Theatre jargon – what’s your favourite?

Just hanging out this morning on the Twitter stream, and especially with the #2amt crowd, when the always interesting @DramaDaily wanted to know what ‘to dry’ meant. The information came back fairly quickly.

She’s based in the US and apparently that term isn’t well known there. It means to forget your lines and is quite a common bit of theatre jargon in Australia and the UK. I recall working on a show in the US years ago when they started talking about the ‘get-in.’ I hadn’t a clue at first what this meant, but then realised it probably had something to do with what we call the ‘bump-in.’ Sure enough – same thing.

@DramaDaily then found the term ‘to corpse’ or ‘to go up’ – uncontrolled laughing on stage when you shouldn’t be – and started on a hunt to find where these terms had come from. It all started a bit of a flurry of interest and so I asked what people’s favourite bits of theatre jargon were. Here are some of the responses. What are yours? Add them below or tweet on!

Mine, by the way, is ‘bump-in’

[blackbirdpie id=”http://twitter.com/#!/DramaDaily/statuses/43450344654651392″]

 

[blackbirdpie id=”http://twitter.com/#!/HESherman/statuses/43480856651767808″]

 

[blackbirdpie id=”http://twitter.com/#!/stevenmitchellw/statuses/43480789379317760″]

 

[blackbirdpie id=”http://twitter.com/#!/meganshorey/statuses/43477171045531649″]

 

If you’re on Twitter and you don’t know about 2amt (‘2 am theatre’) you can follow them @2amt on Twitter and read some of the more thoughtful, extended conversations on the 2amt: thinking outside the black box blog.

Jobs for the girls? Logging the stats

Equality

When subsidised theatre companies announce their seasons for the year, one of the hottest topics around relates to an industrial issue – employment opportunities. Whilst there is also great interest in what shows will be produced, it’s the jobs and casting that draw the attention of a city’s artists and creatives. As to the issue of gender equity in role opportunities – 2011 is not a good year for female actors in Brisbane.

The 2011 mainstage season plays for both Brisbane subsidised companies have more male roles – considerably more – than female. Whilst employment in a mainstage production is not the whole picture for a professional theatre actor – there are other job opportunities in the sector from play readings, teaching, touring in educational programs and from non-award waged engagement in various independent projects in the city – there is no doubt that a contract for a show produced by QTC or La Boite is highly prized. Gender-blind casting notwithstanding, it became clear early on that there were going to be far more jobs for the boys this year at QTC and La Boite. Continue reading “Jobs for the girls? Logging the stats”

Here come … or there go the Matildas: 2011

This is the third post on Greenroom about the annual, self-styled ‘Queensland’ Matilda Awards for excellence in theatre. Let’s get one thing straight though – they are no such thing, appearing as they do to exclude consideration of the work of the state’s regional professional and independent theatre communities. Right now the Matildas are Brisbane-centric awards, period.

In both previous posts we asked some questions and raised a few issues. If you missed them and the comments they created, here are the links:

Queensland’s Matilda Awards – where to now?

And now for the 2010 Matilda Awards

As for 2011, the nominees for this year’s Matilda Awards were announced this week. Members of the theatre community in Brisbane are naturally excited to be able to celebrate the achievements of the past year, and why not? They should have an opportunity to do so in a high-profile, prestigious and meaningful event. Certainly the Matilda Committee itself acknowledges the Award’s role as

a key forum for publicly celebrating and promoting Queensland’s theatre industry, and notes

Given the importance of the awards, it is essential that their profile keeps growing, not only within the State but also nationally.  The Matildas aim to be on a par with both the Sydney Critics’ Awards and Victoria’s Green Room Awards. (About).

Unfortunately, the guidelines or criteria appear to have been compromised this year with the inclusion of non-eligible work, but perhaps we are missing something. What happened?