A postmodern style of theatre / performance that aims to move beyond the confines of "dramatic theatre"
by privileging process over product and the concrete situatedness of the performance itself over its apparent representational
allusions and causality.
Late 20th-century reaction to Modernism / it rejects grand narratives, embracing irony, pastiche, deconstruction, fragmentation, intertextuality, and mixed
media.
Any object that appears to do on stage the same job it would do in real life, or any working apparatus, e.g., a desk lamp, that needs to light up on stage, is called
a practical light.
Anything that is in position before the start of a show / act / scene, e.g.,
props on stage before the performance, or the lighting state that is on stage as the audience
enters.
A performance style where the audience moves from place to place, following the action as it happens in different areas instead of sitting in
one fixed spot.
It is the desk located on the left side of the stage (when looking at the audience) in the backstage area, from which the stage manager calls the show and prompts the actors. Also
called the SM desk.
The left-hand side of the stage from the actor’s point of view (i.e., stage left) / traditionally, this is
the side where the prompt desk or stage manager’s
console is located.
Any portable object used on stage by actors (e.g., a book, a cup) to support the action and realism.
Hand props are handled by actors / personal props are kept on the actor’s
person (in / on costume).
The theory of the innate structure of the human soul and the dynamics of personality development relating to the practice of psychoanalysis, a method of research and treatment for mental disorders (psychopathology). Laid out by Sigmund Freud in
the late 19th-century.
A field of Post-structuralist Critical Theory that is broadly associated with the study and theorisation of gender and sexual
practices that exist outside of heterosexuality, and which challenge the notion that heterosexuality is what is
normal.