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A
ACTING AREA
The area of the stage where the play is performed. Also called the Playing Area.
AD-LIB
To improvise lines or speeches that are not part of the script.
ADVANCE BAR
A lighting bar hung from the auditorium ceiling, usualy fairly close to the stage, to provide steep frontal illumination. Also called the front-of-house (FOH) bar.
AMBIENT LIGHT
General indirect light, produced by reflection from the stage, scenery, or by scatter from lanterns.
AMPHITHEATRE
Stepped banks of seating surrounding an arena. Also used to describe one of the tiers of a multi-level auditorium.
ANCHOR
To secure a set piece to the stage floor.
ANIMATION DISC
Large disc in front of a lantern and rotated by a motor. Animation discs are designed with slots or cut patterns, or are made of painted glass, and give the impression of movement of light. Used with profile spot in conjunction with a gobo to create water or fire effects.
APRON
The extension of a stage projecting outwards into the auditorium. In certain types of theatre the apron can be quite large. See also forestage.
AREAS
In lighting design the divided portions of the stage used to apportion light.
ARENA
One of the terms used to describe types of open stage. As it derives from the sand strewn combat area in a Roman amphitheatre, it should be a term for 360 degree encirclement; but it has been used to describe thrust stages.
ASSISTANT STAGE MANAGER (ASM)
The person responsible for the props, marking out the floor plan of the set in the rehearsal room, setting up at the beginning of a show, acting as a walker at the technical rehearsal, and so on.
B
BACK LIGHT
Light from behind the actor or a piece of scenery. It is a highly sculptural light which separates the actor from the background.
Scenery used behind, and limiting the view of the audience through an opening (e.g. doorway or window) in a set. See also masking.
BAND ROOM
Musicians changing room.
BAR
A tube, pipe or barrel for holding spotlights.
BARN DOORS
Folding shutters attached to the lens end of a lantern that can be adjusted to alter the shape of the edge of a beam.
BARRE
A horizontal rail, usually of wood, used by ballet dancers when practising.
BARREL
Length of metal pipe, suspended on a set of lines, to which scenery may be attached by means of snatch lines instead of being tied directly to the suspension lines. It is a standard part in a unit of the counterweight system. Also called pipe batten.
BASTARD PROMPT
The prompt side is always on the actors left. The other side is always called the OP side (Opposite Prompt). If the stage managers control desk and therefore the prompt corner happens to be on the OP side it is called a bastard prompt.
BATTEN (Scenery batten)
Length of rigid material usually wood, used in scenery construction generally; also a length of timber carrying and stiffening a hanging cloth.
BEAMLIGHT
Lanterns which have a strong concentrated beam of light, they have a parabolic reflector and are popular with rock and roll lighting and are sometimes used as soft-edged follow spots.
BEAM SPREAD
The area of light covered by a light beam. The longer the throw the larger is the beam spread.
BEGINNERS
The request for cast and crew to take their positions for the start of the performance - called five minutes before curtain up. Also called places.
BIFOCAL PROFILE-SPOT
A profile spot with two sets of shutters. The first shutter is at the gate and enables soft focused shaping of the beam.
BLACKOUT (BO)
A fast shutdown of all lighting to total darkness.
BLACKOUT SWITCH
A switch on lighting control boards which "blacks out"
BLACKS
Curtains hung both to mask the back-stage area and to shape the on-stage area. Normally made of wool surge.
BLEACHER SEATING
Stepped seating blocks which can be retracted for storage and to clear a flat floor.
BLOCKING
Establishing in early rehearsals the approximate movements and actions of actors.
BOBBIN
Cylindrical carrier for the suspension and movement of draw curtains on a horizontal track.
BOOK
The book contains the playscript and all the artistic, technical and stage management information for the production. It is recorded at each rehearsal and used by the assistant stage manager to run or cue the performances.
BOOKS DOWN
When actors have learned the lines and rehearse without the script.
BOOK FLAT
Two flats hinged together in order to be self-supporting when folded on the hinge.
BOOM
A vertical bar mounted in a base, used to hang lanterns with the use of a boom arm.
BOOM ARM
A metal bracket used to hang a lantern off a boom.
BOOTH THEATRE
A portable theatre that can be quickly erected. It is usually made from cloth over a simple framework of wood or light metal.
