work |
pastoral | Originally a love poem about idealised nymphs and shepherds; now refers to poems located in an idealised rural setting. |
leg | A long, narrow curtain hung to mask the left and right wings from the audience. |
autobiography | an account of the authors own life |
paymaster | Independent payroll/accounting company hired by the producer to issue paychecks to actors and crew. |
mark | A specific place on a set where an actor is to stand to in the proper light and camera angle |
intertextuality | Intertextuality is the shaping of texts' meanings by other texts |
visual cue | A cue taken from the action on stage rather than being cued by the stage manager. |
exposition | 1 |
hubris | Excessive confidence |
peripheral vision | The seeing of objects displaced from the primary line of site and outside of the central visual field. |
motif | In narrative, a motif (pronunciation) (help·info) is any recurring element that has symbolic significance in a story |
preteen model | A model under thirteen years old. |
monodrama | A monodrama (also Solospiel in German; "solo play") is a theatrical or operatic piece played by a single actor or singer, usually portraying one character. |
dolly | A wheeled platform upon which a camera is mounted which allows physical movement of the camera. |
three bells! | Audible warning for QUIET when a scene about to be filmed. |
metafiction | a subgenre of works that playfully draw attention to their status as fiction in order to explore the nature of fiction and the role of authors and readers |
octosyllabic | having eight syllables. |
foot | repeating pattern of |
alliteration | The purposeful repetition of sounds, particularly the beginning consonants of words |
stereotype | A character who is so ordinary or unoriginal that the character seems like an oversimplified representation of a type, gender, class, religious group, or occupation |
inference | Inference is the act of drawing a conclusion by deductive reasoning from given facts |
walk-on | A small role with no lines. |
sticks | Slate or clapboard upon which information about a film take is displayed |
theatrical | (a) Belonging to the theatre |
speaker | (1) the person, not necessarily the author, who is the voice of a poem; (2) anyone who speaks dialogue in a work of fi ction, poetry, or drama. |
intonation | Patterns of pitch in sentences. |
exclusivity | Contract provision in which an actor agrees not to work for other employers during the time the contract is in effect. |
trestle | the framework used to support a platform |
antagonist | A person or force which opposes the protagonist in a literary work |
arena stage | A stage with the audience surrounding it on all four sides. |
anthology | An anthology is a collection of literary works chosen by the compiler |
fable | A fictitious moral tale or legend of ancient origin. |
syntax | The way in which linguistic elements (words and phrases) are arranged to form grammatical structure. |
mesmerism | hypnosis |
bretons | The Celtic inhabitants of Brittany ("Little Britain") in northeast France who speak the Breton language |
low comedy | see comedy |
repetition | The return of a word, phrase, stanza form, or effect in any form of literature |
trombone | the lever on a follow spot that allows the operator to make the beam larger or smaller |
virelai | A medieval French lyric form (a common dance song) developed in the 13th century performed by one or more leading voices and a chorus |
trochaic rhyme | Another word for double rhyme in which the final rhyming word consists of a heavy stress followed by a light stress. |
allusion | a reference to another literary / artistic/ historic, work, author, character, or event (frequently biblical or mythological) |
grand guignol | Shock theatre originating in France; popular in the late 1800s and early 1900s |
homonym | One of two or more words spelled and pronounced alike but different in meaning |
traveler | A horizontally drawn curtain. |
historical linguistics | Historical linguistics (also called diachronic linguistics) is the study of language change |
juxtaposition - contrast | In semantics, contrast is a relationship between two discourse segments |
m.o.w. | Movie of the week |
characterization | The way in which an author represents or portrays a character for the reader |
sonnet | A fixed form consisting of fourteen lines of 5-foot iambic verse |
property master | Responsible for obtaining or constructing props and their use during the production. |
simile | A comparison made with "as," "like," or "than." |
improvisation | A work or performance that is done on the spur of the moment, without conscious preparation or preliminary drafts or rehearsals |
form | The arrangement, manner, or method used to convey the content; how ideas or a story is represented. |
literary ballad | A story told in verse in which a known writer imitates a folk ballad. |
spec script | A script written before any production agreement has been secured. |
metanoia | A rhetorical term for the act of self-correction in speech or writing. |
scene | A division of a script, usually denoting a change in time or place |
metafiction | a type of fiction (usually a novel) which takes the writing process as its topic. |
