The Language of Acting: Your AWOL - Basic Lessons and Resources for Aspiring Actors and Actresses

The Language of Acting

A Glossary of over 1,450 Terms Used by Professionals in the Acting Business

A, B, C, D

E, F, G, H

I, J, K, L

M, N, O, P

Q, R, S, T

U, V, W, X, Y, Z

"IN" TIME: The time of day to begin the production day or to return from a break.
"OUT" TIME: Time you are released after changing out of wardrobe and make-up.
007: A code name and iconic character in James Bond films, often associated with sophistication and espionage.
1-800 NUMBER: A toll-free telephone number often used for casting calls, auditions, or industry-related inquiries.
10-OUT-OF-12: A standard rehearsal schedule where actors work for ten hours out of a twelve-hour day, commonly used in theater productions.
100 PERCENT COMMITMENT: A term emphasizing the dedication and full effort expected from actors in their performances.
1000-WATT SMILE: A description of a particularly bright, engaging, and charismatic smile often emphasized in headshots and auditions.
15 MINUTES OF FAME: A phrase often used in the entertainment industry to describe short-lived, intense public attention received by a person or group.
18-TO-PLAY-YOUNGER: An actor who is 18 years or older but who can convincingly portray a younger character.
180-DEGREE RULE: A cinematography guideline that states that two characters in a scene should maintain the same left/right relationship to each other, preventing disorientation for the audience.
1800s PERIOD PIECE: A production set in the 19th century, requiring actors to adopt historical mannerisms and language.
20/20 CASTING: A casting decision made solely based on an actor's physical appearance, without considering their acting abilities.
24 FRAMES PER SECOND: The standard frame rate in film, representing the number of individual frames shown in one second of footage.
24/7: An expression denoting constant availability or commitment, often used to describe the demanding nature of the entertainment industry.
3 VOUCHER SYSTEM: A way of becoming eligible to join the Screen Actors Guild (SAG) by acquiring a total of three SAG work vouchers. These vouchers are acquired by working as a non-union performer in a SAG contract film.
3-ACT STRUCTURE: A traditional storytelling model dividing a narrative into three parts—setup, confrontation, and resolution.
30-DAY CLAUSE: A contractual provision allowing the termination of an agreement within 30 days' notice.
30-SECOND PITCH: A concise and compelling summary of a project or idea, often used by actors when auditioning for roles.
360-DEGREE CHARACTER: An approach to character development that considers every aspect of a character's life and personality, providing a well-rounded portrayal.
365-DAY CONTRACT: A type of exclusive contract binding an actor to a production for a full year.
4-As (FOUR A's): Associated Actors and Artistes of America. The 4As works to advance and protect the welfare of the people who work to entertain and inform others in person and through every medium of recording and transmission. There are five member unions that make up the 4As. Actors' Equity (AEA) and SAG-AFTRA are directly affiliated with the AFL-CIO. Three other unions are part of the AFL-CIO through their membership in the 4As; the Musical Artists (AGMA), the Variety Artists (AGVA) and the Italian American Actors (GIAA).
4TH WALL: The imaginary barrier between actors and the audience, which is usually maintained, but breaking it for dramatic effect is known as breaking the fourth wall.
5-0'CLOCK SHADOW: The slight facial hair growth that creates a shadow on an actor's face, often maintained for a rugged or casual appearance.
500 LINES OF DIALOGUE: A milestone for actors, referring to the memorization of a substantial amount of lines for a role.
60 MINUTES: A reference to the television news magazine show, sometimes used colloquially to indicate a comprehensive overview or thorough examination.
7-YEAR ITCH: A term referring to the alleged tendency for actors to grow restless or seek new challenges after seven years in the same role or project.
8 X 10: A photo of the performer, commonly 8" x 10" in dimension, usually black and white, showing just the head and shoulders.
90210 CASTING: Refers to casting based on a performer's popularity or fame rather than their acting skills
91 DAY OUT CLAUSE: A contractual agreement that allows the performer to terminate the contract if the performer doesn't earn a minimum amount of money within 91 days after signing the contract. Do not sign any agent or manager contract that does not contain a similar out clause.
99-SEAT: The Actors Equity Association's agreement for low-budget theatres with a capacity of no more than 99 audience seats. Equity and non-Equity actors can perform in a production under this contract.
A.D.: The Assistant Director.
ABBY SINGER: The second-to-last shot of the day. Named after Abby Singer, a production manager, who would frequently call the last shot of the day, which frequently turned out to not be the last shot of the day.
ABOVE MINIMUM FEE: Fees contracted at rates in excess of the minimum fees and terms provided in a basic agreement.
ABOVE THE TITLE: In an a dvertisement, placement of a performer's name before the title of the production. Usually only available to big stars.
ABOVE-THE-LINE/BELOW-THE-LINE: Two main catagories of production expenses. Expenses relating to the purchase of rights script and performance rights, salaries for producers, writer, director, and main characters are "above-the-line" expenses. Expenses related to the hiring of crews; procuring studio space, equipment, purchasing and processing film or videotape, and other costs associated with production activities are "below-the-line."
ABOVE: Toward the back wall of a stage.
ABSURD, THEATRE OF THE: 1940s-1960s style of theatre that expressed existentialist philosophy through highly theatrical style. Frequently incorporates non-sensical dialogue and plot used to convey concepts related to human miscommunication and the irrationality of human existance. Noted absurdist playwrites include Samuel Beckett, Eugene Ionesco and Jean Genet.
ACADEMY OF MOTION PICTURE ARTS AND SCIENCES AWARDS: The Oscars. Annual awards given for excellence in various aspects of motion picture production.
ACT CURTAIN or ACT DROP: A curtain or painted cloth, usually closest to the proscenium, which was closed or opened to signify the beginning or ending of an act or scene. Also called front curtain, main curtain, working curtain, or grand curtain.
ACT: The largest divisions of the sections of a play. A short play is a "One-Act Play", a play with two sections has two Acts, a play with three sections has two Acts, etc. Acts are further divided into Scenes.
ACT: To perform a role in a dramatic production
ACTING AREA: The area of a stage where performance occurs.
ACTING COACH: A professional who helps actors develop their skills through guidance and training.
ACTING EDITION: A copy of the script which has the stage directions, technical cues, prop lists and costume descriptions from the prompt script of the first production.
ACTION, DRAMATIC: Gesture, action or dialogue that advances the plot of a dramatic work.
ACTION, FALLING: Action following the climax; tension is reduced and plot develops toward the conclusion
ACTION, RISING: Action leading up to the climax; tension is increased and plot develops.
ACTION: A verbal cue which indicates that the scene is to begin and that the camera is filming.
ACTION: An actor's movements in the context of a performance
ACTION: The development of the plot of a production.
ACTOR'S EQUITY ASSOCIATION: Labor union for professional live performance actors.
ACTOR: A person who plays the role of a character. Historically, the term "Actor" refered exclusively to males, but in modern times the term is used for both genders.
AD LIB: Extemporaneous delivery without relying on a prepared script.
ADDITIONAL PHOTOGRAPHY: Recalling actors and crew to film scenes that need to be filmed to correct mistakes or to add additional film footage.
ADR: Automated Dialogue Replacement. Dialogue specially recorded and added to a scene after the scene has been filmed. Also called"looping".
ADVANCE BAR: Lighting bar positioned just downstage of the proscenium arch. Also known as ANTI-PROSCENIUM.
ADVANCE: Money received before rendering services.
ADVERTISING AGENCY: A company that does artwork and production for advertisements.
AEA: Actors' Equity Association; often called simply "Equity". SAG's sister union which represents stage actors.
AESTHETIC VALUES: Light effects, costumes, sets or other elements that create the production's sense of style and visual appeal.
AFFILIATE: An independent, local broadcast station under contract with a national or regional broadcasting company, for the purpose of broadcasting the national or regional company's programs.
AFI: American Film Institute. Organization of filmmakers and filmgoers to advance the art of film, television, video and digital media.
AFL-CIO: American Federation of Labor/Congress of Industrial Organizations. Parent organization for various performer unions.
AFM: American Federation of Musicians. Union for musicians and arrangers.
AFTRA: American Federation of Television and Radio Artists. A union that represents radio artists and news broadcasters, and, in earlier times, television performers. AFTRA has merged with SAG (Screen Actors Guild) and is now SAG-AFTRA
AGE RANGE/AGE CATEGORY: Ages that an actor can believably portray.
AGENCY COMMISSION: A percentage of a performer's earnings that is payed to the agency representing performer.
AGENCY: Refers to model or talent agency or to an advertising agency.Model and talent agencies handle booking work for models or actors. Advertising agencies create and produce advertising for businesses.
AGENT, CASTING: An individual who assists producers with casting.
AGENT, LITERARY: An individual who assists writers to sell their work with publishers and producers.
AGENT, TALENT: An individual, usually licensed, who helps actors get work. Theatrical agents specializes in dramatic television, film and theater. Commercial agents handles TV and radio commercials and voice-overs.
AGENT: A person responsible for the professional business dealings of an actor, director, or other artist (talent). Negotiates contracts on behalf of the talent, submits their talent for roles.
AGMA: American Guild of Musical Artists
AGVA: American Guild of Variety Artists
AIMP: Association of Independent Music Publishers.
AIR CHECK: Recording a program during broadcast for archival or legal purposes.
AIR PLAY: Radio broadcasting.
AISLE: A pathway for easy travel through a seating area.
ALL-AMERICAN LOOK: Middle-American appearance.
ALLARGANDO: Getting broader.
ALLEGRO: Happily. Lightly.
ALLITERATION: The purposeful repetition of sounds, particularly the beginning consonants of words. "She sells sea shell by the seashore"
AMATEUR: Not professional.
AMERICAN DINNER THEATRE INSTITUTE: (ADTI); A professional organization for Equity-franchised dinner theatres in the USA. Provides news of interest to the theatres and negotiates Equity dinner theatre contracts on behalf of the theatres'.
AMERICAN SOCIETY OF CINEMATOGRAPHERS (ASC): Dedicated to advancing the art of cinematography through artistry and technological progress. Publishes "American Cinematographer" magazine.
AMPTP: Alliance Of Motion Picture And Television Producers.
ANAGNORISIS: A character's self revelation or self discovery, particularly when the revelation initiates a turning point in the action.
ANALOG OR ANALOGUE: adj., Non-digital audio recording and playback technologies
ANAMORPHIC LENS: Camera lens that distorts a wide image to fit on a narrower 35mm frame of film.
ANCHOR: Secure a set piece to the stage floor.
ANDANTE: walking space.
ANGEL: Financial backer of a production.
ANIMATION PERFORMER: Performer hired to voice a role or roles in an animated production.
ANIMATION: Creating the illusion of motion by filming individual frames; each frame presents a small increment in the action. When viewed in real-time, appears to be continuous motion. Art for animation filming can be executed as drawings, 3-dimensional objects or computer generated images.
ANIME: A style of animation that had its roots in Japanese comic book art style.
ANNCR: Announcer.
ANNOUNCER: A performer hired to deliver a message other than a commercial.
ANTAGONIST: Opposes the hero (protaganist) of a drama.
ANTHOLOGY SERIES: a series each episode of which contains a separate complete story or other complete program entity, without a character or characters common to each of the episodes but held together by the same title, trade name or mark or identifying device or personality common to all of the episodes. A continuing host shall not be considered a character common to each of the episodes.
ANTICLIMAX: n. A minor decrease in dramatic tension.
APERTURE: The opening in the front of a camera through which light passes to create the image.
APRON: The frontmost section of a proscenium stage that is closest to the audience.
ARC: The progression of plot throughout a story and how those changes effect the various characters.
ARCHETYPE: An original after which other similar things are patterned.
AREAS: Divided portions of the stage.
ARENA STAGE (THEATRE-IN-THE-ROUND): An arrangement of performance and audience space in which the audience is seated around most if not all of the performance space.
ARIA: Operatic term denoting a solo number that suspends the dramatic action. Usually reflective in content.
ARISTOTLE: Greek philosopher (384-322 BC) First and most important dramatic theorist of the Western World. His Poetics describes Greek Tragedy and attempts to explain how it moves an audience. Aristotelian terms and principles, such as hubris, peripity, catharsis, are still useful to critics and dramatists.
ART DEPARTMENT: Responsible for achieving the overall "look" of the film as envisioned by the director. Department positions include production designer, production buyer, special effects supervisor, draftsman, art director, assistant art director, set decorator, set dresser, property master, leadman, swing gang, and property assistant .
ART DIRECTOR: Person who conceives and designs the sets.
ARTICULATION: The clear and distinct pronunciation of words, ensuring that the audience can understand the spoken content.
ASCAP: American Society of Composers, Authors and Publishers.
ASIDE: Lines spoken to the audience. By convention, the audience understand that the lines are not heard by the other characters in the scene.
ASL: American Sign Language.
ASM: Assistant Stage Manager.
ASSEMBLY: Part of the editing process in which outtakes are removed from the masters and the remaining takes are placed in broadcast order.
ASSISTANT ART DIRECTOR: An assistant to the art director .
ASSISTANT CAMERA: Assistant Camera Operator, First Assistant Cameraman, 1st Assistant Cameraman, 1st Assistant Camera, Assistant Cameraman, Camera Assistant. A camera crew member who assists the camera operator . Reponsible for the care of the camera and preparing dope sheets. May also perform the duties of clapper-loader and/or a focus puller.
ASSISTANT DIRECTOR: AD, First Assistant Director, 1st Assistant Director. Duties include tracking the progress of the production schedule, and preparing call sheet.
ASSISTANT FILM EDITOR: Assistant Picture Editor, Assistant Sound Editor, Assistant Editor, First Assistant Editor, Second Assistant Editor, Apprentice Editor. Responsible for providing assistance to the editor.
ASSISTANT PRODUCTION MANAGER: Assistant to the production co-ordinator.
ASSOCIATE PRODUCER: Performs numerous functions as delegated by a producer
ASSOCIATION INTERNATIONALE DU FILM D'ANIMATION: ASIFA, International Animation Association.
ASSOCIATION OF FILM COMMISSIONERS INTERNATIONAL: AFCI. Non-profit educational organization to serve the needs of on-location film, television and commercial production.
ASSOCIATION OF HISPANIC ARTS: Organization supporting Hispanic theatre companies with technical assistance, planning and financial management systems, identification of new and up-and-coming Hispanic playwrights and marketing.
ASSOCIATION OF MOTION PICTURE AND TELEVISION PRODUCERS: AMPTP
ATA: Association of Talent Agents.
ATMOSPHERE ACTORS: Actors who appear in a scene to help establish the time, place, or mood of a scene. Usually do not have discernable lines. Also known as "extras."
ATTITUDE: State of mind or emotion that a character brings to the action of a production.
AUDIO: Pertaining to sound or sound technology.
AUDIOBOOK: Sound recording of a dramatic reading of a literary work.
AUDITION: A tryout for a film, TV or stage role. Usually auditions involving reading from the script, but can also require improvisation.
AUDITORIUM: Area of a theater seating or accomodating the audience.
AUTHOR: The person entitled to hold a copyright.
AUTOMATIC DIALOGUE REPLACEMENT: ADR, Dialogue Looping, Dialog Looping, Looping. Re-recording of dialogue by actor s in a sound studio during post-production. Used to replace production track of poor quality or to change the delivery or inflection of a line.
AVAIL: A courtesy situation extended by performer or agent to a producer indicating availability to work a certain job. Avails have no legal or contractual status.
AVAILABILITY: (AVAIL) A courtesy extended by a performer or an agent to a producer indicating availability to work a certain job. Avails imply no legal or contractual obligation.
BACK DROP: a large piece of canvas, usually painted with a scene, suspended behind the rest of the scenery. Also called a drop.
BACK LOT: Area on studio property used for constructing large open-air sets or for filming outdoor scenes.
BACK PROJECTION: (Rear Projection) Live action is filmed in front of a screen upon which background action is projected.
BACK STORY: The history and personal relationships of a character before the events written in the script.
BACK TO ONE!: The verbal cue for performers to return to the mark where they started the scene.
BACK-END DEAL: Contract agreement for payment to be made after a project is produced, released, and begins making a profit.
BACK-UP: Actor who is hired to work only if the designated performer can't perform satisfactorily.
BACKDROP: A painted or plain surface hung from the grid and used to form a set on stage.
BACKGROUND ACTION: Action performed in the background of a shot.
BACKGROUND ACTOR: Extra performers, atmosphere, non-principal performer who does not have lines.
BACKGROUND: The Extra performers. On the set, "Background!" is a verbal cue for the Extras to start their action.
BACKING FLAT: a painted canvas positioned behind a window or door in a set.
BACKING: Financial support for a production.
BACKLIGHT: A light that illuminates the actors from an upstage position.
BACKSTAGE: Area off stage not seen by the audience.
BALCONY: Upper tier of seating in the auditorium.
BALLAD: A romantic, smoothly flowing song.
BAR: a pipe suspended above the stage upon which scenery, ighting and other equipment are hung.
BARNDOOR: Shutters attached to lights to control the amount of illumination.
BEAT: Smallest unit of dramatic action which attempts to satisfy an intention.
BEAUTY SHOT: On TV soaps, the shot over which the credits are rolled.
BEGINNERS: A call given to the actors who appear in the first part of a play.
BELL BOARD: A sound effects board on which are mounted different types of bells (doorbells, phone bells, etc.)
BELOW-THE-LINE EXPENSES: Production costs not included in the above-the-line expenses, such as material costs, music rights, publicity, trailer, etc.
BELOW: Toward the audience.
BELT: To sing in a forceful manner.
BEST BOY: Second in command to the gaffer or to the key grip. The best boy/grip is in charge of the rest of the grips and grip equipment; the best boy/electric is in charge of the rest of the electricians and the electrical equipment.
BIFOCAL SPOT: spotlight with special shutters to allow hard and soft edges.
BIG and TALL MEN: Male models wearing size 44 suit and up.
BILLBOARD: The opening announcements to a program.
