theatrical and cinematic device "which prevents the audience from losing itself
passively and completely in the character created by the actor, and which consequently leads the audience
to be a consciously critical observer
Suspension of Disbelief-
theory intended to characterize people's relationships to art. It was
coined by the poet and aesthetic philosopher
Samuel Taylor Coleridge
in 1817 to refer to what he called
"dramatic truth". It refers to the alleged willingness of a reader or viewer to accept as true the premises of
a work of
, even if they are fantastic, impossible, or otherwise contradictory to "
". It also
refers to the willingness of the audience to overlook the limitations of a medium, so that these do not
interfere with the acceptance of those premises. According to the theory, suspension of disbelief is a
: the audience tacitly agrees to provisionally suspend their judgment in exchange for the promise
space whose primary feature is a large
(the proscenium arch) at or near
the front of the
, through which the audience views the
. The audience directly faces the stage,
which is typically raised several feet above front row audience level.
a thrust stage (also known as a platform stage or open stage
) is one that extends into the
audience on three sides and is connected to the backstage area by its
end. A thrust has the
advantage of greater intimacy between audience and performer than a
, while retaining the
utility of a backstage area.
an enclosed area, often circular or oval-shaped, designed to showcase
performances, or sporting events. The key feature of an arena is that the event space is the lowest point,
allowing for maximum visibility. Usually, an arena is designed to accommodate a fairly large number of
A stage can also be improvised where ever a suitable space can be found.
Examples may include staging a performance in a nontraditional space such as a basement of a building, a
side of a hill or, in the case of a busking troupe, the street. In a similar manner, a makeshift stage can be
created by modifying an environment. For example, demarcating the boundaries of a stage in an open
space by laying a carpet and arranging seating before it.
Stage Right vs. Stage Left:
Actors on stage, facing the audience, are looking in the opposite direction;
for them, "stage right" is to their right and "stage left" is left. In other words, stage right is the actor's right
as the actor stands on the stage facing the audience. Stage left is the actor's left as the actor stands on the
stage facing the audience. Even if the actor is facing up stage (with his back to the audience), stage right
and stage left are still determined as if the actor were standing on the stage facing the audience.
Upstage vs. Downstage: