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Glossary of Terms

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Glossary of Terms Glossary of Terms This is a glossary of technical and artistic terms for working with actors in film. A Action In film, the actor's cue to perform. Actions See "Tactics". Acting To live truthfully under given imaginary circumstances. Ad-lib (also known as Improv) Speech or action that has not been scripted or specially rehearsed. Adjustment See "Bump". ADR (also known as "Looping") ADR stands for "Automated" or "Automatic" Dialog Replacement. Dialog that cannot be salvaged from production tracks must be re-recorded in a process called looping or ADR. Looping originally involved recording an actor who spoke lines in sync to "loops" of the image which were played over and over along with matching lengths of recording tape. ADR, though faster, is still painstaking work. An actor watches the image repeatedly while listening to the original production track on headphones as a guide. The actor then re-performs each line to match the wording and lip movements. Actors vary in their ability to achieve sync and to recapture the emotional tone of their performance. Aftra American Federation of Television and Radio Artists. The union that represents performers for work in radio and television. Atmosphere See "Extras". B Back to One See "From the Top". Background See "Extras". Back-stepping In film, this is a direction to an actor to step backward out of frame and count the steps in order to return to the mark without looking at it. Banana In/Banana Out In film, this is a direction to an actor to enter or exit a scene in a gently curving path. Beat A beat is a contained moment of related action and the smallest division of action in a play/film. It is the length of time necessary for a character to achieve/lose an "Objective". These are seven ways to identify a beat change: 1) Surprise. 2) A character enters/exits. 3) Subject changes. 4) A character achieves their objective. 5) Outside force. 6) A character changes the subject by "verb"/"tactic" in order to achieve their "objective". 7) A major change in "verb"/"tactic". Bit (also known as "Bit Part" or "Shtick") 1) A small role in a film. A bit player usually has only a few lines or a short piece of action. 2) An entertainment routine or gimmick, usually a comic or repetitious performance that is helpful in securing attention or recognition. Blocking 1) The placement and movement of actors in a dramatic presentation. 2) Working out the physical movements of actors and/or camera in a scene. Breaking character "To break character", is a theatrical term used to describe when an actor, while actively performing in character, slips out of character and behaves as his or her actual self. This is an acceptable occurrence while in the process of rehearsal, but is unheard of and extremely unprofessional while actively performing in front of an audience or camera (except when the act is a deliberate breaking of the fourth wall). If the breaking of character is particularly serious, it is dubbed corpsing, which in film or television would normally result in an abandonment of that take. Brush Camera In film, this is a direction to an actor to exit a scene by walking directly at the camera and then brushing past it. Business The act of handling a prop or clothing. As distinct from a "bit," business is usually not the focus of a scene. C Call The exact time at which an actor or crew member is to report to a set. Cameo A very small part in a film, sometimes done by a well-known actor. Camera Left (also known as "Left Frame") Directions given from the camera's point of view. Opposite of "Stage Left" and "Stage Right", which are given from the actor's point of view. Camera Right (also known as "Right Frame") Directions given from the camera's point of view. Opposite of "Stage Left" and "Stage Right", which are given from the actor's point of view. Camera Rehearsal (also known as "Walk-Through") This is where actors will walk through their blocking so that the camera can rehearse its moves. Casting Director In film, this individual finds actors to fill the parts in the script. This normally requires that actors audition. Lead actors are carefully chosen, often based on the actor's reputation or "star power." Center Stage The central part of a theatrical stage. Cheat (also known as "Cheat Out" or "Cheat Your Look") 1) In theatre, to angle or open the actor's body at a diagonal to the audience, whereby more of the actor is visible from the audience's perspective. 2) In film, to angle the actor or object toward a particular camera; also as in CHEAT YOUR LOOK (to open your face to the camera. Cheating should not be noticeable to the audience. Choreographer This individual creates and coordinates the movement and dance - typically for musicals. Clean Entrance/Clean Exit In film, this is a direction to an actor to be all the way out of a shot and walk into it, or exit all the way out of a frame. Climax The turning point in a plot or dramatic action, the highest moment of conflict. Cold reading A reading aloud from a script or other text without any rehearsal, usually in the context of an audition or workshop. Cue Actions or words which precede an actor's words or actions. "Pick up your cues" means to perform the action quicker after receiving your cue. Cut In film, this is a direction to stop the shot in process and to wait to begin again. Cut and Hold In film, this is a direction to stop the action and hold positions. Sometimes means that this is the final "Take" for this scene and that the "Camera Operator" is "Checking the Gate" to be certain that the film is "In the Can". D Dead Air A period of silence or an unintended interruption in between lines during which there is no sound. Denouement The final resolution or clarification of a dramatic or narrative plot or the final outcome of a complex sequence of events; the end result. Dialect Coach (also known as "Dialogue Coach") A dialect coach (previously referred to as a dialogue coach) assists an actor in assuming a certain regional accent in order to perform convincingly in radio, theatrical or film productions. Dialect coaches are skilled in diction and linguistics, and do not necessarily have to have the accent that they are teaching. Dialog Director In film, this individual reviews lines with actors to ensure memorization, interpretation and/or dialect. May be called a "Dialect Coach" if that is his only function. Dialogue Director is a comparatively rare position. Doings See Verbs. Double In film, someone (usually an actor) who stands in for the principal actor during lighting setup and for shots where the principal would be unrecognizable. A "Stand-In" does no acting and is not seen in the finished film, is used for lighting and blocking only. A "Stunt Double" handles stunt work only. Down Camera Eye The actor's eye that is closest to the camera. Downstage 1) Toward or at the front of a theatrical stage. 2) Toward a motion-picture or television camera. Drift In film, this is a direction to an actor that they have moved out of position or off a mark. Dubbing In film, this is recording a voice in synch with a film image. Generally, "dubbing" refers to using a different voice, as an actor dubbing English onto a foreign film. E Emotional Prep (also known as "Emotional Preparation" or "Making an Entrance") An acting technique, which enables an actor to enter a scene emotionally charged. Emotional preparation makes clear that an actor has just come from someplace meaningful. Emotional preparation has no real emotional connection with the events that are about to transpire in a scene; it only ensures that an actor is prepared to be emotionally responsive to whatever they encounter. By practicing coming from someplace specific and meaningful, to someplace specific and meaningful, the actor is trained to be 'on' from the start. Emotional preparation is only used for the first moment of a scene; it elicits a temporary emotional response from an actor, which may not replace fully rooted emotional life crafted through imaginary circumstances. For example, an actor creates an event in their creative imagination i.e. they imagine that their cat has been run over by a car. The more detailed that they are able to build the imaginary circumstances the more realistic that event will become to them and they will be able to trick their body into an emotional response. Mind, the "Emotional Prep" work does not last long and if it is used repeatedly over the course of a production then the actor may have to create another set of imaginary circumstances to affect the same emotional response. Essential Action See "Objective". Extras (also known as "Atmosphere" or "Background") A non-speaking role, usually in the background of a film. F Featured (Role) In film, a larger role than a "Bit Part". An identifiable character with several scenes. The actor generally receives a film credit, although he may not have any lines. Fight Choreographer This individual creates and coordinates the "stage combat" and safety of the actors. First Team In film, the actors in a scene. Focus 1) The discipline of an actor to concentrate and “Stay in Character” moment to moment so that nothing outside of the world of the play may influence their performance.
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