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In theatre, the term “Get In” (often referred to as “Load In”) refers to the process of moving all the scenery, props, and technical equipment from a rehearsal space, et al, into the Theatre venue (or equivalent building) before a production begins. It’s a crucial and coordinated effort that is followed by the corresponding “Get Out” or “Load Out” — as in the process of taking everything away again — once a production run completes.

Leitmotif is the term used for a recurrent theme throughout a musical or literary composition, associated with a particular person, idea, or situation.

In theatrical terms, the Prompt Copy (or Prompt Book) is the master copy of the Script, used by the stage manager, in which the technical and acting cues are recorded.

Sight lines in a theatre refer to the audience’s unobstructed view of the stage and are a critical design element for both seating and stage configuration. They are assessed through horizontal line-of-sight (viewing from side to side) and vertical line-of-sight (viewing from back to front), with designers using concepts like staggered seating and tiered seating to ensure every audience member has a clear view without obstruction.

In theatre, a Director is the creative lead of a production, responsible for the overall vision and for unifying all aspects of the show from conception to performance. They work with the cast to develop characters and interpret the script, while also collaborating with the design and production teams to ensure all elements come together cohesively.

Read more about the role of the Director in the article: Directing a Theatre Show

In a theatrical context, the concept of “blocking” refers to the deliberate positioning and choreography of actors on stage as a part of the rehearsal process.

For more details on the art of “blocking”, see the NIPAI article here

Before a stage set is made for a theatrical production, a set designer will often create what is referred to as the Model Box — a three-dimensional design built to the scale of the stage (typically exactly 25 times smaller than the size of the real theatrical stage).

A systematic approach to training actors that the Russian theatre practitioner Konstantin Stanislavski developed in the first half of the twentieth century.

Relating to or characteristic of the German playwright, producer, and poet Bertolt Brecht or his work.

A Pantomime — often referred to as “Panto” — is a quintessentially English piece of theatrical entertainment, usually staged around Christmas, that is mainly for children, involves music, topical jokes, and slapstick comedy and is based on a fairy tale or nursery rhyme/story.

A scene dock is an off-stage area in a theatre that has direct access to the stage and the loading doors, where scenery can be temporarily stored.

A fly floor — often referred to as a fly tower, fly system, or theatrical rigging — is a system of ropes, pulleys, counterweights and related devices within a theatre that enables a stage crew to quickly, quietly and safely fly (hoist) components such as curtains, lights, scenery, stage effects and, sometimes, people. Such systems are typically designed to fly components between a clear view of the audience and an out-of-view perspective (i.e. into the large space, the fly loft, above the stage).

The Performing Rights Society — a.k.a. the PRS for Music, or just PRS for short — is the service that protects the interests and rights of the members who provide music and musical services consumed in theatrical (or other) production. A PRS license allows the use of musical accompaniment within a production, and via this mechanism, the PRS pay royalties to its members when their works are:

• streamed or downloaded
• broadcast on TV or radio
• performed or played in public, whether live or through a recording

As an Innovator, Architect, Advocate, Consultant, and Software Engineering specialist, I have over 30 years of experience designing and developing secure and robust solutions across a wide range of different areas. With a background in Customer Identity (a.k.a. CIAM), when I’m not helping folks with the complexities of building software systems, you can usually find me working behind the scenes, acting in or directing a show at a local theatre.

A directorial concept is a director’s unifying vision for a production, outlining the production’s core interpretation, style, and emotional impact. It typically includes a written statement and a vision board, which together are used to guide the design and performance, ensuring the director’s ideas are communicated to the cast and crew. The concept is largely developed through (deep) script analysis to inform artistic choices for the set, costumes, lighting, sound, and actors’ performances.

The term given to the permanent or semi-permanent company of performance artists who work together over time on various theatrical productions. Whilst typically associated with those who “don the mantle” of actor/actress, the term more specifically emphasises the organization or company of a group of individuals as a whole (not just for one particular role or production).