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The Department of Theatre and Film at the University of Alaska-Fairbanks (������Ƶ) is committed to fostering a dynamic learning environment where students develop artistic, technical, and collaborative skills across theatre and film.  Through hands-on production experience and close mentorship, students develop as creative professionals producing impactful, culturally relevant work.

The Film and Performing Arts (FLPA) program supports the study of theatre, film, and new media as both academic disciplines and creative practices.  By integrating education, artistic programming, and community engagement, the department prepares students to contribute meaningfully to both the local community and the broader artistic landscape, including the unique cultural context of the North.

A degree in FLPA provides a critical understanding of the history, theory, and technologies of theatre, cinema, and new media arts.  Students are supported with the tools, resources, and opportunities needed to pursue careers in the performing and media arts, continue into graduate study, or develop as independent artists.  For more information, please visit the .

The Department of Theatre and Film, which houses the Film and Performing Arts (FLPA) program, offers opportunities to engage in theatre and film through both academic study and hands-on production.  Coursework and productions introduce students to a wide range of artistic and technical disciplines, including acting, directing, design, stage management, film production, and technical theatre.

Productions are a central component of the learning experience.  Through rehearsals, performances, and production work, students gain practical experience that complements their academic studies.  These collaborative environments bring together students, faculty, and the broader ������Ƶ, Fairbanks, and Alaska communities, fostering a shared creative process.  Participation in productions and related activities is open to all ������Ƶ students and members of the local community.  Whether pursuing FLPA as a major, minor, or simply a personal interest, they are encouraged to engage in productions, workshops, student organizations, and other opportunities that support artistic development and collaboration.

This handbook outlines departmental policies, expectations, and opportunities for students involved in FLPA productions and activities.  It is intended to serve as a guide for students as they navigate their academic and production experiences within the department.

The faculty and staff of the Department of Theatre and Film provide instruction, mentorship, and support for students participating in courses and productions.  They also oversee academic programs, production activities, and departmental facilities, and serve as resources for students throughout their involvement in the department and even after they graduate.  A current list of FLPA faculty and staff, including roles and contact information, is available on the department website.  Because faculty and staff positions may change over time, students should refer to the website or contact the department office for the most up-to-date information.  Students are also encouraged to connect with faculty members for guidance regarding coursework, production opportunities, academic planning, and to seek mentorship as they develop their interests within the FLPA program.

The FLPA program combines academic coursework with practical production experience, allowing students to develop skills through both structured learning and active participation.  The program is grounded in the study of theatre, film, and media arts, integrating creative practice with academic exploration.

Student involvement in the program typically includes the following areas:

• Academic Coursework: Courses in theatre, film, and media arts that develop understanding of performance, design, production, as well as history, theory, and evolving technologies within the field.
• Professional Development: Opportunities that support career preparation, including:
  • Professional practices in theatre and film
  • Audition preparation and review
  • Portfolio or reel development
• Production Participation: Involvement in department productions as cast, crew, or members of the creative team, providing hands-on experience in collaborative artistic processes.
• Curricular Experiences: Practicum and production-based courses that connect academic study with realized performance and film work.
• Extra-Curricular Involvement: Participation in student-led projects, productions, and department-affiliated organizations that extend learning beyond the classroom.

These areas reflect the structure of the FLPA degree program.  For additional details, students are encouraged to review the official ������Ƶ catalog:

Together, these experiences develop artistic, technical, and professional skills in a collaborative, interdisciplinary environment.

Coursework and professional development are central to the FLPA program and are intended to work together to support student growth.  Students are expected to actively engage in their coursework and apply what they learn in both academic and production settings.  In addition to completing required classes, students should take initiative in developing professional materials such as portfolios, reels, and audition preparation.  These experiences are designed to help students build practical skills, refine their work, and prepare for continued study or professional opportunities in theatre, film, and media arts.

Practicum courses provide students with academic credit for participating in the technical and production aspects of department productions. These courses allow students to develop practical skills while contributing to productions.  Participation in all phases of production, including strike, may be expected as part of fulfilling practicum responsibilities.

Students interested in directing or designing might have opportunities to direct smaller-scale productions through student-led projects, Lab Theatre productions, or other department-supported performance opportunities.  Directing opportunities are typically coordinated through faculty advisors, department staff, or relevant student organizations.  Students interested in directing are encouraged to discuss their goals with faculty members and may be asked to submit a proposal or project plan, depending on the production's scope.  Participation in directing projects often requires prior production experience and coordination with faculty and production staff.

