Acting Glossary of Terms
ACTING GLOSSARY OF TERMS
If you’re just starting out in professional acting, the
learning curve may be steep. The world of entertainment is broad and full of
details, many of which you will have to master to perform your job effectively.
Whether you are just auditioning or you’ve landed your first role, chances are
you’ll come face-to-face with some terminology you don’t quite understand.
We’ve
compiled a list of important terms for beginners to understand, so you can hit
the ground running in your acting career. While this is not a comprehensive
list, it should help you become acclimated to your new surroundings.
Action:
What the director says to indicate that the camera is rolling and a scene has
started.
Ad-Lib:
When an actor goes off-script and is expected to improvise in a scene.
Adjustment: A
change in direction regarding the playing of certain material.
Advance: An
amount of money paid before work has started to secure a professional’s place
on a production.
Aside: A
bit of dialogue directed only at the audience on stage, unheard by other
characters.
Audition: A
try-out for a role.
Back to one: A
verbal cue indicating actors should return to where they started a scene.
Background:
Extras in a production. Often the verbal equivalent of ‘action!’ for extras.
Backstage: The
area behind the stage in a production or unseen by the audience.
Beat: A
deliberate pause in dialogue or action.
Black out:
When all stage lights are shut down.
Blocking: The
physical movements orchestrated in a scene.
Booking:
Formally scheduling an actor for a role.
Breaking character: When
an actor stops acting and steps out of their role.
Call back: A
second audition, in which an actor is ‘called back’ to show their skills again.
Call sheet: The
list of schedules for all cast and crew in a production.
Camera left: When
performers take up the left side of the shot from the camera operator’s
perspective.
Camera right: When
performers take up the right side of the shot from the camera operator’s
perspective.
Camera ready: The
state of being ready for filming, with hair, makeup, and costuming done.
Casting: The
process of choosing the performers for a production, done by the casting
director, director, or other professionals.
Closing off: When
an actor turns away from the audience.
Cold reading: In
an audition, when an actor is asked to use material they haven’t studied or
seen previously.
Commission: A
portion of an actor’s earnings taken by an agent or manager.
Craft services: The
on-set table containing food for cast and crew on a production.
Cue: A
signal for an actor to begin or continue their performing.
Cut: The
verbal cue for filming to stop.
Dailies: Raw
footage shot on the same day.
Demo reel: A
compilation of highlights of an actor’s previous on-camera roles.
Downstage: The
section of the stage that is closest to the audience.
Dress rehearsal: A
rehearsal in full costume, usually right before an actual show.
Exit: A
stage direction indicating an actor should leave the stage.
Eye line: The
direction or point an actor should be looking at in a scene or shot.
Feature: A
full-length film.
Fourth wall: The
imaginary area that separates an actor from the audience. The fourth wall is
broken when an actor makes an aside directly to the audience.
FX: Special effects.
Holding: The
area extras wait while not on set.
Hot set: A
set that is ready for filming.
Improvisation:
When an actor performs spontaneously with no script.
Mark: The
exact position assigned to an actor on set.
Monologue: The
term for a lengthy speech given by a single actor in a scene.
Motivation: The
‘why’ behind a character’s actions.
Off book:
When an actor has their lines completely memorized and does not need to refer
to a script.
On book:
When an actor has not yet memorized their script.
On hold: When
a casting director identifies that they want an actor for a production, but has
not yet formally hired them.
Open call: A
day for auditions open to anyone.
Opening up: When
an actor turns toward the audience.
Out of frame:
When a performer is outside of the camera’s field of view.
Pace: The
speed at which a scene unfolds, or the speed at which actors deliver their
lines.
Pantomime:
When actors in a scene pretend to speak.
Pick up:
When a scene is started at a place aside from its beginning.
Places: A
command to inform performers to take their assigned positions on stage.
Props: The
objects used by actors in a scene.
Rush call:
Last-minute booking of actors or extras.
Script: The
written form of a film or production, containing all actors’ lines and
directions.
Sides:
Pages or scenes from a script.
Slate: A
quick statement of a performer’s information before an audition begins.
Soliloquy: A
long speech by an actor without anyone else on stage, sometimes directed at the
audience.
Spiking the lens: When
an actor looks directly into the camera during filming.
Stage left: The
area to the actor’s left.
Stage right: The
area to the actor’s right.
