Glossary
(c) Emily C. A. Snyder 2020-2021
Glossary
Experiential Words
CONSTELLATION
(n) A metaphorical word for the patterns made between stars; which pattern is then experienced in a schwumpf
(n) A metaphorical word for the patterns made between stars; which pattern is then experienced in a schwumpf
FLINK
(v) To refuse to accept a schwumpf as it is fwahed to you
(v) To refuse to accept a schwumpf as it is fwahed to you
FWAH
(v) To effectively communicate the experience of a schwumpf to a second party
(v) To effectively communicate the experience of a schwumpf to a second party
MRWRM
(v) To slow down or hesitantly consider a schwumpf as it is fwahed to you
(v) To slow down or hesitantly consider a schwumpf as it is fwahed to you
NNGH
(v) To viscerally experience the schwumpf and/or the uvriel in the moment as an actor, but then be unable to inspire that same sense of schwumpf in the audience, so that the audience sees the actor feeling, but cannot sympathize
(v) To viscerally experience the schwumpf and/or the uvriel in the moment as an actor, but then be unable to inspire that same sense of schwumpf in the audience, so that the audience sees the actor feeling, but cannot sympathize
STALT
(v) (Pronounced: Schtalt) To be over-precise when fwahing a schwumpf, so that the audience sees the technique, but cannot sympathize
(v) (Pronounced: Schtalt) To be over-precise when fwahing a schwumpf, so that the audience sees the technique, but cannot sympathize
STARS
(n) A metaphorical word for all the images, experiences, words, ideas, thoughts, memories, sensations, etc. that live as separate facts in a person's brain
(n) A metaphorical word for all the images, experiences, words, ideas, thoughts, memories, sensations, etc. that live as separate facts in a person's brain
SCHWUMPF
(v) The act and experience of drawing together all the stars in a constellation
(n) The resultant experience of drawing together stars into a constellation; e.g., "To be or not to be, that is the question." A line of verse will include at least one schwumpf
(v) The act and experience of drawing together all the stars in a constellation
(n) The resultant experience of drawing together stars into a constellation; e.g., "To be or not to be, that is the question." A line of verse will include at least one schwumpf
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DISCHWUMPF
(n) Two lines of verse with small uvriel nuances between them, but that work as closely connected schwumpfs; e.g.: "Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune" Please note: It is possible to have trischwumpfs, tetraschwumpfs, etc. HEMISCHWUMPF
(n) A small schwumpf, included in a full line of schwumpf; e.g., "And by opposing end them; to die, to sleep." Please note: Actors may make different interpretations with hemischwumpfs, either treating them with greater or less uvriel between them, such as: "And by opposing end them || to die || to sleep" Or: "And by opposing end them || to die, to sleep" SEMISCHWUMPF
(n) Essentially a line and a half of text, where the uvriel on the line break between the schumpf of a full line of text and a half-line of text is tightly nuanced and closely connected; e.g.: "Or to take arms against a sea of troubles And by opposing end them" Please note: Actors may then interpret how closely connected the half-line of the semischwumpf is connected to the full line, as well as how closely it is connected to the hemischwumpf which completes the line |
TA DA
(v) To accept with enthusiasm the experience of a schwumpf as it is fwahed to you
(v) To accept with enthusiasm the experience of a schwumpf as it is fwahed to you
TOTEM
(n) A word that helps evoke a schwumpf; e.g., "Home"
(n) A word that helps evoke a schwumpf; e.g., "Home"
UVRIEL
(n) The vital energy that connects schwumpfs together; a nuance of the energy between schwumpfs; most frequently seen in the white space at the end of the line of verse. Uvriel is experienced more than it is verbalized
(n) The vital energy that connects schwumpfs together; a nuance of the energy between schwumpfs; most frequently seen in the white space at the end of the line of verse. Uvriel is experienced more than it is verbalized
WHOOPEE
