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| A male or female person who performs a role in a play, work of theatre, or movie. |
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| A person or a situation that opposes another character’s goals or desires |
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| The clear and precise pronunciation of words |
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| The planning and working out of the movements of actors on stage. |
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| The center of the area defined as the stage. |
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| A personality or role an actor/actress re-creates |
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| The development and portrayal of a personality through thought, action, dialogue, costuming, and makeup. |
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| The point of greatest dramatic tension or transition in a theatrical work. |
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| A reading of a script done by actors who have not previously reviewed the play. |
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| Opposition of persons or forces giving rise to dramatic action. |
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| An improvisational, process-centered form of theatre in which participants are guided by a leader to imagine, enact, and reflect on human experiences. |
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| A decisive point in the plot of a play on which the outcome of the remaining action depends |
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| Opinions and comments based on predetermined criteria that may be used for self- evaluation or the evaluation of the actors or the production itself |
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| A signal, either verbal or physical, that indicates something else, such as a line of dialogue or an entrance, is to happen |
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| The final resolution of the conflict in a plot |
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| The conversation between actors on stage |
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| The pronunciation of words, the choice of words, and the manner in which a person expresses himself or herself |
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| The stage area toward the audience |
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| The particular literary structure and style in which plays are written |
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| The final few rehearsals just prior to opening night in which the show is run with full technical elements. Full costumes and makeup are worn |
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| The theatre of England during the reign of Queen Elizabeth I and often extended to the close of the theatres in 1640 |
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| The technique of calling upon your own memories to understand a character’s emotions. |
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| A group of theatrical artists working together to create a theatrical production. |
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| Detailed information revealing the facts of a plot |
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| A comedy with exaggerated characterizations, abundant physical or visual humor, and, often, an improbable plot. |
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| An expressive movement of the body or limbs. |
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| Theatrical events in honor of the god Dionysus in Ancient Greece and included play competitions and a chorus of masked actors |
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| A spontaneous style of theatre through which scenes are created without advance rehearsal or a script |
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| One of the traditional forms of Japanese theatre, originating in the 1600’s and combining stylized acting, costumes, makeup, and musical accompaniment. |
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The height of an actor’s head actor as determined by his or her body position (e.g., sitting, lying, standing, or elevated by an artificial means).
Make |
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| A long speech by a single character |
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| A character’s reason for doing or saying things in a play |
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| A type of entertainment containing music, songs, and, usually, dance |
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| A character’s goal or intention |
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| The tempo of an entire theatrical performance |
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| Acting without words through facial expression, gesture, and movement |
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| The highness or lowness of voice |
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| The placement and delivery of volume, clarity, and distinctness of voice for communicating to an audience |
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| The main character of a play and the character with whom the audience identifies most strongly |
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| The part of a plot consisting of complications and discoveries that create conflict |
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| A rehearsal moving from start to finish without stopping for corrections or notes |
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| Memories of sights, sounds, smells, tastes, and textures. It is used to help define a character in a certain situation. |
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| The backstage technical crew responsible for running the show. In small theatre companies the same persons build the set and handle the load-in. Then, during performances, they change the scenery and handle the curtain. |
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| The director’s liaison backstage during rehearsal and performance. The stage manager is responsible for the running of each performance |
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| The left side of the stage from the perspective of an actor facing the audience. |
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| The right side of the stage from the perspective of an actor facing the audience |
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| Established characters, such as young lovers, neighborhood busybodies, sneaky villains, and overprotective fathers, who are immediately recognizable by an audience |
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| Information that is implied by a character but not stated by a character in dialogue, including actions and thoughts |
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| To imitate or represent life in performance for other people; the performance of dramatic literature; drama, the milieu of actors, technicians, and playwrights; the place where dramatic performances take place |
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| Noncompetitive games designed to develop acting skills and popularized by Viola Spolin |
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| The characteristics of a voice, such as shrill, nasal, raspy, breathy, booming, and so forth |
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| The degree of loudness or intensity of a voice |
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