Standby: The
verbal indication that actors should be ready and awaiting their cue.
Take: A
shot in progress.
Upstage: The
part of the stage farthest away from the audience.
Wrap: The
end of filming for a day.
With the knowledge of these terms under your belt, you’re
all set for your next acting opportunity!
Glossary of Acting Terms
GLOSSARY OF ACTING TERMS
Actions/Intentions: The action verbs the actor
uses to fulfill the Objective/Driving Question. i.e. to possess.
Activity: A specific physical task that may or may not be connected to an action,
such as a character loading a gun or packing a suitcase.
Ad-Lib: Spoken words (sometimes witty comments) said out loud that are not in
the script. They can also be given “off the cuff” when another actor forgets a
line.
Adjustment: A direction or modification an actor makes in the playing of material.
They are often instructions given by the director.
Affective
memory: (Or “Remembered emotion”) Memory
that involves the actor personally, so that deeply rooted emotional experiences
begin to respond. His instrument begins to awaken and he becomes capable of the
kind of living on stage which is essentially reliving.
Animal
work: Sensory and body work based on the
observation of animals, birds and reptiles.
Apron: The area of the stage in front of the proscenium arch.
Arena: A type of stage where the audience is seated on three sides (also
referred to as Thrust).
Aside: A character’s comment or observation, often delivered directly to the
audience or themselves.
Beat:
1. A component of spoken material with a
single action. A new beat occurs when the character changes what he is doing to
attain his objective. 2. In blocking, holding for 1 second=1 beat.
Blocking: To set the movements of actors on a stage or set. Also, any
given movement that enhances the scene, such as a specific character gesture.
Central
conflict: The oppositional force between
characters that directly affects or motivates the action of the plot.
Characterization: The actor using their craft to explore and develop the specific
qualities of a character.
Cheating
or Opening Out: Angling or squaring
the body out toward the audience or camera, while still partly facing
the other actor/character.
Cold
Reading: Unfamiliar material, such as a scene
or audition sides. An audition in which you are asked to read from copy you are
not familiar with, generally with little or no time to prepare.
Composition: The arrangement of the staging and design elements to create a visual
picture.
Conflict: An essential and vital element of acting that involves the obstacles and
struggles (inner and outer) that a character must overcome to reach their
objective.
Countering: A blocking movement by an actor to rebalance the stage in reaction to
another actor’s movement, or change of position.
Cue: The action, line, or phrase of dialogue that signals your
character to move or speak.
Cue-to-Cue: A tech rehearsal where to save time, action and text is cut out
between cues.
Dialogue: The written words spoken by the actors/characters.
Downstage: The front of the stage or the part closest to the audience.
Dramaturge: A profession in theatre that deals mainly with the research and
development of plays. The dramaturge often assists the director in the
preparation of a production.
Driving
Question: Always beginning with “How can I…?”
It is the rephrasing of the actor’s objective in the active and very specific
form of a question that needs to be answered in the scene, i.e. “How can I rip
the blinders from her eyes?”
Dry
tech: The rehearsal and setting of
lighting, scenery, and sound cues, in preparation for the full technical
rehearsal with actors.
Emotion: The agitation of feelings such as: sadness, power, fear, love, hate and
joy. These can be followed by responses such as: rapid heartbeat, crying or
shaking.
Emotional
Recall: (or Emotional Memory) The
emotions from an actor’s memory (long or short term) of personal experiences
that are used to connect the actor to the character, and meet the emotional
needs of the situation in the play or film.
Endowment: To give physical or emotional attributes to your character, to create
more reality and meaning to further the needs of the story. Objects can also be
endowed with physical, emotional or historical attributes: shaving without a
blade, removing wet clothing when it’s not wet, drinking water as if it’s
vodka.
Fourth
wall: The imaginary wall which separates
the actors from the audience, and the audience from the stage. The actor uses
it to create the reality in the scene, and keep one’s mind in the world of the
film or play.
Framing: Crafting and sculpting individual moments for the purpose of
highlighting them.
Given
circumstances: The background and current
circumstances of a character, ranging from who you are, where you are, and why
you are doing it. The costumes, sets and lighting—all the circumstances that
are given to the actor to take into account as they create their role.
