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. 2) A term usually used to describe where an lighting instrument is pointed. The final focus should place the "hot spot" of the beam at the actor's head level when standing at the center of the instrument's assigned "focus area" on the stage. Fourth wall In theatre, the imaginary wall at the front of the stage in a proscenium theatre, through which the audience sees the action in the world of the play. The term also applies to the boundary between any fictional setting and its audience. When this boundary is broken (for example by an actor speaking to the audience directly through the camera in a television program or film), it is called breaking the fourth wall. From the Top (also known as "Back to One") In film, this means to start the scene over from the beginning. "One" is the first position for the scene. In a complicated scene, there may also be a position two, three, etc. G Given Circumstances i.e. WHO, WHAT, WHEN, WHERE, and WHY of a play/film. Who else is in this world? Who else is referred to? What is your core relationship with each individual? Are there important relationships between other people of which you are aware? When is the play set? What is the year, season, day of week, time of day? Where is the play set? What is the country, state, area, city, town, rural environment? What is physically present in your immediate environment?(Furniture, landmarks, decorations, animals, weather, etc.) Why have these events begun to unfold? What caused them to unfold? What makes this day/encounter/moment important and different from every other day/encounter/moment? What has just happened that propels you into the world (onto the stage) for each and every entrance? (Why are you here, what is the moment before?) Are there important social, political, or military events that impact your character? What are they? You must know as much as your character does about these influences on your life and world. Are there important events from your past that have a bearing on your character in the present of the play? Who else knows about them? Who doesn't? H Hit the Mark In film, this is a direction to the actor to stand over their mark.

I Improv See "Ad-lib". Impulse An instinctive reaction to stimuli created by a scene partner or any other external element. Intention See "Objective". K Key In film, either a fixed point used by the actor to remember a position without marks, or a direction to use a particular element of a scene to reinforce an actor's performance (as in "Key off his anger" or "Key off the speeding car.") L Left Frame See "Camera Left". Looping See "ADR". M Making an Entrance See "Emotional Prep". Major Meanings (also known as "Three Major Meanings") The passions of a character, those things that have the greatest significance in their life. Meanings resonate from the text but "root" personally with each individual actor. Every character has at least three “Major Meanings" given in the world of a well written play/film. The meanings are what give a character three dimensions; they make up the core purpose of a character–the driving force that motivates their actions through each moment and compels them to achieve their “Super Objective”. Examples: Juliet's major meanings are: 1 ) married love 2) pleasing her family 3) her religion. Romeo's major meanings are: 1) sexual love 2) his family's honor 3) his peer's respect. Mark In film, an object or point that serves as a guide. Motivating Drive See "Objective. O Objective (also known as "Purpose", "Intention", "Point of Concentration", "Motivating Drive", or "Essential action") Plays/films are composed of actions, characters doing something in pursuit of a need at every moment. The objectives (needs) of the character throughout the play/film i.e. the step by step things a character needs to achieve/have in order to move closer and closer to the super objective. Obstacles What/who prevents a character from achieving their objective in each scene? What/who stands in the way of the character achieving their super objective? P Performing To do for the sole benefit of providing entertainment for an audience. Point of Concentration See "Objective". Point of View (also known as Personal Point of View) An acting term, which means to give a true gut response, or say nothing. A clear position or perspective; an opinion; a reaction elicited from something which is considered or evaluated by an actor in the moment. Psychic Action The drive or thrust of the play/film. It is what drives the play aside from the plot. NOTE: This directing/playwriting term may be a way of describing the emotional growth/change of characters within the world of the play but further verification is needed to make this determination. Purpose See "Objective". R Right Frame See "Camera Right". Rising Action The events of a dramatic or narrative plot preceding the climax. S SAG Screen Actors Guild, a union that represents actors for film, television and commercials. Scene A portion of a script that has been given its own number. Shtick See Bit. Stage Combat A specialized technique in theatre designed to create the illusion of physical combat without causing harm to the performers. It is employed in live stage plays as well as operatic and ballet productions. The term is also used informally to describe fight choreography for other production media including film and television. It is a common field of study for actors and dancers and is closely related to the practice of stunts. Stage Left The area of the stage to the left of center stage when facing the audience. Stage Right The area of the stage to the right of center stage when facing the audience.

Stakes What is at risk/jeopardy for a character throughout the play/film? What specifically will a character lose if they fail to achieve each objective along the path? Stand and Deliver An acting term, which means to direct a monologue to the audience but still engage the other actors in the scene. Stand-by In film, this is a direction to actors to prepare for a "Take". Stand-in See "Double". Step Into It In film, this is a direction for an actor to stay one step out of frame, and then to step in. Strategy See "Tactics". Stunt Double See "Double". Super Objective The one thing that a character is fighting for throughout the play/film, the one thing that compels every action that a character takes throughout the entire play/film, the one thing without which that character's life as they know it and wish it to be will be forever over. T Tactics (also known as "Actions" or "Strategy") Small, detailed, moments of acting, the line-by-line choices an actor makes to achieve their objective and overcome their obstacles. Talent In film, this is a term that refers to all "Above-the-Line" personnel, but specifically to the actors. Sometimes this term is used by agents and casting directors to mean "actors". Three Major Meanings See "Major Meanings". U Upstage 1) Toward or at the rear of a theatrical stage. 2) Away from a motion-picture or television camera. 3) To distract attention from (another performer) by moving upstage, thus forcing the other performer to face away from the audience. V Verbs (also known as "Doings") The act of performing or executing action. Examples of revenge verbs: to assault, to torment, to torture, to terrorize, and to accuse. Examples of romance verbs: to pine, to yearn, to lust, to entice, and to bewitch. Examples of triumphant verbs: to celebrate, to congratulate, to boast, to rejoice, and to pay tribute. Examples of grief verbs: to lament, to wail, to mourn, to eulogize, and to commune.

VO/Voice-Over Voice-Over (VO), a scene where an actor speaks a line while the camera is not on him. Commercials, both radio and television, often utilize voice-overs. VOC Voice-on-camera. A scene in which an actor speaks a line while the camera is on him. W Walk-on In film...For an extra, a non-speaking bit part. For a principal, a non-speaking entrance. Walk-Through 1) A brief rehearsal, as of a play or part, performed usually in an early stage of production. 2) A television rehearsal during which no cameras are used. 3) See also "Camera Rehearsal". Wrap In film, the completion of a workday, or of work at a particular location, or of work on the whole production.