BILLING: The relative sizes, positions, and order of names and a production's title in printed publicity material as well as the opening credits.
BIO: Short for biography. Used for a printed program or press release.
BIOGRAPHIC PICTURE: (Biopic) A filmed story of a person's life story.
BIT PART: A small role.
BLACK BOX: A theatre, usually small where the audience is in close proximity to the actors and action.
BLACK COMEDY: A comedy in which the humour is derived from "serious" subjects such as death, war, suffering, and murder.
BLACK LIGHT: ultra violet light.
BLACKLISTING: Discriminating against someone by refusing them work due to their personal, political, social, or religious beliefs.
BLACKOUT: Rapidly dimming lights to total darkness.
BLACKS: Black clothing worn by technical personnel during productions.
BLACKS: black curtains at the back and sides of the stage.
BLANK VERSE: A type of verse that approximates the rhythm of natural prose.
BLOCKBUSTER: Hit A movie which is a huge financial success.
BLOCKING REHEARSAL: Rehearsal focused on the physical movements and positions of actors.
BLOCKING REHEARSALS: A rehearsal during which the actors' stage movements are rehearsed.
BLOCKING: The planned movement and positioning of actors on stage or in front of the camera. Also can refer to the movements of the camera.
BLUE PAGES: Pages inserted into a script after it has been numbered and distributed. The new or revised pages are dated and printed on colored paper (first blue, then pink, etc.)
BLUE SCREEN: Shooting in a studio against a large blue or greenish backdrop, which allows a background to be superimposed later on the final image. The actors must imagine the set they are on and be aware of the limitations of their movements. Blue Screen shooting is often used to created CD-ROM video games using actors.
BODY DOUBLE: An actor who replaces another actor in a scene because the double's body or part of the double's body is more suitable for the shot. Frequently used for shots requiring nudity or specific physical characteristics.
BODY MAKEUP: Makeup applied below the neck or above the wrists.
BOMB: A production that is a financial disaster.
BOOK (THE): The stage manager's copy of the script which includes all cues and notes. AKA "prompt copy."
BOOK FLAT: Two scenery flats hinged together in an "L" shape in order to be free standing.
BOOK: The spoken dialogue in a musical or play.
BOOK: To be offered and accept a role.
BOOKING: A firm commitment to a performer to do a specific job.
BOOM MICROPHONE: AKA; Boom Mike, Boom, Fishpole, Giraffe A long pole with a microphone on the end. The boom is extended out near the actors. Ideally, the microphone at the end should be placed in the camera 's safe area.
BOOM: A pipe or pole supporting an overhead microphone, light or camera. The Boom Operator is the member of the sound department responsible for holding the boom pole, with mic attached, over and sometimes under the actors. Also usually responsible for placing radio mics on actors.
BOOTH: area in the theatre with the light and sound boards. Usually in the back of the theatre facing the stage.
BORDER: Drapery or masking scenery hung above the acting area to mask overhead lights and the area above the stage.
BOX OFFICE: Area where admission tickets are sold for a performance. Also used mean the size of the audience or the amount of money taken in.
BOX SET: A set (usually of an interior space) composed of a back and two side walls and sometimes a ceiling.
BREAK A LEG: A traditional alternative to saying "Good Luck" (which is considered bad luck).
BREAK CHARACTER: Speaking or acting which is not in keeping with the character.
BREAKAWAY: Costume, prop or scenery element specially constructed to break or shatter easily.
BREAKDOWN SCRIPT: A list of all items, people, props, equipment, etc needed for a shoot on a daily basis.
BREAKDOWN SERVICES LTD.: A company that provides to talent agencies descriptions of roles being cast for film and television projects.
BREAKDOWN: A detailed description of roles to be cast for a production.
BREATH CONTROL: The ability to manage and regulate breathing during a voiceover performance, preventing audible breaths that can be distracting.
BRIDGE: Music linking two scenes.
BRIDGE: Walkway above the stage to reach stage equipment.
BROADWAY: Area of New York city on and adjacent to the street named Broadway where the commercial theaters of the united states are located.
BUILD: To increase the emotional level, loudness, rate, and energy of a line, speech, scene or song.
BUMPER: A short, non-commercial announcement such as "we'll be right back".
BURLESQUE: A sex and comedy variety show.
BURY: To hide someone or something out of sight in a scene.
BUSINESS: An incidental bit of unscripted or improvised action used to establish a character or establish the scene.
BUSKER: Itinerant open-air street players such as jugglers, conjurers or acrobats.
BUYOUT: An agreed-to offer of full payment to a performer in lieu of residuals.
BUZZER: Sound device used in a film/TV production that cues everyone to be quiet for the shooting of a scene, and later that a scene has finished shooting.
CABARET AGREEMENT: Union/producer agreement for cabaret theatres.
CABARET: Entertainment presented to any audience in night-clubs, hotel-restaurants or at dinners. Emphasizes skits, songs, magic and comedy acts.
CABLE NETWORK: Nationally distributed programming provided by a cable hookup (such as Showtime, ESPN, CNN, HBO.)
CADENCE: Pitch,tone, and rhythm of a vocal pattern.
CALL BACK OR CALLBACK OR CALL-BACK: Follow-up casting call for select talent who appeared at a previous call.
CALL BOARD: Bulletin board for posting audition notices, casting calls, rehearsal schedules and the like.
CALL SHEET: A sheet containing the cast and crew call times for a specific day's shooting. Scene numbers, the expected day's total pages, locations, and production needs are also included.
CALL TIME: The time an actor is to be on the set ready to work.
CALL: Alert announced to technicians and actors when they are needed on stage.
CALLBACK: Any follow-up interview or audition.
CAMEO: A bit part played by a notable actor who would normally only perform larger roles.
CAMERA CREW: With the D.P. (Director of Photography) as its chief, this team consists of the camera operator, the first assistand camera operator (focus puller), the second assistant camera operator (film loader and clapstick clapper) and the dolly grip.
CAMERA LEFT: actor's right when facing the camera.
CAMERA LOADER (Clapper-Loader, Clapper Loader): The person who loads film and operates the clapboard at the beginning of a shot.
CAMERA OPERATOR: The member of the camera crew who actually looks through the lens during a take. Responsible for panning and tilting and keeping the action within the frame.
CAMERA PRESENCE: an actor's presence and sense of energy on camera.
CAMERA RIGHT: actor's left when facing the camera.
CAMERA: A device for recording images.
CAMP: Comedic parody where the dramatic form is deliberately exaggerated to the point of ridiculousness.
CANNED: Pre-recorded effects interjected into a performance.
CANS: Headphones.
CARD: Refers to how an actor's name appears in the credits; "separate card", appearing alone on the screen, "shared card", appearing with other names on the screen.
CAST ALBUM: An audio recording featuring music from a live musical production.
CAST PARTY: Party for the cast (and often crew) of a production.
CAST: The talent hired to play the characters in a production. Also, the process of selecting talent for a production.
CASTING COUCH: Refers to the highly unethical practice of pressuring talent into providing sex in return for a role.
CASTING DIRECTOR: The producer's representative responsible for choosing performers for consideration by the producer or director.
CASTING SOCIETY OF AMERICA (CSA): A professional organization for Casting Directors.
CASTING: Process of selecting actors to play the characters in a production.
CATERER: Responsible for breakfast, lunch and dinner on a set. Different from Craft Services.
CATTLE CALL: An audition during which a large number of actors are moved in and out of the audition area as quickly as possible.
CATTLE CALL: The actual time you are due on the set
CATWALK: A narrow walkway suspended above the stage and/or house from which lights and scenery can be hung and accessed.
CD: Compact Disc. Can contain digital text, music and images.
CEL: A sheet, usually made of a clear material, upon which an image is drawn and which is then used as an animation frame.
CENSORSHIP: Mandatory changes to content of a performance imposed upon the producers of a production by an outside person or organization.
CENTER LINE: A line (real or imagined) that divides the acting area into two equal parts. Runs from upstage to downstage.
CENTER STAGE: The middle of the performance space.
CGI: Computer generated graphics and special effects .
CHANGE PAGES: Changes made to a script during production. Changed pages are usually printed on a colored paper stock that is different from the original pages.
CHANGES: The different clothing that is worn for a performance.
CHARACTER ACTOR: An actor who specializes in playing a particular personality type using mannerisms, speech patterns and physical appearance.
CHARACTER ARC: The transformation or development of a character throughout a story.
CHARACTER BREAKDOWN: Concise description of a character for casting purposes.
CHARACTER LOOK: Physical appearance of a character type.
CHARACTER MAN/WOMAN: Talent who specializes in mature roles or roles that require specialized physical or vocal skills.
CHARACTER MODEL: A model who has unusual an look or skill.
CHARACTER OBJECTIVES: The goal a character is trying to achieve.
CHARACTER VOICE: A distinctive voice created by a voice actor for a specific character, often involving unique accents, pitch, and speech patterns.
CHARACTERIZATION: The physical attributes of a character as performed by an actor.
CHARACTERIZATION: The process of creating and developing a character by an actor.
CHEAT: When an actor turns toward the audience or the camera a small amount so as to show more full-face. A common technique used in theatre and film.
CHECKING THE GATE!: A verbal command to check the lens on the camera; if the lens is - OK - the cast & crew will move on to the next scene or shot.
CHEWING THE SCENERY: An actor who gives an over-the-top (hammy) performance.
CHIEF ELECTRICIAN: Heads the electrician crew; also called the Gaffer.
CHILD LABOR LAWS: Government regulations (vary from state to state) covering the employment of children.
CHILDREN'S AGENT: An agent who specializing in the representation of child performers.
CHOREOGRAPHER: One who creates dance movements and supervises dancers in a production.
CHORUS CONTRACT: Used for those actors who are primarily performing chorus work.
CHORUS PERFORMER: Performer hired as a group of singers, dancers or actors.
CHORUS: In ancient Greek theatre, a character or group or characters who comment on the action, provide exposition and advance the plot. Also, a group of singers and dancers in a musical production.
CINEMATOGRAPHER: Person responsible for all aspects of filming.
CLAIMS: Those things a character knows or believes about themself (such as social status, tastes, habits, foibles, strengths, temptations, position in family or business, birth place, age, tastes in food, etc.).
CLAPBOARD (Clapper, Slate): A small board which holds information identifying a shot such as working title of the film, the scene and number of take, the date, and the time. Filmed at the beginning of each take, a hinged stick (attached at the top) sharply snapped shut which creates a quick clapping sound that is used to synchronize the sound to the image.
CLAQUE: People hired for the purpose of initiating and sustaining applause, cheering, whistling, or other enthustic displays of appreciation for a performer or a performance. This is done to solicit up a more enthusiastic response from the audience than they might otherwise be spontaneously offered.
CLASS A COMMERCIAL: the most lucrative remuneration for performance in a commercial.
CLAYMATION: Animation using three dimensional figures figures made of clay or plasticine.
CLEAN SPEECH: A take in which dialogue is performed without error.
CLIENT: A person or company who hires a model.
CLIFFHANGER: A moment of high suspense, frequently used at the end of a serial drama. Leaves the audience wanting to know what happens in the next installment of the series.
CLIMAX: The most powerful, dramatic moment in a script. Action which follows proceeds to the final resolution.
CLIP: a brief excerpt from a filmed ot taped performance. Also, to abruptly cut off the beginning or end of a syllable, sound or musical note.
CLOSE CAPTIONED, Close-Captioned, CC: A system which displays the current dialog on screen for deaf or hard-of-hearing viewers. Contrast with subtitles, intertitles
CLOSE-UP (CU): Camera term for tight shot of shoulders and face.
CLOSED POSITION: To face away from the audience.
CLOSED TURN: To turn away from the audience.
CO-STAR: A supporting lead role.
COLD READING: Performing a script without prior rehearsal or preparation. Commonly done at auditions.
COLD SUBMISSION: Sending an unsolicited headshot and resume to a casting person.
COMEDIAN: Actor who specializing in comedy.
COMEDY: A performance primarily meant to amuse.
COMIC RELIEF: A comedic line or scene included in what is otherwise a serious production. Used to provide relief of tension.
COMMENTARY: A script used by the commentator (or announcer) to describe fashions for a fashion show.
COMMENTATOR: One who comments on the action of a film.
COMMERCIAL ACTOR: Actor (male or female) who performs in commercials.
COMMERCIAL AGENT: Agent or agency who represents talent who work in television, radio or movie commercials.
COMMERCIAL ARTIST: One who does artwork for advertising purposes.
COMMERCIAL MODELING: Modeling something other than fashions.
COMMERCIAL SOUND STUDIO: A studio that provides space, equipment and engineers to ad agencies, producers and others for a fee.
COMMERCIAL THEATRE: Professional theatre productions developed with the goal of making money for investors.
COMMERCIAL VOICEOVER: Voice narration used in advertisements or promotional materials to sell a product or service.
COMMISSION: Percentage of a performer's earnings paid to agents or managers for services rendered.
COMMUNITY THEATRE: Local, non-commercial, amateur acting group that performs theatrical productions.
COMPANY: Cast, crew and other staff associated with a production.
COMPOSITE: A variety of photos printed on one sheet; represents an actor's different looks.
COMPOSITION: Placement of people or objects within the performing area or film frame.
COMPS: Complimentary tickets.
CONFLICT (AGENCY): When an agency has too many of an actor's "type".
CONFLICT (COMMERCIAL): Contractual limitation preventing, for a set amount of time, an actor who represents one client's product, from representing a competing product.
CONFLICT: Dramatic tension created by opposing forces.
CONTACT MIC (Boundary Mic, PCC, PZM): A microphone designed to pick up sound vibrations transmitted through a solid material.
CONTACT SHEET: A print sheet made up of all the shots from a roll of film.
CONTINUITY: Attention to progression of story-line and acton, expression of dialog, and matching the details of set dressing, props, and wardrobe to prevent discrepancies in same from shot to shot.
CONTRACTS: Legal agreement entered into by a performer and agents, managers and/or producers which defines the services to be rendered and the type of compensation to be paid.
CONTROL BOOTH: Room used to house equipment to operate lights and sound for a production.
CONVENTION: A widely used and device or technique that an audience traditionally agrees to accept as part of the theatrical production. For instance, a "stage whisper" is one which can, in reality, be heard by all the characters on the stage and by the audience. It is a convention accepted by the audience that the characters who are not the intended recipient of the whisper do not hear it and do not react to it.
COPY: the written words of a script or advertisement.
COPYRIGHT: Legal rights to control reproduction and sale of intellectual property.
CORNER: The "prompt corner"; the place from which the stage manager communicates with the actors and the production crew.
COSTUME DESIGNER: The individual responsible for creating or selecting costumes for a production.
COSTUME FITTING: the process of getting measured and trying on costumes for a production.
COSTUME PARADE: A process during which actors, wearing their costumes, parade and pose in front of the director and costume designer who approve or suggest changes to the costumes.
COSTUME: Clothing and accessories worn by an actor for a production.
COUNTER: When an actor moves, another actor may shift their own position to balance the composition of a scene.
COUNTERCROSS: A cross by an actor to re-establish visual balance of the acting area after another actor's cross.
COUNTERWEIGHT SYSTEM: A system used for raising and lowering scenery and lights which uses heavy weights to counterbalance the weight of the scenery and lights.
COVER: To block the audiences view of stage action or of another actor.
COVERAGE: All camera shots other than the master shot; coverage might include two-shots and close-ups.
COWBOY SHOT: A shot framed from mid-thigh up. A common framing used for the filming of many westerns.
CRAFT SERVICE: The catering company that feeds the cast and crew.
CRAFT SERVICES: On-set beverage and snack table. Different from the Caterer
CRANE SHOT: A shot, usually from overhead, taken by a camera mounted on a crane.
CRASH BOX: Metal box filled with broken crockery which is dropped offstage to simulate breaking glass.
CRAWL: Screen credits or written text that slowly move into the screen from one side and off the other side of the screen.
CREATIVE DIRECTOR: Person in an advertising agency who creates and develops advertisement concepts.
CREDITS: The names of the people responsible for a film or TV production; also a list of performance experience included on a resume or in a program.
CRITIC: Journalist who writes reviews of recorded or live productions.
CROSS ABOVE: To move upstage.
CROSS BELOW: To move downstage.
CROSS-FADE: To bring lights down in one stage area of the stage while bringing lights up in another stage area.
CROSS: To move from one area of the performance area to another.
CUE: A verbal or physical signal that indicates when actor is to move, speak a line, execute stage business or execute a technical effect.
CURTAIN CALL: The final appearance of the by cast at the end of a performance to receive applause and take bows.
CURTAIN LINE: The final line in the play. Also called the tag line.
CURTAIN LINE: The line on the stage floor where the front curtain touches when brought in.
CURTAIN SPEECH: Introduction given from the stage just before a performance starts.
CURTAIN TIME: Advertised start time of a performance.
CURTAIN: A drape across the stage to conceal some or all of the performance space.
CUT AND HOLD: A verbal cue to have all principal action stop and freeze in position until told to release.
CUT: A direction given by the director to stop the action of a scene. Also, the point at which one shot is changed for another.
CUTAWAY: A short scene between two shots of the same person, showing something other than that person.
CYC (CYCLORAMA): A curved wall at the back of the stage. Frequently painted light blue.
D.P.: Director of Photography or Cinematographer.
DAILIES (RUSHES): Film and sound clips that are quickly processed for next day viewing.
DAILIES: Screening of footage before it is edited.
DARK THEATRE: A day or night with no performance.
DAY PLAYER (DAY PERFORMER): A principal performer hired on a daily basis, rather than on a longer-term contract.
DAY-OUT-OF-DAYS: The number of days a performer will work out of the total production schedule of days.
DAYTIME DRAMA: Soap opera.
DEADPANNING: To get laughs using a neutral facial expression.
DEALER COMMERCIAL (DEALER SPOT): Commercial produced and paid for by a national advertiser which is then turned over to local dealers to book air time, usually with the dealer's tag added.