existent | a character in a story or the setting. |
apostrophe | Apostrophe (Greek ἀποστροφή, apostrophé, "turning away"; the final e being sounded) is an exclamatory rhetorical figure of speech, when a speaker or writer breaks off and directs speech to an imaginary person or abstract quality or idea |
consonance | The close repetition of the same end consonants of stressed syllables with differing vowel sounds, such as boat and night, or the words drunk and milk in the final line of Coleridge's "Kubla Khan." |
apron stage | A stage that projects out into the auditorium area |
gallery | In 19th century theatre, the highest and cheapest seats in the house |
cadence | The ametrical rhythm of natural speech. |
focus | the visual component of point of view, the point from which people, events, and other details in a story are viewed; also called focalization |
french scene | A scene division within a play marked by the entrance or exit of a character. |
pre-rigged truss | A truss section, usually provided with wheels, that has lamp bars installed. |
grand drapery | See Pelmet |
enjambment | A line which ends before grammatical and semantic unity has been achieved and where the sense therefore carries on to the next line without a pause. |
cross-fade | To bring lights down in one stage area of the stage while bringing lights up in another stage area. |
orchestra | in classical Greek theater, a semicircular area used mostly for dancing by the chorus. |
orchestra | the playing area in an ancient Greek theater |
production schedule | A detailed plan of the timing of activities associated with making a production. |
talent | An individual with specific skills. |
reel | A composite of brief clips from an actor's film, TV, or commercial work. |
stage fright | Fear of speaking or performing in front of an audience. |
aisle | A pathway for easy travel through a seating area. |
floor plan | A drawing that show the location of scenic elements. |
skin money | Extra payment made to performers if nudity is required on stage. |
costume fitting | the process of getting measured and trying on costumes for a production. |
daylight lamp | a lamp producing a spectral distribution approximating that of a specified daylight. |
walkaway | A meal break in which cast and crew get a meal on their own. |
prefix | An affix or addition to the beginning of a word. |
crisis or turning point | A point of great tension in a narrative that determines how the action will come out. |
stage | The entire area behind the proscenium on part of which the acting is done |
tudor interlude | Short tragedies, comedies, or history plays performed by either professional acting troupes or by students during the early sixteenth century. |
accentual-syllabic | the |
screen actors guild | SAG |
verse | As a mass noun, poetry in general (but in a non-judgmental sense); and, as a regular noun, a line of poetry. |
dramaturg | Someone who works as a consultant to the production company, who researches script selection, and background and historical relevance of the production |
on book | Time when performers have not yet memorized their lines. |
neologism | A new word or phrase that ties together existing words or ideas |
dress rehearsal | A full rehearsal, with all technical elements included. |
prologue | Introductory speech that introduces the performance, commenting on the action which will take place. |
break a leg | A traditional alternative to saying "Good Luck" (which is considered bad luck). |
motion picture sound editors | MPSE |
dmx 512 | A unique digital multiplex signal with specific characteristics that is used in the stage and studio lighting industry. |
content | Diction, Form, Motif, Style, Texture, Tone) |
puff/puffery | Reviews which overpraise or laud unworthy work; usually produced by literary cliques |
down right | Acting area closest to the audience, on the right side of the stage as the actor faces the audience. |
characterization | Characterisation or characterization is the process of conveying information about characters in narrative or dramatic works of art or everyday conversation |
antagonist | Opposes the hero (protaganist) of a drama. |
ruritanian romance | A Ruritanian Romance is a story set in a fictional country, usually in Central or Eastern Europe, such as the Ruritania that gave the genre its name |
play | A script that is intended to be performed live. |
doggerel | Rhymester, Versifier) |
subplot | plot which is less important than and separate from the main plot though usually linked to it. |
setting | Time period and place (which can include geographical location) of a story |
fit-up | Temporary stages, prosceniums and equipment for converting an ordinary platform into a stage |
isocolon | a line or lines that consist of clauses of equal length. |
glossmeter | an instrument for measuring gloss in terms of the directionally selective reflecting properties of a material at angles near to and including the direction giving specular reflection. |
syndication | A system of broadcasting programs through independent distributors. |
holograph | A holograph is a document written entirely in the handwriting of the person whose signature it bears |