BORDER
A pelmet used to mask the line of sight over a setting and to hide the flys, lanterns, battens, etc.
BOX-SET
Setting comprising a series of flats arranged in a more or less continuous line around the three sides of the acting area away from the audience. Normally used for interior scenes. Can also be used with a ceiling piece.
BRACE
Piece of wood used diagonally in the frame of a flat to strengthen it.
BRACE WEIGHT
Slotted iron weight, which can be set on the foot-iron of a brace to hold it in position.
BRAIL (BRAILLINE)
Line used to pull and retain any piece of hanging scenery or property from the position it would occupy if left hanging free.
BREAKAWAY
A prop specifically made to break at a certain point in the play.
BREAKING DOWN
To age a prop to give it history, especially if it has been newly bought or made.
BRIDGE
Mobile platform suspended over the stage or audience that provides access to lanterns.
BRIDLE
A short length of cable or chain used to distribute the stress on a barrel at a suspension point.
C
CABLE
Electrical cord used in lighting equipment needing electricity.
CAD LIGHTING PROGRAM
CADD (Computer Aided Design and Drafting) programs enable the designer to prepare the lighting plot, including side views and cross sections on a computer.
CALL
The notification to cast and crew of rehearsal or performance. Also the countdown to curtain provided by stage management, usually half-hour call, fifteen minute call, five minute call, and beginners.
CALL-BOARD
The bulletin board used by stage managers to post any information pertinent to actors and crew, such as rehearsal schedules and costume fittings.
CANS
Earphones or headphones.
CANVAS (CANVASING)
The fabric used to form a cloth or to cover a flat, etc.
CARPENTER
In touring theatres the resident stage manager is often called "stage manager".
CASTOR
A small wheel used on scenery and scenic equipment for ease of shifting.
CATWALK
An immobile platform above the stage that reaches from one end of the stage to the other, used to gain access to the stage equipment.
CENTRE LINE
An imaginary or real line that divides the stage area into two equal parts, running from downstage to upstage.
CENTRE STAGE
The middle area of the performance space.
CHASE
A lighting term used to describe channels or groups of channels which are sequentially switched on and off in a continuous loop.
CLEAT
Wooden or metal fitment round which a line may be turned and/or tied off.
CLOTH
Any hanging painted cloth.
COLOUR CALL
List of quantity and size of gel frames and catalogue number to be used for a show.
COLOUR CHANGER
A device placed in the colour frame runners of a lantern, enabling remotely controlled changes of the gel. Three variety of changers are Semaphor, Scroller, and Colour wheel.
COLOUR CORRECTION FILTER
A gel used to adjust the colour temperature of a light source to achieve, for example, cold white light.
The person who is responsible for the pastoral care of the actors. If the show is touring, the company manager sorts out domestic details.
COMPANY STAGE MANAGER
This title is used if a person is doubling as stage manager and company manager.
CORNERBLOCK
A piece of 1/4" plywood cut in the shape of a triangle, used to connect the stile to the rail on a flat. Also called Triangle or Corner.
COSTUME DESIGNER
The person who designs the costumes, which usually includes providing samples of material and detailed technical drawings.
COUNTERWEIGHTS (COUNTERWEIGHT SYSTEM)
Mechanical system for flying scenery in which the weight of the pieces of scenery is balanced by adjustable weights in a cradle running up and down in guides in a frame normally at the side of the stage. Double purchase systems gears the movement of a counterweight to half that of the scenery it is supporting.
CREW
The backstage group of people who perform all the technical tasks during the show.
CROSS
In blocking, to move from one area of the stage to another.
CROSSOVER
A passageway behind the stage for actors and technicians to cross from one side of the stage to the other.
CROSSFADE (X/F)
A lighting action in which a particular light cue fades down as the next light cue fades up.
CUE
The signal for an action by an actor or a technician during a performance. Actors cues are mostly verbal, but for technicians they may be given verbally over the intercom by the stage manager or visually by a cue light.
CUE LIGHTS
Specific lights used by the deputy stage manager to cue back stage technicians and actors.
CUE SHEET
The page(s) used to note the cues given by the deputy stage manager to the different technicians.
CUE SYNOPSIS
A written list of lighting cues including their position in the script, time, and nature of lighting change.
CURTAIN
In addition to its normal definition relating to draperies, a term used to indicate the start or end of a performance such as "Five minutes to curtain up" (five minutes to the start of the performance).
