ABOVE ACAPELLA ACT 1) Subdivision between sections of a play. A short play is a 'One-Act-er', a play with one interval has two Acts etc. Acts are subdivided further into Scenes. 2) The thing Actors can do which makes them different from Techies (!!). ACTOR ACTOR AUDIENCE RELATIONSHIP There are many different theatre shapes and styles, but the most important factor when designing a space for performance is the relationship between the audience and the actors on stage. The audience should be able to clearly see and hear all of the actors on the stage, in order to have a connection or relationship with them. A space where the audience is close to the stage (or feels close to the stage) is known as an INTIMATE auditorium. If the space is too big, it's harder for the audience to feel involved in the performance. AD LIB From Latin Ad libitum meaning "at one's pleasure". The presence of mind by an actor to improvise when; 1) another actor fails to enter on cue 2) the normal progress of the play is disturbed 3) lines are forgotten 4) It may also be a bad habit developed by some actors whereby unnecessary "gags" are introduced into the dialogue. In the past, any business or words that were not in the scripted act 'as known' would be seen as a breach of contract by some No.1 Managements. ANAGNORISIS ANIMATEUR ANNOUNCER ANTAGONIST ASIDE ASSISTANT DIRECTOR AT RISE AUDITION AWG BEAT 1) In acoustics, a periodic variation in amplitude which results from the addition of two sound waves with nearly the same frequency. Also affects radio reception. 2) A deliberate pause for dramatic / comic effect. 3) A measure of time when cueing (e.g. "The LX cue needs to go four beats after the door is closed" or "Leave it a beat after the blackout, then play the sound cue"). 4) A unit of action, as suggested by Stanislavski to help actors determine the through-line of a role. BELT VOICE BIBLE BIT PART BOB FOSSE American dancer, choreographer and director. June 23, 1927 – September 23, 1987 Wikipedia entry BREAK A LEG BRECHT / BRECHTIAN* BROADWAY CABOTINAGE CALLBACKS CAMEO CANTASTORIA CAST CASTING CATHARSIS CENTRE CENTRE Blocking Notation CENTRE STAGE The middle portion of the stage - has good sightlines to all seats of the auditorium. Also known as MID STAGE. CHARACTER 1. The mental and moral qualities distinctive to an individual within the world of the play. 2. A named individual within the play (e.g. "There are ten characters in scene one, all of whom have speaking parts."). CHARACTERISATION CHEAT OUT CHEWING THE SCENERY An actor who gives a completely hammy and over-the-top performance is said to be Chewing the Scenery. See the link below for more. More about Chewing the Scenery CHOREOGRAPHY CHORUS 1) In Greek theatre, a character (or group) representing an element in the drama which comments on the action, and advances the plot. 2) A sound processing effect which adds 'body' to a sound by overlapping a number of slightly delayed versions of the original sound. CLIMAX COD PANTO COLOUR-BLIND CASTING COMIC RELIEF COMMEDIA DELL’ARTE COMPANY STAGE MANAGER Shortened to CSM. The Company Stage Manager acts as a liaison between the production company and the actors / performers, particularly with regard to contracts, logistics, accommodation & transport. See also Production Stage Manager. CONCEPTUAL DIRECTOR CONFLICT A device setup by the playwright consisting of an argument, disagreement, need or inequality between characters. There are broadly four types of conflict: 2) Societal Conflict Occurs between an individual character (or small group) and a larger group or society.3) Inner Conflict A character struggling with her/himself; either trying to escape a mode of behavior (addictive) or a state of mind.4) Situational Conflict Involving a situation which must be escaped or resolved.CONSCIENCE ALLEY COUP DE THEATRE 1) A surprising turn of events or spectacular moment during a play. 2) A surprisingly successful theatrical performance. With correct accents: coup de théâtre CREATIVE TEAM Informal (and disputed) term for the team of production and design staff around the Director (as opposed to CAST and PRODUCTION TEAM). The Creatives list consists of the Director (and Co-Directors), Composer & Author (if it's a new work), Designers (Set, Lighting, Costume, Sound etc.), Stage Manager, Choreographer, Dramaturg etc. The stage management team, Production Manager, set-building team etc are part of the Production Team, not the main Creatives. And that is where the problems arise. All members of the team that put on the show, including the cast, are ALL creative, not just those seen as closest to the director. It's