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Glossary

Glossary of Stage and Studio Terms

This glossary is provided as a convenience and has been accessed from the 'net for your use. Credit for this comprehensive glossary should go to the author.

Like many professions, stage and studio venues have created terms for things that appear only in that field, or adapted terms from other sources. The following is offered as a primer on many of those terms unique or unusual to theatre and television, with a tendency towards those used in the United States. Hope you find it useful and, if you know of a term that's not included, you'll let us know about it: drop us a comment.

A B C D E F G H I J K L MN
O P Q R S T U V W X Y Z

A


ACTING AREA: The portion of the stage proper, excluding the forestage, viewed by the audience during a given scene.
AB : See Stereophonic

APRON: Part of the stage which protrudes past the proscenium towards the audience. Also known as forestage or thrust.

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B

BACK CURTAIN: The two-piece bi-parting rear curtain; part of the cyc set. Also known as a rear curtain or backdrop.
BACK LIGHT: Light falling on an actor or television talent from behind; used to separate the person from the background.
BACKSTAGE: Literally, the area beyond the acting area toward the rear wall. Also used to describe all areas related to, but not on, the stage, including dressing rooms, technical areas, etc.
BASE LIGHT: In television, the basic light on the set and talent, in many ways similar to wash lighting in theatre; see also fill lighting.
BATTEN: Pipe hung above stage support of individual curtains, drops, scenery or lighting equipment.
BEAM: Location of lighting in the auditorium ceiling, over the audience, for illuminating the apron and front part of the stage. Also known as the front-of-house, ceiling spotlight or ante-proscenium lighting position.
The term also refers to the mounting location of head blocks at the top of a counterweight system, typically as part of the phrase "head block beam".
BELAYING PIN: Steel or wood shouldered pin, approximately 1" in diameter by 16" to 24" long, around which ropes are tied in a rope set system. They are sized to rotate in holes drilled through the pin rail.
BLOCK: Assembly containing a sheave, axle and housing. Types include floor block, head block, loft block and others.
BORDERLIGHT: A series of lower-power lamps joined in series within a single fixture. Contains three or four circuits for multiple colors, and is primarily used for on-stage toning. Also called a striplight or x-ray.
BRIDLE: Chain or rope run at an angle to support a batten.
BROAD: Rectangular lighting fixture with symentrical reflector, used in television to provide a somewhat focused soft-edged light as a specialized fill or wash light.
BUMP BUTTON: On a lighting console, a pushbutton which causes a single channel or scene to flash on. Often programmable to flash in addition to whatever lighting is currently up (flash), or to turn everything else off as long as it is on (solo). Some consoles allow the user to set the relative level of the bump.
BUTTERFLY: Curtain which is pulled aside and upward from one lower edge, without moving the opposite edge of the same piece or half. Also known as tab or tableau curtain.

BACK CLOTH : See Cloth.

BACKFLAP : Hinge frequently used in Scenic Construction.

BACKING :

1) Scenic piece as a backing behind an opening in the set (window etc.) which hides the technical areas beyond.

2) The money invested in a commercial production (by a Backer).

BACKLIGHT : Light coming from upstage, behind scenery or actors, to sculpt and separate them from the background

BACK PROJECTION : See Projection.

BACKSTAGE : The part of the stage and theatre which is out of the sight of the audience. The service areas of the theatre.

BACK-UP : A section of a lighting control board (sometimes a separate unit) which provides an alternative method of control should the main board fail.

BAFFLE :

1) A sheet of material used to prevent a spill of light in a lantern or in part of a set.

2) A panel in a loudspeaker cabinet designed to reduce back interference noise by isolating the front and rear of the loudspeaker diaphragm.

3) What most of this jargon will do to any non-technical theatrical type.

BAKELITE :(Trade Name) : Hard insulating plastic-like material used in making electrical accessories (e.g. plugtops, lampholders etc.)

BALANCED LINE : A method of carrying sound signals which reduces interference by using a third conductor, the shield. The two inner conductors carry the same sound signal, one is positive and the other is negative. Any interference induced into the cable is equal and opposite in each of the inner conductors and is cancelled out. It is important to use balanced lines when carrying low level signals (e.g. microphones) along long cable runs. See unbalanced line.

BALLAST : A unit used in conjunction with discharge lamps containing capacitors, inductors and other start-up circuitry. The inductor is initially used to develop a high potential to strike the discharge and is then used to limit the current flow while the lamp is lit.

BANTAM : See Jack.

BAR :

The horizontal metal tube (usually 48mm in external diameter) hung from flying lines (or forming part of a grid) from which lighting equipment and scenery etc. may be suspended. Also known as a Barrel. When vertical, known as a Boom. In the US, known as a Pipe.

BAR BELLS :

are rung in public areas of the theatre to warn the audience that the performance is about to start/continue. Usuallyoperated from the prompt corner and sometimes followed by Front of House Calls. The bells are also used as a warning to FOH staff that the interval is about to commence or that the show is about to end.

BARNDOORS : A rotatable attachment consisting of two ir four metal flaps which is fixed to the front of a Fresnel or PC type lanternto reduce the beam spread in one or more directions.

BASE PLATE : A metal plate which prevents damage to floors when using scaffolding or trussing.

BASS : Lower end of the musical scale. In acoustics, the range (below about 200Hz) in which there are difficulties, principally in the reproduction of sound, due to the large wavelengths involved.

BASS BIN : Speaker cabinet containing Woofer designed for Bass sound reproduction (see also Subwoofer).

BASTARD SIDE (B.S.) : Terminology used when the Prompt corner is Stage Right. Stage Left is then known as Opposite Bastard (O.B.)

BATTENS :

1) Timber at the top and bottom of a cloth. A Sandwich batten is used to carry a hanging cloth. It comprises two flat pieces of timber screwed together with the edge of the cloth between them.

2) Timber used for joining flats together for flying.

3) Compartmentalised floodlights set up so as to allow colour mixing. See also groundrow. Low voltage battens are commonly used as light curtains & for colour washes.

BC HOLDER : Type of domestic lampholder that has largely been replaced by the ES (Edison Screw) and the GES (Goliath Edison Screw) for general lighting applications in the theatre. Stage lighting equipment uses prefocus lamp bases. (Most types of Festoon still use BC holders.)

BEAM ANGLE : The angle of the cone of light produced by a lantern. Defined as the angle within which the lowest intensity in a beam of light from a lantern is not less than one-tenth of the maximum.

BEAMLIGHT : Flood lantern which uses a parabolic reflector and a low voltage high intensity lamp to produce an intense near-parallel beam.

BECTU : Broadcasting, Entertainment, Cinematograph and Theatre Union. The UK entertainment technicians union.

BEGINNERS : A call given by the DSM to bring those actors who appear in the first part of a play to the stage. e.g. "Act One Beginners to the stage, please". The actors/actresses are then called by name.

BELL BOARD : A live sound effects board on which are mounted a number of different types of doorbells / phone bells etc. Usually operated by stage management.

BI-AMPLIFICATION : A way of optimising the efficiency of a speaker system by separately amplifying the High Frequency (HF) and Low Frequency (LF) portions of the sound signal and sending them down two pairs of cables to the speaker. Multipin Speakon connectors have been developed to do this.

BIFOCAL SPOT : Profile lantern with two sets of shutters, one of which produces a hard edge, and one a soft edge. Not necessary in zoom profiles, because this requirement is fulfilled by two lenses.

BILLY BLOCK : A pulley on a short length of rope used to divert the pull of a working rope, or to suspend a single item in storage.

BIRDIE : A compact display luminaire containing a Par 16 lamp. So called because it is similar to, but much smaller than, the Parcan, and is hence "one under Par".

BLACK HOLE : Accidentally unlit portion of the stage.

BLACK LIGHT : See Ultra-Violet.

BLACKS :

1) Black clothing worn by stage management during productions.

2) Any black drapes or tabs, permanently or temporarily rigged. Used for masking technical areas.