Thesis projects provide advanced students with the opportunity to demonstrate the skills and knowledge they have developed throughout their coursework and production experience.  These projects allow students to take on significant artistic and leadership responsibilities while working under the guidance of faculty mentors.  Thesis projects typically involve substantial preparation, collaboration with faculty and production staff, and coordination with department production schedules, and may take a variety of forms depending on a student’s area of focus.  Students interested in pursuing a thesis project are encouraged to consult with faculty advisors early in the planning process.  In some cases, students may be required to complete a portfolio, reel, or capstone-style project as part of their degree requirements.  The format, expectations, and evaluation of these projects may vary depending on a student’s area of emphasis (e.g., performance, design, film, or stage management).  Students should work closely with faculty advisors to determine appropriate materials, timelines, and submission expectations.

FLPA majors are expected to actively engage in both academic and production work.  The FLPA curriculum combines classroom learning with practical production experience, developing skills across multiple areas of theatrical and cinematic practice.

FLPA majors are encouraged to explore a variety of roles within productions, including performance, design, technical theatre, production management, cinematography, and other production responsibilities.  Participation in production work further develops practical skills, collaborative experience, and a deeper understanding of cinematic and theatrical processes.

Students must approach all work with professionalism and respect.  This includes maintaining reliable attendance, arriving prepared for scheduled work, communicating clearly with directors and production staff, and contributing positively to the department’s creative environment.

The Department of Theatre and Film will hold Town Hall Meetings at the beginning of each semester to share important information with students involved in productions and the department. These meetings include: student, staff, and faculty introductions; upcoming productions; auditions; production schedules; departmental updates; and opportunities for student involvement.

They will also provide a forum for discussion and communication within the department community, as well as provide information on how to join the .  These meetings are mandatory for FLPA majors, as they often include information on production participation, departmental activities, and more.

Auditions are a central part of the production process and are used to determine casting for departmental productions.  Students are expected to prepare appropriately, follow audition guidelines, and participate professionally and respectfully.  Students should approach auditions as both a learning opportunity and a professional practice.  Preparation, punctuality, and engagement are essential.  Audition preparation may also be supported through Professional Practices coursework (see Section 2.2.1 Professional Practices for more information on professional practice), including audition workshop offerings within the program that should be taken prior to auditioning.  For details on audition procedures and timelines, see Section 5.1 Audition Process.

Active participation in departmental productions is an important component of FLPA education.  FLPA majors are expected to participate regularly in production activities throughout their time in the program.  Participation might include performance roles, design or technical positions, stage management, running crew assignments, directing or assistant directing, or other production-related responsibilities.  These opportunities allow students to gain practical experience while supporting the collaborative work required to produce departmental performances.

Participation expectations and opportunities vary depending on a student’s area of emphasis and production needs.  Students should work with faculty advisors and production staff to determine appropriate ways to become involved in each semester’s productions.  Students may also participate for academic credit through practicum courses (FLPA 401, 402, and 403).  Practicum credits can be earned in 1-credit increments, with 1 credit hour equivalent to 40 hours of effort on a production. Please see the .  For more detailed information about practicum requirements and credit, see Section 2.3 Practicum.

Mainstage productions are the department’s primary public performances and serve as the centerpiece of the FLPA program.  These productions typically involve collaboration between students, faculty, and guest artists to present fully realized theatrical performances for campus and community audiences.  Mainstage productions also provide students with opportunities to work in a variety of roles, including acting, stage management, design, technical production, and running crew.  Because these productions represent the department publicly, there is an emphasis on high artistic standards, professionalism, and collaborative work practices.

In addition to mainstage productions, the department supports student-directed and student-designed projects through opportunities such as “Winter Shorts,” produced by the Student Drama Association (SDA).  These productions allow students to explore creative ideas, experiment with new approaches, and gain leadership experience in directing, design, production, and more.

“Winter Shorts” productions are typically smaller in scale than mainstage productions and offer students opportunities to develop their artistic voices while working collaboratively with peers.  These productions often serve as an important learning experience for students interested in directing, design, or independent performance projects.