best to avoid the term if possible, and stick to job titles, rather than drawing lines between levels of seniority. DÉNOUEMENT DIALOGUE DICTION DIDACTIC Didacticism is a philosophy that emphasizes instructional and informative qualities in literature and other types of art. The term has its origin in the Ancient Greek word διδακτικός (didaktikos), "related to education and teaching", and signified learning in a fascinating and intriguing manner. Didactic art was meant both to entertain and to instruct. Didactic plays, for instance, were intended to convey a moral theme or other rich truth to the audience. An example of didactic writing is Alexander Pope's An Essay on Criticism (1711), which offers a range of advice about critics and criticism. An example of didactism in music is the chant Ut queant laxis, which was used by Guido of Arezzo to teach solfege syllables. (from Wikipedia) Wikipedia entry DOWNSTAGE TURN DRAMATIC IRONY DRAMATIC PAUSE A brief pause (a few beats) in an actors' delivery of a line to emphasise a moment or to heighten anticipation. It's important that the DSM does not shout out the next line, while the lead actor is pausing dramatically. DUOLOGUE EDUCATION DIRECTOR The Education Director is a member of the theatre staff and is responsible for fulfilling the outreach and educational programme of the theatre or company. This may involve organising activities and workshops, meeting with school teachers about organising trips and workshops, managing staff, preparing and delivering an Education Plan, conceiving and directing youth performances as the outcome of workshops etc. They may also develop resources on current productions. In some organisations they may also be known as the Education Manager, Outreach Co-Ordinator etc. *If you need more information about Education Director, please email with specific details of what you are looking for* EIGHT ASPECTS OF THEATRE Refers to a book entitled The Theatre of Bertolt Brecht: A Study from Eight Aspects by John Willetts (1959). The eight aspects of Brecht's work that are analysed in the book are:1) The Subject Matter2) The Language3) Theatrical Influences4) The Music5) Theatrical Practice6) The Theory7) Politics8) The English Aspect. ENSEMBLE EPILOGUE EQUITY EULOGY EXEUNT EXODOS EXPOSITION 1) The section of plot at the start of a play which provides essential background information about the characters, their situation, and their relationships to each other. 2) Any dialogue or narration which advances the plot or provides background information that may be relevant later in the production. EXPRESSIONISM EYE LINE In Film & TV production, it's important that actors can concentrate on their performance - cameras capture much more detail than can be seen by an audience in theatre. If a crew member is in the actors' eye line, and is looking at the actor, the actor can be distracted, and possibly taken out of the moment (especially if the crew member is grinning or laughing). Many high profile actors have had crew members removed from the set for being in their eye line. If you are on set, do not stare at the actors while they are working, unless you're far enough away, or they're facing in a different direction. FALLING ACTION FARCE Form of comedy play originated in France, using fast-paced physical action and visual comedy more than humour based on language. In London's West End, following the Second World War, there were farces at the Aldwych Theatre (the Aldwych Farces, particularly those by Ben Travers) and at the Whitehall Theatre (the Whitehall Farces). FIFTH BUSINESS FLUFF FOIL 1) A fencing blade, rectangular in cross-section (the Épée has a triangular cross-section, with a groove running down the length of the blade, and is heavier). 2) A subsidiary character who emphasizes the traits of a main character. FORELOOK FORESHADOWING FOUND SPACE 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. Where the cast addresses the audience directly, this is said to be 'Breaking the Fourth Wall'. See also ASIDE. FREEZE FRAME 1) A technique for allowing a character to 'step out' of a scene and reveal something to the audience, while the rest of the action freezes. The name comes from a film technique where the images is frozen in time. 2) A single frozen image in a film which replaces the usual progression of movement, usually to emphasise a dramatic moment, sometimes accompanied by a fade to blackout. FRENCH SCENE GENDER SWAPPING Also known as Gender-Bending. Theatre continuously evolves and reinvents itself, including finding new ways to look at old work. Gender-Swapping involves changing a fictional