DECIBEL OR DB: A unit of sound volume.
DELIVER: To speak a line.
DEMO TAPE: (DEMO REEL) An audio or video tape containing scene or sound clips that actors and their agents use for auditions.
DEMONSTRATOR: A model who demonstrates a product in a trade show, convention or store.
DÉNOUEMENT: The events following the climax of a production in which the resolution or clarification takes place
DEPTH OF FIELD: Area within the camera's view in which objects are in focus
DEPUTY: Works in conjunction with the Stage Manager as the elected company member responsible for facilitating communication between Equity and the rest of the company.
DGA: Directors Guild of America.
DIALECT COACH: Specialist who trains actors in a specific dialect or accent.
DIALECT: A distinctly regional or linguistic speech pattern.
DIALOGUE: The spoken words between characters in a script or screenplay.
DICTION: The clarity and pronunciation of an actor's speech.
DIM: Decreasing the intensity of lights.
DIMMER: A device which controls the intensity of lights.
DINNER THEATER: A restaurant that also stages theatrical productions
DIPS: lights set into the stage floor usually covered by trapdoors.
DIRECTING: Interpretation of a script and development of the action which is to take place.
DIRECTION: Guidance and instructions from the director.
DIRECTOR OF PHOTOGRAPHY (D.P.): Supervises all decisions regarding lighting, camera lenses, color and filters, camera angle set-ups, camera crew and film processing.
DIRECTOR'S CUT: A cut of a movie without studio interference as as the director would like it to be seen. May not be color or density corrected or have final music and effects
DIRECTOR'S GUILD OF AMERICA: DGA
DIRECTOR: The principal creative artist on a production. Responsible for coordinating and overseeing all artistic and technical aspects of a production. Conducts performances and rehearsals and who supervises, defines and gives unity to the performances. Director's duties might include casting , giving direction to the actors, script editing , shot selection , shot composition, and editing .
DISCOVERED: A person or object on stage when the curtain is raised.
DISCOVERY: Moment of revelation.
DISSOLVE: Transition from one shot to another by briefly superimposing one image upon another and then allowing the first image to fade away.
DOCUMENTARY: A non-fiction narrative which records an event, person, or place.
DOLLY GRIP: A person responsible for physically moving the camera during a shot.
DOLLY SHOT: A moving shot taken from a dolly which moves the camera toward or away from the subject.
DOLLY TRACKS: A set of tracks upon which a dolly-mounted camera is moved.
DOLLY: A wheeled platform upon which a camera is mounted which allows physical movement of the camera.
DOMESTIC COMEDY: A production that explores the contradictions and eccentricities among individual characters.
DOMESTIC DRAMA: A production that explores the problems of ordinary people in a serious, non-tragic manner.
DOMESTIC RUN: Television broadcast of a program within the broadcast area of a particular station.
DOUBLE BILL: Two movies shown consecutively.
DOUBLE EXPOSURE: two distinct images appearing simultaneously with one superimposed upon the other.
DOUBLE TAKE: Looking at something or someone, then looking away, then quickly looking back.
DOUBLE: A performer who appears in place of another performer, i.e., as in a stunt.
DOUBLING: Actor performing more than one part in a production.
DOWN RIGHT: Acting area closest to the audience, on the right side of the stage as the actor faces the audience.
DOWNGRADE: Reduction of a performer's on-camera role from principal to extra.
DOWNSTAGE: Acting area nearest to the audience
DRAMA: A production that takes a thoughtful, serious attitude toward its subject matter.
DRAMATIST: One who writes plays.
DRAMATURG: Someone who works as a consultant to the production company, who researches script selection, and background and historical relevance of the production. Can be a liaison between director and playwright and can assist with editing & revising scripts.
DRAPES: Stage Curtains.
DRAWING ROOM COMEDY: Witty, upper-class comedies popular from the turn of the century.
DRESS CIRCLE: Seating area above the stalls and below the balcony.
DRESS PARADE: Final check of costumes before the first dress rehearsal. The cast parade each of their costumes under stage lights in order for the director and costume designer to make any necessary changes or improvements to the costumes.
DRESS REHEARSAL: A full rehearsal in full costume and makeup and with all technical elements included.
DRESS STAGE: To slightly change position to balance the acting area after another actor made a cross.
DRESS THE SET: Add such items to the set as curtains, furniture, props, etc.
DRESSER: A wardrobe assistant assigned to help with costume changes costume maintenance throughout the run of a production.
DRESSING ROOMS: Rooms in which actors change into their costumes and apply make-up.
DRIVE-ON PASS: A pass which permits one to drive onto and park on a studio lot.
DROP: A piece of cloth, often painted to depict scenery, which is lowered from above the acting area to set a scene.
DROPPING LINES: Unintentionally not speaking lines or inadvertantly speaking them so they that cannot be properly heard.
DRY ICE: Frozen carbon dioxide which produces a low-lying mist or fog when dropped into boiling water.
DRY TECH: A rehearsal, usually without actors, during which the light and sound cues are worked out.
DRY: To forget ones lines.
DUBBING: After filming, matching an actor's voice with the lip movements of the same or a different actor on the screen. Also copying a sound from one medium to another.
DUOLOGUE: Conversation between two characters.
DUPE: A duplicate copy of a film or tape; also, a "dub"8x10 - Commonly used size of a performer's photos, usually in black and white.
EAR PROMPTER: Ear device worn to assist actors with scripts that are difficult to memorize.
ECCENTRIC: A character with unconventional or quirky behavior.
ECHO: Reverberanting sound
ECU: Abbreviation for extreme close-up.
EDIT DECISION LIST (EDL): A list of instructions for editing a film, specifying which shots to use and their order.
EDIT SUITE: A space where film or video editing takes place.
EDITING: Process of combining together (manually or electronically) individual shots into a complete film.
EDITOR: Person who assembles the visual and audio elements of a film into a completed film.
EFFECTS PROJECTOR: Lantern used to project an image onto a stage or, more commonly, the cyclorama.
EFFECTS STOCK: Special film stock that is used to generate computerized composites.
ELEVATION: A working drawing showing the side view of the set or lighting arrangement.
ELEVATION: The process of raising the emotional intensity of a scene.
ELEVATOR: A mechanized stage that raises and lowers the floor to get scenery, properties, and performers on and off the stage.
ELEVEN O'CLOCK NUMBER: A big finish show tune that occurs shortly before the end of a musical.
ELIZABETHAN THEATRE: Period in English theatre associated with the reign of Queen Elizabeth I (1558-1603). Among the many notable authors from this period are William Shakespeare, Christopher Marlowe, Thomas Kyd, Ben Jonson and Beaumont & Fletcher.
ELOCUTION: The art of clear and expressive speech.
EMOTE: To express emotions dramatically through facial expressions and gestures.
EMOTING: Expressing emotions convincingly through acting.
EMOTIONAL MEMORY: A technique of acting by which an actor recalls the intricate details of a past experience and the emotions experienced for the purpose of evoking a similar emotion which is then used by the actor in performance.
EMPATHY: The ability to understand and share the feelings of a character.
EMPHASIS: The stress or accentuation placed on certain words or phrases to convey meaning.
EMPIRICAL ACTING: An approach based on observation and personal experience rather than theory.
EMPLOYER OF RECORD (EOR): Company responsible for employment and for taxes and unemployment benefits.
EMPOWERMENT: The process of gaining confidence and control in one's performance.
ENDEARING: A quality of a character that makes them likable or sympathetic.
ENDOWMENT: Natural gifts or qualities an actor possesses that contribute to their performance.
ENGAGER: Any person, producer, advertising agency, corporation or other entitiy that contracts and/or pays performers for their performance in a television or radio commercial.
ENIGMATIC: A character with mysterious or puzzling qualities.
ENSEMBLE CAST: A group of principal actors who work together as a team in a production.
ENSEMBLE PIECE: A production where no single actor has the lead role; the emphasis is on the group.
ENSEMBLE WORK: Collaborative efforts among actors to create a cohesive and harmonious performance.
ENSEMBLE: A group of actors who work together with no one actor outshining any others.
ENTR'ACTE: a musical interlude between play acts.
ENTRAINMENT: The synchronization of actors' movements or dialogue in a scene.
ENTRANCE FEE: A fee paid by actors to audition for a role.
ENTRANCE: Entering the acting area. Also the opening in the set that is used for entering.
ENUNCIATION: Clear and distinct pronunciation of words.
ENVIRONMENTAL THEATER: A theatrical performance in which the audience area and the acting area are intermixed with the action occurring all around the audience.
EPHEMERAL: Something fleeting or short-lived, like a performance.
EPIC THEATER: A style of theater that encourages intellectual engagement and critical thinking in the audience.
EPIC: A film that requires an immense production.
EPILOGUE: A short scene at the end of the main action of a production which explains or comments upon the action.
EPIPHANY, EPIPHANAL MOMENT: A character's sudden insight into his/her condition or circumstances.
EPISODIC: A role that appears in multiple episodes of a TV series or a serialized production.
EPISODIC: Series of self-contained productions sharing a common title and featuring recurring lead characters, and any number of transient secondary characters.
EQUITY WAIVER: 99 or fewer seat professional theatres over which Equity has special contractual agreements. Equity and non-equity actors may perform in these productions. In Los angeles the agreement is called LA 99 Seat plan, in New York it is called a Seasonal Showcase code.
EQUITY WAIVER: A legal agreement allowing actors to work for reduced pay in certain productions.
EQUITY: A trade union for actors and stage managers involved in live performances.
EQUITY: The concept of fairness and justice in the industry.
ERA-APPROPRIATE: Acting in a manner consistent with the time period of the play or film.
ESCAPE STAIRS: Steps which are hidden from the audience's view, which are used by actors to exit or enter from upper-level platforms or doors.
ESCAPISM: The act of immersing oneself in a role to escape from reality.
EVERGREEN: A song that continues being popular year after year.
EXAGGERATION: Intentional overemphasis or overstatement for dramatic effect.
EXAMINEE: An actor being auditioned.
EXCLUSIVITY: Contract provision in which an actor agrees not to work for other employers during the time the contract is in effect.
EXECUTION: The manner in which a performance is carried out or performed.
EXECUTIONER: A director or producer responsible for overseeing the production process.
EXECUTIVE PRODUCER: A producer who is who is responsible for funding an overall production but not involved in the technical aspects of the production.
EXEGETIC ACTING: An approach that involves interpreting and explaining a character's motivations and actions.
EXEUNT: A stage direction indicating that two or more characters leave the stage together.
EXHIBIT MODEL: Models who host conventions and other promotion assignments.
EXIGENCY: An urgent or pressing demand in a scene.
EXIT LINE: Last line spoken by an actor before leaving the stage.
EXIT: Leaving the stage or set during a performance.
EXIT: The moment when an actor leaves the stage.
EXIT: The opening in the set that is used for leaving.
EXPENSE FORM: A form used by actors to document their job related expenses for tax purposes.
EXPLORATION: The process of experimenting with different approaches to a character or scene.
EXPOSITION DUMP: A large amount of background information delivered in a short period.
EXPOSITION: Information essential to the understanding of the dramatic action. Revealed to the audience through dialog.
EXPOSITION: The part of the play or script that provides background information to the audience.
EXPRESSION: The use of facial features and body language to convey emotions.
EXPRESSIONISM: A stylized form of theater in which greater value on emotion than realism. Visual effects are often accomplished through distortion.
EXT: Exterior. A scene shot outside.
EXTEMPORANEOUS: Speaking or performing without preparation or rehearsal.
EXTEMPORE: Impromptu or spontaneous performance.
EXTERIOR MONOLOGUE: A character's thoughts spoken aloud to the audience.
EXTERIORIZATION: The process of expressing internal emotions or thoughts outwardly.
EXTRA: A performer who appears in a non-specific, non-speaking character usually as part of a crowd or in the background of a scene.
EXTREME CLOSE-UP: A shot in which the subject fills the entire frame.
EYE CONTACT: Direct visual engagement with the audience or other actors.
EYE LIGHT: A controlled source of light used to illuminate an actor's eyes.
EYE LINE: The imaginary line of sight an actor uses to gauge where to look on stage or at a camera.
EYE-TRACKING: A technique used in film and television to follow an actor's eye movements.
EYELINE MATCH: A technique used in special effects to assure a live actor is looking at the "face" of the special effects character who will later be inserted into the scene.
FADE (Fade To Black, Fade In, Fade Out): Gradual transition from a normal image to complete blackness (fade out, fade to black), or vice versa (fade in). Usually used to set off sequences.
FADE IN/FADE OUT: A gradual increase or decrease of light or sound in a scene.
FAIR USE: (law) A stipulation in the Copyright act of 1976 (Section 107) under which some limited "fair use" may be made of a protected work without permission" for purposes such as criticism, comment, news reporting, teaching . . . scholarship or research." Whether fair use includes such things as excerpting sections of commercial recordings for background music in audio drama is not clear.
FALSE PROSCENIUM: A temporary frame made of canvas or flats, used to reduce the opening of the permanent proscenium. Often used by touring companies that have to play on a variety of stage sizes.
FALSE STAGE: A temporary stage floor laid upon the permanent stage floor.
FARCE: Comedy that relies on ridiculous situations, horseplay and slap-stick action.
FAST MOTION: Cinemagraphic technique where movement appears more rapid than normal.
FAVORED NATIONS: Contract provision that states if another specified actor or actors receive better terms or conditions than the contracting actor, then the contracting actor is entitled to the same terms or conditions of the other specified actor or actors.
FEATURE FILM: AKA; A movie or videotape production, at least 40-45 minutes (2 reels) long and intended for mass release through movie theatres or broadcast.
FEATURE PRESENTATION: The main movie shown during a screening.
FEATURED ROLE: A non-speaking role that performs specific business in the scene.
FEMME FATALE: Term used to describe a female character whose seductive charm leads men into compromising or dangerous circumstances.
FIELD REP: Union staff member who assures contractual agreements are met.
FIGHT CAPTAIN: Company member responsible for fight choreography and safety of actors engaged in staged fights.
FILL LIGHT: Light which fills dark areas and the shadows that the key light creates.
FILM FESTIVAL: An event during which numerous films are shown, usually in competition.
FILM MAGAZINES: A reel of film ready to be placed into the camera.
FILM NOIR: Literally; Genre of film which features brooding characters, corruption, crime, detectives, and the seedy side life.
FILM STOCK: Medium on which photographic images are recorded.
FINAL PREVIEW: Final performance before a production opens.
FINALE: The sequence which ends each act.
FINE CUT: Final assembly of all the various audio and visual components of a film.
FIRE CURTAIN: Non-flammable curtain hung directly behind the proscenium. Also called asbestos curtain or fireproof curtain.
FIRST A.D.: First Assistant Director.
FIRST ASS'T. CAMERA OP.: First Assistant Camera Operator. Responsible for focusing the camera lens. Also known as the Focus Puller.
FIRST ELECTRIC: First row of lights hung from a batten behind the proscenium.
FIRST LOOK: Right of first refusal for a script or project.
FIRST REFUSAL: Courtesy extended by an actor to a potential employer in which neither the actor nor the employer is committed to a job, but the actor may also actively seek alternate employment for the same day.
FIRST TEAM: The principal actors.
FIRST-RUN SYNDICATION: Television programs produced for and sold to independent TV stations across the country.
FISH-EYE: an extreme wide-angle lens.
FITTING MODEL: A model who stands while a fashion is being pinned and draped on her by a designer.
FIXED CYCLE: For commercials, a 13-week period for which the advertiser pays a holding fee to retain the right to use performer's services, likeness and image in a previously produced advertisement.
FLASH FRAME: A shot which lasts only a few frames.
FLASH-POT: A small box that contains pyrotechnics which will cause a noisy explosion of smoke when ignited.
FLASHBACK: Breaking normal chronology by shifting to a past time.
FLASHFORWARD: Breaking normal chronology by shifting to a future time.
FLAT: Unit of scenery consisting of a wooden frame, covered with muslin, canvas or a wooden veneer which is painted with scenic elements.
FLIES: Area above a stage in which scenery, lighting and other equipment are suspended from pipes (battens.)
FLIGHTCASE: Metal framed wooden box on wheels which is used for transporting equipment from one performance venue to another.
FLIPPER: Easily removed false teeth for children, used for cosmetic purposes.
FLOODLIGHT: A lighting instrument that emits a wide, unfocused beam of light.
FLOOR CLOTH: Painted canvas sheets placed on the stage floor to achieve a specific effect.
FLOOR LIGHTS: Lights which emit a general fixed spread of light.
FLOOR PLAN: A drawing that show the location of scenic elements.
FLOOR POCKET: a small box, sunk into the stage floor; contains an electrical outlet.
FLUFF: To fumble one's lines.
FLY BARS: Metal bars to which scenery and lanterns are attached for flying above the stage.
FLY LOFT: Space above the stage where scenery is "flown" out of sight of the Audience.
FLY SYSTEM: a system of weights, ropes, pulleys and battens which is used to raise and lower lights, scenery and equipment.
FLY: To raise and scenery into the area above the stage (fly out) or lowered onto the stage (fly in).
FLYING HARNESS: Device worn by actors who are then raised from or lowered into the acting area.
FOAM TECHNICIAN: Person responsible for creating foam latex prosthetic appliances.
FOCAL LENGTH: Distance from the focal point of a lens to the plane of the film.
FOCAL POINT: Place within the acting area that attracts the interest to the audience at that moment.
FOCUS PULLER: Camera crew member (assistant cameraman) who adjusts the focus of the camera during filming.
FOH: (FRONT OF HOUSE) The audience side of the proscenium arch.
FOIL: A character whose dramatic purpose is to set-off another character by contrast; a side-kick.
FOLEY ARTIST: Creates and records sound effects to be synchronized with the action in a film.
FOLEY EDITOR: Someone who edits the sounds created by the foley artist.
FOLEY EFFECTS: Incidental sound effects added in synchronization to filmed footage. Effects are not prercorded. They are created live by the foley artist as the artist views the film footage to synchronize the sound effects.
FOLEY MIXER: Someone who mixes the sound effects created by the foley artist.