Students and community members may participate in productions and activities on a voluntary (extra-curricular) basis.  These opportunities allow individuals to gain experience outside of coursework while contributing to productions and projects.  Individuals participating in a volunteer capacity may be required, under university and departmental policies, to complete university documentation, such as a Volunteer Qualification Form, and any required university training (e.g., FERPA, Title IX), depending on the nature of their involvement.  Extra-curricular opportunities may include participation in productions, student-led projects, and department-affiliated clubs or organizations.  Availability varies by semester based on student interest and department offerings.

Student organizations and clubs foster creativity and community within the Department of Theatre and Film.  These organizations provide additional opportunities for students to collaborate, perform, and develop their artistic interests outside of formal coursework and department productions.  Membership in these organizations and clubs is generally open to students from across ������Ƶ and community members of Fairbanks. Participation provides opportunities for leadership, creative collaboration, and community engagement within the theatre and film community.  Events hosted by student organizations and clubs are typically free and open to the public, though donations may be encouraged to support future events.

Open auditions are held for department productions each semester.  Audition information, including preparation requirements and scheduling procedures, is available on the Department of Theatre and Film website.

Anyone is welcome to audition.  Participants should review the audition announcement for preparation requirements and scheduling details. Depending on the production, participants will be asked to prepare a monologue, 16 bars of music, read from the script, or participate in other audition activities.

Students are encouraged to participate in audition workshop courses (such as FLPA 191, 290, and 291) as part of their audition preparation and professional development within the FLPA program.  These workshops provide opportunities for feedback on audition materials, performance preparation, and presentation skills prior to department auditions.  For more information, see Section 3.3 Audition Workshop Participation Requirement.

Community members who are cast or involved in productions may be required to complete additional university documentation or training as part of their participation.  See Section 4.3: Extra-Curricular Involvement for more information.

Participants are also encouraged to arrive 15 minutes early, come prepared, and approach auditions with professionalism and respect for fellow participants. Information about the current and upcoming productions is available on the department’s website.

After initial auditions, directors may hold callbacks to further evaluate performers for specific roles.  Callbacks allow directors to explore scene work, character interactions, and other elements that help determine casting decisions.  Students may or may not be selected for callbacks.  Those selected will be notified via the communication methods specified in the audition announcement.  Callback materials and preparation instructions are typically provided in advance.  Being invited to callbacks does not guarantee casting, but it indicates that a director would like to see additional work from the actor before making final decisions.  Occasionally, auditioners are cast without being invited to callbacks.

Casting decisions are made by the director in consultation with appropriate faculty and production staff.  Directors consider a variety of factors when casting a production, including artistic vision, the needs of the script, actor preparation and reliability, and the overall balance of the cast.  The Department of Theatre and Film supports inclusive casting practices and welcomes performers from diverse backgrounds and experiences.  Casting decisions aim to provide meaningful educational opportunities for students while creating the strongest production possible.  Students who are not cast in a particular production are encouraged to participate in other aspects of the production, including technical work, design, stage management, or running crew positions.

Students pursuing design, technical theatre, directing, stage management, film, or other production-focused work are encouraged to develop portfolios or reels that document their creative and technical experience.  These materials may be used for portfolio reviews, production opportunities, practicum work, internships, graduate applications, or professional development.  Portfolios and reels may include renderings, production photographs, prompt books, drafting work, recordings, editing samples, research materials, or other examples of creative work.

Additional information regarding professional development and portfolio or reel review opportunities can be found in Section 2.2.1 Professional Practice.  Examples and portfolio resources are also included in Appendix B.  Students are encouraged to maintain and regularly update these materials as they gain new experiences through coursework and productions.

Department productions are collaborative efforts involving students, faculty, staff, and community members in a variety of artistic and technical roles.  Productions are typically led by a director and supported by designers, stage management, technical staff, and crew.  This structure supports clear communication and coordination throughout rehearsals and performances.

Students may participate in many capacities, including performance, design, technical theatre, stage management, and crew roles.  These experiences provide hands-on learning and insight into collaborative production processes.  Specific roles and responsibilities vary depending on the production’s scale, needs, and the experience of the students involved.  Students should register for practicum credits (FLPA 401, 402, or 403) as part of their work on a mainstage production.