character's biological sex and/or gender identity from the usual way the character is portrayed. In Marianne Elliot's production 'Company' in London in 2018 and later on Broadway, the role of Bobby was gender-swapped to be female. GENRE GOD MIC GRAND CURTAIN GRAND GUIGNOL HAM HEADSHOT HIT YOUR MARK HOLDING FOR A LAUGH HOT SEATING IMPROVISATION A comment or behaviour by an actor or group of actors that is not rehearsed or prepared (or, sometimes, authorised by the director). If the improvisation helps the performance move forward, appropriately, due to a technical or other issue, then improvisation can be helpful. If, however, it's put in to raise a laugh or breaks character or the mood of the scene, it is frowned on. See also AD LIB. INGENUE INSTALLATION 1) An electrical system in a particular building (e.g. "the stage lighting installation was tested last year")2) A piece of art designed to transform a particular room or building into something other than a room in an art gallery. Installations often use complex audio-visual equipment and can be intensely immersive experiences. (e.g. "In the studio space this week we have an installation by John Doe entitled 'Space'") INTENTION INTERIOR MONOLOGUE INTERVAL Break between sections of a performance. During a play, the interval is normally half way through a standard length performance (approx 1 hour each half) and is usually 15 or 20 minutes in duration. Known in the US as an INTERMISSION. For a full house, a 20 minute interval may be necessary. However, if there are no refreshments available, the interval can be shorter. A performance of less than 90 minutes in length could run straight through with no interval, although this wlil affect the theatres' takings for the night. INTIMACY DIRECTOR LAMDA LEAD 1) The leading actor (regardless of gender) plays the main character in a play or musical. The term is sometimes genderised (the 'leading man' is the male actor and the 'leading lady' is the female actor). 2) Another word for a cable, usually a short connection between pieces of equipment. LEGIT VOICE LICENCE 1) Permission must be obtained (and paid for) from the representatives of the author(s) of the piece of work / play before it is performed (or even rehearsed). This Performing Rights Licence grants the applicant permission to perform the work on specified dates, at a specified location. The licence requires the applicant to purchase individual copies of the play text, and it does not give permission to photocopy the text. It often also stipulates that the play must be performed in full, as written, without edits. It does not give permission to adapt, edit or rewrite any part of the work. In the UK and USA, Samuel French is a major publisher and rights processor for many play texts. Many other publishers exist. You can usually find out how to apply for rights in the first few pages of the play text, or using search engines (type 'Name of play' +'Performing Rights'). 2) Licences are also required for child or animal performers, or for guns or other types of weapons in some locations. If in any doubt which licences you need, check with the venue or other local theatre professionals. LINE-TOPPING LITERARY MANAGER A theatre company or producing venue may employ a literary manager to work on reading plays that are submitted to evaluate them and decide if any are suitable to be put into production. They may also be responsible for suggesting existing plays / texts to the theatre management and artistic team. MAGIC IF MANTLE OF THE EXPERT The mantle of the expert is a student-centered dramatic-inquiry-based approach to teaching and learning invented and developed by Professor Dorothy Heathcote at the University of Newcastle upon Tyne in the 1980s. This approach inverts the typical teacher-to-student model of teaching by allowing the students to dictate their learning and educational process through creative drama. The students, rather than the teacher, are the main communicators in this process. (From Wikipedia) Wikipedia entry MASK 1) Form of theatre where actors faces are covered with masks. 2) Early word for GOBO. MEISNER TECHNIQUE MELODRAMA A Melodrama is a dramatic work that exaggerates plot and/or characters in order to appeal to the emotions. It is usually based around having the same character traits, (for example, a hero, who is fearless and who the audience is rooting for, the heroine, who is usually in peril of some kind, which the hero rescues her from; the villain (usually likes the heroine too) and villain's sidekick (typically gets in the way of or annoys the villain). The term is also used in scholarly and historical musical contexts to refer to dramas of the 18th and 19th centuries in which orchestral music or song was used to accompany the action. METHOD ACTING MIRACLE PLAY MIRRORING 1) Drama exercise involving two performers facing one another, either side of an imaginary mirror line. One tries to exactly duplicate the movements of the other, as if they were a reflection of that person in a mirror. 