stereotype | A stereotype is a held popular belief about specific social groups or types of individuals |
stage-fright | Nervousness experienced by an actor when appearing before an audience, especially on his first appearance |
spectacle | 1 |
allegory | A pattern of reference in the work which evokes a parallel action of abstract ideas |
euphony - phonaesthetics | Phonaesthetics (from the Greek, "voice-sound"; and "aesthetics") is the claim or study of inherent pleasantness or beauty (euphony) or unpleasantness (cacophony) of the sound of certain words and sentences |
close reading | The careful focus upon ways that writers' choices of form, structure and language shape meaning |
franchised agent | A talent agent approved by AFTRA or SAG to solicit and negotiate employment for their members. |
catharsis | an emotional purging or cleansing experienced by an ancient Greek audience at the end of a tragedy |
middle style | In classical rhetoric, the middle style is represented by speech or writing that falls between the extremes of the plain style and the grand style. |
onomatopoeia | The use of a word whose sound in some degree imitates or suggests its meaning |
accentual prosody | Poetry where the stressed syllables are the only syllables counted. |
curtain call | When actors are called before the audience at the fall of the curtain on a play or act of a play |
pause | A break or suspension in a line of verse. |
colour frame | Frames into which are placed coloured gelatine or glass for stage lighting |
mononym | A one-word name (such as "Oprah" or "Prince") by which a person or thing is known. |
diffusing | Those surfaces and glazing that redistribute some of the incident flux by scattering in all directions. |
volpone | If the medial letters are used, it is a mesostich; if the final letters, a telestich |
fluorescent | A discharge lamp in which a phosphor coating transforms ultraviolet energy into visible light. |
allusion | A casual reference to any aspect of another piece of literature, art, music, person or life in general. Authors suppose that the reader will identify the original source and relate the meaning to the new context |
melodrama | A play of a sensational character with strong action and a happy ending in which virtue triumphs |
on hold | a casting director will put you 'on hold' when you are wanted by the client for the job but not formally hired yet |
non-union | A person or production not affiliated with a union. |
hot set | A set on which a scene is being shot and which should not be changed or disturbed. |
comedian | Actor who specializing in comedy. |
apothegm | An adage (pronounced /ˈædɨdʒ/), or adagium (Latin), is a short but memorable saying which holds some important fact of experience that is considered true by many people, or that has gained some credibility through its long use |
focus | To aim a lighting fixture, or to adjust a fixture's beam. |
iatse | International Alliance of Theatrical and Stage Employees. |
melodrama | A form of cheesy theater in which the hero is very, very good, the villain mean and rotten, and the heroine oh-so-pure |
striplight | A luminaire with a number of lamps arranged in a line |
metaphor | one thing pictured as if it were something else, suggesting a likeness or analogy between them |
verso | See discussion under quarto or examine this chart. |
flat character | see character |
doggery | cheap saloon |
light ground row | A batten used on the floor of the stage |
allusion | – A-LOU-SHUN The inclusion in a poem of identifiable elements from other sources |
actor's equity association | Labor union for professional live performance actors. |
historical novel | According to Encyclopædia Britannica, a historical novel is: "a novel that has as its setting a period of history and that attempts to convey the spirit, manners, and social conditions of a past age with realistic detail and fidelity (which is in some cases only apparent fidelity) to historical fact |
identical rhyme | The use of the same words as a "rhymed" pair |
all-american look | Middle-American appearance. |
border | Drapery or masking scenery hung above the acting area to mask overhead lights and the area above the stage. |
aperture | The opening in the front of a camera through which light passes to create the image. |
starring | A lead role. |
revolutionary age | A term from time to time employed to refer to American literature |
catwalk | a narrow, elevated walkway, as on the sides of a bridge or in the flies above a theater stage |
equity | A trade union for actors and stage managers involved in live performances. |
prolepsis | anticipation. |
artificial sky | An enclosure that simulates the luminance distribution of a real sky for the purpose of testing physical daylighting models |
above | Toward the back wall of a stage. |
syllable | The smallest unit of speech that normally occurs in isolation, or a distinct sound element within a word |
revenge tragedy | Tragic Flaw: In a tragedy, the quality within the hero or heroine which leads to his or her downfall |
theater | Form of performance that tells a story through a mix of acting, dance, mime, verbal narrative and song. |