The Stage Manager (SM) plays a central role in coordinating communication and organization throughout the rehearsal and performance process.  Working closely with the director and production team, the SM helps ensure rehearsals run smoothly and performances are executed safely and consistently.  Responsibilities include organizing rehearsal materials, tracking rehearsal notes, coordinating communication among members of the production team, and overseeing backstage operations during performances, including calling the show.

Assistant Stage Managers (ASMs) support the SM and help facilitate the day-to-day needs of rehearsals and performances.  Depending on the production, ASMs will need to assist with rehearsal preparation, track props and set pieces, coordinate backstage activity, support communication between the SM and the running crew, and more.

Because stage management involves detailed procedures and responsibilities, students serving as SMs or ASMs should consult the Stage Manager’s Handbook for comprehensive guidelines and expectations.

Students can also participate in productions through design and technical positions.  These roles support the visual, technical, and logistical elements of a production and provide valuable hands-on experience in theatre production.  Common production roles include, but are not limited to:

• Scenic and Construction Crew: assists with building, painting, and installing scenic elements.
• Lighting Crew and Electricians: assist with hanging, focusing, and maintaining stage lighting equipment.
• Costume and Wardrobe Crew: assists with costume construction, fittings, maintenance, and backstage wardrobe support.
• Props Crew: helps locate, build, organize, and maintain properties used in the production.
• Sound Crew: assists with sound equipment setup, recording, and playback during rehearsals and performances.
• Running Crew: supports scene changes, prop management, fly systems, and other backstage operations during performances.

These positions help students to develop practical technical skills while contributing to the successful execution of a production.  Additional production positions may include assistant designers, assistant directors, stage management assistants, wardrobe and props crews, sound operators, and other support roles, depending on the production's needs.

Rehearsals require the commitment and cooperation of all participants.  Students involved in a production are expected to attend scheduled rehearsals, production calls, and production meetings as assigned by the director or SM.  Participants should arrive on time (or 15 minutes early), prepared to work, and ready to contribute to a focused and professional rehearsal environment.

If a participant must miss a rehearsal due to illness, academic obligations, or other unavoidable circumstances, they should notify the SM and/or director as soon as possible. Students who miss rehearsals consistently and extensively may be replaced by the director at their discretion. All absences should be scheduled, communicated in advance, and considered exceptional.

The rehearsal environment should be collaborative, respectful, and focused.  Students must listen attentively, communicate clearly, and support a productive working environment.  Professional conduct ensures all participants can contribute effectively to the creative process.

Rehearsals are working sessions and are generally closed to visitors unless the director or SM has granted permission.  Limiting outside observation helps to maintain focus, protect the rehearsal process, and support a comfortable environment for performers and production staff.  Those who wish to invite guests to observe a rehearsal should first consult with the director or SM.

Participants in rehearsals and productions are expected to follow all ������Ƶ policies regarding alcohol, drugs, and substance use.  People under the influence of alcohol or drugs should not attend rehearsals or production activities.  Maintaining a safe and professional rehearsal environment is essential for the well-being of all participants and for the successful operation of department productions.

The Department of Theatre and Film is committed to supporting an inclusive and accessible learning environment.  Students who require accommodations related to a disability or accessibility need are encouraged to work with ������Ƶ’s accessibility services office.  Students should also communicate with directors, SMs, and faculty advisors as early as possible to ensure appropriate accommodations are incorporated into rehearsal and production processes.  Information about accessibility services and student accommodations is available through the ������Ƶ Disability Services website.

Students should be mindful of privacy and confidentiality when sharing personal information such as phone numbers and email addresses.  Contact information should not be distributed without consent.  When sharing group communications, students are encouraged to use methods such as blind carbon copy (BCC) or other practices that protect individual privacy.  For more information on student privacy rights, refer to .

Costumes, makeup, and props are essential elements of a production and are managed by the proper design and production teams.  Students must follow guidance from designers, SMs, and faculty regarding the use and care of these materials.  Actors may be asked to provide certain personal items for productions, including, but not limited to, basic undergarments, footwear, or other clothing appropriate for rehearsals or performances.  When costumes or fittings are scheduled, students must attend at the assigned times and communicate promptly if scheduling conflicts arise.

Props and costume pieces should be handled with care and returned to their designated storage or prop tables after being used. Students should avoid eating or drinking colored beverages that may stain while wearing costumes unless given permission from the costume department.  Students should not remove props, costumes, or other production materials from theatre spaces unless authorized by production staff.  Students should also remain aware of their personal belongings during rehearsals and performances (see Section 8.3 Valuables and Personal Property).

