Drama+Terms

__**Terminology for Drama:**__
1. Motivation 2. Objective 3. Characterization 4. Creativity 5. Concentration 6. Status 7. Conflict 8. Intent 9. Plot 10. Obstacle 11. GOTE (goal, other person, tactics, expectations) 12. Articulation 13. Pace 14. Pitch 15. Resonance 16. Volume 17. Movement 18. Emphasis 19. Monologue 20. Beat (action, obstacle, objective, inner image)


 * ~ Term ||~ Definition ||
 * improvisation || the portrayal of a character or a scene without rehearsal ||
 * spontaneity || naturalness ||
 * Illusion of the first time || to make the audience think that this is your first performance ||
 * scene-stealing || diverting attention from the other actors ||
 * character centered || approach focuses on a character or a group of characters who experience different situations one after another ||
 * situation centered || takes a single situation and places a number of characters into the the situation to demonstrate how different personalities will respond to the same event ||
 * pantomime || acting without words ||
 * nonverbal communication || communicating without words ||
 * crossing || moving from one place onstage to another ||
 * gesture || the movements of any body part to help express an idea or an emotion ||
 * kinesthesis || the neuro-muscular awareness the body feels in a particular physical position ||
 * mime || an offspring of pantomime that conveys abstract ideas ||
 * inclination || the bending of the body to the front, side, or rear ||
 * rotation || the turning or pivoting of a part of the side or the rear ||
 * isolation || separates parts of the body for individual development and expression ||
 * quality || the individual sound of your particular voice ||
 * resonance || the vibrant tone produced when sound waves strike the chambers of the throat, head, nose, and mouth ||
 * nasality || when vowel sounds are diverted from the oral cavity into the nasal cavities, cutting down resonance and leaving the voice flat ||
 * inflection || makes the voice musical and interesting ||
 * monotone || from speaking continuously on one level ||
 * volume || the relative strength, force, or intensity which a sound is made ||
 * rate || the speed at which words are spoken ||
 * diction || refers to the selection and pronunciation of words and their combination in speech ||
 * schwa || the vowel sound ||
 * voiceless || if there isnt a vibration in the vocal folds ||
 * voices || if there is a vibration in the vocal folds ||
 * pronunciation || the correct vowel and consonant sounds in words and placing the accent on the proper syllables ||
 * ad-lib || to improvise stage business ||
 * at rise || who and what are onstage when the curtain opens ||
 * backstage || the area behind the set ||
 * bit || an acting role with very few lines ||
 * blocking yourself || getting behind furniture so that you can not be seen by the audience ||
 * building a scene || using dramatic devices to bring the scene to the climax ||
 * business || any specific action preformed on the stage ||
 * countercross || a movement in a direction opposite to a cross to balance the stage picture ||
 * cover || to obstruct the view of the audience ||
 * cue || a stage signal ||
 * curtain || the curtain that drops at the end of the show ||
 * cut || to stop action ||
 * cut in || to break into the speech of another actor ||
 * downstage || the part of the stage towards the audience ||
 * dressing the stage || placing furniture, keeping the stage picture balance during the action ||
 * enter || to move onto stage ||
 * exit || to leave the stage ||
 * feeding || giving lines in such a way that another actor can make a point to laugh or make a point ||
 * foil || an acting role that is used for personality comparison ||
 * hand props || items that a main character uses....hammer, phone ect. ||
 * hit || to emphasize a word or line for extra focus ||
 * holding for laughs || waiting for the audience to quite down after a funny line ||
 * leading center || a body part or feature used by an actor to lead movements, often used to show a characters personality ||
 * left and right || terms used to refer to the stage from an actors point of view ||
 * master gesture || a distinctive action that serves as a clue to a character's personality ||
 * milk || to draw maximum response from the audience from comic lines ||
 * offstage || off the visible stage ||
 * onstage || on the visible stage ||
 * overlap || to speak when someone else is speaking ||
 * pace || the movement of the play as it progresses ||
 * personal props || small props that are usually carried in an actors costume ||
 * places || the stage command the actors to take their positions at the opening of an act ||
 * plot || to plan stage business ||
 * pointing lines || emphasizing an idea ||
 * principals || the main characters in a play ||
 * props || all the stage furnishing ||
 * ring up || to raise the curtain ||
 * role scoring || the analysis of a character ||
