|
|
|
1
|
The place where the audience sits to enjoy the performance on stage
|
|
3
|
A narrow, horizontal masking piece above the stage.
|
|
4
|
A large drapery of painted canvas that provides the rear or upstage masking of a set
|
|
8
|
This is the area toward the back of the stage, away from the front edge
|
|
9
|
These are the stage movements and positions that the director works out with the actors in rehearsal for dramatic effect—and so they won’t bump into each. The stage manager makes a careful note of blocking directions for later reference.
|
|
12
|
Vertical curtains or flats used to hide the wings from view and frame the audience’s view of the stage.
|
|
13
|
Conversation in a play
|
|
14
|
Apart from being what actors do on stage
|
|
15
|
Although unionized actors and crew have been known to strike, in the theatre this term is generally used to describe the process of disassembling the set when a production closes
|
|
16
|
The team of theater workers who take care of the physical aspects of a production at each performance.
|
|
18
|
The complement of actors in a play
|
|
|
|
|
|
|
2
|
The various flats, drops, etc. that are used to create a particular visual setting for a play.
|
|
5
|
They oppose what the main hero, or protagonist is trying to accomplish.
|
|
6
|
Objects on the stage such as furniture that are not part of the actual scenery
|
|
7
|
A prearranged sign that indicates to a performer, crew member or stage technician that it is time to proceed to the next line or action. A
|
|
10
|
A flat piece of painted scenery often consisting of a wooden frame covered with stretched fabric, usually canvas.
|
|
11
|
This a type of border used in combination with tormentors to frame the audience’s window onto the stage.
|
|
15
|
The scenery for a scene or entire production. In the latter case it is often known as a “unit set” when designed to serve as several different settings with only minor changes between scenes or acts
|
|
17
|
The areas to either side of the stage that the audience does not normally see.
|
|
|
|