Promoting productions helps share the department’s work with ������Ƶ and the community.  Students involved in productions may occasionally be asked to participate in publicity activities such as promotional photos, interviews, or social media content.  Students should coordinate any promotional activity related to department productions with the director, production staff, or designated publicity personnel.  This will help to ensure that marketing materials accurately represent the production and align with ������Ƶ communication guidelines.

Official information about Department Productions and events can be found on the department’s website. Additionally, publicity and promotion can be found on the department’s social media pages, including Facebook ( and ), , and .

Students are encouraged to avoid bringing valuables to rehearsals or performances whenever possible.  Personal items such as wallets, jewelry, electronics, and other valuables should be stored securely or kept with the owner.  The Department of Theatre and Film is not responsible for lost or stolen personal property.  Students should use available lockers or secure storage areas when possible and take reasonable precautions to safeguard personal belongings.

Department productions are generally recorded for archival, educational, or promotional purposes.  These recordings are typically scheduled during performances, often during the second weekend of the production run.  When a performance is scheduled for recording, the stage management team coordinates communication among the director, technical staff, crew, cast, and other relevant parties to ensure that recording needs are supported and met.

The stage management team will coordinate any adjustments to recording, such as maintaining consistent performance timing, coordinating with technical elements, and ensuring backstage operations do not interfere with recording equipment or processes.  Performances may be recorded, and students are expected to maintain consistent performance quality throughout the run.  Additional guidelines or expectations related to recording may be communicated by the director, production staff, or the recording crew.

These recordings are not intended for public distribution without appropriate copyright permission.  However, the recordings may be sent to the cast and crew and can be shared with family for viewing.  Additionally, clips can be edited for reels.

Strike refers to the process of dismantling a production set and restoring the theatre space after the final performance.  This includes, but is not limited to, repainting the stage and removing scenery, costumes, lighting equipment, props, and other production materials.  Students involved in a production are typically expected to assist with strike as part of their participation in the production.  Strike assignments are coordinated by production staff and stage management to ensure that equipment and materials are safely handled and returned to storage.  If students complete their assigned tasks or are unsure of next steps, check in with the production or stage management teams or help where you see a need.  Strike is an important part of the production process and helps prepare the theatre spaces for future productions and classes.

The Green Room serves as a shared space for students participating in FLPA classes, rehearsals, productions, and clubs.  This space may be used for rehearsal preparation, meetings, or informal collaboration.  Students using the Green Room are expected to help maintain a respectful and clean environment.  Personal belongings should not be left unattended for extended periods, and all shared spaces should be returned to their original condition after use.  Access procedures for the Green Room might vary depending on production schedules and building policies, though they are typically arranged through the Departmental Administrator.

Certain theatre spaces, equipment rooms, and production areas require controlled access.  Keys or combinations may be issued to students serving in specific production or club roles, such as SMs, designated production staff, or club officers.  Students who are issued keys or combinations are responsible for maintaining the security of the spaces they access.  Keys and combinations should never be shared with others and must be returned at the conclusion of the production or upon request by department staff.  Maintaining secure theatre spaces helps protect the department’s equipment, materials, and facilities.

Tools, equipment, props, costumes, and other FLPA materials are managed by department faculty and staff.  Students may occasionally need to use these materials for a production, a course project, or a club performance.  Borrowing equipment or materials must be approved by the appropriate faculty member, production supervisor, or Costume Shop Manager (for costume items).  Students are responsible for returning borrowed materials in the same condition in which they were received and by the agreed-upon return time.  FLPA equipment and materials should not be removed from the department’s facilities without authorization.

The scene shop, costume shop, and related production spaces are specialized work environments used for the construction, preparation, and maintenance of production elements.  Access to these areas may be limited to authorized students, faculty, and staff involved in FLPA classes or productions.

Students should only work in these spaces during approved hours and under appropriate supervision.  Individuals who have not received training on specific tools, equipment, or processes should not use them until a faculty member or production staff member provides proper instruction.  Students must return tools, materials, and equipment to their designated storage areas after use to maintain a clean, organized workspace.

If something is damaged or not functioning properly, students must notify a faculty member or production staff so it can be addressed appropriately. While these spaces serve different functions, all safety, access, and supervision expectations apply equally.

