Winslow - The Oberon Glossary of Theatrical Terms: Theatre Jargon Explained

On flicking through the pages of this glossary, it will quickly become apparent that my approach has been far from academic. There are a great many excellent books on aspects of the Drama as literature, and some define the terms they use in a glossary at the back, but the terms listed here are the words and phrases that theatre people use in everyday conversation with each other. Indeed, there is hardly a word in this book that I have not heard used in my own professional experience.

In my very first job, at the old Marlowe Theatre in Canterbury, I was frequently baffled by the language I heard around me, and the old hands I worked with then made little attempt to conceal their scorn over my lack of comprehension. However, just as when working in any foreign land, it is an advantage to learn the native language, I made a serious effort to pick up the jargon, and soon developed a particular interest in it, delighting in the more obscure, and occasionally bizarre, words and phrases I encountered. When, many years later, I began to teach, I found that students new to the theatre were just as baffled as I had been, so I began compiling vocabulary-lists to hand out in class. It was these lists that formed the basis for the original version of this Glossary.

Since the publication of the First Edition, I have inevitably discovered some omissions and inaccuracies, so I am delighted that Oberon Books has given me this opportunity to revisit my work, not only for revision and repair, but also to include many new terms introduced during the intervening years, mostly relating to the new technologies. I am particularly happy to see the original Foreword by Robert David MacDonald (now, sadly, no longer with us) reprinted here, supplemented by a new Foreword by my friend and colleague Murray Melvin.

At this point, it is customary for an author to list all those who have assisted in the production of his work, but here, I fear, it becomes a impossible task, for the list would have to include all my many theatre friends and colleagues indeed, everyone I have ever worked with all of whom, bytolerating my persistent questioning, and through many informal conversations, have greatly extended my knowledge of, and enthusiasm for, the language used in the corridors and coulisses of this remarkable profession. I am grateful and indebted to every single one of you.

Colin Winslow, Edmonton, Canada