CURTAIN LINE
The final line in the play.
CURTAIN LINE
The imaginary line across the stage immediately behind the proscenium which marks the position of the house tabs when closed.
CURTAIN TRACK
Rails from which draw tabs are hung and along which the runners or bobbins travel when the curtains are moved; the track may be fixed or flown.
CUT CLOTH
A cloth which has a part cut out to reveal another cloth set behind; the cut-out portion is often filled with gauze.
CYCLORAMA
Plain, curved, stretched cloth or rigid structure used as a background to a setting, giving an illusion of infinity.
D
DARK THEATRE
A day or night when there is no performance.
DEAD
The predetermined level to which a suspended scenic piece is raised or lowered to take up its correct position in the setting.
The person who produces designs of the set and a scale model, which are then given to the stage carpenter to construct. The designer may also influence the publicity designs and logos.
DIFFUSION FILTER
A filter designed to diffuse the light transmitted through it. There are numerous filters available, each designed for a different degree and type of diffusion. These include frost and brushed silk.
DIM
To decrease the intensity of a stage light.
DIMMER
An electrical apparatus used to control the intensity of the lantern to which it is connected.
DIP
On a control board, when one crossfader is brought up and the other brought down simultaneously, there is therefore a dip in the levels of lighting intensity on stage.
DIPS
Stage dips or dip traps are small traps in the stage containing stage-lighting outlets and electrical cables.
DIPLESS CROSSFADE
A crossfade designed to eliminate problems of dips in intensities when crossfading.
DIRECTOR
The person responsible for the entire artistic direction of a play.
DISCOVERED
A person or an object on stage when the curtain goes up.
DOCK
The scene dock is a store for scenery next to the stage. Scenery is unloaded and taken through the "dock door" into the stage area.
DONUT
A piece of metal with a circle cut out of its centre, this is inserted in to the colour frame of a profile spot in order to reduce spill and scatter from a lantern.
DOWNLIGHT
Light from above the actor; the beam perpendicular to the stage floor. Can be used as a colour wash without the light directly hitting the scenery.
DOWNSTAGE
Portions of a stage nearest the audience.
DRAPERIES (DRAPES)
Any unspecified fabric hanging in folds as a scene or part of a scene, especially curtaining fabrics such as woollens, velvets etc.
DRENCHER
A perforated sparge pipe which in the event of a fire will spray water on the back of the safety curtain.
DRESS REHEARSAL
The occasion when all elements of a production are finally rehearsed together, simulating performance conditions. Also called a Dress Run.
DRESSERS
People who are sometimes appointed to help dress actors either during quick changes, or if the costume is very complex to put on. They are usually either members of the wardrobe team, or the assistant stage manager.
DRESSING A SET
The decoration of the set with items that are principally for aesthetic purposes only.
DRY ICE
Frozen carbone dioxide particles which when dropped into hot water create an effect similar to fog.
DRY TECH
A technical rehearsal without actors.
DUTCHMAN
Thin strips of cloth used to mask cracks between flats.
E
EFFECT
An event or a moment intended to create a particular emotional reaction.
ELECTRICIAN
A theatre technician who installs and/or operates the lighting for a production.
ELLIPSOIDAL REFLECTOR SPOTLIGHT (ERS)
A type of lantern that emits a hard edged circle of light. Commonly called a Leko.
END STAGE
The acting area is at one end of the auditorium, and is not framed by a proscenium arch.
F
FADER
A control on the dimmer board, which can be moved up or down either to bring lanterns on or fade them out.
FADE TO BLACK
A decrease of lighting levels terminating in a blackout.
FALSE PROSCENIUM
Arrangement of scenery forming an arch immediately behind the proscenium opening. See also Teaser and Tormentor.
FESTOON TABS (CURTAINS)
Curtains fixed at the top and raised (opened) by drawing the bottom upwards towards the top and/or sides.
A non-flammable curtain hung directly behind the proscenium that protects the audience from fire or smoke emitting from the stage. Also called the Safety or Iron Curtain
Metal plate with a fixed ring (as distinct from a flying iron which has a hinged ring), used for scenery suspension.
FLAT
A unit section of flat scenery. Usually constructed from light wooden frameworks over which canvas is tightly stretched and secured, then painted.
FLIPPER
Small piece of flat scenery hinged to a larger piece of flat scenery.
FLOATS (FOOTLIGHTS)
Row of lanterns on front edge of stage at floor level and in front of main (house) curtain.
FLOODLIGHT
A lantern that projects a diffused, un-focused beam of light. Used for general illumination.
FLOWN
Suspended on lines.
FOCUS
To point and shape the beam accurately from each lantern.
FLOOR CLOTH
A heavy piece of muslin used to cover the stage floor.
FLY
Lift above the level of the stage floor by means of sets of lines from the grid. The term flys is also used as an abbreviation for fly gallery.
FLY GALLERY (FLYING GALLERY)
A gallery extending along a side wall of the stage, some distance above the stage floor, from which ropes used in flying scenery are operated. Also known as a fly floor. The fly galleries are usually referred to collectively as the flys.
FLY TOWER
The space above a stage in which scenery can be flown out of sight of the audience.
FLYING
The operation of lowering and lifting all flying pieces such as flats and drapes, from and into the flys.
FLYING IRON
Metal plate with a hinged ring used for scenery suspension.
Triangular frame hinged to the back of a piece of standing scenery and folded flat for storage.
FRENCH FLAT
Arrangement of several flats battened together and flown as one unit on a set of lines.
FRENCH SCENE
Scene that begins and ends with an actors entrance or exit.
FRESNEL
(Prounounced 'frennel'.) A type of lantern that emits a soft edged diffused light, used mainly for general cover.
FRONT ELEVATION
A scale drawing that gives a front view of the set.
FRONT CLOTH
Sometimes a painted cloth is brought down near to the house curtain for a front scene to be played on the forestage. This front cloth usually masks scene changes behind it,
FRONT LIGHT
A light coming from downstage of the subject, generally brought in 45° off full front.
FRONT OF HOUSE
Areas of a theatre on the audience side of the proscenium wall or stage area are called 'Front of House' (FOH).
FUZZ LIGHT
A lamp with a revolving reflector and a red or blue or amber plastic dome. Used for "emergency" vehicle effect.
FX
Effects, as in lighting effects or sound effects.
G
GATE
The optical aperture of a profile spot where the shutters are located and an iris or a gobo can be inserted.
GAUZE (GAUZE CLOTH)
Flat curtain of fine mesh mosquito netting or similar fabric, either painted or unpainted, which when lit solely from the front appears to be opaque, but when lit from behind becomes transparent. It is used for a transformation scene or other illusions. A fabric known as "Sharks tooth gauze" is also used for this purpose.
GEL
Transparent plastic sheet placed in front of a lantern to colour the light beam.
GEL FRAME
A metal frame into which gels are placed to prevent distortion (usually via heat).
GET IN (AND OUT)
The process of delivering and taking scenery and props in and out of a theatre.
GHOST LIGHT
A light left on when the theatre is locked up for the night.
GOBO
A metal cutout used in ellipsoidal reflector spotlights that projects an image on stage. Also called template.
GOBO HOLDER
A metal plate which holds a gobo of a paricular size in a lantern of a particular size.
GOBO ROTATOR
Gobo holders with variable speed reversible motors which enable dynamic gobo projections.
GLOW/FLUORESCENT TAPE
Tape that glows in the dark; placed in small pieces around the set so the actors and crew will not bump into anything during a blackout.
GLUE SIZE
A preparation used in priming and paint for scenery.
GRAND MASTER
A lighting term used to describe a fader which masters all the output of a preset board. It controls all preset masters and submasters.
GRAVE TRAP
An oblong trap, usually downstage centre; originally the ghost trap.
GREEN ROOM
A back-stage room used by actors and crew as a waiting and meeting area.
Plan of a stage on which is marked the position of the scenery in a setting, (including borders, hanging pieces and sometimes lighting equipment).
GROUNDROW
Low-topped piece of flat scenery, profiled and painted to represent ground foliage, a bank of earth, a distant mountain range, etc., designed to stand up independently on the stage and used to mask cyclorama lighting units.
GRUMMET
Metal fitting resembling a saddle, for attaching a throw-line to a piece of scenery.
H
HALF-HOUR
The 35 minutes warning before the performance starts.
HAND PROPS
Properties that are handled by actors during the performance.
