Front | Back |
19th century concept of a completely realistic performance space that audience look into through a removed/invisible wall (the proscenium plane)
|
Fourth wall (realism)
|
In dramatic criticism, a category of plays: comedy, tragedy, melodrama, farce
|
Genre
|
Level part of the stage in front of the scenery, especially in Renaissance stages, which used a slanted floor for forced perspective in scenic area
|
Forestage
|
Professional theater that is fully taxed and gets its income from ticket sales and related sources
|
For-profit
|
Point/object that draws the eye of the audience to the stage picture
|
Focus
|
A minor character intended to set off another character through contrast
|
Foil
|
A style of theater popular in Europe after WWI and typified by symbolic presentation of meaning, often as viewed from the standpoint of the main character
|
Expressionism
|
Form of comedy "stuffed" w/ laughs that arise not from verbal wit/human profundity but (usually) mechanics: business, mix-ups, mistaken identities, etc
|
Farce
|
Visual and spatial surrounding of the play, influenced by such matters as mood and visual meaning
|
Environment
|
Necessary info about prior events, or a part of a play given over to communicating such info
|
Exposition
|
Device (usually an object/picture of an object) used as an identifying mark
|
Emblem
|
A performing group
|
Ensemble
|
Machine used to thrust objects/people (often dead) from inside the skene into view of audience
|
Eccyclema
|
Gathering of materials from many sources; mixture of styles and methods
|
Eclectic(ism)
|
In Greece, religious worship took place in private and at these major public events
|
Festivals
|