(v) To feel and fwah a schwumpf effectively to the audience...but the schwumpf the actor is feeling is not what the text is conveying (e.g., jazz hands at a funeral), causing a dissonance in the audience
(v) To feel and fwah a schwumpf effectively to the audience...but the schwumpf the actor is feeling is not what the text is conveying (e.g., jazz hands at a funeral), causing a dissonance in the audience
Three Phases of Drama
GENERATIVE
The phase wherein the work of drama is created, either through a script, improvisation, or devising
The phase wherein the work of drama is created, either through a script, improvisation, or devising
INTERPRETIVE
The phase where the drama is rehearsed, interpreted, and nuanced
The phase where the drama is rehearsed, interpreted, and nuanced
RECEPTIVE
The phase wherein the work of drama is received by a separate party
The phase wherein the work of drama is received by a separate party
Philosophic Terms
DASEIN
(n) From the German philosopher Heidegger, the act of "Being Here;" in this context everything existing is a Dasein
(n) From the German philosopher Heidegger, the act of "Being Here;" in this context everything existing is a Dasein
EMPATHY
(n) The recognition of another person's schwumpf, and the way they make the constellation in their stars, as true for them
(n) The recognition of another person's schwumpf, and the way they make the constellation in their stars, as true for them
EXTROVERTED ARTIST
(n) An artist who works through inspiration and outside influence, not pre-planning the art, but capturing it as it is experienced
(n) An artist who works through inspiration and outside influence, not pre-planning the art, but capturing it as it is experienced
INTROVERTED ARTIST
(n) An artist who works to be very precise, and who makes measured decisions about the outcome of their art, prior to exploring the art
(n) An artist who works to be very precise, and who makes measured decisions about the outcome of their art, prior to exploring the art
SYMPATHY
(n) The experience of another person's schwumpf, and the way they make the constellation in their stars, as true for both them and you
(n) The experience of another person's schwumpf, and the way they make the constellation in their stars, as true for both them and you
SYSTEM 1 THOUGHT
(n) Our "fast thoughts," or "go-to" ways that we schwumpf stars together
(n) Our "fast thoughts," or "go-to" ways that we schwumpf stars together
SYSTEM 2 THOUGHT
(n) Our "slow thoughts," or when we take the time to reexamine our constellations, and ask whether those separate stars should be schwumpfed together
(n) Our "slow thoughts," or when we take the time to reexamine our constellations, and ask whether those separate stars should be schwumpfed together
Meter and Scansion
BEAT
(n) The number of feet (generally felt by strong stresses) in a line of verse
(n) The number of feet (generally felt by strong stresses) in a line of verse
FOOT
(n) The name for any rhythmic pattern used in speech. Feet may be organized into rhythmic families. Some examples of metric feet are:
(n) The name for any rhythmic pattern used in speech. Feet may be organized into rhythmic families. Some examples of metric feet are:
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IAMB
(n) Unstressed-stressed (To be) PYRRHIC
(n) Unstressed-unstressed (Of a) SPONDEE
(n) Stressed-stressed (Believe) TROCHEE
(n) Stressed-unstressed (Now what) AMPHIBRACH
(n) Unstressed-stressed-unstressed (I hate you) ANAPEST
(n) Unstressed-unstressed -stressed (To the wall) ANTIBACCHIUS
(n) Stressed-stressed -unstressed (Waterfall) BACCHIUS
(n) Unstressed-stressed -stressed (When Mom talks) CRETIC
(n) Stressed-unstressed-stressed (Give me juice) DACTYL
(n) Stressed-unstressed -unstressed (Willingly) MOLOSSUS
(n) Stressed-stressed-stressed (Shut up now) |
METER
(n) The interplay of rhythm, beat, stress, short and long vowels on a line of text
(n) The interplay of rhythm, beat, stress, short and long vowels on a line of text
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FREE METER
(n) When neither beat nor rhythm are repeated on lines of verse throughout the play JUXTAPOSED METER
(n) When at least two opposing meters are used throughout the play, typically using meter as a signifier for some idea, person, point of view, etc.