HANGING
The process of putting a lantern in its designated position according to the lighting plan.
HANGING IRON
Metal fitting, formed into a square hook at one end, used in flyingflats and other framed pieces.
HEMPS
The term is usually employed to signify lines used for flying scenery which are made from vegetable fibre as distinct from the steel wire ropes used in the counterweight system. Hemp lines are hauled up manually and tied off on a cleat on the fly rail. A hemp house is a stage equipped with these hand operated "hemp sets" and no counterweights.
HOT SPOT
The area of the greatest illumination projected by a lantern.
HOUSE
The part of the theatre where the audience sits.
HOUSE LIGHTS
Lights used to illuminate the area where the audience sits.
HOUSE TABS (CURTAIN)
The main curtains between stage and audience, normally placed immediately behind the proscenium.
HEAD BLOCK
Device compromising three or more sheaves set together either in line or parallel to each other on a common shaft and attached to the grid directly above the fly rail. The lines from the three or more loftblocks in a set are brought together at the lead block and pass on down to the fly rail cleat in a hemp set or to the weight cradle in a counterweight set.
HOOK-UP SHEET
List of all lanterns with their relative circuit and patch numbers.
HOOK CLAMP
A hook shaped clamp for hanging a lantern on a lighting bar.
I
INTERCOM
Backstage communication system, employing a microphone and headphones or speakers.
IN-THE-ROUND
A style of theatre where the audience surrounds the acting area.
IRIS
An adjustable circular diaphragm within a lantern with an arrangement of thin plates which are moved by a handle outside the lantern to adjust the size of the iris aperture.
Section of stage floor that can be raised, lowered or tilted to provide differing levels of acting area, or to enable changes of setting to be made in the stage basement. Also known as a bridge.
LIGHT CURTAIN
A batten of low voltage narrow angle lamps, usually 8 to 10, wired in series, used to create a narrow strip of intense light.
LIGHTING BOARD
The console that controls all the lanterns. Also called the Dimmer Board and Switchboard.
LIGHTING DESIGNER
The person who designs the lighting and lays out this design on a grid plan, so that the lighting technicians can rig it.
LIGHTING GRID
A latticework of lighting bars from which lanterns are hung.
LIGHTING PLAN
A drawn-up plan that designates the placement of lighting equipment, (both lanterns and practicals) relative to the set. Plan includes gel, circuit and patch number for each lantern.
LIGHTING STENCIL
A drawing template which contains graphic lighting symbols or representations of various lanterns to scales of 1:25, and 1:50.
LIGHTING TECHNICIANS
The people who rig and focus the lanterns according to the lighting design, and plot and light the show from the lighting board in the gallery.
A large disc with a number of holes in it for coloured gels. It is attached to an electric motor at the front of a lantern and changes the color of the light as it revolves. Also known as a Colour Wheel.
LIMES
Name derived from an early form of lighting hence - "Limelight". Now occasionally used to describe front-of-house positions for follow spots.
LOAD
The lamp or lighting instruments placed on a circuit.
LOADING GALLERY
Narrow gallery above the fly gallery, used for storing the weights and loading them on the cradles when balancing scenery in the counterweight system.
LOCKING RAIL
In a counterweight system the handling rope passes through a rope lock attached to a locking rail which runs the length of the counterweight wall frame.
LOFT BLOCK (GRID PULLEY)
Sheave in a metal frame bolted to the grid and used to pass a suspension line; there is one block for each line in a set. See also Set of Lines.
LOUVERED CEILING
Arrangement of ceiling pieces, each hung on two sets of lines with the downstage edge higher than the upstage edge, so as to form a ceiling with gaps through which light may be projected.
M
MASK
To hide any equipment or offstage area through the use of curtains, flats, etc.
MASKING (MASKING PIECE)
A piece of scenery, not necessarily painted, used to cut off from the view of the audience any part of the stage space which should not be seen. See also backing and permanent masking.
MIRROR BALL
A rotating sphere covered with small mirrors. When a spotlight is focused on the ball, multiple moving spots of light sweep across surrounding surfaces of the acting area.
MOON BOX
A moon effect created by a shallow box with lamps in it. The inside of the box is generally painted white and the front face, which has a circle cut out of the centre, is covered with diffusing material. The box is fixed to the back of a cloth or translucent scenery to shine through.
