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- Writing for Vaudeville - 95/95 -


the tormentors (which see). It is used as a background for acts in One, and often to close-in on acts playing in Two, Three and Four. ONE.--That part of the stage lying between the tormentors and the line drawn between the bases of the proscenium arch. OPEN SET.--A scene composed of a rear drop and matching wings, and not "boxed"--that is, not completely enclosed. See "BOX SET." PALACE SET.--Palace scene. PART.--Noun: the manuscript of one character's speeches and business; the character taken by an actor. Verb: to take, or play, a character. PLAY UP, TO.--To pitch the key of a scene high; to play with rush and emphasis. PLUGGER.--A booster, a singer who sings new songs to make them popular. POINT.--The laugh-line of a gag (see "GAG"), or the funny observation of a monologue. PRODUCE, TO.--To mount a manuscript on the stage. PRODUCER.--One who produces plays, playlets, and other acts. PROPERTIES.--Furniture, dishes, telephones, the what-not employed to lend reality--scenery excepted. Stage accessories. PROPERTY-MAN.--The man who takes care of the properties. PROPS.--Property-man; also short for properties. PROSCENIUM ARCH.--The arch through which the audience views the stage. RIGGING, STAGE.--The ropes, pulleys, etc., by which the scenery is worked. RIPPLE-LAMP.--A clock-actuated mechanism fitted with ripple-glass and attached to the spot-light to cast wave-effects, etc., on or through the drops. ROUTE.--A series of playing dates. To "route" is to "book" acts. ROUTINE.--Arrangement. A specific arrangement of the parts of a state offering, as a "monologue routine," or a "dance routine." SCENARIO.--The story of the play in outline. SET.--Noun: a room or other scene set on the stage. Verb: to erect the wings, drops, and flats to form a scene. SET OF LINES.--Rigging to be tied to drops and other scenery to lift them up into the flies. SIGHT ACT.--See "DUMB ACT." SINGLE MAN--SINGLE WOMAN.--A man or woman playing alone; a monologist, solo singer, etc. SLAP-STICK BUSINESS.--Business that wins laughs by use of physical methods. SMALL-TIME, THE.--The circuits playing three or more shows a day. SOUND-EFFECTS.--The noise of cocoanut shells imitating horses' hoof-beats, the sound of waves mechanically made, and the like. SPOT-LIGHT.--An arc-light with lenses to concentrate the light into a spot to follow the characters around the stage. STAGE-DRACE.--An implement used with stage-screws to clamp flats firmly to the floor. STAGE-CENTRE.--The centre of the stage. STAGE-LEFT.--The audience's right. STAGE-MANAGER.--One who manages the "working" of a show behind the scenes; usually the stage-carpenter. STAGE-RIGGING.--See "RIGGING, STAGE." STAGE-RIGHT.--The audience's left. STRIKE, TO.--To clear the stage of scenery. STRIP-LIGHT.--Electric bulbs contained in short tin troughs, hung behind doors, etc., to illuminate the backings. TAB.--The contraction of "tabloid," as burlesque tab, musical comedy tab. TALKING SINGLE.--A one-person act using stories, gags, etc. THREE.--The stage space six or more feet behind the rear boundaries of Two. TIME.--Playing engagements. See "BIG-TIME," "SMALL-TIME." TORMENTORS.--Movable first wings behind which the Olio runs, fronting the audience. TRAP.--A section of the stage floor cut for an entrance to the scene from below. TRY-OUT.--The first presentation of an act for trial before an audience with a view to booking. TWO.--The stage space between the Olio and the set of wings six or more feet behind the Olio. TWO-A-DAY.--Stage argot for vaudeville. WING.--A double frame of wood covered with painted canvas and used in open sets as a flat is used in box sets; so constructed that it stands alone as a book will when its covers are opened at right angles. WOOD-CRASH.--An appliance so constructed that when the handle is turned a noise like a man falling downstairs, or the crash of a fight, is produced. WOOD-SET.--The scenery used to form a forest or woods. WORKING DRAPERY.--See "DRAPERY, WORKING." WORK OPPOSITE ANOTHER, TO.--To play a character whose speeches are nearly all with the other.


Writing for Vaudeville - 95/95

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