2) (AV/IT) Function on a laptop computer where the built-in display output is duplicated on the projector output. Turning off mirroring enables software such as Qlab to display a cue list / controls on the laptop display while the projector output shows the media (still images, videos or live cameras) required for the show. MISE EN SCÉNE MODERNISM Predominantly European artistic and philosophical movement that arose due to changes in society and industry in the late 19th and early 20th centuries. The movement is also seen as a reaction against the horrors of World War 1. Characterised by a rejection of 'traditional' artistic forms; gave rise to abtract art, atonal music, stream-of-consciousness writing etc. Initially modernist theatre was an attempt to employ naturalistic principles, as advocated by Emile Zola in the 1880s. However, a simultaneous reaction against naturalism attempted to integrate poety, painting, music and dance in a harmonious fusion. MONOLOGUE MORALITY PLAY MOTIF MOTIVATION MUMMERS PLAY MYSTERY PLAY Also known as a Miracle Play. Traditional since medieval times, the Mystery Play is a re-enactment of bliblical scenes, usually performed outdoors in a small town or village, by the community. A Passion Play is a cycle of plays that portray the Easter story, specifically. One of the most famous is the Oberammergau Passion Play, performed in the German town in years ending in a zero. What is a Miracle Play MYTH NARRATOR NATURALISM 1) Lighting Design: A naturalistic approach to lighting design requires lanterns to be placed in ways that duplicate where the light would come from in nature. For example, a sunny day outdoor scene would be lit primarily from above the acting area, with fill lighting in from the sides as if from the cloud. A dark room would be lit by moonlight through a window, and the light level would increase when a door is opened from a lit corridor or when a light fitting is turned on. NOISES OFF Stage direction to indicate a clatter / bang offstage to which the cast should react. The type of noise should be indicated by the surrounding action! Also, a farce by British playwright Michael Frayn about life backstage, featuring a large interval set change. NOTES OBSTACLE OFF-OFF BROADWAY OLIO 1) (from Spain / Portugal - ollo a spicy stew consisting of different meats and vegetables) A collection of different acts (e.g. comedy, songs, dance, puppetry), or an act which isn't part of the main show, inserted to fill a gap, to cover a scene change or as an encore after a dramatic play. Example usage: 'The event was an olio of poetry, dance and songs'. 2) An additional cloth in variety / movie theatres, between the audience and the movie screen, which was made of oil (olio) cloth, and known as the Olio, on which there were often painted ads for local businesses. Acts were performed in front of this before the movie played. OUTSIDE EYE OVERTURE PACE The speed at which actors deliver their lines and perform their actions. A speed run can be useful to warm-up actors and to really make sure everyone is on form. The pacing of the show can have a real effect on how the audience react to it - it's a very tricky thing to maintain, especially as everyone gets more familiar with the show. A fast-paced scene takes energy and concentration, and can slow down as familiarity sets in, and a slow-paced scene may speed up. Directors often wish to cut down on unnecessary pauses and delays, but also to maintain the moments of silence between speeches when needed. PERIPETEIA PHYSICAL THEATRE Physical theatre is a genre of performance which makes use of the body (as opposed to the spoken word) as the primary means of performance and communication with an audience. In using the body, the performer or actor will concentrate on: The use of body shape and position Facial expressions Rhythmical movement, pace and the energy of the body Gesture Posture Gait Physical theatre can be distinquished from dance in that it tends to focus more on narrative, character and action. However, the boundaries between the two are rather blurred. There are various styles and genre of physical theatre. These include: Physical comedy - where the body is the primary means of comic creation Mime