Any position on the stage floor out of sight of the audience.
ONSTAGE
Any position on the stage within the acting area.
ON THE BOOK
When either the deputy stage manager or an assistant is following the script in order to help actors when they stumble over lines.
OVERHANGING
Rigging a lantern above a lighting bar rather than suspending it below the bar.
OP (Opposite Prompt)
The side of the stage opposite the prompt side: traditionally the prompt corner is on the actor's stage left. Also known as "bastard prompt".
P
PAGE
The tempo of the performance.
PACK
All the pieces required for a particular scene when stacked together in the correct order for setting.
PACKING RAIL (STACKING RAIL)
A rail, usually of steel tube, projecting from a stage or store wall against which flats are stacked.
PAINT BRIDGE
A platform or wide cradle the width of the paint frame which can be hauled up and down, usually mechanically, so that all parts of a cloth can be reached.
PAINT FRAME
The frame to which backcloths, flats, etc. are fixed for painting in a vertical position.
PAPER TECH
A meeting between director, designers and stage management to define and record the series of technical events required to operate the production.
PAPER THE HOUSE
To give away free tickets to a performance in order to fill the house.
PAR LAMP
Sealed beam lamp, cosisting of a filament, a parabolic reflector and a glass front. The glass can be clear, diffused, or patterned, which affects beam spread. The light transmitted is parallel with a large amount of spill.
PARCAN
The body in which a PAR lamp is inserted. The PAR lamp can be rotated so that the oval shaped beam is aimed either length or width ways.
PASS DOOR
A door connecting the front of house with the backstage area.
The board on which circuits are connected to dimmers.
PC LANTERN
A focusable lantern with a Pebble Convex (PC) lens. The PC lantern has clearly defined edges.
PERCH
Position above stage level on the stage side of the proscenium wall either side of the opening.
PERIAKTOI
A triangular shaped scenic device originating in the classical Greek theatre. Each surface can be painted with a different subject, colour or texture, so that revolving periaktoi can change a scene.
PERMANENT MASKING
Show portal, or teaser and tormentors, or similar arrangements of masking pieces which remain in place throughout a performance, regardless of scene changes.
PIN HINGE
A hinge with a removable pin; used so that the two halves may be easily separated.
The area below the front of the stage. May be used to house the orchestra. Also called the Orchestra Pit.
PLASTER LINE
An imaginary line that runs across the proscenium along the upstage side of the proscenium wall. This line is used by designers and technicians to position various technical elements in the theatre.
(To make) a lighting plan of which lanterns are used, at what levels and when.
PRACTICAL
Capable of being used for its apparent function, as distinct from being merely decorative, e.g. a hinged door, a switch that actually controls a light, etc.
PRE-SET
The setting on stage that the audience sees before the play begins; refers to light, set and props.
PRODUCER
The person with overall administrative responsibility for a production.
PRODUCTION MANAGER
The person in charge of the budgets. Has overall responsibility for everything technical and works closely with the designer.
Plywood or other thin material covered with canvas or scrim, used for forming non-straight edges to wings, groundrows, etc.
PROFILE SPOT
A lantern which enables precise shaping of the light beam and projection of cut out images (gobos),
PROMENADE THEATRE
The performance is conducted in different locations and the audience moves to each one scene by scene.
PROMPT
To help an actor with his lines when he either asks or is stumbling.
PROMPT CORNER
The area from which the deputy stage manager runs the show. Usually found just to the right or left of the proscenium backstage. The DSM often sits in the lighting or sound booth to call the show.
PROMPT BOX
The traditional position for the prompter in opera is in a box let into the front of the stage.
PROMPT SCRIPT
The notebook kept by the Deputy/Stage Manager that contains all paper work necessary to the production of the play, including a script with blocking and cues. Also called Prompt Book.
PROMPT SIDE (PS)
Traditionally stage left, i.e. actor's left regardless of the position of the prompter.
PROPS TABLE
The table backstage on which props are laid out, usually in a specific order.
PROPERTIES (PROPS)
Objects such as furniture, pictures, carpets, flowers, books, implements, weapons etc., used in a performance. Categorised in to hand props and set props (or set dressing).
PROSCENIUM (PROS)
The theoretical "fourth wall" of a stage; comprising the proscenium opening and its surrounding. See also False Proscenium.