catastrophe | in Gustav Freytag's terminology the final stage of development in a tragedy usually involving the death of the protagonist. |
finno-ugric | A language group including such languages as Finnish, Hungarian, Estonian and others. |
aside | a dramatic technique in which a line is said by one character to him or herself or to the audience |
pelmet | A short curtain or drapery placed just behind the top of the proscenium to mask in the No |
modality | Linguistic devices that indicate the degree to which an observation is possible, probable, likely, certain, permitted, or prohibited. |
light loss factor | A factor used in calculating the illuminance after a given period of time and under given conditions |
syllable | A unit of pronunciation making up a word |
scrim | A thin, gauze-like curtain |
downstage | Acting area nearest to the audience |
booking | A firm commitment to accept a role offered to an actor. |
line of business | The parts in which an actor specialises |
symbol | A person, place, or object that represents something beyond itself |
slapstick comedy | Comedy in which humor is derived from physical action. |
business | (a) The action and movement of the actors as distinguished from dialogue |
antitype | A figure, event, or symbol in the New Testament thought to be prefigured by a different figure, event, or symbol in the Old Testament |
canon | In a literary sense, the authoritative works of a particular writer; also, an accepted list of works perceived to represent a cultural, ideological, historical, or biblical grouping. |
dialogue | conversation of characters in fiction or drama |
cable network | Nationally distributed programming provided by a cable hookup (such as Showtime, ESPN, CNN, HBO.) |
medieval theatre | Medieval theatre refers to the theatre of Europe between the fall of the Western Roman Empire and the beginning of the Renaissance |
marxist criticism | an approach to literature under Marxist premises. |
light plot | The diagrammatical layout of luminaire's and related equipment. |
looping | Recording and adding dialog to a scene after the scene has been filmed. |
beam spread factor | A number with which you multiply the throw distance to determine beam spread. |
catharsis | in Aristotle's terms the cleansing emotional effect achieved by drama as a result of the audience's emotional involvement in the plot and the feelings of the characters in the play. |
caricature | A portrait (verbal or otherwise) that exaggerates a facet of personality. |
crash box | Metal box filled with broken crockery which is dropped offstage to simulate breaking glass. |
run | The consecutive performances of a play |
blocking | The movement and positioning of actors for a scene. |
house left | Left side when seated in the audience. |
diction | A writer's choice of words, particularly for clarity, effectiveness, and precision |
prompter | One who assists the actors with lines. |
three-quarters right | To face stage right in a position halfway between full back and right profile. |
style | a distinctive manner of expression |
photo double | A film actor cast to perform in place of another. |
throw distance | The distance from a lighting fixture to the object being lit. |
lyric – | LEER-RICK (Gr: lyra – a musical instrument) Lyric is one of the three general categories of poetic literature |
apron | (forestage) stage area in front of the main curtain. |
amphibrach | In classical poetry, a three-syllable poetic foot consisting of a light stress, heavy stress, and a light stress--short on both ends |
fantods | state of having the fidgets, being nervous |
thesis | the central debatable claim articulated, supported, and developed in an essay or other work of expository prose. |
hysteron proteron | The hysteron proteron (from the Greek: ὕστερον πρότερον, hýsteron próteron, "latter before") is a rhetorical device in which the first key word of the idea refers to something that happens temporally later than the second key word |
act drop | the painted curtain closing the proscenium between the qacts of a play, so-called ruing the latter part of the eighteenth century. |
stage door | Backstage entrance to the theatre. |
heptameter | Heptameter is one or more lines of verse containing seven metrical feet (usually fourteen or twenty-one syllables). |
monologue | A monologue is a speech or composition presenting the words or thoughts of a single character. |
formel | A female eagle. |
make-up artist | One who specializes in applying make-up to actors or models. |
accentual verse | Verse in which the metrical system is based on the count or pattern of accented syllables, which establish the rhythm |
sequence | a series of scenes that create a segment |
consonance | a common type of near rhyme that consists of identical consonant sounds preceded by different vowel sounds |
in medias res | A plot device where the action starts at an exciting point then flashes back to the beginning proceeding to the end. |
epilogue | A final section of a work which serves to conclude the whole. |
falling action | All of the action in a play that follows the turning point |