FOLEY WALKER: One who specializes in foley effects.
FOLLOW SPOT: A high power lighting instrument that can be adjusted and swiveled so as to maintain a tight focus on a stage performer.
FOOTLIGHTS: A row of lights that are recessed or partially recessed into the front edge of the stage
FORCED CALL: A call to work less than 12 hours after dismissal on the previous day.
FOREGROUND CROSS: Action in a scene in which an extra passes between the camera and the principal actors.
FOREIGN REPLAY: Fee paid for rebroadcast outside the United States.
FORESHADOWING: Action or dialogue in one part of a script that hints at something that will happen in another part of the script.
FORESTAGE: (Apron) Area of stage that extends into the house side of the proscenium.
FOURTH WALL: The invisible "wall" that separates the audience and the performers. "Breaking the fourth wall" refers to an actor speaking directly to the audience.
FRAME: An individual picture image on a film print .
FRANCHISED AGENT: A talent agent approved by SAG-AFTRA to solicit and negotiate employment for their members.
FREELANCE: Actors who work non-exclusively through more than one talent agent
FREEZE FRAME: An effect in which a single frame is repeated to give the illusion that all action has stopped.
FREEZE: To stop all movement.
FRENCH SCENE: A scene division within a play marked by the entrance or exit of a character.
FRESNEL: (pronounced"Fre-nell"): A type of lighing instrument that produces an even, soft-edged beam of light through a Fresnel lens. The: lens is a series of stepped concentric circles on the front and pebbled on the back and is named after its French inventor,; Augustin Jean Fresnel (1788-1827). He developed the lens for French lighthouses so that they could be seen further out to sea and could achieve a longer focal length with a lot less glass than a standard plano-convex lens. Types of lantern.
FRICATIVE: A vocalization produced by forcing breath through a narrow opening in the mouth (such as the letters f, s, v and z.)
FRONT ELEVATION: A scale drawing of the front view of a set.
FROST: A filter used to soften the edges of a light beam.
FULL BACK: When a performer's back faces the audience.
FULL FRONT: When a performer performer faces the audience.
FUTURISM: Theatrical movement that emphasized the impact of technology on society.
FX: Special effects.
GAFFER: Chief Lighting Technician. The head of the electrical department, responsible for the design and placement of lighting and electrical equipment.
GALLERY: In 19th century theatre, the highest and cheapest seats in the house. Those who sat in the gallery were referred to as "the gods". Eventually the term "the gods" came to refer to the gallery itself.
GAUZE (Scrim): A lightweight, coarsely woven cloth flown in front of a scene. When the gauze is lit from behind, the scene appears diffused. When the gauze is lit from the front, the gauze appears opaque and blocks the scene from view.
GEL OR GELATINE: A thin, transparent colored filter placed infront of a lighting instument to color the light emitted.
GENERAL INTERVIEW: An initial meeting between a casting director or agent and actor, when no specific role is being auditioned.
GENERAL MANAGER: Under the producer, oversees all non artistic parts of the production.
GENERAL PRESS AGENT: Individual responsible for the promotion of the production
GHOST LIGHT: A single light left on stage when the theater is empty for safety and tradition.
GIVE STAGE: To take a weak stage position so another actor can have the focus.
GIVE/TAKE: To receive or give greater focus in a scene. The actor who receives the greater focus is said to take the scene. The other is said to give the scene.
GIVEN CIRCUMSTANCES: Aspects of character and the place that are beyond the character's control such as age, sex, state of health, time, place, date, season, political climate, economic climate, philosophical climate, religious climate, social circumstances.
GO MOTION: A form of animation which incorporates motion blur.
GO UP: When a show does not start, it "goes up".
GO-SEE: A modeling interview with a client for a booking.
GO: Word used by stage managers to cue technical effects.
GOBO: A thin metal disc cut with a pattern and placed in front of a light source so the pattern can be projected.
GOING DARK: Warning to people on stage that the lights are about to be switched off.
GOLDEN TIME: Overtime paid to the talent after the 16th hour of contiuous shooting.
GRAND DRAPE: The"main" curtain which separates the stage from the audience.
GRAND GUIGNOL: Shock theatre originating in France; popular in the late 1800s and early 1900s. Featured women in peril, ghosts or horrific murders.it first developed in france, notably at the theatre du grand guignot.
GREASE-PAINT: Term for theatrical make-up with an oil or "grease" base.
GREEK THEATRE: Theatre that flourished from approximately 600 BC to 200 BC around what is now Athens, Greece. Evolved from religious rituals incorporating dance and song and later acting techniques. Developed the basic dramatic forms of tragedy and comedy, theatre architecture and theatre terminology.
GREEN ROOM: A waiting area for actors before and after their performances.
GREENSCREEN: A technique similar to bluescreen in which a scene is shot against a large green backdrop. Later, a background is electronically added to the filmed scene to create the final image.
GRID: Metal or wooden framework suspended above the stage on which flown scenery, drops and lighting battens are supported.
GRIP: Crew member of a TV or film production, who is responsible for the adjustment and maintenance of production equipment on the set. Also a member of the stage crew responsible for moving pieces of scenery and props before a show and during scene changes.
GROSS FEE: Total compensation paid to a performer not including money paid for contracted expenses such as per diem allowances or travel costs.
GROUND CLOTH: Heavy piece of cloth used to cover the stage floor.
GROUND PLAN: Plan for a set design which shows, as seen from above, the exact position of walls, doors, scenery, furniture and the like. Also indicates the position of items suspended above.
GROUNDROW: A raised section of scenery usually depicting bushes, rocks etc.
GUEST STAR: On a TV program, prominent one-time or multiple-episode lead actor who is not a regular.
GUILD CARD: Another name for a union membership card.
GUILD MEMBER: Dues-paying member of an industry union.
HAIRSTYLIST: Person responsible for maintaining actors' hairstyles during filming.
HALF HOUR: Warning to a production company given thirty-five minutes before a performance is to begin.
HAM: A performer who exaggerates movement or voice.
HAND MODEL: Performer whose hands are featured in movies, television or commercial productions.
HAND PROP: A small item used by an actor in performance.
HANGING: Attaching lights or scenery to battens.
HARLEQUIN FLOOR: A type of floor used in theaters and studios, often for dance.
HARLEQUIN: A stock character originating in Commedia dell'Arte. Recognized by his tight-fitting suit of silk diamonds in contrasting colors.
HAU: Hebrew Actors' Union.
HAZER: A machine that produces clouds of white, non-toxic fog through the vaporisation of mineral oil.
HEAD SHEET: A letter size sheet with approximately 15 to 20 reduced size head shots on one page.
HEAD SHOT (HEADSHOT): A black and white 8 X 10 photograph showing an actor's head and shoulders.
HEADSET: A headphone/microphone combination used in communications systems.
HEADSHOT: A photograph of an actor's head and shoulders used for auditions.
HEAVY: A villainous character.
HEMP: A rope made from hemp fibres.
HEROIC DRAMA: Period play, written in verse, in which there is a happy ending or in which the deaths of the main characters are considered an heroic triumph.
HIATUS: Time during which a TV series is not in production.
HIGH CONCEPT: A film that includes elements that creates excitement in order to draw a large audience. (e.g. amazing effects, popular stars, strong script)
HIGH HAT: A top hat.
HIGH-ANGLE SHOT: A shot taken from above a scene as if looking down on the scene.
HIT A MARK: To move to a prearranged, marked location within an acting area so a scene can be played out properly or in film, in proper focus. Small pieces of tape or chalk marks are placed on the floor during blocking to mark the proper positions.
HOLA: Hispanic Organization of Latin Actors
HOLD: A contractual obligation to reserve a block of time to work. It is considered a firm engagement.
HOLDING FEE: Money paid by an advertiser to a performer to retain the right to use a performer's services, image or likeness.
HOLDING: An area in which the Extras report and stay while waiting to perform.
HONEY WAGON: A vehicle containing one or more dressing rooms and/or lavatories.
HOOK: A memorable phrase or melody which is repeated in a song.
HOST: A performer who introduces or segues segments of a program. Includes Masters of Ceremonies, Moderators, Quiz masters and Interviewers.
HOT SET: A set on which a scene is being shot and which should not be changed or disturbed.
HOT SPOT: Area of greatest illumination.
HOUSE CURTAIN: Drapery that separates the acting area from the audience.
HOUSE LEFT: Left side when seated in the audience.
HOUSE LIGHTS: Lights that illuminate the audience area.
HOUSE MANAGER: Person in charged the auditorium and anything related to the audience. (box office, ushers/usherettes, refreshments, cash, etc.)
HOUSE OPEN: when the audience is allowed into the auditorium.
HOUSE RIGHT: Right side when seated in the audience.
HOUSE TABS: Curtains hung across the front of the stage.
HOUSE: The audience. Also, the area of a performance venue that is reserved for the audience.
HUBRIS: Excessive confidence. Often is the tragic flaw in an otherwise noble character.
HYPE: Excessive praise or advertising.
IATSE: International Alliance of Theatrical and Stage Employees.
IAU: Italian Actors' Union.
ID: A brief (10 seconds or less) commercial message which depicts or mentions a sponsor's name, product or service during broadcast over television or radio
ILLUSTRATION MODEL: A model who poses for an artist or with a product (excluding fashion.)
IMPROVISATION (IMPROV): Unscripted performance where actors create dialogue and actions on the spot.
IMPROVISATION: To perform without preparation.
IMU: International Musicians Union.
IN MEDIAS RES: A plot device where the action starts at an exciting point then flashes back to the beginning proceeding to the end.
IN POST: During post-production.
IN THE MOMENT: Involved in the immediate emotional motivation.
IN THE ROUND: Seating arrangement where the acting area is enclosed on all sides by seating.
IN: Toward the center of the acting area.
INAMORATA: The female love interest. The leading lady of a commedia dell'arte group.
INCITING INCIDENT: Action near the beginning of a play that gets the main action going.
INDEPENDENT FILM: A movie produced by a production company not controlled a major studio.
INDEPENDENT: A broadcast station not affiliated with a network.
INDICATE: To play an action in an overly obvious manner.
INDUSTRIAL PROGRAM: a production designed to promote directly or indirectly the image of an organization, its products or services or education in the use of its products or services. Not intended for broadcast on television.
INFANT MODEL: A baby between 6 and 18 months old who appears in commercials or print ads.
INFLECTION: The variation in pitch or tone of the voice to convey meaning or emotion, often used to avoid a monotone delivery.
INFORMAL MODELING: Model work in a department or retail store or other commercial establishment where the model is not on a platform and can iinteract with customers.
INGENUE: A young, female lead role
INNER PROSCENIUM: False prosecenium that temporarily reduces the opening of the permanent proscenium.
INSERT: A close-up shot that will be "inserted" into the final version of a film during editing.
INSET: A small scene set inside a larger one.
INT. (INTERIOR): A scene shot indoors.
INTERCUT: To resume recording just prior to the point where an error was made.
INTERCUTTING: Alternate scenes between action occuring at two different locations.
INTERIOR MONOLOGUE: A monolog understood by the audience to represen the unspoken thoughts of a character.
INTERIOR: Scene filmed to represent a indoor location.
INTERLUDE: A scene that suspends the main flow of action.
INTERMISSION: A formal break between acts of a performance during which the audience can usually move about the house, get refreshments, etc.
INTERSTITIAL: Brief, non-commercial, non-PSA material which fills short periods of time between main programs on pay or cable television.
INTERTITLES: A title card appearing intercut with a scene . Contrast with subtitles. Frequently used with silent films.
INTERVIEW: A meeting between agent or client and talent to see if the talent is right for the job.
INTIMACY COORDINATOR: A professional ensuring that intimate scenes are handled safely and consensually.
INVESTOR: Financial backer for a commercial production.
IRONY: A literary device in which what is stated contrasts or conflicts with what is suggested.
ISO BOOTH: (isolation booth) A small room for recording a sound in isolation from other sounds.
ITALIAN RUN-THROUGH: A rehearsal run at "double time". To help actors overcome problems with slow pacing.
JABBERWOCKY: Nonsensical or invented language, often used in improvisational exercises to enhance creativity.
JARGON: Specialized language or terms used within the acting profession.
JARGONIST: Someone well-versed in the specialized language and terminology of the acting profession.
JAWLINE: The prominence or definition of an actor's jaw, sometimes used metaphorically to describe a performer's strong and striking presence.
JEOPARDY: Danger or risk; in acting, it can refer to the heightened sense of tension and risk within a scene.
JEST: A playful or humorous remark or action, often used to inject humor into a performance.
JETTISON: To discard or eliminate, sometimes used metaphorically in acting to describe cutting or removing unnecessary elements from a production.
JINGLE: A short commercial message set to music.
JITNEY: An improvised or low-budget mode of transportation; in acting, it may refer to a makeshift or resourceful solution to a production challenge.
JITTERBUG: A lively and energetic dance, sometimes used metaphorically to describe a dynamic and spirited acting performance.
JOCULARITY: Playfulness or humor infused into a performance, bringing a lighthearted and entertaining quality.
JOURNEYMAN: An experienced and reliable actor, skilled in various aspects of the craft.
JUBILATION: A state of great joy or celebration, sometimes used to describe the emotional tone of a scene or performance.
JUGGERNAUT: Refers to a powerful and unstoppable force, often used metaphorically to describe a highly successful and impactful production or performer.
JUMP CUT: A film editing technique where the transition between two scenes or shots is abrupt, occasionally used in experimental or avant-garde acting performances.
JUMP TUNE: A fast show tune with a strong beat.
JUNIOR MODEL: A young looking teen model who fits the smaller sizes.
JURY RIG: To makeshift or improvise a solution, sometimes used in the context of set design or technical aspects of a production.
JUVENILE: A term used to describe a young actor, typically in reference to a young character in a production.
JUVES: Short for"Juveniles" - the child members of the company.
JUXTAPOSED MONOLOGUE: A solo speech in which the actor contrasts or compares different elements, enhancing the emotional impact.
JUXTAPOSITION: The act of placing two elements (characters, scenes, etc.) side by side for contrast or comparison in a performance.
JUXTAPOSITIONAL ACTING: A style of acting that emphasizes the deliberate placement of contrasting elements for dramatic effect.
KABITZ: Yiddish term meaning to joke or banter, often used in the context of actors engaging in playful and light-hearted conversation.
KABUKI: A traditional Japanese theater form known for its stylized performances featuring stock, superhuman heroes and villains, elaborate costumes, stylized gestures, and dramatic makeup.
KAIROS: A critical or opportune moment in a performance, emphasizing timing and seizing the right moment.
KAIROSPHERE: The specific environment or atmosphere created by actors to enhance the emotional impact of a scene.
KAIROTIC ACTING: A term used to describe the ability of actors to seize the opportune moment, emphasizing the importance of timing and intuition in their craft.
KEEPER: A good take.
KEY GRIP: The head of the grip department, responsible for the setup and operation of equipment such as cranes, dollies, and other camera-supporting structures.
KEY LIGHT: The primary source of illumination.
KICKOFF: The start principal photography .
KILL FEE: A fee paid to an actor or creative professional if a project is canceled before completion.
KILL: To switch off.
KINAESTHETICS: The study of the perception and control of bodily movements, essential for actors to develop a sense of physicality and movement in their performances.
KINESICS: The study of body language and non-verbal communication, which is crucial for actors to convey emotions and intentions.
KINESTHETIC AWARENESS: The ability of an actor to be aware of and control their body movements and positioning in space.
KLEIG LIGHTS: Bright, intense lights used in filmmaking and theater production, named after the Kleig brothers who invented them.
KNAP-SACK: A small bag or pouch carried by actors to hold personal items or props needed for a scene.
KNAP: A special effect used in film or theater to simulate the sound of a gunshot or explosion.
KNEE-SLAPPER: A joke or comedic line that elicits a hearty laugh, often used in the context of actors discussing humorous elements in a script.
KOHL: A type of dark eyeliner often used by actors to enhance and define their eyes on stage or screen.
KOWTOW: To show extreme deference or submission, sometimes used in the context of actors excessively flattering those in power.
KULTURKAMPF: A German term meaning "culture struggle," often used metaphorically in the acting profession to describe conflicts related to artistic differences or cultural clashes on set.
KVETSH: Yiddish term meaning to complain or express dissatisfaction, sometimes used in the context of actors discussing their roles or working conditions.
LANDING THE ROLE: Successfully securing a part in a production through auditioning.
LARGE SIZE MODEL: Female model size 12 and up.
LAVALIER: A small "tieclip" microphone worn inconspicuously in clothing, hair, wigs over the ear or on the face if heavily made-up.
LAY DOWN: To record something.
LAY IN: To overdub.
LEAD ROLE: Principal performer in a movie or a television show.
LEADING MAN/LEADING WOMAN: Actor who usually plays the most important roles in a production.
LEAGUE OF RESIDENT THEATRES (LORT): An organization of not-for-profit professional regional theatres.
LEG MODEL: A model who has attractive legs for showing hosiery, beauty products for legs, shoes, etc.
LEG: A long, narrow curtain hung to mask the left and right wings from the audience.
LEGIT VOICE: A classically trained voice.
LEGITIMATE THEATRE: Term which refers to live theatre performed on a stage.
LIBRETTO: The text part of a musical, opera or other musical production; as opposed to the lyrics and the music.
LIMELIGHT: A type of theatrical lighting, and figuratively, being in the spotlight.
LIMES: Followspots and their operators.
LINE PRODUCER: Proder responsible for keeping the director on time and budget.
LINED SCRIPT: A copy of the shooting script prepared during production to indicate what portions of the script have been shot.
LINES: The dialogue of a script.
LITTLE THEATRE: Non-professional, community theatre.
LOCATION FILMING: Filming at a location out of a studio.
LOCATION SCOUT: A person who looks for suitable locations for filming.
LOCK IT DOWN: A direction given by the assistant director instructing everyone on the set to be quiet.
LOG LINE: One-sentence of the storyline of a script.
LONG SHOT (LS): A camera shot which captures the performer's complete body.
LOOPING: Recording and adding dialog to a scene after the scene has been filmed.
LORT: League of Resident Theatres.
LOS ANGELES 99-SEAT THEATRE PLAN CODE: A union contract developed for use in the county of Los Angeles in theatres of 99 seats or less.
LOW-ANGLE SHOT: A shot taken from below a subject.
LOW-KEY: Light which provides dim lighting with heavy, dark shadows.
LYRICS: The words of a song.
M.O.W.: Movie of the week
MAJOR MARKETS: The large entertainment markets, New York City, Los Angeles and Chicago.
MAKE-UP ARTIST: One who specializes in applying make-up to actors or models.
MAKEUP ARTIST: The person responsible for applying makeup to actors to enhance or change their appearance.
MAKING THE ROUNDS: Attending interviews and auditions in order to get work.
MALAPROPISM: The use of an incorrect word that sounds similar to the correct one.
MARK: A specific place on a set where an actor is to stand to in the proper light and camera angle. The place is generally marked on the floor with tape or chalk.
MARTINI SHOT: Last shot of the day.
MASK: To hide from view.
MASTER CARPENTER: Stagehand responsible for all scenery and the crew that handles the scenery.
MASTER ELECTRICIAN: Stagehand responsible for all lighting and of the lighting crew.
MASTER PROPERTY MAN: Stagehand responsible for all props and prop crew.
MASTER SHOT: A wide camera shot that includes the principal actors and background scene. Generally it is the first shot made of a scene.
MATCH CUT: a cut intended to blend two shots together unobtrusively (opposed to a jump cut).
MATCHING: To perform the same physical movements and dialog from take to take in order to preserve the visual continuity over a range of camera angles.
MATINEE: Afternoon performance.
MATTE SHOT: Combining two different shots on one print so it looks as if a single had been taken all at once.
MEAL PENALTY: A fee imposed upon a producer for failure to provide meals or meal breaks as specified by contract.
MELODRAMA: A performance in which the plot is simplistic, characters are clearly defined as hero, villian, etc. and emotions are exaggerated.
METHOD ACTING: A style of acting in which actors draw emptions and experiences from their own personal lives to develop the character they are playing.
MEZZANINE: Seating area above the orchestra and below the balcony. When a theatre hat only a single balcony, first several rows are frequently designated the mezzanine.
MIC: Microphone.
MIME: A special kind of performance in which no words are spoken. Plot and character and emotion is conveyed by movement.
MINI SERIES: Episodic program with a set number of episodes; for TV broadcast.
MIX: To blend a multi-track recording into a master recording.
MODEL AGENCY: A company that promotes, books, bills and pays models.
MODEL'S BOOK: A model's portfolio of pictures.
MODEL: a performer engaged to display or physically illustrate a product, idea or service.
MONITOR: Person in charge of checking actors in to a theatre audition, providing them with sides and determining in which order that actors will read.
MONOLOGUE (Monolog): A solo speech by a character, often used in auditions.
MOS: (Mit Out Sound) A shot without dialogue or sound.
MOTIF: A recurring theme, subject, or idea in a performance.
MOTION PICTURE ASSOCIATION OF AMERICA: The Motion Picture Association of America
MOTION PICTURE EDITORS GUILD: Professional union for picture and sound editors, re-recording mixers, projectionists, recordists, mic boom operators, engineers and story analysts.
MOTION PICTURE PRODUCERS AND DISTRIBUTORS OF AMERICA: MPPDA
MOTION PICTURE SOUND EDITORS: MPSE
MOTION PICTURE STILLS PHOTOGRAPHERS ASSOCIATION: MPSPA
MOTIVATED ACTING: Performing with a clear understanding of the character's intentions and motivations.
MOTIVATION: The reason behind a character's actions or feelings.
MOVE IN: To cross toward the center of the stage.
MOVE OUT: To cross away from the center of the stage.
MOVIE COMMERCIAL: A filmed ad for film, played in movie houses.
MOW: Movie of the Week.
MS.: Manuscript.
MUGGING: exaggerating facial expressions.
MUSIC, BACKGROUND: Music that reinforces the mood or atmosphere of a scene.
MUSICAL DIRECTOR: Responsible for the music in a production, music arrangements and rehearsals, and conducts the band or orchestra.
MUSICAL: Production in which a major component of the storytelling is accomplished through music, song and dance.
MYSTERY PLAYS: A style theatre that dramatizes events from the Bible
NAME: A well-known performer, director or producer whose involvement in a production will increase interest in a production.
NARRATION: The act of providing spoken commentary or description to accompany visual elements in a video, documentary, or presentation.
NARRATIVE: The story.
NATIONAL COMMERCIAL: A commercial produced for usefor broadcast throughout the country.
NATURALISM: A style of performance in which the actors strive for a "realistic" performance.
NEOREALISM: A film style which uses documentary filmmaking techniques to produce a fictional situation.
NET FEES: Income earned by a performer for work done in front of the camera or microphone. Used for calculation of residuals and use payments.
NETWORK APPROVAL: Approval of an actor for a production controlled by a network studio.
NETWORK: A regional or national organization which offers member broadcast stations programs and other services.
NEW COMEDY: A period of classic Greek Comedy of thelate 4th and 3rd Centuries B.C. Incorporated stock characters and conventional plots.
NIGHT PREMIUM: A fee paid for specified work performed after 8 p.m.
NOH DRAMA: An ancient, lyrical Japanese dramatic form. Employs ritual dance, elaborate costumes and makeup.
NON PRIME TIME: TV broadcast time before 7 p.m. and after 11 p.m.
NON-EQUITY: A play that is not under an Equity agreement.
NON-LINEAR EDITING: Computer-assisted editing of a movie.
NON-SAG: A play that is not under a SAG-AFTRA agreement.
NON-TRADITIONAL CASTING: A cast which includes people of color, women, seniors and performers with disabilities.
NON-UNION: A person or production not affiliated with a union.
NOSEBLEED SEATS: The highest, farthest seats in a theater or venue.
NOTES: Comments about a performance.
NPR: National Public Radio.
NUANCE: Subtle variations in expression, tone, or delivery that add depth to a performance.
NUDITY CODE: Specific guidelines and restrictions pertaining to the use of nudity by performers in auditions, rehearsals and performances.
OBJECTIVE: The goal toward which a character strives.
OBJECTIVES: The specific goals or desires a character aims to achieve in a scene.
OBSTACLE: Anything that prevents a character from achieving their goal.
OFF BOOK: The time when lines are memorized and no longer read from the script.
OFF-BROADWAY: Small, professional New York theatres not located on or near the Broadway theatre district.
OFF-CAMERA: Dialogue delivered out of the view of the camera.
OFF-OFF-BROADWAY: Very small, low-budget avante-garde productions often produced in lofts, warehouses or churches.
OFFSTAGE: Backstage area not seen by the audience.
OMNIES: Indistinguishable chatter or sounds used as general, atmospheric noise. Also called "walla."
ON BOOK: Time when performers have not yet memorized their lines.
ON HOLD: a casting director will put you 'on hold' when you are wanted by the client for the job but not formally hired yet. You may not take other jobs that would conflict with the production dates during this time.
ON-CAMERA: within the view of the camera.
ON-SET: Refers to the physical location where filming takes place.
ON-STAGE: Performance area visible to the audience.
ONE QUARTER LEFT: To face stage left at a 45 degree angle from fully open.
ONE QUARTER RIGHT: To face stage right at a 45 degree angle from fully open.
OPEN CALL: A tryout open to all who attend.
OPEN STAGE: Platform stage surrounded on three sides by the audience.
OPEN TURN: To turn toward the audience.
OPEN: Fully facing the audience.
OPERA: A play in which the performers sing their roles.
ORCHESTRA PIT: The sunken area immediately in front of the stage.
ORCHESTRA: Main floor seating area.
OUT CLAUSE: Section of a contract which defines the circumstances under which a performer can terminate the contract.
OUT OF FRAME: Outside the camera range.
OUT TIME: Actual time after which an actor has changed out of wardrobe and is released.
OUT-TAKE (OUTTAKE): Filmed scenes not used in a movie.
OUT: Away from the center of the stage.
OVER-DUB: To record a part onto a multi-track recording.
OVER-THE-SHOULDER: A shot taken over the shoulder of one actor, focusing on the face and upper torso of the other actor in a scene.
OVERCRANKING: Increasing the frame rate of a camera so when the film is played at the normal frame rate the action appears to be in slow motion.
OVERPLAY: To exaggerate.
OVERSCALE: Payment that is higher than the amount in the standard union contract.
OVERTIME: Work which goes beyond the contractual work day.
OVERTURE: The music which begins a performance.
P.O.V.: Point of view. The circumstances as percieved by the character.
PACE: Tempo at which a scene or act is played.
PACING: The tempo or speed at which a scene or performance progresses.
PADDING: Fabricated credits on one's resume.
PAGEANTRY: Spectacular, highly theatrical performance.
PAN: Side to side camera sweep.
PANDER TO AN AUDIENCE: To gain audience approval at the expense of artistic development of a production.
PANTOMIME (PANTO): A form of theatrical performance without spoken words, relying on physical gestures.
PANTOMIME: Acting out without dialogue or props.
PAPER THE HOUSE: To give away tickets to a performance to fill seats for a particular performance.
PARENT UNION: An actor's first union that may provide eligibility into another actor union.
PART: An acting role.
PARTS MODEL: One who models products thats focus body parts such as hands, feet, legs or arms.
PASSION PLAY: Religious drama depicting the life of Christ.
PATHOS: To evoke sympathy, sorrow or pity.
PATTER SONG: Singing many words quickly.
PAY OR PLAY: A guaranteed to be paid regardless whether work is performed or not.
PAY-TELEVISION: Broadcast TV that requires the viewer to make a payment to receive a specific program.
PAYDAY: The day paychecks are distributed.
PAYMASTER: Independent payroll/accounting company hired by the producer to issue paychecks to actors and crew.
PAYOLA: Illegal payment to broadcasters in exchange for airplay.
PENSION AND HEALTH PAYMENT: An amount of money paid by the producer to cover actor's union benefits.
PER DIEM: A set daily paid for living expenses.
PERFORMER: An entertainer.
PERSONAL MANAGER: One who develops the career of a performer in exchange for an agreed upon percentage of earnings.
PERSONAL STATISTICS: Age, weight, hair and eye color and body measurements, clothing sizes.
PERSONAL WARDROBE: Clothing owned by an actor.
PERSONALITY: A celebrity.
PERSONIFICATION: Giving human attributes to non-human things.
PHOTO CALL: Actor call for publicity photos.
PHOTO DOUBLE: A film actor cast to perform in place of another.
PHYSICAL ASSET: A positive physical characteristic.
PHYSICAL DRAWBACK: A negative physical characteristic
PICK IT UP: To quicken the pace of a performance.
PICK UP CUES: To speak immediately without any pause between the cue and the actors line.
PICK UP: To start a scene from a place other than the beginning, usually due to a problem with the original shot.
PICTURE'S UP!: Verbal warning that the scene is about to begin.
PILOT PROGRAM: A program which is produced as one of a projected series to enable the producer to determine whether the producer will produce the series at a later date.
PILOT SEASON: Time of year (late winter through early spring) when initial episode of proposed television series are produced.
PILOT: Introductory episode of a TV show that is used by the producers to market more episodes to the networks.
PIXELATION: A type of stop-motion animation.
PLACES: Direction given to the actors and crew to take their positions for the performance.
PLATFORM STAGE: A performance area which is elevated above the normal stage floor.
PLAY: A script that is intended to be performed live.
PLAYBILL: Poster that advertises a play
PLAYWRIGHT: The person who writes a play.
PLOT: The basic story or a script.
PM: Production manager.
POINTING: Giving special emphasis to something.
POLISHING REHEARSAL: Rehearsal that focuses on timing and tempo of a production.
PORNOGRAPHIC FILM: A film which is produced primarily to depict explicit sexual acts.
PORTFOLIO: A book which contains pictures and other examples of a model's work.
POSE: A position or stance assumed for visual effect.
POST PRODUCTION: Activities that occur after filming has ended.
POSTCARD: A 4x6 card upon which is printed an actor's photo and information about the actor. Used to remind casting people of an actor's recent credits and other acting related news.
PRACTICAL: Scenery, props or lighting designed to be used by actors on stage in the same way the objects would be used off-stage.
PRATFALL: A stunt fall designed for comic effect.
PRE-PRODUCTION: Activities that occur prior to filming.
PRE-SCREEN: To audition for a casting director to determin if an actor should be auditioned for the director.
PREMIERE: The first official public screening of a production.
PREQUEL: A movie that presents the characters and events before the time of a previously filmed movie.
PRESENCE: The quality of looking and sounding as if he or she belongs in an performance venue.
PRESS AGENT: One who arranges advertising and publicity.
PRETEEN MODEL: A model under thirteen years old.
PREVIEW: A showing of a performance prior to the official premier showing.
PRIMARY OBJECTIVE: Most important goal which motivates the basic actions of a character in a scene.
PRIME TIME: TV programming aired 8:00 to 11:00 PM; 7:00 to 10; 00 PM Central and Mountain time zones.
PRINCIPAL ACTOR: A performer who speaks eleven or more lines or who performs a major role without lines.
PRINCIPAL PHOTOGRAPHY: The filming of significant components of a movie which involve lead actors.
PRINCIPAL: A lead or starring role.
PRINT AD: Advertisement in print media.
PRINT WORK: Modeling assignments for use in print media.
PRINT: Called by the director after a take that indicates the take is good enough to be printed.
PRODUCER: An executive who manages the business aspects of a production.
PRODUCT CONFLICT: Inability to accept commercial work for a product because the actor is contractually associated with a competing product.
PRODUCT PLACEMENT: Diplaying specific products in a film or TV production usually in exchange for money.
PRODUCTION ASSISTANT: A person responsible for various odd jobs.
PRODUCTION COMPANY: A company associated with the making of a production.
PRODUCTION COORDINATOR: One responsible for practical matters of a production (ordering equipment, making travel and housing arrangements, etc.)
PRODUCTION NUMBER: Spectacular musical scene.
PRODUCTION REPORT: A daily report of the actual progress of a production.
PRODUCTION SCHEDULE: A detailed plan of the timing of activities associated with making a production.
PRODUCTION: Performance of a creative endeavor.
PROFILE LEFT: To face stage left at a 90 degree angle from the full open position.
PROFILE RIGHT: To face stage right at a 90 degree angle from the full open position.
PROFILE SHOT: A view of the side of a subject.
PROJECT (pro-ject'): To speak loudly and clearly.
PROJECTION: Making voice, movements, and gestures clear to all sections of the house.
PROLOGUE: Introductory speech that introduces the performance, commenting on the action which will take place.
PROMO: Short for promotional. A brief commercial that promotes an upcoming production or event.
PROMOTIONAL MODEL: A model employed to promote products, services, companies or events.
PROMPT BOOK: Stage manager's copy of the script. Contains all the blocking and technical cues.
PROMPT CORNER: desk at the side of the stage from which the stage manager runs the show.
PROMPT: To help an actor with lines.
PROMPTER: One who assists the actors with lines.
PROMPTER: Teleprompter; a device used to supply lines to actors
PROOF: A sample photograph for testing photo quality.
PROP TABLE: Backstage table upon which props are placed before use.
PROPERTIES: Objects used by actor on the set.
PROPERTY ASSISTANT: Responsible for the placement and maintenance of props.
PROPERTY MASTER: Responsible for obtaining or constructing props and their use during the production.
PROPS: Items used by actors during a performance.
PROSCENIUM ARCH: A large archway that separates the acting area from the audience area.
PROSTHETIC APPLIANCES: Three dimensional makeup piece applied to an actor to hide, enhance or create physical features.
PROTAGONIST: Main heroic character of a production.
PSA: Public Service Announcement.
PUBLIC DOMAIN: Any litarary work which is no longer protected by copyright law.
PUBLICIST: One who handles the public relations.
PUNCH LINE: Line designed to get a laugh.
PYROS: Short for Pyrotechnics.
PYROTECHNICS: Explosive special effects.
QUADRUPLE THREAT: Refers to a performer who excels in acting, singing, dancing, and another skill such as playing a musical instrument.
QUALITY BLOCKING: Strategic placement and movement of actors on stage to enhance the visual and emotional impact of a scene.
QUANDARY: A state of uncertainty or confusion, often used to describe a character's internal struggle.
QUARTER TURN: To turn 90 degrees.
QUARTER: Call given twenty minutes before curtain goes up.
QUARTET CASTING: Casting four actors or performers as a group, often in supporting or ensemble roles.
QUARTET: A group of four actors or musicians working together.
QUASI-IMPROVISATION: A scripted scene that incorporates elements of improvisation to make the performance feel more spontaneous.
QUEUE: The ordered line or sequence of performers waiting for their turn to audition or perform.
QUIBBLE: A minor objection or criticism, often used in the context of script analysis or character development.
QUICK CHANGE BOOTH: Temporary dressing rooms used for quick changes of costumes, wigs, makeup, etc.
QUICK-CHANGE: A rapid costume or prop change during a performance, typically requiring efficient backstage coordination.
QUIET MOMENT: A scene or part of a performance characterized by subdued emotions, providing a contrast to more intense moments.
QUIET ON THE SET: A command given by the director or crew to indicate that filming is about to begin and that everyone should be silent.
QUINTESSENTIAL: Representing the most perfect or typical example of a particular type of character or performance.
QUINTET: A group of five performers, often used in ensemble singing or dancing.
QUIRK: A distinctive, unusual, or eccentric trait or behavior that an actor incorporates into a character to make them memorable.
QUIVER: A slight, rapid movement or vibration in an actor's voice or body to convey emotion or tension.
QUIXOTIC CHARACTER: A character who is idealistic, impractical, and driven by a romantic or chivalrous quest.
QUIZZICAL LOOK: A facial expression conveying curiosity, often used by actors to express confusion or skepticism.
QUOTA-BASED AUDITION: An audition process where a specific number or percentage of roles are reserved for performers from underrepresented groups to promote diversity.
QUOTABLE LINES: Memorable and impactful lines from a script that are likely to be quoted by audiences.
QUOTAS: Specific targets or requirements for casting directors, producers, or agents to ensure diversity in casting.
QUOTIDIAN: Relating to the everyday life of a character or the mundane aspects of a script.
RADIO COMMERCIAL: A commercial produced for radio broadcast.
RAIN BOX: A box containing dried peas or some other small pellet, which produces a rain-like sound effect when tipped.
RAKED STAGE: A sloping stage which is higher at the upstage end then at the downstage end.
REACTION SHOT: Shot showing characters reacting to an action or statement.
READ THROUGH: Usually the first rehearsal during which the cast and director sits and reads through the script.
READ: To read or audition for a part.
REAR ELEVATION: Scale drawing that depicts a rear view of the set.