Group
Theatre: Founded by Harold Clurman, Cheryl
Crawford and Lee Strasberg in the 1930’s, the Group Theatre based its acting on
the innovative teachings of Constantin Stanislavsky. A renowned American
theatrical company whose members included: Lee Strasberg, Stella Adler, Bobby Lewis,
Sandford Meisner and Harold Clurman. The company was based on an ensemble
approach to acting as first seen in the Moscow Art Theater, and changed the
course of American theatre forever. They created new American plays with a
vision that spoke to and reflected the common man and to change the troubled
times. The traditions of the Group Theatre are continued to this day.
Happiness: (also called The Super Objective) The character’s long term
objective or “big dream” in life. The “happiness” does not necessarily apply
directly to any single scene but has an effect on every scene. It also helps in
providing conflict and dimension to every scene.
Improvisation: Setting out to do a scene with no pre-planned or written idea. A
process leading to spontaneous discovery that allows the actor to
find real, organic impulses within themselves.
Impulse: A natural response that an actor responds to in the moment.
Indicating: Showing what your character is feeling or doing without really feeling
or doing, leading to a false and shallow performance.
Inner
Action: A physical action verb chosen by the
actor in the pursuit of an objective. It always begins with the word “to” i.e.
to attack, to soothe, to tickle.
Inner
Life/Inner Monologue: A character’s active, imaginative
inner thoughts while the actor is playing a role.
Instinct: A compelling or powerful impulse.
Instrument: The actor’s collective working of the body, voice, mind, and
imagination.
Intention: Another word for an acting objective, or action, that an actor pursues
while onstage.
Line
Cue: The last portion of the last line
before your cue begins.
Magic
if/What if ? : Created by Stanislavsky, the actor
tries to answer the question, “If this were real, how would I react?”
Meisner
Technique: An acting program that uses
(among other things) repetitive and in-the-moment exercises first devised by
Sanford Meisner of the Group Theatre. The technique emphasizes
“moment-to-moment” spontaneity through communication with other actors to
generate behavior that is “truthful under imaginary circumstances.” Meisner
also emphasized using the actor’s imagination to create emotional reality—the
creative “as-if”— over the personal, emotional experience philosophy championed
by fellow Group Theatre member Lee Strasberg.
Method,
The: A generic term used to describe
the acting philosophy of using personal emotional experiences in acting, as
first introduced to the Western world by Stanislavsky and furthered by members
of America’s Group Theatre in the 1930’s. When used today, “The Method” most
often refers to the deeply personal emotional work taught by followers of Lee
Strasberg, one of the Group Theatre members, and can be summed up as: “Training
the subconscious to behave spontaneously.”
Moment-to-moment: The acting process concentrating on the present, not what’s going
to happen in the future.
Monologue: An uninterrupted speech by a character in a performance. The
monologue may be to another character or the audience.
Moscow Art
Theatre: Co-founded in 1897 by
Constantin Stanislavsky with Vladimir Nemirovich-Danchenko. The theatre was
conceived as a venue for naturalistic theatre, as opposed to the melodramatic
style which was popular in Russia at the time.
Motivation: The Why? The reason a character pursues a particular objective or super
objective.
Objects: Physical items used by the actor to enhance and give more
reality to a character.
Objective: A character’s pursuit of a specific goal in a scene. Also referred to as
the intention or driving question.
Obstacle: The conflict and stumbling blocks to a character’s struggle in pursuit
of an action or objective.
Organic: A natural response that comes (organically) from deep within the
character/actor.
Outer
Tactics: The method or “how” an
actor/character goes about doing their action in a beat. An active verb form
preceded with “by” always ending in “ing.” Each beat has both an Inner Action and
an Outer Tactic: To gain entry (Inner Action)/By honeying (Outer Tactic.)
Pace: The speed at which you pick up your cue and deliver the next line of
your dialogue. Pace can also be the speed that creates a style for the piece.
Pantomime: An art form related to the dance; not to be confused with “silent
scenes” or a “scene without words.”
Physical
gesture: A specific movement or physical
action of a character that expresses the psychology, feelings and desires
incorporated into one gesture. It is often used by the actor to awaken the
essence of his character.
Particularization: The process Uta Hagen taught, making each event, person and place (down
to the smallest physical object) as exact as possible. These details are
explored in great detail to discover how they are relevant to the character.
Physicalization: To express with the body. Showing as opposed to telling. Externals
of a character, such as how they eat, walk and talk.