 * scripting || the marking of one script for a character ||
 * set || the scenery for an act ||
 * set props || props placed onstage for the use of actors ||
 * sides || half-sheet pages of a script that contains the lines, cues, and business for one character ||
 * stealing a scene || attracting attention from the person to whom the audience's interest legitimately belongs ||
 * subtext || the unstated or between the lines meaning that an actor must draw from the script ||
 * tag line || the last speech in an act or a play ||
 * taking the stage || giving an actor freedom to move over the entire stage ||
 * temp || the speed ay which the action of a play movies along ||
 * timing || the execution of a line or piece of business at a specific moment to achieve the most telling effect ||
 * top || to make line stronger than the or lines preceding it by speaking at a higher pitch. ||
 * upstage || area on stage away from the audience ||
 * upstaging || improperly taking attention from an actor who should be the focus of interst ||
 * walk-on || a small acting part ||
 * warn || to notify of an upcoming action or cue ||
 * emotion acting || actors play their parts in such a way that they actually weep emotionally in front of the audience ||
 * technical acting || performance is based on acting technique, an actor analyzes the plays structure and the personalities of the characters ||
 * leading roles || the main character ||
 * protagonist || one who must solve the problem ||
 * antagonist || who opposes the goals of the protagonist ||
 * juvenile || young male lead ||
 * ingenue || young female lead ||
 * principals || the leads ||
 * supporting roles || the challenge of a role lies in the type of person to be portrayed. ||
 * straight parts || resemble in appearance and personality the characters the playwright had in mind ||
 * character part || always include some distinguished trait or personality type ||
 * type casting || casting someone over and over again in the same kind of role ||
 * pause || a stop ||
 * versatility || the ability to change style with ease ||
 * primary source || the individual ||
 * secondary source || the books that you read to help shed light in your character ||
 * body language || nonverbal communication ||
 * master gesture || a distinctive action that serves as a clue to a characters personality ||
 * leading center || a part in the body that leads movements ||
 * cheat out || when he or she pivots the torso and turns face toward the audiece ||
 * giving the scene || when you turn toward the other actor ||
 * turning the scene in || when they shift their body's upstage ||
 * share a scene || equally with another actor when you stand parallel to each other ||
 * knap || slapping sound ||
 * inflections || rising, faling, sustained, and circumflex ||
 * rising || used to indicate surprise or shock ||
 * falling || indicates the end of a statement ||
 * sustained || staying on the same note ||
 * circumflex || two or moe vowel sounds for what ordinarily is a single vowel sound ||
 * substitution || technique to portray an emotion ||
 * producer || a person who can envision the end product and be actively involved with the production as it takes place ||
 * director || responsible for creating a team that will work toward a common goal ||
 * critiques || the communication is accomplished is rehearsal and through oral, written, or taped notes ||
 * assistant director || a student who serves as a liaison between the director and the cast crew ||
 * prompter || person who attended every rehearsal and can ask any question ||
 * scenic designer || settings, costumes, makeup, and lighting ||
 * technical director || costumes and lighting. props ||
 * stage manager || takes charge backstage during rehearsals ||
 * grips || people who move the scenery ||
 * properties chief || acquiring furniture and props that fit the designers plan storing them and preparing a prop table and giving hand props to actors backstage ||
 * business manager || the responsibility of financial arrangements ||
 * publicity manager || person who promotes the show in school or public ||
 * house manager || person who makes sure the physical comfort of the audience members and smooth admission and intermission periods ||
 * warn cue || advises the stage manager of an entrance, a sound effect, or a lighting change ||
 * callbacks || auditions to read again from the script ||
 * resume || a picture of you ||
 * reading rehearsal || the first one ||
 * blocking rehearsal || the movement on stage business are worked out ||
 * working rehearsal || words and actions are put together ||
 * bridging || adding words before the difficult ones ||
 * polishing rehearsal || lines memorized and action set, all phases of the production can be brought together in an artistic whole ||
 * technical rehearsal || every crew member and actor must get their materials organized and preformance duties clearly in mind ||

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