BLACKOUT : Complete absence of stage lighting. Blue working lights backstage should remain on and are not usually under the control of the board, except during a Dead Blackout (DBO), when there is no onstage light. Exit signs and other emergency lighting must remain on at all times.

BLEECON : Trade name for a type of low voltage 8 pin connector which is similar to the audio DIN plug. Used most often for carrying signals from analogue lighting control desks to dimmers or to demux boxes. Originally manufactured by Belling and Lee.

BLEED : Dimmers which are incorrectly trimmed are said to bleed. That is, the dimmer still gives a small output, causing the lantern to glow, when the control signal is at a minimum.

BLEED THROUGH : Transformation from a scene downstage of a gauze to another scene upstage, by slowly crossfading lighting from downstage to upstage. If a gauze is lit steeply, or from the sides, it will appear solid. If this light is turned off and light added to the set upstage of it, it will disappear.

BLINDERS : Lamps arranged around the stage directed into the auditorium , originally to prevent spectators seeing the stage during scene changes when the house tabs were not lowered. Now used for effect in rock concerts etc.

BLIND PLOTTING : The facility on some lighting control desks for the operator to make changes to the plot, without affecting the state on stage.

BLOCK : Frame in which one or more pulley wheels (sheaves) are mounted.

BLOCKING : The process of arranging moves to be made by the actors during the play, recorded by stage management in the prompt script.

BLUES : Blue lights used backstage in a performance situation. See also working lights.

BNC: Coaxial connector used for carrying a composite video signal or radio frequency signal.

BOARD : The main control for the stage lighting. Originally known as the switchboard or dimmerboard, it is now usually remote from the dimmers. The lighting operator for a show is said to be "on the board".

BOMB TANK : Metal bin or box covered with fine mesh in which Theatrical Maroons can be safely detonated.

BOOK : See Prompt Book.

BOOK FLAT : Two-fold piece of scenery. Book flats are free-standing when angled open, allowing quick setting and compact storage. Booking describes the action of opening or closing a book flat.

BOOM :

1) Vertical scaffolding pole (usually 48mm diameter) on which horizontal boom arms can be mounted, carrying lanterns. Often used behind wings for side-lighting etc. Booms have a base plate or stand at the bottom and are tied off to the grid or fly floor at the top (not always necessary for short booms). Booms can also be fixed to the rear of the procenium arch (Pros. Boom) or hanging from the ends of lighting bars. Sometimes known as a light tree (US).

2) An arm mounted on a microphone stand.

BOOM ARM : See Boom.

BORDER : A narrow horizontal masking piece (flattage or cloth), normally of neutral colour to mask the lighting rig and flown scenery from the audience, and to provide an upper limit to the scene. Often used in conjunction with legs.

BOSS PLATE : Metal plate fixed to the stage floor into which a bolt can be screwed for fixing scenery.

BO'SUN'S CHAIR : A small seat or cradle rigged on a rope over a pulley whereby a technician may be hoisted to work at an otherwise inaccessible position.

BOTTLESCREW : (Also Bottle Strainer) Threaded device which is used to tension a wire, or to provide an adjustable link in a cable, to fine-tune the height of flown scenery. (Known in the USA as a Turnbuckle)

BOUNCE :

1) Diffuse light that has been reflected from the stage, walls, cyc etc.

2) Describes the fast in/out movement of "bouncing" flown house tabs, used during curtain calls.

3) This facility is available on many multitrack tape machines. Describes the mixing down of multiple sounds from different tracks onto one track, hence freeing up the other tracks to be re-used. Allows many sounds to be recorded onto one tape.

BOUNDARY MIC. : A microphone mounted on a flat plate which acts as a reflective surface directing sound into the mic capsule. Used for general pick-up over a large area. See PCC, PZM.

BOX SET : Naturalistic setting of a complete room built from flats with only the side nearest the audience (the fourth wall) missing.

BRACE :

1) Angled strengthening timber within a flat.

2) Support for scenery (flattage) on stage

a. Extendible, hooking into a screw eye on the flat and being weighted to the floor (commonly known as a "Stage Brace")

b. French, right-angled non adjustable triangular frame, made from timber, and attached to the flat with pin hinges. Often swung flush to the flat for storage or flying.

BRACE WEIGHT : Slotted cast iron weight placed on foot of extendible or French brace to prevent movement. Often referred to as a "Stage Weight"

BRAIL : A rope, wire or chain attached at either end of a piece of scenery or lighting bar pulling it upstage or downstage of its naturally hanging position to allow another flying item to pass, or to improve its position. See also Breast Line.

BREAK A LEG :

BREAKAWAY : Prop or item of furniture designed to break/shatter with impact. Breakaway furniture and some props are usuallycapable of restoration to be "broken" again.

BREAST LINE : A form or brail horizontally across the width of the stage, passed across the fly bars suspension lines and attached at the fly floors to brail the scenery up or down stage.

BRIDGE : A walkway, giving access to technical and service areas above the stage or auditorium, or linking fly-floors.

BRIDGE LIFT : An elevator which raises and lowers sections of the stage floor, usually by electrical or hydraulic means.

BRIDLE : Two or more wires, ropes or chains attached by a ring, eye or shackle to the end of a grid line and fitted at distances apart with clips to a barrel or batten and thus distributing the load.

BSI : British Standards Institute.

BUBBLE : (especially TV and Film) Replacement lamp.

BUILD :

1) During lighting plotting, to construct a state from blackout, or to add to an existing state.

2) An increase in light or sound level. See Check.

3) A period of set construction ("The Build")

BUMP : A flash or sudden jump in light level (a snap cue) (see Flash Button).

BURNT OUT : A coloured gel that has lost its colour or melted through due to excessive heat in front of a lantern. Dark blues and greens etc. are most susceptible, and may need replacing during a long run.

BUSS : A signal line within a sound mixing desk that can receive its signal from a number of sources. eg the Aux 1 buss carries the signals from the input channels to the Aux 1 Send master control.

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C

CABLE GUIDE: Metal cables acting as guide for single counterweight arbor; contrast with T-bar wall.
CHASE: In lighting, the sequential flashing of specific circuits and fixtures.
CLEW: Metal or wood piece, usually a triangular plate, with a single hole at one corner and multiple holes across the opposite side. Used for changing from single line to multiple lines.
COLOR FRAME: A flat piece of metal or other high-temperature material, folded over itself and with a hole cut in the center, into which color media or diffusion can be inserted for changing the light coming from a lighting instrument.
COMMANDO: Napped, inexpensive fabric, popular as studio backdrop and stage cyc set fabric; typically black. Also known as duvetyne or velourette.
COMPANY SWITCH: A specialized outlet panel allowing a visiting troupe to access power for lighting and control equipment they own and bring with them.
COMPOUND ARBOR: A type of counterweight system whereby the lead lines initiate at the head block beams, pass through a block on top of the arbor. From there, the lead lines go back up to the head block and then across to the loft block and, from there, down to the rigging batten. This system doubles the mechanical advantage, causing the batten to travel twice the distance of the arbor. The method is used when the carriage travel is restricted, but has the disadvantage of requiring twice as many slip weights as a standard arbor to balance the set.
CONNECTOR STRIP: An electrical distribution device, design to both provide power and a means whereby lighting fixtures can be hung. Typically it has multiple circuits, often with more than one outlet or receptacle per circuit, either flush or on a pigtail.
CONTROL CONSOLE: Device used to control dimmers, which are located elsewhere. This can be fairly simple, with just basic sliders or faders with minimal effects, to very complex systems embodying moving fixtures, computerized memory, monitors and remote access. Although analog control is still available, almost all control systems utilize digital or other multiplex protocols.
CONTROL CHANNEL: A dimmer or group of dimmers responding to a specific numbered control location. In manual boards, these are directly controlled by sliders; in memory consoles, these are frequently accessed through a keypad, slider or other means.
CONTROL SLIDER: A slide potentiometer which directly controls data output from a console to a dimmer. Using a softpatch, several dimmers can be controlled by a single control slider. Also known as a fader, or simply as a slider.
COOKIE: In television, a gobo with a random pattern cut out of it to create interesting shadows on an otherwise boring set. Shortened from cucaloris.
CORKSCREW: Jargon for a spiral stairway, sometimes used from stage floor to catwalk, grid or other floors.
COUNTERWEIGHT ARBOR: Steel framework for supporting individual weights, attached to either cable guides or T-bar wall. Also known as a carriage.
COUNTERWEIGHT SET: The complete system, comprised of a counterweight arbor (either single or compound), hand line, floor block, clew (if any), head block, lead lines, loft blocks and rigging batten. Also known as a rigging set.
CROSSFADE: On a manual lighting control console, two master control sliders arranged so that as one scene built of channel sliders fades out, another fades in.
CROSSTRACK: A track running parallel to the stage opening into which a pivotal is mounted, allowing the side legs to move in or out of the acting area.
CROSS-OVER: Corridor formed between a back curtain or backdrop and the rear wall, so performers or stage hands may cross from one side to the other of the stage unseen by the audience, usually while a scene is in progress.
CYCLIGHT: Specialized asymmetrical lighting fixture providing an even wash of light the full visible height of a cyclorama, with up to four cells and circuits for multiple colors. Also called a ground row when placed on the floor to wash up the cyclorama.
CYCLORAMA: A large fabric backdrop, without pleating or fullness, forming a half-circle around the acting area. More typical of smaller facilities, although it can be found in spaces used extensively for music or choral performances. Commonly shortened to cyc (pronounced as "sike", rhyming with bike).
CYC SET: General term for side legs, borders, travelers and back curtain; more specifically, all stage drapes except the front curtain and valance. Also known as back or on-stage curtains.