Length of tapered wood for placing under a scenic piece so that it will set level on a raked stage floor.
RAMP
Inclined rostrum, normally sloping up from the stage floor.
READ-THROUGH
Usually the first rehearsal at which the company reads through the script.
REAR ELEVATION
The scale drawing that gives a back view of the set.
RETURN
The narrower of two flats cleated, hinged or otherwise fixed together at an angle.
REVEAL
Narrow flat usually substantially less than half the width of a standard flat, used to form a short return to a major service and thus increase the illusion of solidity.
REVEAL (THICKNESS)
Piece of timber or other material attached to the edge of an opening (e.g. a doorway) to give the effect of depth or thickness.
REVOLVE
Circular table forming a permanent part of the stage floor or standing upon it, on which scenery can be set for quick changing of scene or for creating various effects. Sometimes the revolve is formed of two or three rings and a centre, capable of independent or simultaneous movement, differing speeds and opposite directions. It can be turned through 360 degree either manually or by motor.
RIG
Set up scenery on stage. Rigging is a collective term for the suspension of equipment.
RISER
The vertical front of a raised stage where it faces the auditorium is the stage riser.
ROLLER
Where there is no flying space over the stage a backdrop can be rolled up (usually over a former). This is then called a roller or roll drop.
ROPE LOCK
The handling rope of a counterweight set passes through a "rope lock", which when locked prevents any further movement.
ROSTRUM, ROSTRA
Platform(s) placed on the stage floor to create changes of level where required. A large rostrum is usually constructed in sections with loose tops and folding frames, but some small ones are rigid. A sloping rostrum is known as a ramp.
RUN
The total number of performances for a production.
RUN THROUGH
To rehearse the show by performing from beginning to end without stopping.
RUNNER
A length of stage flooring that can be drawn off sideways leaving a long narrow opening (cut) through which a cloth or flat may be raised.
RUNNER
Length of carpet used offstage to reduce back stage noise.
S
SAFETY CHAIN
A steel chain used to attach hanging equipment to the support structure as a safety support in case of failure of the primary hanging support (clamp etc.).
SAFETY CURTAIN (Fire Curtain/Iron Curtain)
Screen or shutter comprising a steel framework faced with sheet steel and mineral fibre fabric, mounted immediately behind the proscenium opening and fitted with a mechanism for raising it clear of the top of the proscenium arch and with a quick release device to allow it to descend by gravity in the event of fire on the stage.
SANDBAG
Bag of canvas with strap and ring, filled with sand and used for weighting purposes.
SCENARIO
A brief outline of a play, which indicates scene by scene who is on stage and what happens.
SCENE DOCK
An area off the wings where scenery can be stored.
Coarse woven hessian, or similar material used in scenery construction. The term is also used as a verb to describe the action of dipping an item in glue or plaster to give its surface a durable crust.
SET
Arrangement of scenery units which together represent a single location where the actors perform. The term is also used as a verb to mean to put up or assemble scenery for use (e.g. to set a stage).
SET OF LINES
Unit group of suspension lines hanging from the grid for the attachment and flying of scenery; there are usually three or four lines in a set. See also Counterweights.
SET DRESSING
Props that are used to decorate the set and are usually not handled by actors.
SET PIECE
Built-up unit of scenery, complete in itself, often three-dimensional and capable of standing free on the stage floor.
SETTING LINE
The imaginary line across the stage in front of which scenery cannot be hidden by the house curtain. See also Curtain Line.
SHEAVE
Grooved wheel (pulley) over which a line may be passed.
SHIFT
The process of moving from one setting into another during a play. Also to move (shift) a prop or piece of furniture.
SHOT-BAG
Similar to a sandbag but smaller and filled with lead-shot.
SIDELIGHT
Light from the side of an actor facing the audience. Side lighting is often used in dance, as it emphasizes the entire body and movement.
SILL IRON
Narrow strip of metal, often half-round, used to brace the bottom of a door flat across the doorway opening.
SIGHT LINES
Imaginary lines of sight that determine what is visible to the audience on stage and what is not.
SINGLE PURCHASE
A suspension system where there is no gearing of pulleys. The counterweight and its travel will be the same as that of the object which is suspended.
SKENE
A simple, stuctured backdrop to the performance area in Greek theatre.
SKY CLOTH
Unit of scenery used to convey the impression of open sky. See also Cyclorama.