REPEATED METER
(n) When the beat and the rhythm are repeated on each line of verse; this type of meter tends to be named by the predominant rhythm and the number of repeated feet, such as "iambic pentameter" is five repeated feet of iambs; trochaic tetrameter is four repeated feet of trochees
SPRUNG METER
(n) When either the beat OR the rhythm are sprung, rather than repeated
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PITCH
(n) What note a word is spoken on, how high or low the voice is when speaking
(n) What note a word is spoken on, how high or low the voice is when speaking
RHYTHM
(n) The patterns of stressed and unstressed syllables, known as a "foot"
(n) The patterns of stressed and unstressed syllables, known as a "foot"
SCANSION
(n) The study and analysis of meters employed on a line of text
(n) The study and analysis of meters employed on a line of text
Verse Terms
ALLITERATION
(n) The occurrence of the same letter or sound at the beginning of adjacent or closely connected words; e.g., "For Fred forgot Frida"
(n) The occurrence of the same letter or sound at the beginning of adjacent or closely connected words; e.g., "For Fred forgot Frida"
ANTITHESIS
(n) The juxtaposition of two opposing stars to make a single schwumpf; e.g., "Cold fire"
(n) The juxtaposition of two opposing stars to make a single schwumpf; e.g., "Cold fire"
ASIDE
(n) A remark generally delivered to the audience or a select few other actors, which is considered "not heard" by the remainder of the cast; it may be considered a soliloquy of a line or two
(n) A remark generally delivered to the audience or a select few other actors, which is considered "not heard" by the remainder of the cast; it may be considered a soliloquy of a line or two
ASSONANCE
(n) In poetry, the repetition of the sound of a vowel or diphthong in nonrhyming stressed syllables near enough to each other for the echo to be discernible; e.g., "penitence, reticence"
(n) In poetry, the repetition of the sound of a vowel or diphthong in nonrhyming stressed syllables near enough to each other for the echo to be discernible; e.g., "penitence, reticence"
BLANK VERSE
(n) Verse that does not primarily include rhymes
(n) Verse that does not primarily include rhymes
CAESURA
(n) A significant pause, containing uvriel in the middle of a line of verse, e.g., "Sing a song of sixpence || a pocket full of rye"
(n) A significant pause, containing uvriel in the middle of a line of verse, e.g., "Sing a song of sixpence || a pocket full of rye"
CONCURRENT LINE
(n) Lines of text which are meant to be said simultaneously to one another (not shared)
(n) Lines of text which are meant to be said simultaneously to one another (not shared)
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CONSONANCE
(n) The recurrence of similar sounds, especially consonants, in close proximity; e.g., "Mike likes his new bike"
(n) The recurrence of similar sounds, especially consonants, in close proximity; e.g., "Mike likes his new bike"
CROSSED OUT LINE
(n) A line of verse that is written out, but then crossed out by the author, so that the actor thinks the words verbally, but swallows rather than vocalizes certain language; e.g.,
(n) A line of verse that is written out, but then crossed out by the author, so that the actor thinks the words verbally, but swallows rather than vocalizes certain language; e.g.,
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DIRECT ADDRESS
(n) To deliver any line of text directly to the audience, expecting the audience to hear and even possibly respond
(n) To deliver any line of text directly to the audience, expecting the audience to hear and even possibly respond
ELISION
(v) To skip over a sound or a syllable when speaking; e.g., "I am" become "I'm" or "Over" becomes "O'er"
(v) To skip over a sound or a syllable when speaking; e.g., "I am" become "I'm" or "Over" becomes "O'er"
EMOTIVE FORMATTING
(n) To use the tools of formatting text to convey interpretation of the line to the actor
(n) To use the tools of formatting text to convey interpretation of the line to the actor
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EMOTIVE PUNCTUATION
(n) To use punctuation to assist the music of the line of verse, such as using m-dashes to indicate a rest; the emphasis is less on grammar than on musical notation EMOTIVE SPACING
(n) To use spacing of the lines of verse and the use of white space on a page to indicate the shape of the lines of verse, the musicality of the speech, and the use of silence and rest EMOTIVE SPELLING
(n) To alter the spelling of a word to indicate how to speak the word, e.g., Aaaaaaactually EMOTIVE TYPOGRAPHY