REEL: A composite of brief clips from an actor's film, TV, or commercial work.
REGIONAL COMMERCIAL: A TV commercial broadcast within one region or market in the US.
REGIONAL THEATRE: Permanent, nonprofit, professional theatre companies established outside of the major theatre centers.
REHEARSAL FEE: Fee to a performer for attending a rehearsal.
REHEARSAL: Session during which the cast, crew and director prepare a production for eventual performance.
REMOTE: TV or radio session held outside of the studio.
REPERTORY THEATRE: A theatre group which produces a number of productions throughout a season.
REPERTORY: A company of actors performing multiple plays, often in rotation.
RERUN: Rebroadcast of a TV program.
RESCHEDULED BOOKING: A confirmed booking in which the day and time is changed from what was initially agreed upon.
RESIDUAL: Fee paid to a performer for rebroadcast of a commercial, film or TV program.
RESIDUALS: Additional payments to actors for reruns or reuse of their work.
RESOLUTION: The point during a drama when the conflict is resolved.
RESUME': An 8X10 sheet of paper that lists an actor's pertinent artistic credits, training, personal statisics and special skills. It is usually attached to the back of a photo.
RETOUCH: To make corrections to imperfections on a photograph.
REVERIE: A state of dreamy or meditative thinking, sometimes used to explore a character's thoughts.
REVERSE ANGLE SHOT: A shot taken in the direction opposite that of the preceding shot. Used in dialogue scenes that show each character alternately speaking.
REVIEW: An article giving a critique of a performance.
REVOLVING STAGE SET: A circular platform that can be turned 360 degrees to show different sets.
REVUE: A production composed of sketches, comedy routines and dance numbers.
REWRITE: Changes in the script
RIGHT-TO-WORK-STATES: States which do not honor various union provisions.
RING DOWN: To close the front curtain.
RISER: A platform on stage.
ROAD COMPANY: Company of performers who tour to different cities to present their production.
ROCK MUSICAL: Musical that features rock music.
ROLE: A character played by an actor.
ROLLING!: Verbal cue that the film and audio tape is ready and rolling.
ROOM TONE: A recording which records existing noise at the location. Also called "wild track".
ROSTRUM: A moveable, raised platform.
ROUNDS: Trips to casting offices which an actor visits on a regular basis.
ROYALTIES: Fee paid for the rights to perform a script.
RUN-THROUGH: An uninterrupted rehearsal of a scene, act or an entire play
RUN: The number of scheduled performances of a production.
RUNNING CREW: Group of people who perform all the technical tasks during the show.
RUNNING GAG: Comic business that is repeated throughout a production.
RUNNING LINES: Rehersal during which lines are rehearsed without blocking.
RUNWAY MODEL: Model who specializes in modeling clothes and accessories in runway shows.
RUNWAY: A long, narrow, raised platform that projects from a main stage into the auditorium upon which models display fashions.
RUSHES: First, unedited film footage processed for daily viewing as the shooting of the film progresses.
SAE: Self-addressed envelope with appropriate postage affixed for return to the sender.
SAFE AREA: The area in camera 's viewfinder just outside of the "viewable" area in the viewfinder.
SAFETY CURTAIN: A fireproof curtain that separates the audience from the stage.
SAG-AFTRA: A professional union for television and film actors.
SANDBAG: Canvas bag filled with sand; used as a counterweight.
SATIRE: Literary device that crticizes beliefs, human failures, and social foibles in a light-hearted vein.
SCALE +10: Minimum payment plus 10% to cover the agent's commission.
SCALE: Minimum amount paid to an actor as specified by union contract.
SCENE CHEWING: ("Chewing the scenery") An over-the-top performance that dominates the scene.
SCENE NUMBER: A reference number designated for each scene in a production.
SCENE SHIFT: To move from one setting into another.
SCENE SHOP: The place where scenery is constructed.
SCENE, FRENCH: Continuous action marked by the entrance or exit of one or more characters.
SCENE: A section of a play or film with a continuous action.
SCENERY: Everything on stage except the props.
SCHTICK: A repeated bit of comic business, routine, or gimmick used by a performer.
SCOUT: One who seeks out and recruits new talent.
SCREEN TEST: A brief, filmed audition for later evaluation by casting people.
SCREENING: An exhibition of a film.
SCREENPLAY: A script intended to be produced as a movie.
SCREENWRITER: A writer who develops a screenplay.
SCRIM: A gauzy curtain, used for special effects, that is transparent if lit from behind, but opaque when lit from the front.
SCRIPT READING: Recitation of lines from a script for an audition or rehearsal.
SCRIPT SUPERVISOR: Keeps track of scenes and takes during filming to ensure continuity.
SCRIPT: A written description of the action, dialogue, and camera shots for a screenplay, radio or stage play.
SEASONAL AD: Advertisement used during a specific season or holiday
SECOND TEAM: Actors who substitute for principal actors for camera blocking and technical setups.
SECOND UNIT DIRECTOR: Diector of the second unit.
SECOND UNIT: A crew responsible for filming shots of less importance than the main scenes (crowd scenes, scenery, etc.)
SEGUE: Transition from one shot to another.
SENSORY RECALL: Tapping into one's own sensory memories to enhance emotional authenticity in a performance.
SEQUEL: A film that begins at a time after a previous film ends.
SERIAL: A series that presents a story in regular installments.
SERIES REGULAR: A lead in a television series who appears in all the episodes.
SESSION FEE: Fee paid to an actor for a single airing of a commercial.
SET DRESSER: Production staff member who is responsible for the props and furniture that are required on the set.
SET-UP: Each time the camera changes position.
SET: Stage area that is visible to the audience.
SET: The physical location where filming or a theatrical production takes place.
SETTING: Time and place in which a performance is set.
SHARED SCENE: Scene in which two actors receive equal emphasis.
SHOOT: To record on film.
SHOOTING SCRIPT: Script from which a film is made. Contains numbered scenes and technical notes.
SHORT: A film under thirty minutes in length.
SHOT COMPOSITION: Arrangement of elements within the frame.
SHOT/REVERSE SHOT: A sequence of three shots which gives the audience the opportunity to process the character's reaction to what is being seen. The three shots are; 1) a person's face;
2) what that person is looking at; and
3) the person again
SHOT: A continuous block of unedited footage from a single point of view. Includes; extreme long-shot (ELS) also called an establishing shot; long-shot (LS); medium long-shot (MLS); medium or mid-shot (MS); medium close-up (MCU); close-up (CU); and extreme close-up (ECU).
SHOWCASE: A stage show specifically designed to promote actors by giving them a performance opportunity in front of casting people.
SIDES: Short scenes or excerpts from a script used for auditions.
SIGHT GAG: Visual humor includes funny props, costumes, makeup, hairstyles, or movements.
SIGHTLINES: Areas of the acting area that is visible to various parts of the house.
SIGN-IN SHEET: A sheet of paper signed by an actor upon arriving for an audition.
SIGNATORY: A producer who develops a production under the terms of a union contract.
SILENT ON CAMERA (SOC): when one does not have a speaking role.
SILENT PART: a part for which there are no spoken lines.
SINGLE CARD: A credit on screen in which only one performer's name appears.
SITCOM: A comedy series with recurring lead characters in self-contained episodes.
SITUATION COMEDY: See Sitcom.
SIX-TO-TENS: Children between the ages of six and 10 years old.
SIZE CARD: A card filled out with personal information by the talent at an audition.
SKIN MONEY: Extra payment made to performers if nudity is required on stage.
SKIP: A large box which stores costumes and props for touring.
SLAPSTICK COMEDY: Comedy in which humor is derived from physical action.
SLAPSTICK: Two pieces of wood loosely joined at one end. Makes a loud "slap" noise when struck against something.
SLATE: Hinged board which, when clapped, provides a cue for editing sound and image. Roll number, scene number, and take number are written on the slate.
SLATE: In an audition, to orally stating one's name and agency representation at the beginning of the audition.
SLEEPER: A movie unexpectedly and suddenly attains prominence and success.
SLOW BURN: Comic device in which disgust and anger slowly builds within the actor until the actor explodes in rage.
SLOW MOTION: Mmovements on screen are slower than they would be in actual life.
SLOW TAKE: Actor slowly looks out toward the audience.
SLUG LINE: Notation appearing in a script before each shot detailing the location, date, and time that the following action is to occur in.
SM: Stage manager.
SMOKE MACHINE: A machine which produces clouds of white non-toxic fog
SNEAK PREVIEW: Unannounced screening of a movie prior to the premiere
SOAP OPERA or SOAP: A melodramatic TV serial.
SOFT FOCUS: A slightly blurred achieved with a special filter or lens.
SOLILOQUY: A speech where a character expresses their thoughts and feelings to the audience.
SOUND CHECK: To test sound levels and equipment before performance.
SOUND EFFECTS: Sounds added during post-production.
SOUND MIXER: An audio engineer who assembles and combines the various sounds used in a production.
SOUND STUDIO: A recording studio.
SOUNDSTAGE: A large, soundproof building which allows filmmakers control over sound, light, temperature, visitors, and security for the filming of a production.
SOUNDTRACK: The audio component of a film.
SPAGHETTI WESTERN: A western filmed in Italy.
SPEAKING PART: a role for which there are spoken lines.
SPEC SCRIPT: A script written before any production agreement has been secured.
SPECIAL BUSINESS: specially directed action by an extra player.
SPECIAL EFFECT: A Technical effect.
SPECIAL EFFECTS (SFX): Visual or auditory effects used to enhance a production.
SPEED THROUGH: A rehearsal during which actors recite their lines quickly without blocking. Used to assist actors with line memorization.
SPEED!: A verbal cue that the audio tape is up to the desired recording speed.
SPIKE MARK: A mark or piece of tape on the stage floor to define where scenery or a prop is to be placed.
SPIKING THE LENS: To look directly into the lens. Tends to destroy the illusion of realism.
SPINE: The motivational or structural unity of a scene, play, or character.
SPOKESMODEL: An individual who represents a product, service or company.
SPONSOR: An organization or person who finances an advertisement or performance.
SPOT ANNOUNCEMENT: An advertising or public service broadcast message between 10 to 120 seconds long.
SPOT: a commercial message.
SPOTLIGHT: (spot) A lighting device with a beam which is focused through one or more lenses.
SQUIB: A small explosive device,worn by actors, which when detonated will simulate the effect of a bullet or puncture wound or small explosion.
STAGE BUSINESS: Small actions such as smoking, tying shoe laces, pouring a drink, buttoning a shirt.
STAGE CONVENTION: Unrealistic circumstances that the audience will accept as "real" within the context of the play.
STAGE CREW: Peopel responsible for moving props and and scenery during the show.
STAGE DIRECTION: Descriptions of the physical setting, atmosphere and actions which are included in the script.
STAGE DOOR: Backstage entrance to the theatre.
STAGE FRIGHT: Fear of speaking or performing in front of an audience.
STAGE HAND: Member of the stage crew.
STAGE LEFT: Left side of the stage when facing the audience.
STAGE MANAGER: Responsible for rehearsals and maintaining all the technical aspects and artistic integrity of a production once the performance has begun.
STAGE PARENT: Overly involved parent of a young actor.
STAGE READINGS: Reading a script before an audience. Includes dramatic interpretation, but no blocking, sets or technical effects.
STAGE RIGHT: Right side of the stage when facing the audience.
STAGE WAIT: A dramatic pause used to heighten suspense.
STAGE WHISPER: An acting technique by which an actor gives the impression of whispering yet is actually speaking loudly enough to be heard by the entire audience.
STAGE: Area upon which a performance is presented.
STAGE: To present a performance.
STALLS: Floor level seating area.
STAND-BY: A warning given to crews that a cue needs to be executed soon.
STAND-IN: A person who substitutes for an actor during the setup of a scene.
STANDARD UNION CONTRACT: Standard union approved contract which specifies base levels of pay, benefits and other terms provided by the producers in exchangge for an actor's services.
STANDBY: Actor who is prepared to substitute for a lead actor in case the lead is unable to perform.
STAR TREATMENT: Special agreed upon services provided to a star performer.
STAR: A widely known actor.
STARRING: A lead role.
STEADICAM: A special handheld camera which is designed to reduce the effects of the camera operator's body movements.
STEAL A SCENE: To attract audience attention that should be on another actor.
STEAL: To move on-stage without attracting the audience's attention.
STICKS: Slate or clapboard upon which information about a film take is displayed. The clapboard is filmed at the beginning of each take to easily identify the film segment for editing.
STILL: A photograph derived from a motion picture frame.
STOP MOTION: Animation in which objects are filmed frame-by-frame with slight alterations of position from frame to frame.
STORYBOARD: A series of illustrations that depict the action of a production.
STORYLINE: A brief summary of a production.
STRAIGHT LINE: Dialog that sets up a punch line so it will get a laugh.
STRAIGHT MAN: One who delivers straight lines to a comic.
STRIKE: To remove scenery, props and lights from the stage.
STUDIO: A building or room in which a visual or audio production is produced. Also, a company that makes films.
STUNT COORDINATOR: A person responsible for planning, designing and supervising stunts.
STUNT DOUBLE: A performer who substitutes for an actor in dangerous or physically demanding scenes.
STUNT PERFORMER: An actor who is trained and knowledgeable in performing stunts.
STUNT: A dangerous piece of physical action.
SUBPLOT: Secondary plot in a script.
SUBSTITUTION: An acting technique by which the actor, uses a personal circumstance that is different from the given circumstances of the play. ( example; recalling the shock of diving into a frigid stream to substitute for the reaction of shock upon hearing the character's son had been murdered.).
SUBTEXT: The underlying meaning or emotions in a scene that may not be explicitly stated.
SUMMER STOCK: A theatre group which produces a number of productions throughout the summer vacation season.
SUPER MODEL: A model who is readily recognized by the general public.
SUPER OBJECTIVE: The script writer's objective in writing the play.
SUPERNUMERARY: An extra who has no lines.
SUPPORTING: A non-starring, but significant role in a film.
SUSPENDERS: The temporary halting of disbelief by an audience during a performance.
SWING: A member of the singing and dancing chorus who is prepared to fill in for another performer who is unable to perform.
SYNDICATION: A system of broadcasting programs through independent distributors.
TABLE READ: A group reading of a script by the cast before rehearsals begin.
TABLE WORK: Rehearsals during which the script is read, usually around a table, in which interpretation and character are discussed.
TABLEAU: A frozen moment or scene created by actors to convey a powerful image.
TAFT-HARTLEY ACT: A federal statute which allows a non-union actor to work at a union job for 30 days before being required to join a union.
TAG LINE: The final line of a scene or act just before the closing of the curtain.
TAKE 5: Take a five minute break.
TAKE: A single, continuous recording of a scene during filming.
TALENT AGENCY: A company that represents talent.
TALENT AGENT: A individual who acts as a performer's business representative by securing auditions, handling contracts and pay in exchange for a percentage of the performer's earning.
TALENT MANAGER: Individual who advises and counsels performers in aspects of their careers. Works in conjunction with each performer's agents, publicists, business managers, attorneys others.
TALENT SCOUT: an agent who seeks out talented people to work in the acting or modeling business.
TALENT SEARCH: Scouting for new talent.
TALENT: An individual with specific skills.
TAPE: A demo reel.
TEAR SHEETS: Samples retained from various model assignments featured in print material.
TEASER: A preview of a program used to enticing the listener to watch the program.
TECH REHEARSAL: Rehearsal focusing on technical aspects like lighting and sound.
TECHIE: A stage technician.
TECHNICAL DIRECTOR: Individual responsible for executing the stage set and for controlling the set during a performance.
TEEN MODEL: A model between the ages of 13 and 17.
TELEPLAY: A script written to be produced for television.
TELEPROMPTER: A device which allows a performer to read a script while looking into the camera lens.
TELESCOPING: Acting technique in which one actor speaks before another is finished.
TEMPO: Rate of speed at which a scene is played.
TEST: To evaluate a talent or performer.
TEXT: The words of a script.
THEATER: Form of performance that tells a story through a mix of acting, dance, mime, verbal narrative and song.
THEATRE IN THE ROUND: Performance in which the stage is surrounded on all sides by the audience.
THEME: A central concept carried throughout a production.
THESPIAN: An actor or actress, often used to refer to someone in the dramatic arts.
THREE BELLS!: Audible warning for QUIET when a scene about to be filmed.
THREE QUARTERS LEFT: To face stage left in a position halfway between full back and left profile.
THREE-QUARTERS RIGHT: To face stage right in a position halfway between full back and right profile.
THROUGH-LINE: Unifying element of a scene, act or play.
THROW AWAY: Underplay a moment in a scene
THRUST STAGE: Acting area that extends out into the audience permitting a view from three sides.
THUNDER SHEET: Large suspended sheet of metal which when shaken produces a thunder-like rumble
TIGHT SHOT: To frame a shot with little or no space around the central figure.
TIMBRE: The unique quality or tone of a voice, determined by its pitch, resonance, and other acoustic characteristics.
TIME SHEET: A written record of a performer's time of arrival, breaks and time of departure.
TIMING: Choosing the right moment to deliver a line or perform an action for maximum effect.
TOP OF SHOW: The beginning of a performance or filming.
TOP: To deliver a line more energetically than the line delivery preceding it.
TRACKING SHOT: A shot taken with a mobile camera mounted on a dolly or a moving vehicle.
TRADE SHOW: A promotional event held in a convention center in which products marketed to retailers.
TRADES: Newspapers and periodicals feature information about the entertainment industry.
TRAGEDY: Dramatic form in which the protagonist suffers a grave loss or death at the end. Depicts humans as victims of destiny. Explores profound themes.
TRAGI-COMEDY: A form of tragedy which, though ending unhappily, contains comic elements and some possibility of a happy ending.
TRAILER: An filmed advertisement for a movie which contains scenes from the film.
TRAP: An opening in the stage floor, covered by a flooring piece or scenery, through which actors can enter and exit.
TRAVEL-TIME: Fee paid for time spent commuting to a non-studio film location.
TRAVELER: A horizontally drawn curtain.
TRAVELLING MATTE SHOT: (Bluescreen, Greenscreen) A shot in which action is digitally superimposed on a seperately filmed background.
TREADS: A stage staircase or set of steps.
TREATMENT: Written outline of a script. Approximately 10 pages long; is composed of a summary of major scenes, descriptions of the significant characters and some select dialogue.
