key terminology Flashcards
rapport
the feeling created by an ensemble or cast working together during a performance.
stillness
using a quiet voice and a subtle body language to create a calm atmosphere on stage.
corpsing
an actor who collapses into uncontrollable laughter during a rehearsal or performance is said to be corpsing.
facial expressions
a form of non-verbal signalling using the movement of facial muscles. an integral part of communication, facial expression also reflects an individual’s emotional state.
eye contact
how an actor maintains eye contact with the audience and other actors throughout a performance.
body language
the conscious and unconscious movements and postures by which attitudes and feelings and communicated.
gestures
body or facial movements of a character during a play. gesture can be described by the author, or suggested by the director or actor.
pitch
the highness or lowness of the tone of voice. generally male voices are lower pitched and female voices are higher pitched.
gait
a person/character’s manner of walking.
tone
the way the words are spoken to demonstrate the emotion behind their meaning.
proxemics
proxemics means the distances between characters/actors in a play. it shows their relationships and feelings.
volume
loud or quiet.
projection
using the voice loudly and clearly to ensure the dialogue is heard by the audience.
levels
levels refer to the use of different heights, e.g. through standing or sitting, to convey meaning on stage. they can be used to create visual interest, but they can also signal status and character relationships.
inflection
pronouncing a word to stress it’s meaning.
pace
the speed the dialogue and/or action is delivered to the audience.
elongation
to draw out to greater length; lengthen; extend.
clarity
clarity is a characteristic of a speech or a prose composition that communicates effectively with it’s intended audience.
intonation
the rise and fall in voice.
accent
using voice to communicate character’s background’s.
diction
the quality or style of speaking of a character within the play, consisting of components such as accent, inflection, intonation and enunciation.
frensel - with barndoors
an attachment which is fixed to the front of a lantern to cut off the lighting beam in a particular direction (s).
general flood
a lens-less lantern that produces a broad non-variable spread of light.
follow spot
a powerful profile lantern fitted with it’s own dimmer, iris, colour magazine and shutters mounted in or above the auditorium, used with an operator so that the light beam can be moved around the stage to follow an actor.
GOBO
a thin metal plate etched to produce a design which can then be projected by a profile spotlight. there are hundreds of gobo designs available - common examples are breakup (foliage), windows and scenic (neon signs, city scapes and more).
martins
lights which move. automated lights or moving light.
backlight
light coming from upstage, behind scenery or actors, to sculpt and separate them from the background.
blackout
the act of turning off (or fading out) stage lighting.
fade
a fade is an increase, diminishment or change in lighting or sound level.
dim
dull light/low intensity.
intensity
high intensity - bright
low intensity - dim
cross fade
bringing another lighting state up to completely replace the current lighting state. also applies to sound effects/music.
action prop
a hand-held practical prop used by an actor for combat or for a specific purpose.
hydraulic lift
a built in lift (for example billy’s bedroom and the staircase in billy elliott).
revolving stage
a revolving stage is a mechanically controlled platform within a theatre that can be rotated in order to speed up the changing of a scene within a show.
treads
stairs on stage/to the stage.
casters
wheels that are used for set to move around the stage.
scrim/gauze
cloth with a relatively coarse weave. used unpainted to diffuse a scene played behind it. when painted, gauze is opaque when lit obliquely from the front and becomes transparent when the scene behind it is lit.
composite set
a stage setting where several locations are represented in the same space and isolated or highlighted by lighting each area separately.
cyclorama
the cyclorama is a curved plain cloth or plastered wall filling the rear of the stage.
multi-media screen
a multimedia monitor is one that contains built-in speakers and a camera.
door flat
scenery item consisting of a wall containing a working door.
dressing (the set)
decorative props (some practical) and furnishings added to a stage setting are known as set dressing.
entrance
1) a part of the set through which actors can walk onto the stage.
2) the act of an actor walking onto the stage.
exit
1) a part of a set through which actors can leave the stage.