Presentational: An actor’s awareness of the audience through direct address to the
audience, by looks, signs or gestures.
Private
Moment: A well-known technique developed by
Lee Strasberg, based on Stanislavsky’s theory that the challenge of the actor
is to “act privately in public.” An individual acting exercise (performed in
front of others) in which the actor does an intensely personal activity while
alone, while giving the effect of “being private in public.”
Psychological
gesture: If we define gesture to mean a
movement that has intention, we could say that the Psychological Gesture is a
movement that expresses the psychology of the character.
Props: All objects on a theatrical or film set, used by the actors. Hand
Props: often small and hand-carried objects used by actors during
performance, i.e. glasses, wallet, handkerchief. Practical Props: props
that actually have to work during performance, i.e. cigarette lighter,
flashlight.
Representational: Represents “realism.” Characters in their real lives that are not
aware the audience is there.
Run:
1. A series of brief lines building to a
speech or key moment. 2. The number of performances a show
does.
Script
Analysis: The close study of a play or
screenplay. This incorporates all of the dialogue and stage directions to find
the answers necessary to create a full and rich character and to craft a
performance that serves the script. The exploration of the script may include
the questions of theme, story, character, and overall elements of the play and
characters.
Sensory: Connecting the character to the body and mind through the senses; to
taste, hear, feel, see, think, perceive; to know through the physical inner
self, as opposed to the instinctive.
Sense
memory: (emotional recall) The basis
for Lee Strasberg’s Method Acting. “Sense memory” is used to refer
to the recall of physical sensations: sight, touch, taste, smell, and
sound. These physical sensations surround an emotional event, instead of
the emotions themselves.
Sides: A portion of a script (pages) selected for an audition that highlights a
specific character.
Soliloquy: A speech given directly to the audience, ordinarily with no one
else on stage. Usually played as a direct address to the audience,
sometimes played as a character thinking aloud in the audience’s presence.
Speed-through: A rehearsal with actors going through the lines of the play as quickly
as possible, picking up the cues. Sometimes called a “glib thru.”
Spontaneity: A free unplanned impulsive moment.
Stage
Business: A stage activity used to accent,
intensify, or heighten the manner in which one uses an object on stage.
Stage
Directions: The writer’s insertions of
blocking, reactions, gestures, or use of props to clarify the action.
Staging: The final results of blocking—Alternatively called blocking.
Stage
Left: In a proscenium theatre, the actor’s
left, while facing the audience.
Stage
Right: In a proscenium theatre, the
actor’s right, while facing the audience.
Stakes: The heightened consequences for each character of achieving or failing
to achieve their objectives.
Stanislavsky,
Constantin (1863-1938): Russian
theatre director, actor, and teacher most responsible for the manner and
technique in which the craft of acting is taught. Co-founder/director of the
Moscow Art Theatre in 1897 with Vladimir Nemirovich-Danchenko. He developed a
“system” or “method” by which actors could consistently produce superior work
by tapping into themselves and their real feelings, to create naturalistic
acting as opposed to the representational acting style popular at the time.
Strasberg,
Lee (1901-1982): Acting
teacher, artistic director of the Actor’s Studio, and developer of what came to
be known as “Method Acting,” an approach based on early writings of
Stanislavsky. His teaching method was based on Stanislavsky; but, among other
things, Strasberg intensely focused on actors exploring past memories to use
real emotions to connect them to their character.
Subtext: The character’s complex thoughts, feelings, motives, etc. created and
layered under the actual words and actions of the character by the actor.
Substitution: The recasting of people, objects, and events in the script that
the character must react act to, with real people, objects and events that the
actor has known or experienced in their own life.
Super objective: Stanislavsky developed the concept of the super-
objective (referred to here as The Happiness) that would
carry the ‘through line of action,’ mapped out for the character through the
entire play.
Tactics: “How” a character goes about achieving their goal. Also,
specifically the way a character “masks” their inner action or intention, on
the outside: i.e. to alarm (inner action) by freaking out (outer tactic).
Tasks: Pieces of work or functions that need to be done, the total of
which comprises an overall activity.
Tempo;
pace; rhythm: The level of speed with which the
scene or play is acted out. The general effect creates a specific mood or tone
to the work.
