This is a configuration of a theatre space in which the audience faces the actors on only one side.

A theatrical convention of realism, this is an invisible wall separating the stage from the spectators.

This art form is live, ephemeral, collaborative, a synthesis of many other art forms; a mirror of life that is not necessarily an exact replica of the “real” world.

These are accepted codes of communication and interaction between performers and spectators for the duration of a performance that enhance storytelling.

This type of dramatic structure has a main plot and several subplots; many characters; ranges over several different locations and time frames, such as weeks, months or years.

This is a style of theatre where the stage world is presented as a believable, alternate reality; where things happen much as they would in life and people behave in seemingly natural ways.

This is a euro-centric theatrical tradition based on a written text, meant to be reinterpreted by different artists at different times and in different places.

This type of dramatic structure has a small number of characters, one plot line, one setting, and a very compressed action timeline.

This is any theatrical tradition that preserves conventions of staging, music, dance, masks, and acting/characterizations passed down orally, generation-to-generation, rooted in the belief systems of tightly-knit communities.

These are characters defined by externals (class, occupation, marital status, etc.) rather than by their individual traits.

This is a configuration of a theatre space where audience members sit on three sides of the stage that is a raised platform.

The performer’s attempt to exploit the capacity of the spectator to identify emotionally with a character through a recognition of similarity.

These are six forces underlying the diversity of today’s theatre.