Stomp- where the body, with external objects, is used for its percussive potential Some forms of puppetry Circus The most famous institution devoted to physical theatre is the Lecoq school in Paris. Students here follow the method of Jacques Lecoq, which developed out of his experience of mask work, commedia dell'Arte and his interest in the physicality of performance. Definition from Wikipedia - click for more PIANO-VOCAL PLAYLET PLAYWRIGHT POST-SHOW DISCUSSION POSTER Advertising material for an event. The poster contains the name of the event, the date and time, cost of ticket, how to get a ticket, and where the event is taking place. It should also contain information (for example, a recommended minimum age) that may prevent a person booking. It should have an appropriate design for the type of event, and often contains a photograph or image as a background to the textual information. Some memorable posters are very simple in design. Website and social media links can also be included on the poster. Other advertising materials could include fliers (small versions of the poster, with additional information on the back), newspaper adverts, radio adverts, TV spots, T shirts, other apparel (baseball caps, beanies) etc. The UK design agency Dewynters is responsible for many iconic posters for West End shows - their approach is to make the poster image strong enough to be seen even if it's passing by at speed (e.g. on a bus or being seen from a car). Their most famous posters (e.g. Phantom of the Opera or Cats) are successful due to the strong 'logo' design which carries a simple message about the show, and can be recognised at a glance. Italian: Locardina UK National Theatre Posters Gallery UK Theatre Posters by Dewynters at the Victoria & Albert Museum PREPRODUCTION PREVISUALISATION PRODUCTION DESK Table in the auditorium at which director/designer etc sit during rehearsals (especially technical rehearsals). Usually has its own lighting and communications facilities. For small venues the desk is used by the lighting designer and her/his team so that they can see the lighting from the audiences' point of view. The lighting control desk may be moved to the production desk, or the desk and programmer may remain in the control room, and have a remote interface on the production desk, which may have a display screen showing the cue list etc, which the designer can configure. Larger shows (including Broadway and West End) will often remove large sections of audience seating in the stalls and install a number of production desks for all technical areas including lighting, projection, sound, scenic automation etc. PROLOGUE PROTAGONIST The leading character or 'hero' in a play who has to fight against / oppose the ANTAGONIST. This term derives from the theatre of Ancient Greece when the Protagonist was the first actor to speak (aside from the CHORUS). As more 'lead' actors were added, they became known as the Deuteragonist and Tritagonist. PULL FOCUS 1) (Film-making) To change the focal distance setting on a camera so that an object either comes into sharp focus, or is defocussed sometimes so that something else a different distance away, comes into sharp focus. Where necessary, this activity is carried out by a Focus Puller. 2) (Acting) To behave in such a way that the audiences' attention is pulled away from another performer. R&D Short for Research and Development. This describes an experimental phase of a project when different ideas are played with, as the piece of work is being created. RADA READ THROUGH REALISM REHEARSAL (from Latin hirpex - 'large rake used as a harrow'. Rehearse means 're-harrow', or to 'go over again'. It originally meant 'to repeat' (mid 14th century). It wasn't until the late 16th century that it came to it's modern meaning.) A session when actors are called to work through some scenes from the play in private. Types of Rehearsal: The initial phase consists of a Readthrough, when the entire company and technical staff hear the play read by the actors straight-through, as written in the script. Blocking Rehearsals follow the readthrough(s) and involve working through the play scene-by-scene with the actors and director looking at movements and on-stage positions / physical relationships of the actors. They also may involve character analysis and discussions about the emotional development of the characters as the plot progresses. The set should be marked out on the rehearsal room floor, and stand-in furniture (either generic tables & chairs, or rehearsal blocks) is used where relevant. This is sometimes known as an Acting Area Rehearsal. Once the