This is a late-20th century concept without a single definition. Generally, it argues that past truths are constructions by a dominant culture; it invites and opens up the possibility of new and equally valid forms of artistic expression.

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

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.

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

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.

A character who directly thwarts the desires of the lead character.

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 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.

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.

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