Three-Quarters (Actually ¼): A stage position in a proscenium theatre,
where the actor is facing half-way toward the actor to their side
and half-way toward the audience. Thus the audience is essentially
seeing a three-quarter view of the actor.
Through
line of action or continuity: Stanislavsky’s
concept of the inner line of effort that guides the actors from the beginning
to the end of the play. (An Actor Prepares)
Transference: Uta Hagen’s term for the actor’s process of making
transferences from their own experiences to those in the play until they become
synonymous with them.
Trigger: An emotional or physical signal that signals or sparks a bonfire of
emotion to break through to the surface.
Upstage: The opposite of downstage; the back part of stage in a proscenium
theatre; the farthest part from the audience. Derives from the eighteenth
century, when the stage was slanted, or “raked” toward the audience, with the
rear of the stage higher than the front.
Upstaging: To go upstage of an actor with whom you are sharing a scene. This causes
the other actor to be in the downstage, weakened position of having to face
upstage to maintain the illusion of eye contact.
Upping the
stakes: Increasing and upping the importance
on a scene or moment to heighten the dramatic tension of the character or
scene.
World of
the play: What happens. Where it happens. When
it happens. The circumstances affected by the society, economics, culture and
politics of the time. What we learn from the setting of the play.
Film & Television
ADR: (Automatic Dialogue Replacement) see looping.
Cinematographer: The expert responsible for capturing, recording or photographing
images for a film, through the selection of visual recording devices, camera
angles, film stock, lenses, framing, and arrangement of lighting.
CU: Close up.
Double: A person doubling for a principal actor usually for stunts (dangerous
shots).
DP: Director of photography, the head cinematographer.
Eye Line: Eye line is the direction an actor should look off-screen to match
a reverse angle or a P.O.V. (point of view) shot. It is best to give the actor
an actual thing or spot to look at rather than a blank spot on an empty wall or
an empty space in mid air.
Extras: Actors hired for non-specific, non-speaking roles, to add
background atmosphere and reality.
First AD: The First Assistant Director. This is the director’s right hand
man, who basically stage manages the entire set.
Holding: The area or bus set aside for extras to wait between scenes.
Key 2nd AD: The senior 2nd AD is responsible for having extras
on set at the right time, blocking extras into crowd scenes, cueing of extras
etc.
Looping: The recording or re-recording of dialogue for a previously for filmed
scene.
M.O.S: A shot, a sequence, or a film that is shot without sound, which is added
later. M.O.S. stands for “With Out Sound,” and derives from German director
(Otto Preminger) asking for a shot to be filmed “Mit out sound,” which was
written “M.O.S.” on the slate.
OC: Off camera.
Off: 1. A scene starting with a shot of one actor and opening to the scene.
2. A cue to an actor to take their cue off of the reaction of another actor.
(see reaction shot)
OS: Off stage.
Over the
Shoulder: A camera shot of the scene shot
from behind or “over the shoulder” of a principal actor, revealing what they
are seeing from their point of view.
Pick
Up: Reshooting a section of a scene
from a specific point. i.e. “We’ll pick it up from here.”
Piggy
Back: A camera shot with both actors
involved, facing the camera one behind the other. The “piggyback” allows both
characters to have their private thoughts about each other, while allowing the
audience to see what both characters are thinking.
POV: A shot that shows the scene through the character’s eyes. We see
the world from their point of view.
Reaction
Shot: The camera shooting a character’s
emotional or physical response or reaction to something that is happening in
the scene.
Reverse: A camera shot set up to shoot the reverse 180° view of the
previous shot.
Second AD: Second Assistant Director. On most sets there are many 2nd AD’s
responsible for everything from crowd control, extras, parking, traffic
control, security, cuing, and actors on camera.
Second
Team: Stand-ins for the principals
involved in a specific scene. You will hear an AD yell “Second Team!” calling
stand-ins on set to stand where the principals were, while the DP lights the
scene and the camera operators rehearse their moves and focus.
Spreading
the Shot: One actor stands too far from the
other, which “spreads the shot out.”
Stand-in: An extra hired for size and coloring to double for a principal
actor for lighting and camera set ups.
Take: A reaction shot of an actor. i.e. “take Stabler.”
Video
Village: The area where all of the
camera shots are fed into video monitors, allowing the director to get an
accurate view of every shot.
VO (Voice Over): A recording that will either be added later or
played back while shooting the scene.
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