TRILOGY: A series of three movies which are closely connected by plot.
TRIO: Group of three singers.
TRIPOD: A stand with three legs which is used to support something.
TROD THE BOARDS: To be a professional actor.
TROUPE: A company of actors.
TRUCK: A platform on wheels upon which scenery is mounted and rolled into position on stage.
TRUCKING SHOT: Any moving shot where a camera is mounted on a movable vehicle.
TRUNK SHOW: A travelling fashion show.
TURN IN: To face upstage away from the audience.
TURN OUT: To face downstage toward the audience.
TURNAROUND: The number of hours between dismissal one day and call time the next day.
TURNAROUND: To shoot a scene from another direction.
TURNING POINT (ALSO REVERSAL, PERIPETY): Point of plot reversal on or near the climax
TWEAK: To make small adjustments.
TWO SHOT: A medium close-up shot of two people.
TYPE: A character stereotype.
TYPECAST: To cast a role based upon specific physical characteristics or likeness to a specific dramatic type. To cast an actor in a role suitable to their own personality the actor's reputation for specializing in that kind of role.
UGLY-UP: To make less attractive.
UNDER 5: A role with five lines or less.
UNDER-SIXES: Children under 6 years of age.
UNDERCRANKING: Filming at a slower frame rate to create a fast-motion effect in playback.
UNDERCUT: To speak a line softer than the previous line.
UNDERPLAY: To speak with a softer tone and act with less energy one might otherwise expect to do.
UNDERSTUDY: A performer prepared to perform a lead role if the lead actor is unable to perform.
UNION CARD: A union membership card.
UNION MEMBER: An individual who has joined a union.
UNION SCALE: A schedule of minimum payments as defined by a union contract.
UNION: A labor organization authorized to protect the rights of members by negotiating pay scales, benefits and work conditions with employers.
UNIT OF ACTION: A distinct division of action marked by a significant change in the course of action.
UNIT PRODUCTION MANAGER: Individual responsible for the administration of a specific movie.
UNIT SET: A set that can represent several different settings by making only slight changes to scenic elements.
UNITIES: Time, place and action. Three elements of dramatic construction.
UPGRADE: Promoting an extra performer to the category of principal performer.
UPLIGHT: Light from below the actors.
UPM: Unit production manager.
UPPER CIRCLE: Highest balcony in the auditorium. Also known as the GODS.
UPSTAGE: The area of the stage farthest from the audience.
UPSTAGE: Toward the back of the stage.
UPSTAGE: To draw the audiences attention onto oneself at the expense of another performer in the scene
UPSTAGING: To deliberately cross to a place upstage of another performer thus forcing the other performer to turn away from the audience in order to talk with the upstager.
UPTAKE: The process of an actor absorbing and responding to a direction.
USE CYCLE: any 13-week period during which a commercial is aired.
USHERS: Members of Front-of-House staff who attend to audience members.
V.O.: Voice over.
VAMP: An improvised musical accompaniment, often used during auditions or rehearsal when a specific piece of music is not available.
VARIETY PROGRAM: A production that consists of a mixture of songs, music, dance, comic sketches and specialty acts.
VAUDEVILLE: A form of entertainment popular in the late 19th and early 20th centuries, characterized by a variety of acts, including comedy, music, and dance.
VENTING: The release of emotional tension through physical or vocal expression, often used in acting exercises to explore different emotions.
VENUE: The location where a performance takes place, such as a theater, auditorium, or studio.
VERISIMILITUDE: The quality of appearing realistic or lifelike, often applied to performances that create a convincing portrayal of a character or situation.
VERSATILITY: The ability of an actor to convincingly portray a wide range of characters or roles, showcasing adaptability and flexibility.
VHS: 1/2" videocassette format.
VIDEO AUDITION: An audition that is videotaped for review at a later date.
VIDEO CLIP: A segment of videotape.
VIEWPOINT: The unique perspective or stance from which a character experiences and interprets events, influencing their actions and emotions.
VIEWPOINTING: A technique that involves analyzing a script or scene from various perspectives to gain a deeper understanding of character motivations and relationships.
VIEWPOINTS: A technique in physical theater that explores movement and space through the consideration of time, shape, and gesture.
VIGNETTE: A short, impressionistic scene that conveys a specific emotion or idea, often used in acting exercises or as part of a larger performance.
VILIFICATION: The portrayal of a character as evil or wicked, often a crucial element in creating dramatic tension.
VILLAIN: A character in a story or play who opposes the protagonist and is typically portrayed as evil or antagonistic.
VISUAL CUE: A cue taken from the action on stage rather than being cued by the stage manager.
VISUALIZATION: The process of mentally creating and imagining the details of a scene or character, aiding in the actor's preparation and performance.
VISUALIZE: The act of creating mental images to enhance the emotional and sensory aspects of a performance.
VITAL STATISTICS: Personal, physical traits such as date of birth, hair and eye color, body measurements.
VOCAL ARTICULATION: The clear and precise pronunciation of words, ensuring that dialogue is easily understood by the audience.
VOCAL FRY: A vocal technique where the voice is intentionally lowered to create a creaky or rough sound, sometimes used for dramatic effect in acting.
VOCAL INFLECTION: The variation in pitch, tone, and rhythm of the voice.
VOCAL INTENSITY: The strength and force with which a performer delivers their lines, conveying the emotional depth of a character.
VOCAL OR DIALOGUE COACH: Someone hired to coach performers in vocal or script delivery techniques.
VOCAL PROJECTION: The ability to amplify and project one's voice effectively, ensuring that it reaches the entire audience without the use of a microphone.
VOCAL RANGE: The range of pitches a performer's voice can produce, from the lowest to the highest note.
VOCAL WARM-UP: Exercises and techniques to prepare the voice for performance, ensuring clarity, flexibility, and endurance.
VOICE LESSONS: Instruction in voice quality.
VOICE-OVER: The narration or spoken dialogue that is not accompanied by on-screen visuals, commonly used in film, television, and commercials.
VOICE-OVER AGENT: A talent agent submitting clients for voice-over work.
VOICE-OVER ARTIST: An actor who performs solely with his/her voice.
VOLITION: The conscious choice or decision-making process of a character, reflecting their motivations and driving the plot forward.
VOLTA: A dramatic shift or turning point in a performance, often associated with changes in tone, mood, or character dynamics.
VOMITORY: An specially designed performer entrance that allows actors to enter and exit through the lower seating areas near the stage.
VOUCHER: A form used to record arrival and departure times and pay rates. This information is required in order to get properly paid.
W/N: Will notify. A call sheet notation indicating that an actor will probably work that day though the specific time has not been decided.
W: A call sheet notation indicating that an actor is working that day.
WAITING ROOM: Green room. Waiting area for talent before they are called to perform.
WAIVERS: Union permission allowing deviation from standard contract terms.
WALK-ON: A small role with no lines.
WALK-THROUGH: A rehearsal in which the actors go through the blocking.
WALKAWAY: A meal break in which cast and crew get a meal on their own.
WALLA WALLA: General background crowd noise.
WARDROBE ALLOWANCE: A fee paid to talent for the use and cleaning of the talent's own clothing.
WARDROBE ASSISTANT: Individuals who assis with selection and care of the wardrobe.
WARDROBE CALL: An assigned time and place for a wardrobe fitting.
WARDROBE MALFUNCTION: Accidental exposure or failure of clothing during a performance.
WARDROBE: Clothing a performer wears for rehearsals and the performance.
WARDROBE: The department responsible for costumes and wardrobe in a production.
WASH LIGHT: A light that illuminates the entire acting area.
WEATHER DAY: A day during which an outdoor shoot takes place. A half-days wage is paid for each day that shooting does not take place due to bad weather.
WESTERN: (Oater) A film which is set in the United States late 19th-century "Wild West".
WGA: Writers guild of America.
WHIP PAN: An extremely fast pan which blurs motion.
WHISPERING GALLERY: A curved or circular structure that reflects sound, used in theaters for whispers.
WIDE-ANGLE LENS: A lens that has a focal length shorter than normal. This allows a wider than normal area to be photographed.
WIG MASTER: A professional responsible for styling and maintaining wigs used in a production.
WILD SPOT: A commercial that runs on a non-network station on a station-by-station basis in different markets across the country.
WILD: Recorded out of sequence or isolated from the rest of the scene.
WIND MACHINE: A large fan for creating wind on the set.
WINGS: Backstage areas left and right of the acting area.
WIPE: A transition device in which a new image replaces an existing image as the new image fills the screen from left to right or right to left of the screen.
WORK LIGHTS: lights that illuminate the stage when there is no performance.
WORKING TITLE: Name by which a production is known while it is being made. This can be different from the title given to the production when it is released.
WORKSHOP: An acting class which is not part of a formal actor training program.
WRANGLER: One who is responsible for the care and control of animals used for a production.
WRAP PARTY: A party following the completion of principal photography.
WRAP: To complete a day's filming.
WRITER: Someone who creates a written work.
X-CUE (STAGE MANAGEMENT): A specific cue or signal given to an actor or crew member during a performance.
X-DISSOLVE: A type of dissolve transition in film editing where one image gradually fades out while another simultaneously fades in, creating an 'X' shape.
X-FACTOR AUDITION: Refers to a special or unique audition that stands out from the rest, often showcasing a distinctive talent or approach.
X-FACTOR: A unique quality or talent that sets an actor apart and makes them stand out.
X-FRAME (BLOCKING): A blocking technique where actors are positioned in an 'X' shape on the stage or set for dynamic and visually interesting compositions.
X-HEIGHT (TYPOGRAPHY): In the context of creating scripts, the height of lowercase letters in a font, influencing readability.
X-MARK (BLOCKING): A specific mark on the stage or set where an actor is supposed to stand or move during a scene.
X-OUT (EDITING): To eliminate or cut a particular scene or shot from a film or play.
XANADU (AS A METAPHOR): A reference to an idyllic, beautiful, or perfect place, often used in scripts to describe a character's dream or desire.
XENODOCHIAL (CHARACTER): A character who is friendly, hospitable, or open-hearted, traits that can be important in certain roles.
XENON LAMP: A high-intensity lamp used in film and television lighting, known for its bright and consistent output.
XENON STROBE: A high-intensity flashing light often used in special effects or to create dramatic visual moments in performances.
XENOPHOBE (CHARACTER): A character who is fearful or dislikes foreigners or anything foreign, a trait that might be explored in character development.
XEROGRAPHY (COSTUME DESIGN): A technique in costume design involving the use of photocopiers or similar methods to create unique patterns or designs.
XEROX EFFECT: The influence and replication of a successful performance or style.
XEROX SCRIPT: A copy of the script used during auditions or rehearsals, often for convenience and distribution.
XEROXING (AS A VERB): A term sometimes used informally to describe the process of copying or reproducing scripts and other materials.
XFADE: CROSS FADE.
XLR CABLE: A type of cable commonly used in the entertainment industry for transmitting audio signals.
XXX: A designation for a production that features a large amount of explicit sex.
XYLOGRAPH (SET DESIGN): A wooden engraving or carving used in set design to create detailed textures or patterns.
XYLOGRAPHY (COSTUME DESIGN): The art of carving woodblocks for printing on fabrics, sometimes used in costume design for unique patterns.
XYLOPHONE (MOVEMENT): Movement pattern resembling the keys of a xylophone, often used in choreography or blocking.
YAKKING: Informally used to describe excessive talking or dialogue, "yakking" in the acting profession refers to the delivery of lines in a rapid or monotonous manner, often hindering the overall performance.
YARN SPINNING: An improvisational exercise where actors collaboratively create a story on the spot, enhancing creativity and spontaneity.
YARN: A colloquial term used in the acting profession to describe a story or narrative, especially one that is engaging and captivating.
YEARNING SUBTEXT: The underlying emotional and psychological motivations of a character that drive their actions, often conveyed subtly through subtext rather than explicit dialogue.
YEARNING: The deep and intense desire portrayed by an actor, often through facial expressions and body language, to convey a character's longing or intense wish for something.
YELL PROJECT: An exercise in vocal projection, where actors practice projecting their voice with clarity and intensity across a large space.
YELL: To project the voice loudly and forcefully, often used in scenes requiring heightened emotions or intense moments of conflict.
YELP TECHNIQUE: A vocal exercise where actors practice a quick, high-pitched yelp to explore vocal range and flexibility, often used in voice warm-ups.
YIELD AND COUNTER-YIELD: A technique in stage combat where actors work together to create realistic fight sequences by yielding to each other's movements and countering with appropriate reactions.
YIELD AND FLOW: An approach to movement and blocking in a scene where actors yield to the natural flow of the narrative, allowing for organic and seamless transitions.
YIELD AND PUSH: This technique involves the balance between yielding to the emotions of a scene and pushing oneself to the limits of expression. It encourages actors to find the right balance for a compelling and believable performance.
YIELD AND RECEIVE: Acting technique that emphasizes active listening and responsiveness, encouraging actors to fully engage with their scene partners and react authentically.
YIELD AND RELEASE: This term involves letting go of tension or resistance in both body and mind during a performance. It encourages actors to embrace vulnerability, enabling a more authentic and dynamic portrayal of their characters.
YIELD TO CHARACTER: The process of surrendering one's own personality traits and behaviors to fully embrace and embody the characteristics of a character being portrayed.
YIELD TO THE MOMENT: The actor's ability to fully immerse themselves in the present moment, letting go of preconceived notions and allowing spontaneity to guide their performance.
YIELD TO THE PARTNER: Acting is often a collaborative effort, and "yielding to the partner" emphasizes the importance of listening and responding authentically to the cues and actions of fellow actors during a scene.
YIELD TO THE SPACE: The actor's awareness and acknowledgment of the physical environment on stage, incorporating spatial elements into their performance for a more dynamic and immersive experience.
YIELD TO VULNERABILITY: The willingness of an actor to expose their true emotions and vulnerabilities, allowing for a deeper connection with the character and the audience.
YIELD: In acting, "yield" refers to the ability of an actor to give in to the emotions of a scene or a character, allowing vulnerability and authenticity to come through.
YIELD: The actor's ability to relinquish control or resistance to a scene partner's actions, allowing for genuine and spontaneous reactions.
YIPS: A colloquial term for nervousness or stage fright, particularly when an actor experiences momentary lapses in performance due to anxiety.
YOGA FOR ACTORS: Incorporating yoga techniques into actor training for improved physical awareness, flexibility, and mindfulness.
YOGI BREATH: Breathing exercises used by actors to enhance vocal control, increase lung capacity, and promote relaxation.
YOKE: In ensemble work, the interconnectedness and mutual dependence among actors, emphasizing the importance of collaboration and unity in a performance.
YONDERING: An acting exercise involving purposeful wandering and exploration of the performance space, fostering a sense of curiosity and discovery.
YONDERING: This term refers to a character's contemplative gaze into the distance. It often implies a sense of longing, curiosity, or introspection and can be a powerful non-verbal expression.
YOUTH THEATRE: Theatre performed by young people.
YOWL: A term used to describe a loud, emotional, and often animalistic cry or howl in acting. It's a vocal expression of intense emotion that can be incorporated into a character's portrayal for added impact.
YOWL: A vocal expression, often used in voice training, involving a loud and prolonged cry or howl to explore vocal range and expressiveness.
Z-CARDS: Composite.
ZAP: To quickly and energetically deliver lines or perform actions, injecting a burst of energy into a scene.
ZARZUELA: A form of Spanish musical theater that combines singing and spoken dialogue, similar to operetta.
ZAUM: A term in avant-garde theater referring to nonsensical or abstract language used to evoke emotional or symbolic responses.
ZEAL: Intense passion or enthusiasm displayed by an actor in their performance.
ZEALOUS BLOCKING: Directorial instructions for actors regarding their movements and positions on the stage, delivered with great enthusiasm and energy.
ZED CARD: A composite card used by a commercial actor or model. frequently contains multiple shots showing the actor or model demonstrating different looks.
ZEITGEIST: The spirit or mood of a particular time period, often referenced in acting to capture the cultural context of a play or film.
ZEN ACTING: An approach to acting that emphasizes being present in the moment, free from self-consciousness, and fully engaged with the character and scene.
ZEPHYR: In theater, a gentle breeze or light wind, often used metaphorically to describe a subtle and delicate performance.
ZEROING IN: The process of focusing an actor's attention on a specific objective, emotion, or detail in a scene.
ZINGER: A clever or witty remark delivered by an actor, usually to generate laughs or add humor to a scene.
ZOMBIE WALK: A physical exercise or warm-up activity in acting classes, encouraging actors to explore physicality and movement.
ZONE OF SILENCE: A specific area on the stage where sound is selectively amplified or dampened to enhance the theatrical experience.
ZOOM IN/OUT: To focus a camera lens closer or farther from the subject.
ZOOM OUT: A direction for actors to broaden their physical or emotional expression, making their performance more visible to a larger audience.
ZOOM REHEARSAL: Rehearsing scenes or performances using online video conferencing platforms, especially relevant in times of remote work.
ZOOM THEATRE: The performance of theatrical productions via online video platforms, adapted for virtual audiences.
ZOOM FATIGUE: The exhaustion or tiredness experienced after participating in virtual meetings or performances, often through online platforms like Zoom.
ZOOM SHOT: A camera technique where the lens focal length is adjusted to create the effect of moving closer to or further away from the subject.
ZOOM: To change the field of view through the use of an adjustable lens.
ZOOMING IN/OUT: A technique in acting where the focus shifts from a broader perspective to a more intimate one, or vice versa.
ZYGOTE: A term for an early and undeveloped idea, character, or script.

