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Metatheatrical devices may include: direct address to the audience (especially in soliloquies, asides, prologues, and epilogues); expression of an awareness of the presence of the audience (whether they are addressed directly or not); an acknowledgement of the fact that the people performing are actors (and not actually the characters they are ...
Stage machinery, also known as stage mechanics, [1] [2] comprises the mechanical devices used to create special effects in theatrical productions, [3] including scene changes, lowering actors through the stage floor (traps) and enabling actors to 'fly' over the stage. [4] [5] [6]
Deus ex machina in Euripides' Medea, performed in 2009 in Syracuse, Italy; the sun god sends a golden chariot to rescue Medea.. Deus ex machina (/ ˌ d eɪ ə s ɛ k s ˈ m æ k ɪ n ə, ˈ m ɑː k-/ DAY-əs ex-MA(H)K-in-ə, [1] Latin: [ˈdɛ.ʊs ɛks ˈmaːkʰɪnaː]; plural: dei ex machina; 'God from the machine') [2] [3] is a plot device whereby a seemingly unsolvable problem in a story is ...
Stage lighting instruments (lanterns, or luminaires in Europe) are used in stage lighting to illuminate theatrical productions, concerts, and other performances taking place in live performance venues. They are also used to light television studios and sound stages. Many stagecraft terms vary between the United States and the United Kingdom.
Fly loft of the Theater Bielefeld in Germany. A fly system, or theatrical rigging system, is a system of ropes, pulleys, counterweights and related devices within a theater that enables a stage crew to fly (hoist) quickly, quietly and safely components such as curtains, lights, scenery, stage effects and, sometimes, people.
When a device is powered by a CPM, it is fully energized whenever the CPM is turned on, independent of lighting console levels. CPMs must be used (in lieu of dimmers) to power non-dimming devices that require specific line voltages (e.g. in the US, 120 V, 60 Hz power) [25] in order to avoid damage to such devices. Dimmers are seldom used to ...
In the plays, various theories of time become a central theatrical device of the play, the characters' lives being affected by how they react to the unusual temporal landscape they encounter. [2] The Time Plays comprise:
Theatre technique is part of the playwright's creative writing of drama, as a kind of mimesis rather than mere illusion or imitation of life, in that the playwright is able to present a reality to the audience that is different, yet recognisable to that which they usually identify with in their everyday lives.