CABLE : Wiring, temporarily rigged, to carry electrical current. Depending on the size of the cable (current carrying capacity), cables are used to supply individual lanterns, whole dimmer racks, or carry signals from a microphone etc.

CABLE GRIP : A U-shaped clip and saddle used for terminating wire rope. Also known as a Bulldog or Dog Grip.

CABLE TIE : Lockable (and sometimes releasable) plastic strap used to tie a bundle of cables together, amongst many other things.

CAD : Computer-Aided Design.

CALL :

1) A notification of a working session (eg a Rehearsal Call)

2) The period of time to which the above call refers. (eg "Your call for tomorrow nights show is 6.55pm")

3) A request for an actor to come to the stage because an entrance is imminent (these are courtesy calls and should not be relied on by actors - eg "This is your call for the finale Mr Smith and Miss Jones")

4) An acknowledgement of applause (eg Curtain Call)

5) The DSM on the book is said to be "calling the cues".

CANS : Headset earpiece and microphone used for communication and co-ordination of technical departments during a performance. Also generally used for headphones.

CANVAS : Used to cover flats as a less heavy alternative to plywood.

CARDIOD : See Pick-up.

CAROUSEL : Circular slide magazine; also refers to a 35mm slide projector using this type of magazine (Kodak trade name). See Projection.

CARPET CUT : A narrow concealed slot along the front of the proscenium stage for clamping the downstage edge of a floorcloth. Becoming obsolete, although the phrase is still used for the setting line.

CARTRIDGE : A tape loop in a box which can cue itself up to the beginning of the recorded track in a cartridge player. Used extensively for radio jingles, and sometimes for theatre sound effects.

CASSETTE : Originally, Compact Cassette. Popular domestic 1/8" tape format. Difficult to cue up accurately, so awkward for live theatre, but cheap, so often used by small scale touring companies as sound effects source. A different cassette is used for each effect. Still popular in four track music applications.

CASTING : The process of the director choosing actors to perform the characters in the play.

CASUALS : Part-time temporary technicians (paid by the hour).

CATWALK : An access walkway to equipment. Unlike a Bridge, not necessarily across a void.

C.C.T.V. : Closed Circuit television. A video relay system, used in the theatre to give a view of the stage to remote technical operators (especially stage managers). Also used to give musical performers a view of the conductor (and vice versa) to help in keeping time.

C CLAMP : US equivalent of the Hook Clamp. Requires a spanner to tighten.

CD (Compact Disc) : Digital sound storage medium. Provides a high quality source of music, sound effects etc. Also used as a playback medium for sound effects etc by large theatres with long running shows, although CDR (Recordable CD) is becoming more affordable by the day.

CENTRE LINE : Imaginary line running down the stage through the exact centre of the proscenium opening. Marked as CL on stage plans. Normally marked on the stage floor and used as a reference when marking out or assembling a set.

CHANNEL : A complete control path for signals in lighting or sound equipment.

CHASE : A repeated sequence of changing lighting states.

CHEAT SHEET : A smaller version of the lighting plan, used by the lighting designer during the lighting plot.

CHECK :

1) Opposite of Build; a smooth diminishment of light or sound level.

2) See Prefade Listen.

CHIEF ELECTRICIAN : The senior member of the theatre's stage lighting team, although not necessarily the lighting designer.

CHINAGRAPH PENCIL : Usually white, wax-based pencil used for marking magnetic tape prior to splicing. Also used for marking identifying numbers of lighting gels.

CID (Compact Iodide Daylight) : A high intensity discharge lamp that produces a light similar in colour temperature to daylight approx. 5500K). A 1000W CID lamp produces 2.5 times more light than a 2000W tungsten halogen source.

CIE (Commission Internationale d'Eclairage) : International lighting forum which has produced a series of universally recognised symbols for lighting plans.

CIRCLE : The balcony with tiered seating above the stalls. Also known as Dress Circle or Grand Circle.

CIRCLE FRONTS : A permanent front of house lighting position in older proscenium theatres. A number of spotlights, sometimes fitted with colour changers, are recessed into the front of the circle balcony above the stalls.

CIRCUIT :

1) The means by which a lantern is connected to a dimmer or patch panel. Numbered for reference.

2) A complete electrical "loop" around which current can flow.

CITT : Canadian Institute for Theatre Technology.

CIRCUIT BREAKER : An electro-mechanical "fuse" that can be reset, rather than having to be replaced. Available in the same ratings as fuses. See MCB, RCD.

CLEANERS : Auditorium working lights. Used for cleaning and setting up the auditorium before the house lights (usually more atmospheric) are switched on.

CLEARANCE : Message passed to Stage Management from the Front of House Manager that the house is ready for the performance to begin. (ie everyone is in their correct seat and there are no coach parties coming through the doors).

CLEARING STICK : A long, often bamboo, rod used to rescue flying objects or to prevent them from becoming entangled.

CLEAT : Piece of timber or metal for tying off a rope line. Used when flying or for holding scenic pieces together with a cleat line.

CLEAT LINE : Rope passed through cleats on two adjacent flats alternately to hold the flats together.

CLEW : A ring of metal which is used to join several flying lines or wires to a single pulling wire.

CLICKTRACK : Technique for reinforcing the live sound of a musical or band with recorded sound from one track of a tape. The other track of the tape consists of a click used by the musical director to keep the live band and cast synchronised with the recorded band or cast.

CLIPPING : Distortion in a sound signal caused by an amplifier or mixer being unable to handle the level of signal being fed to it.

CLOTH : A piece of scenic canvas, painted or plain, that is flown or fixed to hang in a vertical position. A Backcloth hangs at the rear of a scene. A Floorcloth is a painted canvas sheet placed on the stage floor to mark out the acting area, or to achieve a particular effect. A Frontcloth hangs well downstage, often to hide a scene change taking place behind. Cut cloths have cut-away open areas and are normally used as a series, painted in perspective. A Star Cloth (usually black) has a large number of small low-voltage lamps sewn or pinned through it which gives a magical starry sky effect. (See also Fibre Optics)

CLOVE HITCH : Invaluable knot that every technician should know.

Many descriptions of how to tie this knot involve complex manoeuvres around a bunny hole.

COLOUR : See Colour Filter.

COLOUR CALL : A list compiled from the lighting plan of all the colours needed for the rig, and their size. This term also applies to the act of preparing colour filters and frames from such a listing.