(n) To alter the typefont in order to indicate a difference in cadence or performance, such as the use of color, bold, upper or lowercase, font size, font type, etc. |
END STOPPED LINES
(n) Lines of verse where the end of the line correlates to the definitive end of a thought, or even the end of a sentence
(n) Lines of verse where the end of the line correlates to the definitive end of a thought, or even the end of a sentence
ENJAMBMENT
(v) To skip over the line break/uvriel between two lines of text, and treat the two lines as a single line of text with a single schwumpf
(v) To skip over the line break/uvriel between two lines of text, and treat the two lines as a single line of text with a single schwumpf
FREE VERSE
(n) Verse that does not employ a repetition, but varies its meter
(n) Verse that does not employ a repetition, but varies its meter
IAMBIC PENTAMETER
(n) A metric pattern which employs repeated rhythms of iambs over five strong beats
(n) A metric pattern which employs repeated rhythms of iambs over five strong beats
IMPLIED STAGE DIRECTION
(n) A stage direction that is implied by a line of text; e.g., "Get off!' or "Hark, here she comes!"
(n) A stage direction that is implied by a line of text; e.g., "Get off!' or "Hark, here she comes!"
LINE BREAK (Also: Line Ending/Beginning)
(n) The place where a line of verse cuts off, leaving white space on the page; optimally, the line break is placed intentionally according to the musicality of the line, and the conveyance of major schwumpfs. The space between line breaks (line endings/beginnings) is nuanced by the energy of uvriel
(n) The place where a line of verse cuts off, leaving white space on the page; optimally, the line break is placed intentionally according to the musicality of the line, and the conveyance of major schwumpfs. The space between line breaks (line endings/beginnings) is nuanced by the energy of uvriel
METAPHOR
(n) A comparison, or creation of constellation, that schwumpfs together disparate stars without using the words "like" or "as;" e.g., "He is become a dragon."
(n) A comparison, or creation of constellation, that schwumpfs together disparate stars without using the words "like" or "as;" e.g., "He is become a dragon."
MONOLOGUE
(n) A speech of some length which is delivered to other actors on the stage, and meant to be heard by them
(n) A speech of some length which is delivered to other actors on the stage, and meant to be heard by them
OPEN LINES
(n) Line breaks which purposely do not correspond to the end of the line, and which invite the actor to carefully consider the uvriel that connect the lines together; e.g.,
"Go, play, boy, play; thy mother plays, and I
Play too"
Please note: Open lines are only effective insofar as they are intentional, actable, and inspire uvriel in the actor
(n) Line breaks which purposely do not correspond to the end of the line, and which invite the actor to carefully consider the uvriel that connect the lines together; e.g.,
"Go, play, boy, play; thy mother plays, and I
Play too"
Please note: Open lines are only effective insofar as they are intentional, actable, and inspire uvriel in the actor
OVERLAPPING LINES
(n) When one character's line is meant to start before another person has finished speaking; frequently denoted by a /
(n) When one character's line is meant to start before another person has finished speaking; frequently denoted by a /
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POETRY
(n) Heightened, frequently pleasing language, employing such techniques as metaphor, alliteration, rhythm, rhyme, etc. Poetical language may be found in both prose and verse
(n) Heightened, frequently pleasing language, employing such techniques as metaphor, alliteration, rhythm, rhyme, etc. Poetical language may be found in both prose and verse
PARENTHETICAL
(n) An aside said sotto voce (under the breath), or primarily to one's self, e.g., "I have of late (but wherefore I know not)"
(n) An aside said sotto voce (under the breath), or primarily to one's self, e.g., "I have of late (but wherefore I know not)"
PROSE
(n) Language which is structured according to sentences and paragraphs
(n) Language which is structured according to sentences and paragraphs
RHYME
(n) Words that use similar vowel and consonant combinations as each other, e.g., "found, sound, round, abound"
(n) Words that use similar vowel and consonant combinations as each other, e.g., "found, sound, round, abound"
RHYMED VERSE
(n) Verse which primarily uses rhymes, either internal to the verse line or on the line break
(n) Verse which primarily uses rhymes, either internal to the verse line or on the line break
RHYMING COUPLET
(n) Two lines of verse that include ending words which rhyme with each other. NOTE: Variations include rhyming triplets, quintets, etc.