RESOURCES

Of course a website cannot tell you all the information you need to know about preparing yourself to be an actor: unions, contracts, agents, casting, auditions, and the myriads of other things actors should learn about the acting business.

Below are a number of resources that will help you learn about such things to get you on the right road to becoming a successful actor.

From Craft to Career: A Casting Director's Guide for the Actor
by Merri Sugarman & Tracy Moss

Practical, positive and uplifting, the advice in this book is designed to lead to the best outcomes possible for you, the actor, making the transition from craft to career. The reader is given insight into the various types of casting directors across the industry and how that practical knowledge can benefit you and increase your chance of success. While providing an in-depth insight into the role of the casting director, this book explains the j...More

Act ALIVE: The Essential Guide to Igniting and Sustaining Your Working Actor Career
by Andi Matheny

Finally - a modern acting method that cuts to the chase of what actors really need to unleash their acting genius! The groundbreaking Act ALIVE approach, with exercises ranging from pragmatic to deeply personal, will give you the tools to quickly bring your skills to the next level, from audition to set. Actor and acting coach Andi Matheny, who has helped launch hundreds of actors on their journey from pupil to professional, writes in an entertai...More

The Actor's Hustle: A Step by Step Guide to Getting Your Foot in the Door in TV and Film and How to Get Paid from Your Craft
by Shana Solomon & Carlington Neil

The Actor's Hustle is a book designed to help Actors on all levels reach their career goals and start booking quality film & TV roles that will help them quit their day jobs and build powerful relationships in the entertainment industry and grow. This easy read is loaded with Shana Solomon's hilarious, in your face tell it like it is personality as she shares her wild experiences jam-packed with lessons of how she went from a girl in the Bronx wo...More

The Art of Auditioning, Second Edition: Techniques for Television
by Rob Decina

Casting director Rob Decina highlights the difference between the craft of acting and the business of auditioning, and how those two worlds meet in television. Included are proven-effective preparation techniques, such as breaking down a scene, making specific choices, finding the acting moments with thoughts and feelings, and much more. Also included is advice on how to navigate the various steps of auditioning for series regular, guest star, an...More

Acting in Musical Theatre: A Comprehensive Course
by Joe Deer & Rocco Dal Vera

Acting in Musical Theatre remains the only complete course in approaching a role in a musical. It covers fundamental skills for novice actors, practical insights for professionals, and even tips to help veteran musical performers refine their craft.Acting in Musical Theatre's chapters divide into easy-to-reference units, each containing group and solo exercises, making it the definitive textbook for students and practitioners alike...More

Acting the Song: Performance Skills for the Musical Theatre
by Tracey Moore & Allison Bergman

Acting the Song offers a contemporary, integrated approach to singing in musicals that results in better-trained, smarter performers everyone wants to work with. In this new, thoroughly updated edition of the paperback, directors and teachers of musical theater will find guidance in developing and leading musical theater elements, classroom workshops, and the world of professional auditions and performances. Subjects for both versions cover: Sing...More

Drama for Teen Actors
by Christine McClure

Christine McClure has more than thirty years of experience coaching actors one-on-one, on set, and in group classes. Her students have appeared in major features and television series and have worked with Oscar-winning directors Steven Soderbergh, Stanley Kubrick, Sofia Coppola, the Coen brothers, and more. Now Christine puts that experience to work for you by sharing her techniques and giving you a literal front-row seat in her dramatic acting c...More

Respect for Acting: Expanded Version
by Uta Hagen with Haskel Frankel

Since its original publication in 1973, Uta Hagen's Respect for Acting has remained a durable classic and a must-read for all students of acting. As an acting instructor at the Herbert Berghof Studio, Hagen helped to develop the talents of world-class actors like Robert DeNiro, Matthew Broderick, Gene Wilder, Amanda Peet, Austin Pendleton, Whoopi Goldberg, and more. In this book, Hagen offers an indispensable acc...More

The Complete Stanislavsky Toolkit: Revised Edition
by Bella Merlin

A revised and updated edition of Bella Merlin's essential guide to Stanislavsky. The Complete Stanislavsky Toolkit collects together for the first time the terms and ideas developed by Stanislavsky throughout his career. It is organised into three sections: Actor-Training, Rehearsal Processes and Performance Practices. Key terms are explained and defined as they naturally occur in this process. They are illustrat...More

Breaking Down Your Script: A Step-By-Step Guide for the Actor
by Laura Wayth

This clear, concise and practical guide provides actors with a structured and effective method for breaking down and understanding a performance script. It offers a flexible approach that works with plays from any period or genre, with television and film scripts, and even when preparing for your audition. Inside, you'll find the tools you need for every step of the process, from making sense of the whole script, to breaking it down scene by scen...More

Back to the Body: Infusing Physical Life into Characters in Theatre and Film
By Jean-Louis Rodrigue & Scott Weintraub

Back to the Body: Infusing Physical Life into Characters in Theatre and Film guides you to experience and use your body and its energy as a basic point of departure for performance and expression. You will learn to apply your entire self in acting, with your voice, body, mind, and emotion. This integrated training is designed to combine all these elements of yourself with your material, the environment, and other...More

Activated Script Analysis: An Integrative Approach to Play Analysis Through Creative Expression and Devised Theatre
by Elizabeth Brendel Horn

Activated Script Analysis engages theatre students in traditional formative script analysis through a fusion of devised theatre and various modes of creative expression, dispelling the notion of script analysis as an isolated pen-to-paper task and reimagining it as a captivating and collaborative process. This book uses diverse, contemporary plays to model the script analysis process for each of four Theatrical Elements: Given Circumstances; Character; Setting; and Structure...More

Running a Successful Voiceover Business
by Joshua Alexander

In this "beginner-friendly guide to a voiceover business", notable voice talent, author and blogger Joshua Alexander provides comprehensive and personally-based guidance on the proper formation and operation of a successful business in voiceovers. Leaning heavily into his own operations that have led him to become one of the most frequently-booked voice talent in the industry today, this book is sure to provide you the inspiration and knowledge y...More

The Voice Over Startup Guide: How to Land Your First VO Job
by Chris Agos

Voice over actor Chris Agos walks you through the most effective ways to earn money in today's professional voice over industry, and more importantly, how to keep your career rolling. You'll gain a clearly-defined map of the industry that will open up opportunities you'd never have thought possible. What's more, we've included sample scripts and audio tracks of every important voice over style, so you can hear how the professionals do it...More

The Monster in Theatre History: This Thing of Darkness
by Michael Chemers

Monsters are fragmentary, uncertain, frightening creatures. What happens when they enter the realm of the theatre? The Monster in Theatre History explores the cultural genealogies of monsters as they appear in the recorded history of Western theatre. From the Ancient Greeks to the most cutting-edge new media, Michael Chemers focuses on a series of 'key' monsters, including Frankenstein's creature, werewolves, ghosts, and vampires, to reconsider what monsters in performance might mean to those who witness them....More

An Actor's Guide--Making It in New York City, Third Edition: Everything a Working Actor Needs to Survive and Succeed in the Big Apple
by Glenn Alterman

A Step-by-Step Guide for the Actor Pursuing a Career in New York. A great deal has changed in the industry in the last decade. In this new, third edition of An Actor's Guide--Making It in New York City, Glenn Alterman provides everything actors need to know. You'll discover the ten things that it takes to make it as a successful actor in the city, how to support yourself, where and how to start your life as a New York actor, understanding and marketing "your brand," the best acting schools and conservatories, effective ways to contact agents and casting directors, and more. The author, a successful working actor, also shares many insider tips...More