Students must follow all safety guidelines when working in production environments.  These environments (including the scene shop, backstage areas, and performance spaces) involve tools, equipment, and materials that require careful handling and awareness.

Basic safety expectations include wearing appropriate clothing and close-toed footwear, securing long hair, avoiding loose clothing near equipment, and using tools or equipment only after receiving proper training.  Students must remain aware of their surroundings and follow instructions in shared or active spaces.

Backstage and production environments should be maintained as safe, organized, and focused workspaces.  Students must follow directions from stage management and production staff, maintain quiet and awareness during rehearsals and performances, and help keep all areas clean and free of hazards.

Any injuries, unsafe conditions, damaged equipment, or concerns should be reported immediately to a faculty member or production staff.  Students should know where safety equipment and first-aid resources are located.

For additional information on university-wide safety expectations, students should review ������Ƶ Environmental Health and Safety resources. In the event of an emergency, students should call 911 immediately.  After the situation is stabilized, incidents should be reported to faculty or department staff as soon as possible.  Students are encouraged to familiarize themselves with ������Ƶ Emergency Management procedures.

Students in the FLPA program are eligible for complimentary or discounted tickets to show productions.  Ticket availability and policies might vary depending on the production and a student’s role.

Students participating in productions–such as cast members, running crew, SMs, design or technical staff, etc.–will receive two complimentary tickets (often referred to as “comps” or “comp tickets”) for performances during a show’s run for family and friends.  Please note that this may vary depending on factors such as a show’s size, seating capacity, etc.  FLPA majors and students enrolled in FLPA courses might also have access to comp or reduced-price tickets.

Students should consult the department box office or production announcements for the most current ticket policies and availability.  All students should make arrangements for securing their complimentary tickets at least 5 days before the show.

In addition to mainstage productions, students may also participate in student organizations and clubs that support creative work and community engagement within the department.  For more information about these opportunities, including the SDA, Film Club, and Ground Squirrel Improv Club, please see Section 4.4 Student Organizations and Clubs.

The department maintains a calendar of productions, auditions, meetings, and events throughout the academic year.  The calendar is available both on the callboard within theatre facilities and online through the department website.  Students are encouraged to check regularly for updates.

Students participating in theatre productions are part of a broader university community and have access to a variety of support resources.  Students with concerns related to safety, harassment, discrimination, or other issues are encouraged to speak with faculty or staff or to use the appropriate university reporting procedures.  Additional resources are available through Student Support Services and ������Ƶ Disability Services.

Students may encounter specialized terminology in theatre and film environments.  A glossary of commonly used terms is included in Appendix A of this handbook.  Familiarity with this terminology supports effective communication in rehearsals, productions, and technical work.

Students with questions about productions, facilities, equipment, or departmental policies are encouraged to contact the appropriate faculty or staff member.  A current list of faculty and staff, including roles and contact information, is available on the Department Contact Information page.  Students may also consult directors, SMs, or production staff for questions related to specific productions.

Participation in FLPA productions provides valuable opportunities to develop artistic skills, technical knowledge, and collaborative experience.  Productions rely on the contributions of many individuals working together toward a shared creative goal.

Students are encouraged to approach their work in the department with professionalism, curiosity, and respect for their fellow collaborators.  By actively participating in productions, rehearsals, and department activities, students can gain meaningful hands-on experience while contributing to a vibrant creative community.

The Department of Theatre and Film values the dedication and creativity that students bring to each production and looks forward to supporting students as they continue to grow as artists, technicians, and storytellers.

This handbook is intended to provide guidance and information for students participating in the FLPA program.  Department policies, facilities, and production practices may change over time.

This handbook may be revised periodically to reflect updates to departmental policies, facilities, and production practices.  Students should consult the department website and faculty advisors for the most current information on productions and academic programs.

