Salón Verde ("Green Hall"), a green room at the Teatro Real in Madrid, Spain. The chairs, curtains and walls are predominantly green.
In show business, the green room is the space in a theatre or similar venue that functions as a waiting room and lounge for performers before, during, and after a performance or show when they are not engaged on stage. Green rooms typically have seating for the performers, such as upholstered chairs and sofas.
The origin of the term is often ascribed to such rooms historically being painted green.[1][2] Modern green rooms need not necessarily adhere to a specifically green color scheme, though the theatrical tradition of the name remains.
Some English theatres contained several green rooms, each ranked according to the status, fame, and salary of the actor: one could be fined for using a green room above one's station.[3][4]
The definitive origin of the term 'green room' is lost to history, which has led to many theories and claims.
One of the oldest stories is that London's Blackfriars Theatre (1599) included a room behind the scenes, where the actors waited to go on stage, which happened to be painted green, and was called "the green room".[4][verification needed] A later renovation of London's Cockpit-in-Court theatre in 1662 included a green baize dressing room, which has also been suggested as the origin of the term.[5] It has also been theorised that such waiting rooms were originally painted green to "relieve the eyes from the glare of the stage."[6][7] On the other hand, early stage lighting was by candlelight and later by gaslight, so the "glare" might well be apocryphal, a modern reference to bright stage lighting.[8]
Richard Southern, in his studies of medieval theatre in the round, states that in this period the acting area was referred to as 'the green'. This central space, often grass-covered, was used by the actors, while the surrounding space and circular banks were occupied by the spectators; Southern states that 'the green' has been a traditional actors' term for the stage ever since. Even in proscenium arch theatres, there was a tradition that a green stage cloth should be used for a tragedy. The green room could thus be considered the transition room on the way to the green/stage. Technical staff at some West End theatres (such as the London Coliseum) still refer to the stage as 'the green'.
It is sometimes said that the term 'green room' was a response to limelight,[9] though the name is merely a coincidence – "limelight" refers to calcium oxide, not to the fruit or colour. Furthermore, limelight was invented in 1820 and the term "green room" was used many years prior to that. The term 'green room' is also attributed to the makeup worn by actors; long before modern makeup was invented, the actors had to apply makeup before a show and allow it to set up or cure before performing. Until the makeup was cured, it was 'green', and people were advised to sit quietly in the 'green room' until such time as the makeup was stable enough for performing.[10]
It is possible that 'green room' might be a corruption of 'scene room', the room where scenery was stored which doubled as the actors' waiting and warm-up room.[3] Many actors also experience nervous anxiety before a performance, and one of the symptoms of nervousness is nausea. As a person who feels nauseous is often said to look "green", suggesting that the 'green room' is the place where the nervous actors wait.[9] Comedian and dancer Max Wall attributes the phrase[citation needed] to Cockney rhyming slang, where 'greengage' is 'stage', therefore 'greengage room' is 'stage room'; like most rhyming slang, the term was shortened, hence '"green" room'. Rhyming slang can be traced only as early as the 1840s, whereas the phrase "green room" predates this by several centuries, making such an etymology unlikely.
"Tiring houses"
In Shakespeare's day, the actors waited in a "tiring house" probably because actors were attired (put on or changed costumes) in this space. Here it is mentioned by Peter Quince as he plans for his acting troupe to rehearse in the woods:
QUINCE: Pat, pat; and here's a marvellous convenient place for our rehearsal. This green plot shall be our stage, this hawthorn-brake our tiring-house; and we will do it in action as we will do it before the duke.
...she took us up into the Tireing-rooms and to the women's Shift, where Nell was dressing herself and...then below into the Scene-room, and...here I read the Qu's (cues) to Knepp while she answered me, through all her part of Flora's Figarys...
Thomas Shadwell's Restoration comedy, A True Widow (1678), mentions in Act Four: Stanmore: "No madam: Selfish, this Evening, in a green Room, behind the Scenes, was before-hand with me..."[3][9][12]
The term "green room" is mentioned in Colley Cibber's Love Makes a Man (1701). "I do know London pretty well, and the Side-box, Sir, and behind the Scenes; ay, and the Green-Room, and all the Girls and Women~Actresses there."[9][12][13]
In 1792, Joseph Haslewood published a collection of memoirs of the actors and actresses of the London theatres entitled The Secret History of the Green-Room, while 1796 saw the first edition of John Roach's similarly themed Authentic Memoirs of the Green-Room.