COLOUR CHANGER :

1) Scroller, where a long string of up to 16 colours is passed horizontally in front of a lantern. Remotely controlled by the lighting desk.

2) Wheel : Electrically or manually operated disc which is fitted to the front of a lantern with several apertures holding different colour filters which can be selected to enable colour changes. Can also be selected to run continuously.

3) Semaphore, where framed colours are electrically lowered into place in front of the lantern. Remotely controllable. Can perform additive colour mixing by lowering two colours into position at the same time.

4) Magazine : Manual semaphore-type device used on the front of a followspot.

COLOUR CORRECTION : The use of colour filters to compensate for the different colour temperatures of different light sources. Important in lighting for TV and film.

COLOUR FILTER : A sheet of plastic usually composed of a coloured resin sandwiched between two clear pieces. The coloured filter absorbs all the colours of light except the colour of the filter itself, which it allows through. For this reason, denser colours get very hot, and can burn out very quickly.

COLOUR FRAME or Gel Frame : A frame which holds the colour filter in the guides at the front of a lantern. Many different sizes of frames are needed for the different lanterns.

COLOUR MIXING : Combining the effects of two or more lighting gels ;

1) Additive : Focusing two differently coloured beams of light onto the same area (eg Cyc Floods). Combining colours in this way adds the colours together, eventually arriving at white. The three primary colours additively mix to form white, as do the complementary colours.

2) Subtractive : Placing two different gels in front of the same lantern. Subtractive mixing is used to obtain a colour effect that is not available from stock or from manufacturers. Because the ranges of colour are so wide, the need for subtractive mixing is reducing. Combining colours in this way reduces the light towards blackness. The three primary colours mix subtractively to form black (or to block all the light).

COLOUR TEMPERATURE :

A measure of the warmth or coolness of light sources and colours. Measured in degrees Kelvin. The human brain automatically compensates for different colour temperatures - a film or video camera cannot, and thus what we see as white may appear to have a blue or green tint when no colour correction is used for video. Daylight is approximately 5600K and Tungsten Halogen is approx. 3200K.

COMPANDER : Outboard sound equipment. Combination of a Compressor and an Expander.

COMPANY : The cast, crew and other staff associated with a show.

COMPLEMENTARY COLOURS : Pairs of colours which, when additively mixed, combine to produce white light. Examples are red + cyan, green + magenta, and yellow + blue.

COMPOSITE GOBO : See Gobo.

COMPRESSOR : A piece of sound processing equipment that ensures all wanted signals are suitably placed between the noise and distortion levels of the recording medium. It evens out the unwanted changes in volume you get with close-miking, and in doing so, adds punch to the sound mix. A Limiter is used to stop a signal from exceeding a preset limit. Beyond this limit, the signal level will not increase, no matter how loud the input becomes. A Limiter is often used to protect speaker systems (and human ears) by preventing a system from becoming too loud.

CONDENSER LENS : Loosely applied to any spotlight lens which condenses diverging rays into a beam, but more correctly to the short focus combination of two or more lenses in a jacket used for illuminating a slide or effect disc. Also used in some profile lanterns and followspots to produce a smoother light (especially for gobo work).

CONDENSER MIC (Capacitor Mic) : A microphone that uses the varying capacitance between two plates with a voltage applied across them to convert sound to electrical pulses. Condenser microphones need a power supply to provide the voltage across the plates, which may be provided by a battery within the case of the microphone, or it may be provided from an external phantom power supply. A condenser mic is more sensitive and has a faster reaction to percussive sounds than a Dynamic mic and produces a more even response. See Electret Mic.

CONDUIT : Metal or plastic pipe used to carry electrical conductors as part of a permanent electrical installation. Also used to add weight to the bottom of a flown cloth.

CONTACT MIC : A microphone that directly picks up the sound transmitted by a solid material. See Boundary Mic, PCC, PZM.

COOKIE : See Gobo.

CORNER PLATE : A triangle of plywood used to strengthen the corners of a flat.

COUNTERWEIGHT : A standard weight (60 or 30 lb.) used in a counterweight flying system.

COUNTERWEIGHT SYSTEM : Method of flying scenery which uses a cradle containing weights to counterbalance the weight of flown scenery. See Double Purchase, Single Purchase, Flying.

CRACKED OIL : A smoke effect which creates a haze in the air to make light beams visible. This effect is rarely used now, because it has been found to be carcinogenic. See Water Cracker.

CRADLE : Metal frame in which counterweights are carried in a flying system.

CROSS FADE : Bringing another lighting state up to completely replace the current lighting state. Also applies to sound effects / music. Sometimes abbreviated to Xfade or XF.

CROSSOVER :

1) A route leading from one side of the stage to the other, out of the audiences view.

2) An electronic filter in a sound system that routes sound of the correct frequency to the correct part of the speaker system. Different speakers handle high frequencies (tweeters) and low frequencies (woofers). Sometimes known as a crossover network.

An active crossover splits the signal from the mixing desk into high, mid and low frequencies which are then sent to three separate amplifiers.

CSI (Compact Source Iodide) : A high intensity discharge lamp. Most often used in followspots, because it has a colour temperature (approx. 4000K) close to that of the tungsten halogen lamps.

CSM : Company Stage Manager

CUE : The command given to technical departments to carry out a particular operation. E.g. Fly Cue or Sound Cue. Normally given by stage management, but may be taken directly from the action (i.e. a Visual Cue).

CUEING : There is a standard sequence for giving verbal cues :

"Stand-by Sound Cue 19" (Stand-by first)

"Sound Cue 19 Go" (Go last).

CUE LIGHT : System for giving technical staff silent cues by light. Red light means stand-by or warn, green light means go.

Ensures greater precision when visibility or audibility of actors is limited. Sometimes used for cueing actors onto the set.

For technical cues, lights are normally now used just as a backup to cues given over the headset system.

CUE TO CUE ("Topping and Tailing") : Cutting out action and dialogue between cues during a technical rehearsal, to save time.

CUT CLOTH :See Cloth.

CUT-OUT : See Profile

CYC FLOOD : A floodlight, usually with an asymmetrical reflector, designed to light a cyc or backcloth from the top or bottom.

CYCLORAMA (usually just "cyc") : Plain cloth or plastered wall filling the rear of the stage. The term is often loosely applied to a blue skycloth, or any flattage at the rear of the stage. Maybe curved at the ends. A more effective backing can be obtained by hanging a sharkstooth gauze just in front of the plain white cyc which gives a hazy effect of distance.

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D

DIMMER: A remote device which reduces the light output of a stage lighting fixture by reducing the total wattage it receives, commonly grouped in banks, panels or packs. Present technology usually has a dimmer per circuit, as opposed to systems where a limited number of high-wattage dimmers are patched to a larger quantity of circuits.
DIMMER BANK: Large, usually permanent rack providing centralized dimming. Distinguished by using modules containing groups of one to four dimmers. Modules containing dimmers of different rise times, various wattage ratings, non-dims, constant hot and other options are combinable in one bank. Sizable facilities will have three, four or more dimmer banks. Also called a dimmer rack.
DIMMER PACK: Portable, self-contained dimmer unit, containing a small number of dimmers. Usually not approved for use in a permanently installed system.
DIMMER PANEL: Smaller, permanent, self-contained dimmer unit, often placed on a shelf or mounted to a wall, with control, feed and load circuits hard-wired in. More than one panel can be linked to the same control signal; typically used in small to mid-sized applications. Sometimes called a dimmer pack, which is better applied to a portable unit.
DEAD END: The pulley at the end of a bi-parting traveler track, where the rope comes from the curtain and then returns out to move the other half of the curtain.
DEAD-HUNG: The permanent suspension of stage equipment, such as drapes and distribution devices, in a fixed position, usually by chains mounted to the ceiling. Also known as dead-off.
DROP: A hanging flat fabric piece, typically built of muslin and painted.

DAISY-CHAINING : Connecting items of equipment together by linking from one to the next in a chain. Used for connecting demux boxes to dimmers etc.

DAT (Digital Audio Tape) : See Digital Recording.