SMOKE MACHINE
A machine to produce smoke. Most smoke machines use smoke fluid which is heated in the machine and expelled by air pressure to create clouds of smoke or a light haze.
Single suspension line specially rigged from the grid to fly a piece of scenery or stage property which cannot be handled by the regular lines.
STAGE BRACE
Adjustable device comprising two lengths of wood sliding one along the other and held fast by clamps; used to prop scenery from behind. See also French Brace.
Large piece of canvas, used to cover the stage floor, often painted to represent paving etc. See also Floor Cloth.
STAGE DIRECTIONS
Instructions indicating the movement, blocking, or stage business of the performers or other descriptions of the physical setting or atmosphere of the play.
A small piece of fabric or paint used to demonstrate the colour and/or texture of the material being used.
SWATCHBOOK
A small booklet with samples of all colour filters manufactured by one company.
SWIVEL ARM
Device for suspending a leg so that the angle of the leg in relation to the proscenium can be varied.
T
TAB
A curtain.
TAB WARMERS
Light on the house curtain before the beginning of a show or act.
TALLESCOPE
A framework that enables lighting technicians to climb safely to a barrel to rig and focuslanterns. It is adjustable and moveable, like a fireman's ladder. See also Lighting Tower
Length of cord attached by a grummet to a piece of scenery and used to secure the piece to an adjacent piece.
THROW-LINE CLEAT
Metal fitting attached to a flat or other piece, round which the throw-line is passed when securing adjacent pieces together.
THRUST STAGE
A type of theatre in which the audience is seated on three sides of the stage.
THUNDER SHEET
A sheet metal, usually steel, suspended somewhere on the stage area, which when shaken gives a sound effect of thunder.
TIE-OFF CLEAT
Metal fitting around which a throw-line is made fast.
TOGGLE RAIL
Movable horizontal member in the frame of a flat, between the top rail and the bottom rail.
TORMENTOR
Substantial wing, not necessarily painted, placed immediately behind the proscenium opening, to mask the off stage edges of the setting etc. See also permanent masking.
TRACK (CURTAIN TRACK)
Rails from which curtains are hung and along which they may move.
TRAPS
Removable areas of the stage floor that allow access to the area underneath the stage. Special purpose traps are grave traps, dip traps and star traps.
TRAVELLER
A curtain that can open to the sides of the stage.
TRAVELLING THEATRE
The action passes by or through the audience.
TRAVERSE THEATRE
The audience face each other on two sides of the performance area.
Batten on roller fixed to the bottom edge of a cloth, about which the cloth can be rolled upwards when not in use.
U
UNIT SET
A set that can serve as several different settings by changing only one or two set pieces, or by adding different set dressing.
UPSTAGE
The portions of the stage furthest from the audience. (To move upstage means to move away from the audience; to move above a person or object means to move on the side furthest from the audience.)
UV
An ultraviolet light that picks out specially prepared surfaces and excludes others,
V
VARIABLE LENS PROFILE SPOT
A profile lantern with two lenses whose movement in relation to one another enables changing the beam spread and focus.
VOMITORY
Access passages cut into the raked auditorium of Greek, Roman or modern theatre using a classical design.
W
WAGON (TRUCK)
Low trolley, either running in tracks or free moving, on which scenery etc. can be mounted.
WALKER
A stand-in (usually the assistant stage manager) for actors at the technical rehearsal, to help the lighting designer check the level and quality of light on faces on stage.
WARDROBE
The team in charge of making and looking after the costumes designed by the costume designer. The team will probably include a pattern maker, cutter and seamstress.
WASH LIGHT
Light used to give a general illumination of the stage; quite often a specific colour is used in a wash.
WINCH
Mechanism, either hand operated or motorised, for opening or closing curtains etc.
WING
Two or three flats hinged together and used at the side of the stage to mask offstage space.
WINGS
The technical area out of sight of the audience to left and right of the acting area.
WINGSET (Backcloth-and-wing set)
Setting comprising backcloth (or cyclorama) and pairs of wings with borders above. Sometimes cut cloths are used in the place of wings and borders (e.g. a woodland scene).
WORKING LIGHTS
Lights used for general illumination of the stage when not in performance.
WORKING DRAWINGS
Drawings to scale that give the specifics of both set and prop construction.