In the Jane Austen novel Mansfield Park (1814), when the Bertram children convert the billiard room into a theatre, Tom Bertram notes, "And my father's room will be an excellent green-room. It seems to join the billiard room on purpose."
In the 1853 Charlotte Brontë novel Villette the narrator refers to the green-room when preparing for a performance in an amateur play.[15]
Jerome K. Jerome's first book comically describes his stint in English theatre during the late 1870s. "There was no green room. There never had been a green room. I never saw a green room, except in a play, though I was always on the lookout for it."[16]
The green room is mentioned in the Sherlock Holmes short story "The Man with the Twisted Lip" by Sir Arthur Conan Doyle. "When an actor I had, of course, learned all the secrets of making up, and had been famous in the green-room for my skill."[17]
Within the context of international organizations such as the World Trade Organization (WTO), the "Green Room meeting" refers to a process in which ambassadors seek consensus informally under the chairmanship of the Director-General. "Green Room meetings often run until the early hours of the morning and can stretch out for days. They can also be tense and dramatic settings in which nerves are taut and tempers evident." The Director-General meeting room at the WTO headquarters Centre William Rappard is called the Green Room since the time the building was occupied by the International Labour Office. [18]
Notes
↑ The American Heritage Dictionary of the English Language, William Morris editor, 1971
↑ Brewer's Dictionary of Phrase & Fable, Millennium Edition, revised by Adrian Room, 1999
1 2 3 The Concise Oxford Companion to the Theatre, edited by Phyllis Hartnoll, Oxford University Press, 1972, pg 220
Rhyming slang is a form of slang word construction in the English language. It is especially prevalent among Cockneys in England, and was first used in the early 19th century in the East End of London; hence its alternative name, Cockney rhyming slang. In the US, especially the criminal underworld of the West Coast between 1880 and 1920, rhyming slang has sometimes been known as Australian slang.
Waiting for Godot is a play by Samuel Beckett in which two characters, Vladimir (Didi) and Estragon (Gogo), engage in a variety of discussions and encounters while awaiting the titular Godot, who never arrives. Waiting for Godot is Beckett's translation of his own original French-language play, En attendant Godot, and is subtitled "a tragicomedy in two acts".
Theatrical superstitions are superstitions particular to actors or the theatre.
Stagecraft is a technical aspect of theatrical, film, and video production. It includes constructing and rigging scenery; hanging and focusing of lighting; design and procurement of costumes; make-up; stage management; audio engineering; and procurement of props. Stagecraft is distinct from the wider umbrella term of scenography. Considered a technical rather than an artistic field, it is primarily the practical implementation of a scenic designer's artistic vision.
A prop, formally known as (theatrical) property, is an object used on stage or screen by actors during a performance or screen production. In practical terms, a prop is considered to be anything movable or portable on a stage or a set, distinct from the actors, scenery, costumes, and electrical equipment.
The Oregon Shakespeare Festival (OSF) is a regional repertory theatre in Ashland, Oregon, United States, founded in 1935 by Angus L. Bowmer. The Festival now offers matinee and evening performances of a wide range of classic and contemporary plays not limited to Shakespeare. During the Festival, between five and eleven plays are offered in daily rotation six days a week in its three theatres. It welcomed its millionth visitor in 1971, its 10-millionth in 2001, and its 20-millionth visitor in 2015. At any given time between five and eleven plays are offered in daily rotation six days a week in its three theatres.
The Theatre Royal, Drury Lane, commonly known as Drury Lane, is a West End theatre and Grade I listed building in Covent Garden, London, England. The building faces Catherine Street and backs onto Drury Lane. The building is the most recent in a line of four theatres which were built at the same location, the earliest of which dated back to 1663, making it the oldest theatre site in London still in use. According to the author Peter Thomson, for its first two centuries, Drury Lane could "reasonably have claimed to be London's leading theatre". For most of that time, it was one of a handful of patent theatres, granted monopoly rights to the production of "legitimate" drama in London.