DARK : A venue that has been closed to the public. Some theatres go dark temporarily during production periods, when the next show is in preparation on stage.

DAYMAN : A member of the backstage staff whose employment includes work done in day-time.

DBO (Dead Blackout) : See Blackout.

DBX : A noise reduction process.

DCC (Digital Compact Cassette) : See Digital Recording.

DEAD :

1) A pre-plotted height for a piece of scenery or lighting bar - "that bar's on its dead". Sometimes flying pieces are given a number of extra deads, that may be colour coded, in addition to the "in dead" (lower) and "out dead" (higher - out of view).

2) Scenery or equipment not needed for current production - "that table's dead".

3) An electric circuit that has been switched off or has failed.

DEAD HINGE : A hinge used as a right-angle bracket.

DEAD ROOM : A room with very thick sound absorbers, causing a very dull sound with no reverberation.

DECIBEL (dB) : Relative measurement for the volume (loudness) of sound. Also used to measure the difference between two voltages, or two currents. See Zero dB.

DECK :

1) Stage/Rostrum Floor

2) Tape deck/Record deck.

DELAY : Outboard sound equipment that can momentarily stores a signal being sent to part of a P.A. system so that delayed reinforced sound reaches the audience at the same time as live sound from the stage.

DEMUX BOX : Interface unit between the serial digital output of a memory lighting control desk to the parallel analogue signal understood by a dimmer.

DE-RIG : The process of removing lanterns & cabling from flying bars or grid - returning the venue to it's normal state, or as preparation for the next production.

DESIGNERS CONTROL : See Riggers Control.

DI BOX : Interface unit to convert the high impedance unbalanced output of an instrument (e.g. Electric guitar) into a low impedance balanced signal of low level suitable for connection to the microphone input of a mixing desk.

Usually has an output jack socket so that the instruments unprocessed signal can be passed direct to the musicians amplifier. DI = Direct Injection.

DIAPHRAGM :

1) See iris.

2) The part of a microphone which responds to sound waves.

DICHROIC FILTER : Glass colour filters which reflect all light except that which is the colour of the filter, which passes through. Normal gels absorb the unwanted colours, turning the light into heat. Dichroic filters run cooler, and produce a much cooler beam of light. Longer lasting, but a lot more expensive.

DICHROIC LAMP : A low voltage display lamp with a reflector that lets heat pass through it, rather than reflecting it. Results in a much "cooler" light.

DIFFUSION : See Frost.

DIGITAL : Many electronic devices use digital logic. Information is handled in separate bits (either ON or OFF) rather than continuously variable analogue signals. Most computer lighting boards give a digital multiplexed output, and more and more sound equipment is going digital.

DIGITAL DIMMER : The new generation of dimmers that can respond directly to the digital multiplexed output of the lighting desk. The technology also permits the dimmer to report faults and other data back to the control board.

DIGITAL EFFECTS : Reverb, Delay, Phasing, Flanging, Harmonising, Chorusing. More information coming soon !

DIGITAL RECORDING :

1) ADAM : (Akai Digital Audio Multitrack). 12 track recording onto Video 8 tape. 16 bit, 44.1 or 48kHz sampling rate.

2) DAT (Digital Audio Tape) Cassette-like system which has much higher quality than standard audio cassettes. Widely used in gathering sound effects, for news gathering, and for playback of music.

3) DCC (Digital Compact Cassette) Rival to DAT which also plays standard audio cassettes.

4) Mini Disk : Uses computer disk technology, rather than tape. A laser heats an area of magnetic disk which is then written to by a magnetic head. When cooled, the magnetic information is read from the disk by laser. Tracks can be named, and are instant start. Very theatre-friendly system.

5) Direct to Disk : Uses the hard disk present in most PCs as the recording medium.

DIMMER : Electrical or electronic device which controls the amount of electricity passed to a lantern, and therefore the intensity of the lamp.

DIMMER RACK : A number of individual dimmer circuits mounted in a cabinet.

DIN : Deutscher Industrie Normen. European standard covering audio connectors and tape equalisation characteristics.

DIP :

1) Small covered trap at stage level containing electrical outlets.

2) Lighting equipment on stands at stage level.

3) Low lighting intensity when cross fading between two higher states.

4) Transparent lacquer for colouring lamp bulbs.

DIPOLE :

DISCHARGE LAMP : A high-powered source of light produced by means of a discharge between two electrodes. An arc light, for example uses a discharge between two carbon rods which are manually or automatically fed together as they are burnt up. The use of this type of lighting is restricted to non-dimming applications such as followspots and projection, where dimming is achieved by mechanical means. Many of the new generation of moving lights use discharge lamps and dichroic filters. See Ballast, CSI, CID, MSR, HMI, HTI, Xenon, MBI.

DISSOLVE UNIT : Interface connected between two or more slide projectors and a tape player. Synchronisation signals recorded onto the tape are detected by the dissolve unit and fade up the lamp in one slide projector while changing the slide in the other, and then vice versa, producing a dipless crossfade between the two images.

DISTORTION : Usually undesirable result of overloading sound equipment. Reducing the levels can remedy the situation.

DISTRIBUTION BOARD : System of interconnected fuse carriers and cabling that routes an incoming power supply to a number of different outputs.

DIVERSITY : A way of maximising the quality of received radio signal by using two receivers and aerials tuned to the same frequency - the circuitry automatically silently switches to the strongest signal.

DMX512 : See Multiplex.

DOCK : See Scene Dock.

DOLBY : Trade name for a series of noise reduction systems that have become standard on many tape playback machines. Many film soundtracks are produced using this process. Different varieties are found from Dolby B on most personal cassette players, to Dolby SR and Digital, the current state of the art for cinema.

DOLLY : A small wheeled platform used to move heavy items. (E.g. a piano dolly).

DONUT : A metal plate with a hole in the middle inserted in the colour runners of a lantern to sharpen focus (in the case of a profile) or reduce spill.

DOOR SLAM : A small wooden box with a heavy door and various bolts and locks used to simulate slamming and other door sound effects offstage.

DOUBLE PURCHASE : Counterweighted flying system where the cradle travels half the distance of the fly bar, leaving the side wall of the stage under the fly floors clear of flying equipment. The cradle of a double purchase system needs twice as many counterweights as that of a single purchase system balancing the same weight.

DOWNLIGHT : A light from directly above the acting area.

DOWNSTAGE :

1) The part of the stage nearest to the audience (the lowest part of a raked stage).

2) A movement towards the audience (in a proscenium theatre).

DOWSER : A metal flag used in larger followspots and projection equipment to cut off the light beam without cutting off the electrical supply. Discharge lamps need a period of cooling down when they are turned off before they can be turned on again, so they should not be switched off if needed again within about two hours.

DRAPES : Stage Curtains. See also tabs.

DRENCHER : System of pipes arranged at the top of a safety curtain to drench it with water in the event of fire.

DRESS CIRCLE : See Circle.

DRESSER : Helps actors with costume care and costume changes during the performance.

DRESSING (the set) : Decorative props (some practical) and furnishings added to a stage setting. See also Tab Dressing.

DRESS PARADE : Review by director/designer/wardrobe staff of all costumes worn by cast and paraded under stage lighting. Any defects, misfits etc. are noted or corrected before the first Dress Rehearsal.

DRESS REHEARSAL : A full rehearsal, with all technical elements brought together. The performance as it will be "on the night".

DRIFT WIRE : A length of suspension wire of standard length with eyelets at each end between the counterweight bar and the top of the scenic piece flown from it.

DRUGGET : Canvas or cloth used to mask and/or protect a floor.

DRY :

1) An actor forgetting the words of his script.

2) To record a sound without using any effect or other processing is to record it "dry". Recording with an effect is recording "wet".

DRY ICE : Frozen solid carbon dioxide (CO2) at a temperature of -87.5 degrees centigrade which produces clouds of steam-loaded CO2 gas forming a low-lying mist or fog when dropped into boiling water. Although non-toxic, caution is required in the storage and handling of dry ice because of its extreme cold. Water is boiled in a large tank offstage, into which the dry ice is lowered in a basket. Fans and ducts then direct the gas onto the stage. Dry ice does not support life, so care should be taken that small animals, actors etc. are not below the level of the dry ice for more than a few seconds.