blocking is worked out, and the actors know what they're doing, the performance is said to be 'Up on its' feet' - it is able to be run through, and the technical team and designers can watch rehearsals knowing they're seeing the bare bones of what will become the finished performance. A Line Run (also known as Line Bash) is a speed run of just the actors' lines, to enable them to feel confident that the text is correct (and remembered). Polishing Rehearsals follow, once the actors are secure with their movements through the play, and look at the nuances of character and how lines are delivered in more detail, along with any physical sequences. The Director works with the actors in small groups, rather than having the entire company called to each session. A series of Technical Rehearsals (often shortened to Tech Rehearsal) are the first time when technical elements (lighting, set etc.) are combined with actors. The actors should be secure in their character, blocking, physical actions etc by this point, and the technicai crew work on integrating all of the technical and physical aspects of the show. Dress Rehearsals (or Dress Runs) are performances of the show as it will be on opening night, with all technical elements up-to-speed and working correctly, including full costume and make-up. The stage management team use these rehearsals to ensure any scene changes and technical aspects work reliably, repeatably and safely, and the actors ensure they can perform as required at full speed, and that none of the technical elements cause them any problems. RELAXED PERFORMANCE RESOLUTION 1) The point during a drama when the plotline reaches a conclusion, and conflict is resolved. 2) A measure of the quality of a video display / projection. Measured in the number of pixels width x height. 3) The quality of a sound sample is measured by the sample rate (e.g. 44.1kHz is CD quality sample rate) and the resolution (either 8 bit or 16 bit normally). REVIVAL A new production of a performance (long) after its' inital run of performances has ended. Sometimes out-of-date references are updated, questionable material may be amended, or new material may be added. RISING ACTION RP / RECEIVED PRONUNCIATION RUN-THROUGH SCRIPT The text of a play, containing the words spoken by the actors. Also contains stage directions and other notes. The script of a piece of musical theatre is called the Libretto. The script for a piece of physical (or non-verbal) theatre is called the Score. SHOWING SITE-SPECIFIC THEATRE SITZPROBE (German for seated rehearsal). The first rehearsal between Opera singers and the orchestra. No attempt is made to act or move the production at this rehearsal. See also WANDELPROBE SKIN MONEY SLAPSTICK SLATE SOLILOQUY SPAA SPEAR CARRIER SPIEL STAGE FRIGHT STAGE LEFT / RIGHT Stage Right = OP (Opposite Prompt) French: Cote Jardin, Netherlands: Toneel Links (translates to Stage Left!) Stage Left = PS (Prompt Side) French: Cote Cour, Netherlands: Toneel Rechts (translates to Stage Right!). NB: The Netherlands, Portugal and Germany use the opposite to the rest of Europe; i.e. Stage Left UK = Stage Right. The directions are seen from the director's and audience's perspective, NOT the actors. In Portugal Isquerda (left) is the equivalent of UK Stage Right and Direita (right) is the equivalent of UK Stage Left. STANCE STEP OUT / STEP IN STOCK CHARACTER A sterotypical character or archetype that is used regularly in a particular style of drama. Usually a fairly one-dimensional character. See also COMMEDIA DELL'ARTE STURM UND DRANG SUBPLOT SUBTEXT* SUPERNUMARY SUSPENSION OF DISBELIEF SWING A member of the cast of a musical (or a play with a large cast) who understudies multiple ensemble roles in the production. When a member of the main cast is not well, has a day off or, in some cases, is performing in a principal role for which they are the understudy, a swing performs in their place. In the cast of a musical, there will at least be a male swing who understudies all the male chorus roles in the cast, and also a female swing who understudies all the female chorus roles. In larger casts, there might be two or more swings for each gender. Swings are members of the cast who are in addition to those called for by the script, so in a performance where all of the chorus members and all the actors playing principal roles are present, the swings will not be performing in that particular performance -- although in most cases they will be waiting backstage to be available in the event they are needed. The actions required of a performer throughout a particular performance is known as the