dialogue | (1) usually, words spoken by characters in a literary work, especially as opposed to words that come directly from the narrator in a work of fiction; (2) more rarely, a literary work that consists mainly or entirely of the speech of two or more characters; examples include Thomas Hardy's poem "The Ruined Maid" and Plato's treatise Republic. |
personal essay | an essay which emphasizes a personal, subjective view |
ad lib | to improvise words and actions |
mystery | A religious play of the middle ages |
narration | (1) broadly, the act of telling a story or recounting a narrative; (2) more narrowly, the portions of a narrative attributable to the narrator rather than words spoken by characters (that is, dialogue). |
everyman character | main character that actually represents all people |
top billing | the star of the show whose name is most prominent on the marquee and at the top of the playbill |
haiku | a form of Japanese poetry, usually about nature, consisting of 17 syllables in three metrical phrases of 5, 7, and 5 syllables respectively |
minnesingers | German lyric poets who were writing between the 12th and 14th centuries |
tabs | The front or tableaux curtains |
blackout | The fast shutdown of all lighting |
open turn | To turn toward the audience. |
sobikimono | – SO-BEE-KEY-MO-NO (J: rising things) Phenomenon like fog, clouds, smoke, etc |
stock company | A company of players attached to a theatre with a stock of plays, or able to perform any play as required |
business | An incidental bit of unscripted or improvised action used to establish a character or establish the scene. |
analytic plays | plays which start in ultimas res. |
three quarters left | To face stage left in a position halfway between full back and left profile. |
upstaging | To deliberately cross to a place upstage of another performer thus forcing the other performer to turn away from the audience in order to talk with the upstager. |
analepsis | see flashback. |
anacrusis | In poetry, anacrusis (Ancient Greek: ἀνάκρουσις "pushing back") is the lead-in syllables, collectively, that precede the first full measure. |
stigma of print | The stigma of print is the concept that an informal social convention restricted the literary works of aristocrats in the Elizabethan and Tudor age to private and courtly audiences â as opposed to commercial endeavors â at the risk of social disgrace if violated, and which obliged the author to profess an abhorrence of the press and to restrict his works from publication |
persona | A personality, in the word's everyday usage, is a social role or a character played by an actor |
tragicomedy | a play that combines the elements of tragedy and comedy |
throw line | Sash cord or rope used for lashing flats together |
grand guignol | Le Thà©à¢tre du Grand-Guignol (French: "The Theater of the Big Puppet") â known as the Grand Guignol â was in the Pigalle area of Paris (at 20 bis, rue Chaptal) |
private symbol | In contrast with an archetype (universal symbol), a private symbol is one that an individual artist arbitrarily assigns a personal meaning to |
metrical substitution | A way of varying poetic meter by taking a single foot of the normal meter and replacing it with a foot of different meter |
consonance | repetition of final consonant sounds in words close together (short and sweet, struts and frets) |
satyr play | A burlesque play submitted by Athenian playwrights along with their tragic trilogies |
morphology | Morphology is the branch of linguistics (and one of the major components of grammar) that studies word structures, especially in terms of morphemes. |
novella | a work of prose fiction that falls somewhere in between a short story and a novel in terms of length, scope, and complexity |
dieresis | The pronunciation of two adjacent vowels within a word as separate sounds rather than as a diphthong, as in coordinate; also, the mark indicating the separate pronunciation, as in naïve. |
historical novel | According to Encyclopà¦dia Britannica, a historical novel is: "a novel that has as its setting a period of history and that attempts to convey the spirit, manners, and social conditions of a past age with realistic detail and fidelity (which is in some cases only apparent fidelity) to historical fact |
voice | Indicates whether the subject is acting or being acted upon |
rising action | The events in a story that move the plot forward |
close reading | Reading a piece of literature carefully, bit by bit, in order to analyze the significance of every individual word, image, and artistic ornament |
teleplay | A script written to be produced for television. |
blocking precise | Stage directions and movements given to an actor by the script or the director. |
beat | the smallest division of action in a play |
working title | Name by which a production is known while it is being made |
covering | making up dialogue and or blocking due to a mistake or accident onstage without breaking character. |
high comedy | High comedy or 'pure comedy' is a type of comedy characterized by witty dialog, satire, biting humor, or criticism of life. |
octave | the first eight lines of a |
house lights | The lights in the auditorium |