(n) Two lines of verse that include ending words which rhyme with each other. NOTE: Variations include rhyming triplets, quintets, etc.
SHARED LINES
(n) Lines which cascade across the page, wherein two or more actors share the musicality of a line; in this case, the white space on an individual's line of text is not meant to denote silence, but rather uses formatting to show that the actors should speak their lines quickly, as if it were all one line of text, said in the time it takes to say that one line of text; e.g.,
(n) Lines which cascade across the page, wherein two or more actors share the musicality of a line; in this case, the white space on an individual's line of text is not meant to denote silence, but rather uses formatting to show that the actors should speak their lines quickly, as if it were all one line of text, said in the time it takes to say that one line of text; e.g.,
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SILENT LINE
(n) An empty line of verse that is filled nonverbally by uvriel, generated by the actor; e.g.,
(n) An empty line of verse that is filled nonverbally by uvriel, generated by the actor; e.g.,
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SIMILE
(n) A comparison, or creation of constellation, that schwumpfs together disparate stars by using the words "like" or "as;" e.g., "My love is like a red, red rose"
(n) A comparison, or creation of constellation, that schwumpfs together disparate stars by using the words "like" or "as;" e.g., "My love is like a red, red rose"
SOLILOQUY
(n) A speech which is delivered either to the audience (direct address) or to the self, but which is delivered with no other persons on the stage, and is not meant to be heard by any other actor
(n) A speech which is delivered either to the audience (direct address) or to the self, but which is delivered with no other persons on the stage, and is not meant to be heard by any other actor
STAGE DIRECTION
(n) A direction, written by the author, that indicates motions or gestures that an actor should be making
(n) A direction, written by the author, that indicates motions or gestures that an actor should be making
STICHOMYTHIA
(n) A rhetorical device similar to a verbal tennis match, wherein two or more people trade lines, minutely varying either a few words from the previous person's line but maintaining the same meter (rhythm/beat), or by picking up a word from the previous person's line and playing with the meaning; e.g.,
(n) A rhetorical device similar to a verbal tennis match, wherein two or more people trade lines, minutely varying either a few words from the previous person's line but maintaining the same meter (rhythm/beat), or by picking up a word from the previous person's line and playing with the meaning; e.g.,
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GERTRUDE. Hamlet, thou hast thy father much offended.
HAMLET. Mother, you have my father much offended. QUEEN. Come, come, you answer with an idle tongue. HAMLET. Go, go, you question with a wicked tongue. DISTICHOMYTHIA
(n) Trading two lines at a time back and forth; e.g., GLOUCESTER. Fairer than tongue can name thee, let me have Some patient leisure to excuse myself. LADY ANNE. Fouler than heart can think thee, thou canst make No excuse current, but to hang thyself. HEMISTICHOMYTHIA
(n) Trading half-lines back and forth; e.g., 
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SUSSURATION
(n) The repetition of sibilant letters such as "s" "c" and "x" to create a repeated hissing effect
(n) The repetition of sibilant letters such as "s" "c" and "x" to create a repeated hissing effect
VERSE
(n) Language which is communicated by short lines, including line breaks, which will not necessarily correlate to the end of a sentence
(n) Language which is communicated by short lines, including line breaks, which will not necessarily correlate to the end of a sentence
WHITE SPACE
(n) The intentional leaving of blankness on the page; always found at a line break, however, it can also be included anywhere on a line of verse, between lines of verse, etc.; demarking silence
(n) The intentional leaving of blankness on the page; always found at a line break, however, it can also be included anywhere on a line of verse, between lines of verse, etc.; demarking silence