Track. See also ALTERNATE, TRACK, STANDBY, UNDERSTUDY. Submitted by Pierce Peter Brandt SYMBOLISM A late nineteenth-century art movement seeking to represent absolute truths symbolically through metaphorical images and language mainly as a reaction against naturalism and realism. Subtle introduction of symbolism can add layers of complexity and sophistication to a performance concept. Settings: A large throne symbolises power, a window symbolises the outside world or freedom etc. Colours also play a big part in symbolism on stage. Wikipedia entry TABLE READ TELESCOPING THEATRE OF CRUELTY Theatre of Cruelty is a form of theatre originally developed by avant-garde French playwright, essayist, and theorist Henry Becque. Antonin Artaud, some 50 years later, is also seen as a main contributor to the genre, notably with The Theatre and its Double. Originally a member of the surrealist movement, Artaud eventually began to develop his own theatrical theories. The Theatre of Cruelty can be seen as a break from traditional Western theatre and a means by which artists assault the senses of the audience, and allow them to feel the unexpressed emotions of the subconscious. While Artaud was only able to produce one play in his lifetime that reflected the tenets of the Theatre of Cruelty, the works of many theatre artists reflect his theories. These artists include Jean Genet, Jerzy Grotowski, and Peter Brook. (from Wikipedia) Wikipedia entry THEATRE OF THE ABSURD THESPIAN THOUGHT TRACKING TIE TRAGEDY TRAGI-COMEDY / TRAGICOMEDY TRIGGER WARNINGS Some audience members may be upset by particular themes that may be featured in some plays. It's important that the creative team are aware of these themes, and how they may affect audience members, and if necessary consult with local support groups or charities that can provide advice on how to deal with the issues sensitively. Although some venues may list the themes in advance publicity, others (such as The Old Vic in London) prefer to keep the trigger warnings unseen unless audience members ring the theatre in advance. TRYOUT A fully-staged run of a show in a provincial location before the show opens in a higher-profile location such as the West End of London or Broadway in New York. The tryout run allows the show to be fine-tuned, to amend (or cut) sections which are unnecessary or don't work, and can also build word-of-mouth, and enable the production to have publicity photos etc before the show arrives at its' final destination for a (hopefully) long run. Although many Broadway shows use out-of-town tryouts (e.g. Dear Evan Hansen (Washington DC), Frozen (Denver)), there are notable exceptions. Spider-Man Turn Off The Dark was too technically complex to be set up in another venue, so the show had a hugely extended run of previews on Broadway, and suffered with many technical and logistical issues, as well as the departure of a key member of the creative team. However, shows such as Book of Mormon and School of Rock opened 'cold' on Broadway and have gone on to huge success. The cost of tryouts is increasing (see OnStage Blog) so a tryout is no longer the only option. See also PREVIEWTURN 1) When an actor turns on stage, they have two options - a closed turn (away from the audience, turning back to the audience) or an open turn (towards the audience). The open turn is preferred for many types of performance. A slight turn to face the audience more directly is called 'opening up'. 2) Techie name for an Actor/Artiste. ('What time does the turn get here?') TYPECAST UNIT OF ACTION VERBATIM THEATRE VERFREMDUNGSEFFEKT VIEWPOINTS VIGNETTE WALK-ON WARM-UP WORKING REHEARSAL 1) A rehearsal where the performance is worked on by the actors on stage and the director in the auditorium, giving very occasional direction and notes and solving issues as it progresses. There may not be any technical elements on stage - this is a rehearsal for the actors - they know their lines, they know the blocking, they are running the performance to find nuances of character, or to problem-solve. 2) A rehearsal which has a small audience watching it. While on tour, a group of supporters or sponsors may be invited to a rehearsal as a way of giving them exclusive access. Some dance companies (e.g. American Ballet Theatre) have a programme of working rehearsals where anyone can buy a ticket to watch part of a performance (not usually a dress rehearsal, but a rehearsal for the dancers rather than the technicians). These are sometimes accompanied by a narration on headsets where a guide explains the process, talks about the history of the art-form, choreography and dancers. |