letters - intellectual | An intellectual is a person who uses intelligence (thought and reason) and critical or analytical reasoning in either a professional or a personal capacity. |
light ending | Light ending may refer to: |
rhyme | A rhyme is a word that is identical to another in its terminal sound: 'while' is a rhyme for 'mile'. |
point of view | The perspective from which the story is told. In a third person point of view, a narrator outside the story describes the events and thoughts of the characters. Limited point of view refers to a narrator who tells the story in the third person but from a character's viewpoint. The first person point of view, narrated from an "I" perspective, is very limited because the reader only knows what the character knows. |
onomatopoeia | The formation or use of words that imitate sounds, or any word whose sound is suggestive of its meaning. |
treads | A stage staircase or set of steps. |
thesis | The main position of an argument |
master carpenter | Stagehand responsible for all scenery and the crew that handles the scenery. |
pastiche | An artistic effort that imitates or caricatures the work of another artist. |
child labor laws | Government regulations (vary from state to state) covering the employment of children. |
character objectives | The goal a character is trying to achieve. |
character | A person portrayed in a novel, short story, or play. |
skylight | A relatively horizontal glazed roof aperture for the admission of daylight. |
perfect rhyme | Occurs when both the consonant and the vowel sound in two words sound identical, even if the words are spelled differently, as in "to" and "two," and "fight" and "sight." |
first team | The principal actors. |
exposition - dramatic structure | Dramatic structure is the structure of a dramatic work such as a play or film |
setting | Time and place in which a performance is set. |
footcandle | A unit of illumination |
pupil | The opening in the iris of the eye that admits light. |
showing | the direct (mimetic) presentation of speech or action (opposite: telling). |
tragedy | A play with a fatal or disastrous conclusion |
surrealism | A dream state in which reality and the unreal co-exist without contradicting one another; the suggestion of a dream in which the irrational is expressed through a synthesis of opposite meanings |
tenor | The tenor is a type of male singing voice and is the highest male voice within the modal register |
kuzari | - COO-ZAH-REE (J: suspension) The lapse of a number of stanzas between the use of certain words |
slug line | Notation appearing in a script before each shot detailing the location, date, and time that the following action is to occur in. |
fairy tale | A story written for, or told to, children that includes elements of magic and magical folk such as fairies, elves, or goblins |
bar | a pipe suspended above the stage upon which scenery, ighting and other equipment are hung. |
proskenion | A raised stage constructed before the skene in classical Greek drama |
motion picture editors guild | Professional union for picture and sound editors, re-recording mixers, projectionists, recordists, mic boom operators, engineers and story analysts. |
bowdlerize | Thomas Bowdler (pronounced /ˈbaʊdlər/) (11 July 1754 â€" 24 February 1825) was an English physician who published an expurgated edition of William Shakespeare's work, edited by his sister Harriet, intended to be more appropriate for 19th century women and children than the original. |
product conflict | Inability to accept commercial work for a product because the actor is contractually associated with a competing product. |
prozeugma | See discussion under zeugma. |
cyc | Short for Cyclorama |
antagonist | a character that hinders the protagonist from achieving his or her goals. |
size card | A card filled out with personal information by the talent at an audition. |
dithyramb | In ancient Greece, an irregular and wildly passionate choral hymn or chant sung in honour of Dionysius at a sacrificial festival. |
mood | The quality of a verb that conveys the writer's attitude toward a subject. |
gel or gelatine | A thin, transparent colored filter placed infront of a lighting instument to color the light emitted. |
phonetics | A study of the production of speech sounds. |
focal point | Place within the acting area that attracts the interest to the audience at that moment. |
slang | Informal diction or the use of vocabulary considered inconsistent with the preferred formal wording common among the educated or elite in a culture |
dim | A direction to decrease the light on the stage |
low comedy | see comedy |
curtain warmers | A cue designed to light the grand drape (if used) or uninhabited stage (if no front curtain is used) in order to give the audience something at which to look before the performance begins, at intermission, and after the performance ends. |
catharsis | For an audience to have an emotional reaction while watching a performance where they purge themselves of their pity and fears. |
audience | An audience is a group of people who participate in a show or encounter a work of art, literature (in which they are called the "reader"), theatre, music or academics in any medium |