DSM : Deputy Stage Manager.

DUBBING : The process of copying a sound from one medium to another (eg onto videotape) or for backup purposes, simply copying sound tapes.

DUTCHMAN : Tape or material used to cover the seams between flats, prior to painting.

DYNAMIC MIC : Robust type of microphone which picks up the sound on a diaphragm connected to a coil of wire which moves within a magnet. An alternating current is induced into the wire which provides the electrical output. Most dynamic mics have low output impedances of 200 Ohms. See Condenser Mic.

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E-F

ELECTRICS: Connector strips located above the stage (as contrasted with those mounted in the beam position).
ELLIPSOIDAL: Focused spotlight, available in various beam spreads, usually providing the front lighting for a stage. Often called a Leko, from a brand name.

EARTHING : Electrical safety requirement that metal parts of electrical equipment are connected to a common earth or ground point so that in the event of a fault, excess current can be carried away, causing the fuse to blow. Known in the USA as Ground.

EARTH LOOP :

EARTH SPIKE : Copper rod inserted into the ground to maintain earth continuity (especially when using generators etc.)

ECHO : A repeated sound received late enough to be heard as distinct from the source. See Reverb.

EFFECTS, LIGHTING :

Animation Disc : A slotted or perforated metal disc which rotates in front of a lantern to provide "movement" in the light. Most effective when used in front of a profile carrying a gobo.

Effect Disc : A painted glass disc rotating in front of an effects projector with an objective lens to focus the image (eg Flames, Rain, Snow).

Flicker Flame : Irregularly slotted rotating metal disc through which light is shone onto a prism-type piece of glass which scatters the beam of light and adds the "dancing" effect of firelight to a scene.

Gobo Rotators : Motorised device inserted into the gate of a profile lantern that can be remotely controlled to rotate a gobo, usually with variable speed and direction.

KK Wheel : Slotted metal disc which rotates in front of a lantern to break up the light and provide movement. (Flicker Wheel)

Lightning : Created through the use of either strobe sources or photoflood lamps.

Tubular Wave Ripple : Horizontal linear lamp around which a slotted cylinder is rotated providing a rising light (as reflected from water onto the side of a ship).

See also Effects,Sound, pyrotechnics, smoke.

EFFECTS PROJECTOR : Lantern used to project the image from a rotating glass effects disc. Used with an objective lens to produce the desired size of image. Commonly used discs are clouds, flames and rain.

EFFECTS, SOUND :

1) Recorded : Often abbreviated to FX. There are many sources for recorded sound effects, most recently on Compact Disc. May form an obvious part of the action (train arriving at station) or may be in the background throughout a scene (e.g. birds chirping).

2) Live : Gunshots, door slams, and offstage voices (amongst many others) are most effective when done live. See Door slam, Thunder Sheet, Rain box.

See also Compressor, Digital Effects, Exciter, Noise Gate, Reverb.

ELECTRET MIC : A condenser microphone where the capacitor plates are given a charge during manufacture which they retain, therefore requiring no external power supply.

ELECTRICS : See LX.

ELEVATION : A working drawing usually drawn to scale, showing the side view of a set or lighting rig. See plan.

ELEVATOR STAGE : A type of mechanised stage which has sections that can be raised or lowered.

ELLIPSOIDAL : A profile lantern with an elliptical reflector.

ENHANCER : Sound processing equipment which increases the presence of the vocal track in a mix by adding to the treble information in the signal. Also known as an Exciter.

ENTR'ACTE : An "overture" to begin the second part or act of a performance. Often used now to describe any interval music.

EQUALISATION : The process of adjusting the tonal quality of a sound. A graphic equaliser provides adjustment for a wide range of frequency bands, and is normally inserted in the signal path after the mixing desk, before the amplifier. See Feedback.

EQUITY : Short for British Actors' Equity. The trade union of actors, directors, designers and stage managers.

ESTA : Entertainment Services and Technology Association.

EXCITER : See Enhancer.

EXIT SIGN : Usually illuminated sign, of standard size, which should always be visible, showing an audience member and the company the nearest exit.

EXPANDER : See Noise Gate.


FAR SIDE: Opposite the working side of the stage.
FILL LIGHTING: In television lighting, light coming from a angle to the camera, opposite the key light, to fill in shadows cast by the key light while allowing the talentís three-dimensional features to be perceived.
FIRE CURTAIN: Fire-resistive curtain, made of Fiberglas interwoven with small wires for support, designed to rapidly lower to cover the proscenium opening in response to rising temperatures. Required to prevent rapid spread of flames in case of fire in a loft stage. In older facilities this is likely to be made of asbestos and, as a result, used to be commonly called an asbestos curtain.
FLAG: In video, a solid gobo, used to create a sharp cut-off or edge to the light.
FLOOR BLOCK: In a counterweight set, the block through which the lower loop of the hand line passes. When the lock rail assembly is at stage level, the floor block is mounted within the lock rail assembly. When the lock rail is mounted on the fly floor, the floor block is at or near the stage floor.
Also refers to the floor-mounted block on a bi-parting curtain track assembly.
FLOOR POCKET: Electrical distribution device, mounted flush into the stage floor, typically containing two to six lighting circuits and outlets. Can also contain sound or lighting control receptacles.
FLY: To hoist a batten, curtain, drop or electric above audience view.
FLY FLOOR: The platform from which equipment is hoisted or lowered.
FOLLOWSPOT: Specialized spotlight, distinquished by being designed to be operated by a person while in use. To this end, typically includes easily utilized color boomerangs, focus, iris and other components. Sometimes called a spotlight, although that term is better applied to fixed lighting instruments.
FOH: Short for Front of House. Mainly describing the lights in front of the proscenium arch. These are usually mounted above the ceiling or on a lighting bar just below the ceiling. The position of the front of house is very important due to the angle that the lights must be aimed at the actors. If the angle is too acute, shadows are formed in the actors eye sockets making them look very old. If the angle is too low, it shines in the actors eyes too much and they will complain they can't see the audience. This is usually 40 degrees from one sixth of the stage deapth from a height of a normal persons head say 5'-4" high. SOH refers to the Side of House lighting positions. See SOH

FOOTLIGHTS: If the proper angle for the FOH lights are not or cannot be attained then footlights are recommended. This fills the eye sockets in order that actors do not look older.; In older stages, lighting fixtures mounted into front edge of stage floor; a remnant of gas and candle lighting. Due to garish lighting effect and large, distracting shadows, no longer in common use.
FRESNEL: Smaller, focusable, soft-edged spotlight with a distinctive front lens, stepped in concentric rings, which is the basis for its name (pronounced freh-NEL, as the "s" is silent); typically used in on-stage positions. In studios, normally used for key and back lighting.
FRONT or MAIN CURTAIN: Located behind the proscenium, usually sewn with fullness, which serves as the prime closure between the auditorium and stage. Also known as proscenium curtain, house curtain or grand drape.
FULLNESS: Extra fabric sewn into pleats at the curtain tops. In stage curtains, this typically is 50%, which means half as much fabric again is added to the width of the Main Curtain, Border, Tormentor/Leg, Valance, Rear Draw.