2) the act of an actor walking off the stage.
fourth wall
the imaginary wall of a box set through which the audience see the stage. the fourth wall convention is an established convention of modern realistic theatre, where the actors carry out their actions unaware of the audience.
flat
a lightweight timber frame covered with scenic canvas, or plywood. flats are used to provide a lightweight and easy-to-move and re-configure backdrop to a stage set. flats sometimes have windows or doors built into them to provide extra flexibility, for use in realistic settings. masking flats are used to hide areas the designer does not want the audience to see, or to provide actors with an exit, or somewhere to store props.
props
(properties) furnishings, set dressings, and all items large and small which cannot be classified as scenery, electrics or wardrobe. props handled by actors are known as hand props, props which are kept in an actor’s costume are known as personal props.
material/fabric
the most appropriate fabrics to suit the character, setting and style of the production should be considered. for example, in the present day performers can wear costumes that use modern synthetic materials, such as nylon. fabric can also provide information about a character’s social status. e.g. a wealthy character may wear a silk dress.
texture
the texture of the fabric used on a costume can provide the audience with information about a play’s context or insight into a character. for example, a soft cashmere cardigan in pastel tones can suggest that a character is warm and caring, whereas leather and suede in dark colours can appear more threatening. it is important to consider how textured surfaces react differently under stage lighting, e.g., a shiny finish like satin is very reflective under lights.
colour
colour is a very important aspect of a costume. it can convey a symbolicidea or reveal something about the character wearing the costume.
condition
the condition of the costume can convey information about a character’s circumstances.
cut
the way a costume is cut refers to the shape of fabric pieces used to construct it. for example, a suit can be cut in different ways to help change the performer’s physical appearance, making them appear either smaller or larger. cut can also provide information about the historical setting of the play, e.g, flares are a style of trousers that become wider below the knee and are largely associated with the 1970’s.
fit
the fit of a costume refers to how the clothing fits the performer, e.g tight, oversized or fitted perfectly. it can reveal a character’s personality or the context of the play.
shape
costume can be used to give a performer a different physical shape, e.g., a body suit may be worn to make a performer appear larger. the outline created by a costume on a performer is called a silhouette. different silhouettes are associated with different fashions throughout history, e.g., shoulder pads are reminiscent of 1980’s power dressing.
adornments
adornments are the accessories that are added to a costume, e.g., jewellery, handkerchiefs and bags.
make up
hair and make-up are also aspects of costume design. simple make-up is often used to help pick out the performer’s facial features under bright lighting,but make-up serves many other functions. for example, it is used to: create special effects such as cuts and bruises.
help a performer appear older, e.g., to create wrinkles
change facial features, e.g., through the use of prosthetics.
aisle
a passage through seating.
auditorium
the part of the theatre accommodating the audience during the performance. sometimes known as the “house”.
backstage
the part of the stage and theatre which is out of the sight of the audience. the service areas of the theatre, behind, beside or underneath the stage.
wings
the out-of-view areas to the sides of the acting area.
offstage
the area out of sight of the audience.
centre stage
the middle portion of the stage – has good sightlines to all seats of the auditorium.
upstage
the part of the stage furthest from the audience.
downstage
the part of the stage nearest to the audience (the lowest part of a raked stage).
stage left/right
left/right as seen from the actor’s point of view on stage. (i.e., stage left is the right side of the stage when looking from the auditorium).
trap
an opening through the stage floor.
elevator stage
a type of mechanised stage which has sections that can be raised or lowered.
stalls
the lowest audience seating area, usually just below the level of the stage, in a proscenium theatre.
raked stage
a sloping stage which is raised at the back (upstage) end. all theatres used to be built with raked stages. today, the stage is often left flat and the auditorium is raked to improve the view of the stage from all seats.
raked auditorium
audience seating area which is sloped, with its lowest part nearest the stage.
house lights
the auditorium lighting which is commonly faded out when the performance starts.
proscenium arch
the opening in the wall which stands between stage and auditorium in some theatres; the picture frame through which the audience sees the play. the “fourth wall”.
apron
the apron is a section of the stage floor which projects towards or into the auditorium.
microphone
device for converting sound into electrical pulses which can then be amplified or recorded onto tape.
radio mic
device consisting of a microphone head, transmitter pack with batteries, aerial and mains receiver unit which allows actors and singers to be amplified with no visible means of connection.
soundscape
using sounds to create an aural environment for a scene. a director or designer might develop a soundscape to create an atmosphere appropriate to the drama. each individual might create a sound appropriate to accompany or introduce the scene. for example, one person might make sea sounds vocally while another imitates the cry of a seagull to suggest the seaside. repeated words and phrases overlapping each other can also be used to suggest a location or to portray sounds in a character’s head from a nightmare or series of flashbacks.
diegetic sounds
sound effects within a scene, adding to the realism.
non-diegetic sounds
sound external to the context of the story, and not heard by the characters.
digital effects
reverb, delay, phasing, flanging, harmonising, chorusing.
haze
hazeallows the beams of light to become visible thus making the lightshow come to life. it also diffuses the light meaning it’s less harsh to look directly into.
back projection
the projection of a picture on to the back of a translucent screen for viewing or for use as a background in filming.
dramatic irony
where the audience knows more about a situation on stage than one of the characters in the drama.