1. Audience Left/Audience Right: Directions based on the audience’s perspectives while facing the stage.
2. Blocking: The planned movement and positioning of actors on stage during a performance.
3. Callback: A second round of auditions in which selected actors are asked to return to read or perform again for specific roles.
4. Callboard: A designated area where rehearsal schedules, announcements, production information, and more are posted.
5. Cue: A signal for an action to occur during a performance, such as a lighting change, sound effect, or actor entrance.
6. Cue-to-Cue (Q2Q): A type of rehearsal that focuses on running technical cues (lighting, sound, etc.) without performing full scenes.
7. Director: The person responsible for the overall artistic vision and staging of a production.
8. Dress Rehearsal: A rehearsal in which all technical elements, costumes, and performance aspects are combined as they would be in an actual performance.
9. Fly System: A system of ropes, pulleys, and counterweights used to raise and lower scenery, curtains, and other stage elements.
10. Green Room: A backstage area where performers and crew wait before or during rehearsals and performances.
11. House: The seating area where the audience watches the performance.
12. Load-In: The process of bringing set pieces, props, and equipment into the theatre for a production.
13. Performance Report: A document created by the SM that summarizes each performance and communicates updates to the production team.
14. Prompt Book: The SM’s script containing notes, blocking, cues, and other essential production information.
15. Props (Properties): Objects used by actors during a performance.
16. Rehearsal Report: A document created by the SM that summarizes each rehearsal and communicates updates to the production team.
17. Run-Through: A rehearsal in which a portion or the entirety of the production is performed without stopping.
18. Spike Marks: Tape or markings on the stage floor used to indicate the placement of set pieces or actor positions.
19. Stage Left/Stage Right: Directions based on the actor’s perspective while facing the audience.
20. Strike (Theatre): The process of dismantling and removing scenery, lighting, props, and other production elements after the final performance.
21. Strike (Film): The process of turning on a lighting fixture, usually accompanied by a loud announcement, “Striking,” to warn people of the lighting change.
22. Technical Rehearsal (Tech): Rehearsals focused on integrating technical elements such as scenery, costumes, lighting, and sound.
23. Tech Week: The week of opening night, or sometimes the week before and the week before, depending on the production, is only for tech rehearsals to prepare for the show.
24. Upstage/Downstage: Stage directions indicating movement relative to the audience.  Downstage is closer to the audience; upstage is farther away.
25. Wings: Areas on either side of the stage that are out of view from the audience and used for entrances, exits, backstage preparation, and other related activities.

1. B-Roll: Supplemental footage used to enhance or support the main visuals in a film.
2. Call Sheet: A document outlining the schedule, locations, and personnel needed for a day of filming.
3. Cinematography: The art and technique of capturing visual images for film.
4. Continuity: Maintaining consistency of visual and narrative elements between shots.
5. Coverage: Filming a scene from multiple angles and shot types to provide editing options.
6. Director of Photography (DP): The person responsible for the visual look of a film, including lighting and camera work.
7. Editing: The process of selecting and assembling footage into a final sequence.
8. Reel: A two to four-minute video advertising the person’s talents, including, but not limited to, acting, directing, production, editing, and sound design.  These can contain anything from any production or personal project as long as permission is given by the original owner of the video, sound, or clip.
9. Shot List: A detailed list of shots planned for a scene or filming day.
10. Strike (Film): The process of turning on a lighting fixture, usually accompanied by a loud announcement, “Striking,” to warn people of the lighting change.
11. Strike (Theatre): The process of dismantling and removing scenery, lighting, props, and other production elements after the final performance.
12. Take: A single recorded attempt of a shot or scene.

1. “A�ڴھ��������پ�����”: Often a way to let the caller of an announcement know they were heard.  Similar to “Thank you”.
2. “Break a leg”: A traditional phrase used to wish performers good luck before a performance.
3. “G��”: The command given by the stage manager to execute a cue.  This term should be used sparingly or never otherwise.
4. “Hold for five”: The show is about to start, but the SM is holding the house for five minutes if the number of audience members is not there.
5. “H�DZ���”: A command to stop the rehearsal or performance, often used to address an issue. All crew should remain in place and quiet when “Hold” is called.
6. “[Number of minutes] to house open”: The number of minutes until the house door opens and the audience enters.
7. “P���������”: A call indicating that performers and crew should move to their starting positions.
8. “Quiet backstage” or “Quiet on set”: A reminder to maintain silence during a performance, rehearsal, or on a film set during a scene or shot when filming.
9. ���DZ������Բ�”: The reply to check if the camera is recording on set.
10. ��ٱ����”: The reply to check if the sound is being recorded on set.
11. “Thank you”: May indicate gratitude, but is often simply a way to let the caller of an announcement know they were heard.  Similar to “Affirmative”.