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G

GAFFA TAPE : Ubiquitous sticky cloth tape. Most common widths are .5" for marking out areas and 2" (usually black) for everything else. Used for temporarily securing almost anything. Should not be used on coiled cables or equipment. See PVC Tape. GAIN : 1) The level of amplification given to a signal or of a system. 2) A control of the amount of pre-amplification given to a sound signal on its way into a mixer. GATE : 1) The point of focus in a profile spot where the shutters are positioned and where an iris or gobo can be inserted. 2) A single base section of a folding rostrum system. 3) See Noise Gate. GAUZE : Cloth with a relatively coarse weave. Used unpainted to diffuse a scene played behind it. When painted, a gauze is opaque when lit obliquely from the front and becomes transparent when the scene behind it is lit . Many different types of gauze are available ; Sharkstooth gauze is the most effective for transformations, because it is the most opaque. Vision gauze is used for diffusing a scene and for supporting cut cloths. G-CLAMP : Ironmongery fitting for clamping two items into position together. See also Hook Clamp. GEL or Gelatine : See Colour Filter. GENERAL COVER : Those lanterns in a rig which are set aside purely to light the acting areas. The stage is normally split into a number of areas for this purpose, which can then be isolated or blended together as required by the director. See Special. GERB : See pyro. GET-IN : The process of moving set, props and other hardware into a theatre prior to the fit-up. (aka Load in or Bump in) GET-OFFS : A means for an actor to get off a rostrum, high level etc. out of view of the audience. Usually treads. GET-OUT : Moving an entire production out of the venue, and into either a large waste-disposal skip, or into transport. Usually preceded by the strike. (aka Load out or Bump out.) GHOSTLIGHT : A light left burning overnight on stage to keep friendly spirits illuminated and unfriendly spirits at bay. Also believed to keep the theatrical muse in a "dark" theatre. GLASS FIBRE : A combination of a glass mat and a resin which can be formed into a strong shell. Used in prop-making. GLAZE : Glossy finish applied as a final coat to a painted stage floor (also available as a Matt / Flat finish). GLOVES : Used when lifting heavier lanterns. GLS : General Lighting Service. Lamps designed for general everyday use. GOBO : A thin metal plate etched to produce a design which can then be projected by a profile spotlight (E.g. Foliage, Windows). The image can be used soft focus to add texture, rather than a defined image. A number of composite gobos in different coloured lanterns can, with careful focusing, produce a coloured image (e.g. a stained glass window). Greater detail can be achieved using a glass gobo. The original use of the word GOBO came from the early days of Hollywood. When the Director of Photography wanted daylight excluded from some area of the set, he'd say "GO BlackOut". Loads of people would run around putting black material between the sun and the set. It eventually evolved into other stuff that goes in front of lights and now most commonlly refering to patterns in Lekos. In the US TV/Film industry, a Gobo is a piece of material used to mask or block light and a Cookie (short for Cucaloris) is the same as a UK Gobo. GOBO HOLDER : A metal plate designed to hold a gobo of a particular size in a lantern of a particular type. GOBO ROTATOR : See Effects. GODS : Colloquial term for the Upper Circle of the auditorium. GRAND CIRCLE : See Circle. GRAND MASTER : See Master. GRAPHIC EQUALISER : See Equalisation. GREASEPAINT : Name refers to make up supplied in stick form, for application to the face or body. Needs special removing cream. GREEN (obsolete term) : The part of the stage visible to the audience. GREEN ROOM : Room close to the stage (i.e. the green) for the actors to meet and relax. GRELCO : Brand name for a 2 way 5A or 15A electrical splitter. Another name is Snapper. Sometimes shortened to Grelly. A three way splitter is known as a Trelly. GRID : 1) The support structure close to the top of the fly tower on which the pulleys of the flying system are supported. Constructed from metal or wooden beams. 2) Arrangement of scaffolding from which lanterns are hung in a performance space with no flying facilities. GRIDDED : Any flying piece raised as high as possible into the flys, i.e.to the limit of travel of the flying lines, is said to have been gridded. GROUND PLAN : Scaled plan showing the exact position (seen from above) of all items standing on the stage floor and indicating the position of items suspended above. Typical scales are 1:24 (.5" to 1 foot) or, metrically 1:25 (1cm to .25m). Venues have a base plan showing proscenium, walls, seating etc on which individual set and lighting plans can be drawn. GROUNDROW : 1) A long piece of scenery positioned at the base of a backcloth usually to mask the very bottom of a cloth or lanterns lighting a cloth. 2) Compartmentalised floodlight battens at floor level used to light the bottom of skycloths etc. GROUP : A subdivision, permanent or optional, of a lighting board control preset, or a sound desk. GUN MIC : A highly directional condenser microphone.

GOBO: In theatre, a piece of cut metal inserted into an ellipsoidal to create a pattern of shadows on the background, scenery or acting area; also called a pattern or template. In television, a flat piece of fabric or other material placed between the light and wherever it ís aimed to create shadows. Derived from "go between". Also used in effects projectors to create clouds, lightning, leaves etc..
GREENROOM: The waiting area for actors and stage personnel. Apparently originated when plays were performed outside, "on the green" of a town or village.
GRID: Lighting instrument mounting platform created of pipes placed in two directions perpendicular to each other, often in a pattern of; 4' x 4' or 5' x 5' squares. Typical in a television studio or black box theatre, although other applications exist. Also known as pipe grid.
GRIDIRON: A floor, typically built of metal grating, mounted near the ceiling above the stage in a loft facility for accessing rigging blocks and the like; for hoisting or lowering stage equipment; and mounting of junction boxes for electrics and drop boxes. Often shortened to grid, it differs from a studio or black box grid.

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H


HAND LINE: The rope, typically manila, used to set counterweight arbor (and the associated rigging) into motion. Also known as a purchase line.
HEAD BLOCK: Multiple sheave block mounted on the beam above a counterweight arbor through which pass the lift lines used in the rigging set.
HOUSE: General term for the large room where the audience is seated, regardless of the exact type of space (gymnasium, auditorium, church sanctuary, etc.).
HOUSE LIGHTING: Lighting control of the house separate from the stage lighting system, typical in all but the smallest venues. Typically integrates some of the stage lighting circuits for use during situations when sophisticated performance control is not needed.

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I-J-K-L


INDEX LIGHT: A metal strip containing a number of low-wattage lamps, typically colored, mounted on and above the counterweight system to provide lighting, frequently with local dimmed control. Also called a rail light.
INDEX STRIP: Metal strip mounted on or near lock rail with cards, tape or other means to identify the individual rigging sets.

JACK : Segmented audio connector. Mono Jacks have two connections - tip and sleeve, and are unbalanced. Stereo jacks have three connections - tip, ring and sleeve. B-type jacks (also known as Bantam jacks) were originally designed for use in telephone exchanges and provide a high quality (and expensive) connection in jackfields. A-type jacks are cheaper and more common, but more fragile. A type jacks are available in 2 sizes : quarter inch and eighth inch.

JACKFIELD : An array of jack sockets ("jills"), providing connections to equipment/outlets etc. A patch panel.

JUMPER : An adaptor from one type of electrical connector to another. For example, a 13 - 15A jumper has a 13A plug and a 15A socket at either end of a short cable. Also applicable to sound cables.

KEY LIGHT: In television, focused light coming in from an angle to the camera to provide the basic light on the talent.


LEAD LINE: Support line, running from the arbor, through head and loft blocks to one of several locations on rigging batten.
LEGS: Side masking curtains, part of the cyc set. Frequently called side legs or tormentors, although tormentors properly are part of a front curtain set.
LENO: Woven fabric, seamless to widths up to approximately 30í0", used primarily as a cyclorama fabric. It is particularly useful as a backdrop in studio use; a common color, "CBS grey", was specifically designed for television applications.
LINE CLEAT: Hardware device with two horns, usually metal, securely fastened to the wall and used in place of a belaying pin and lock. Used for manual rigging sets, as contrasted with counterweight rigging sets.
LIVE END: The end of a traveler track where the hand line passes through double pulleys on its way out to the curtains, and down to the floor block.
LOADING GALLERY: Platform above the fly floor, suspended about 8í0" below the gridiron. From this platform, the weights of the counterweight system are changed while the batten is near the floor, in order to keep the equipment in balance.
LOCK RAIL: In a counterweight system, a horizontal metal railing onto which are mounted the rope locks. Collectively, the lock rail encompasses the complete assembly, including rope locks, bumper rails for the arbor, supporting framework and an index strip. Also called a locking rail.
LOFT: The space above the gridiron floor and below the roof. Sometimes used, incorrectly, to include the entire space above the proscenium opening.
LOFT BLOCK: Single sheave block, though which individual lead line passes from head block (and arbor) going down to the rigging batten.

