| character/scene plot | A chart, usually in the form of a grid, that shows which characters are in each scene of a play; used by directors, costume designers, and stage managers. (9-138)
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| color media/gel | A thin sheet of colored plastic placed in front of a theatrical lamp; called a "gel" in earlier times because it was made from gelatin. (9-147)
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| costume list | A list of what each actor will wear from the skin out. (9-147)
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| costume plot | A list showing the order in which costumes are worn. (9-147)
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| cross section | A scale line drawing of the scenery seen from the side of the stage showing how each piece of scenery will be installed in the theatre. (9-146)
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| cue sheet | A list of things to be done by a crew member during a performance, referenced to lines in the script or actions on the stage. (9-147)
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| fitting | A session during which an actor tries on a costume and the designer makes any necessary adjustments. (9-149)
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| focus session | A working period during which the lighting designer supervises the electricians who hang, circuit, and focus all the theatrical lights. (9-149)
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| front elevation | A working drawing of the set that shows what the scenery looks like from the front. (9-146)
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| ground plan | A scale drawing of the floor of the stage showing the placement of the scenery; used by the actors in rehearsals and by the stage crew for the installation of the scenery. (9-146)
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| instrument schedule | A list made by the lighting designer listing each piece of equipment and the color media that will be placed in front of it along with how it will be connected to the computer light board. (9-147)
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| light plot | A scaled diagram drafted by the lighting designer that displays all the lighting instruments to be used in the design and where they are placed. (9-147)
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| load-in | The work period during which the scenery is brought into the theatre. (9-150)
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| master electrician | The supervisor of the electrical crew. (9-149)
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| production (design) conference | A meeting of the director and designers to develop the production concept. (9-140)
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| production concept | The result of the intellectual and creative process through which the director and the key collaborators determine how the script is to be interpreted and how that interpretation is to be realized on the stage. (9-141)
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| rendering | A colored drawing by a designer to communicate what a costume or set will look like. (9-143)
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| scene painter | A specialist scenic artist who paints scenery. (9-149)
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| scenographer | A theatrical designer of scenery and costumes (and sometimes lighting) who works collaboratively with the director to create the visual world of the play. (9-135)
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| sketch | A drawing by a designer to communicate the basics of a design. (9-144)
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| sound board operator | The technician on the sound crew who operates the computer sound board during performances. (9-149)
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| sound plot | A diagram showing the placement of all microphones and speakers. (9-148)
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| stage manager | The person in charge of all rehearsals and performances. (9-150)
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| storyboard | A term borrowed from cinema to describe a sequence of rough drawings that show how scenes will look in performance; used by some lighting designers to communicate the effects they plan for in their design. (9-141)
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| technical director | The supervisor of the scene shop, who supervises budgets, schedules, personnel, and the construction and installation of scenery. (9-148)
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| technical drawings | A scale drawing illustrating how scenery is to be built and installed. (9-145)
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| white model | An unpainted, three-dimensional scale model of the set built by the designer; usually made from foam core, cardboard, or some other material. (9-141)
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| working drawing | See "technical drawing." (9-146)
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