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M-N


MASKING BORDER: Relatively short curtain, typically slightly wider than the proscenium opening, used to mask lighting and rigging equipment. Also known as a teaser or simply a border.
MULE BLOCK: A block used to change the direction of a line. Also known as a change-of-direction block.
MULTIPLE SPEED HOIST: The hand line can be compounded through the top block and another block on the lower side of the arbor, with or without the lead line being compounded. This makes it easier for the operator to pull the arbor into motion, as is sometimes desired for exceptionally heavy sets to move faster.

NAB : National American Broadcast. Standard for tape recording equalisation characteristics.

NEON :

1) A type of discharge lighting generated by a high voltage across two electrodes at opposite ends of a long, thin glass tube filled with neon gas. Different colours can be obtained by mixing other gases, or by using fluorescent coatings. Mostly used for advertising signs - the glass tube is bent to form letters.

2) A small mains voltage indicator lamp.

NEUTRAL DENSITY FILTER : (ND) Lighting filter which reduces the brightness of a light source without changing its colour.

NOISE GATE : A piece of sound processing equipment that reduces background noise by muting a sound signal when it falls below a certain level, restoring it when the level increases again. Must be used on vocal microphones with care, because it may cut the signal off, although the vocalist is still singing quietly. Also known as an Expander.

NON DIMS : Channels, usually controlled from the lighting desk which are switched, rather than dimmed. This enables motors, slide projectors, smoke machines etc to be controlled from the lighting desk.

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O


OLIO CURTAIN: Similar to the front curtain and located behind it, but doesn't match the front curtain nor the cyc set. More common in older stages, and largely replaced by traveler curtains of the same fabric as the cyc set, these often have a masking border of the same color and fabric.
OPPOSITE SIDE: Opposite the stage managersí side. Commonly shortened to simply O-P side.
OUTRIGGER: Framework, usually built out from the side wall, to support a pipe guard rail beyond the moving equipment above the pin rail, thus allowing scenery to be stacked against it.

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P


PATTERN: One of several terms commonly used in theatre for a shadow-producing insert in an ellipsoidal, also called a template or gobo.
PIN RAIL: Horizontal railing, usually 5" diameter pipe, to which the hand lines are secured by tying around a belaying pin.
PIVOTAL: Rotatable device, allowing a side leg to be turned on its vertical access. Can be mounted to a batten or in a crosstrack.
PLUG BOX: Electrical distribution device, typically containing two to six lighting circuits with one outlet per circuit, either flush or on pigtails. Can be either dropped from a gridiron using multi-conductor cable and with C-clamps for hanging from a pipe batten, flush- or surface-mounted on a wall, or with U-bolts for mounting to a pipe batten. The latter is particularly useful in a studio setting.
PRACTICAL: A visible light fixture, such as a table lamp. Typically, it is included with the lighting control system.
PROSCENIUM ARCH: Opening through which audience views a performance. Usually just called the proscenium, is seldom actually arched in modern construction.
PROSCENIUM LEGS: Curtains matching, or for use with, the front curtain, located on both sides in front of the proscenium arch. See also tormentors.
PROSCENIUM LINE: Imaginary line where the plane of the proscenium intersects the stage floor.
PROSCENIUM WALL: Main wall separating the house from the stage; the proscenium arch opens in it.

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Relatively inexpensive woven fabric, with distinctive herringbone pattern, popular for use in cyc set curtains.
ROPE LOCK: In a counterweight system, a clamping device for keeping the hand line from moving.


SANDBAG: Canvas bag used for weighing down scenery supports. In manual rigging systems, a larger sandbag can be attached to the trim clamp to counterbalance and assist in the operation of a rigging set.
SCENE: On a lighting control console, a combination of lights to create a specific effect on stage. Also called a look or cue.
SCENEMASTER: A control slider into which a scene can be programmed for later retreival. Also called a submaster or preset.
SCRIM: Loosely woven special effects fabric. When lit from in front, it appears opaque; when actors or objects behind it are lit, they can be seen through it. Popular for illusions of mist, dream sequences or brief scene transitions.
SHEAVE: Grooved wheel over which a rope or cable runs (pronounced "shiv"). Sometimes called a pulley wheel.
SKY DROP: Plain drop, without fullness, dyed or painted blue to represent a daylight sky. If mounted on a curved batten, more properly called a sky cyc or sky cyclorama.
SLIP WEIGHT: Individual weight, usually made of cast iron. Also known as a counterweight.
SPOT LIGHT: Lighting tightly focused on a person or object, to bring attention to it, as contrasted with wash lighting. Frequently sharp edged, the light can be diffused so it drops off less noticably.
When written as a single word -- spotlight -- it refers to lighting instruments that produce a tightly focused spot light. Also used to refer to a followspot.
SMOKE POCKET: Metal pocket installed on the wall down which a fire curtain will drop when released. Essential to providing a tight seal between the stage and house in case of fire.
SOH: Stands for Side of House. Normally referring to lighting fixtures located on either side of the proscenium arch. They are usually located at an angle of 35 degrees from the proscenium line.

SPOT LINE: Any special-purpose single line, for either temporary or more permanent use.
STAGE: The area where actors, musicians or other entertainers perform, including the side and rear areas used for handling equipment.
STAGEHOUSE: The space below the grid and above the proscenium arch.
STAGE LEFT and STAGE RIGHT: The stage and auditorium, as perceived by the performer when facing the audience.
STAGE MANAGERíS SIDE: The side, usually closest to the proscenium wall on stage right, where the stage manager's controls are located.

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TABS: Reffering to a yearly publication booklet by Strand Electric.


TALENT: In television, the actors or other people seen on-camera; more used in studio applications, such as a news broadcast, than in a program.
T-BAR WALL: The wall against which several counterweight arbors set move, derived from the distinctive shape of the metal guides. Contrast with a cable guide system.
TEMPLATE: One of several terms commonly used in theatre for a shadow-producing insert in an ellipsoidal, also called a pattern or gobo.
TONING: General lighting for atmosphere in a stage show, to create an illusion such as night or outdoors.
TORMENTOR LEGS: Similar to proscenium legs, except located behind the arch. Sometimes refers to any masking curtains located at the sides.
TRAVELER: Any bi-parting curtain operating on a horizontal track, positioned at mid-stage or at the rear of the stage. The latter is more accurately called a back curtain.
TRAVELER TRACK: Used to support and operate bi-parting curtain, whether a front curtain, rear curtain or mid-stage traveler. The hand line and double pulley is called the live end, while the opposite, with a single pulley, is the dead end.
TRIM: Adjusting a curtain, drop or other equipment so that it is the proper height and level.
TRIM CLAMP: Device fastened to the hand line of a manual set to maintain an even trim.

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UNDERHANGING GRID: Gridiron which has loftblocks mounted on its under side. Uncommon in modern stages.
UNDERHUNG GRID: Gridiron which has loftblocks mounted on the underside of the ceiling, over the grid.
UPRIGHT GRID: Gridiron which has loftblocks mounted on its upper side. Also called an overhung grid.
UPSTAGE and DOWNSTAGE: From the days when the stage was raked, with the edge closest to the audience being lower than the back part, to provide perspective of depth. Thus, upstage is toward the rear of the stage, while downstage is towards the audience.

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VALANCE: The first masking border behind the proscenium arch and in front of the front curtain. Usually is the same color and fabric as the front curtain.


WASH LIGHTING: Contrasted with spot lighting -- general lighting of a stage, set or other space. Distinquished by uniform light levels and soft edges, with the light from multiple fixtures blending together evenly.
WELL: Space between gridiron beams through which the rigging cables pass on underhung or overhung grids.
WINGS: The areas on either side of the stage, beyond the acting area. "Right wing" and "left wing" are as perceived by the performer facing the audience.
WORKING SIDE: The side of the stage from which counterweight or rope set rigging is operated.
WORKLIGHT: General lighting on a stage, used for rehearsal, set building or other non-performance activity.

Glossary of Stage and Studio Terms

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