A theater, theatre or playhouse, is a structure where theatrical works, performing arts and musical concerts are presented. The theater building serves to define the performance and audience spaces. The facility usually is organized to provide support areas for performers, the technical crew and the audience members, as well as the stage where the performance takes place.
The Restoration spectacular was a type of theatre production of the late 17th-century Restoration period, defined by the amount of money, time, sets, and performers it required to be produced. Productions attracted audiences with elaborate action, acrobatics, dance, costume, scenery, illusionistic painting, trapdoors, and fireworks. Although they were popular with contemporary audiences, spectaculars have earned a reputation from theatre historians as vulgar in contrast to the witty Restoration drama.
"Break a leg" is a typical English idiom used in the context of theatre or other performing arts to wish a performer "good luck". An ironic or non-literal saying of uncertain origin, "break a leg" is commonly said to actors and musicians before they go on stage to perform or before an audition. Though the term likely originates in German, the English expression is first attributed in the 1930s or possibly 1920s, originally documented without specifically theatrical associations. Among professional dancers, the traditional saying is not "break a leg", but the French word "merde".
Technical week is the week prior to the opening night of a play, musical or similar production in which all of the technical elements are present during rehearsal for the first time.
Lisle's Tennis Court was a building off Portugal Street in Lincoln's Inn Fields in London. Originally built as a real tennis court, it was used as a playhouse during two periods, 1661–1674 and 1695–1705. During the early period, the theatre was called Lincoln's Inn Fields Playhouse, also known as The Duke's Playhouse, The New Theatre or The Opera. The building was demolished and replaced by a purpose-built theatre for a third period, 1714–1728. The tennis court theatre was the first public playhouse in London to feature the moveable scenery that would become a standard feature of Restoration theatres.
Gibbon's Tennis Court was a building off Vere Street and Clare Market, near Lincoln's Inn Fields in London, England. Originally built as a real tennis court, it was used as a playhouse from 1660 to 1663, shortly after the English Restoration. As a theatre, it has been variously called the "Theatre Royal, Vere Street", the "Vere Street Theatre", or simply "The Theatre". It was the first permanent home for Thomas Killigrew's King's Company and was the stage for some of the earliest appearances by professional actresses.
Metatheatre, and the closely related term metadrama, describes the aspects of a play that draw attention to its nature as drama or theatre, or to the circumstances of its performance. "Breaking the Fourth Wall" is an example of a metatheatrical device.
Fruit, Fruity, and fruitcake, as well as its many variations, are slang or even sexual slang terms which have various origins. These terms have often been used derogatorily to refer to LGBT people. Usually used as pejoratives, the terms have also been re-appropriated as insider terms of endearment within LGBT communities. Many modern pop culture references within the gay nightlife like "Fruit Machine" and "Fruit Packers" have been appropriated for reclaiming usage, similar to queer.
British slang is English-language slang originating from and used in the United Kingdom and also used to a limited extent in Anglophone countries such as Ireland, South Africa, Australia, Canada, and New Zealand, especially by British expatriates. It is also used in the United States to a limited extent. Slang is informal language sometimes peculiar to a particular social class or group and its use in Britain dates back to before the 15th century. The language of slang, in common with the English language, is changing all the time; new words and phrases are being added and some are used so frequently by so many, they almost become mainstream.
There are different types of theatres, but they all have three major parts in common. Theatres are divided into two main sections, the house and the stage; there is also a backstage area in many theatres. The house is the seating area for guests watching a performance and the stage is where the actual performance is given. The backstage area is usually restricted to people who are producing or in the performance.
A cabinet was a private room in the houses and palaces of early modern Europe serving as a study or retreat, usually for a man. The cabinet would be furnished with books and works of art, and sited adjacent to his bedchamber, the equivalent of the Italian Renaissance studiolo. In the Late Medieval period, such newly perceived requirements for privacy had been served by the solar of the English gentry house, and a similar, less secular purpose had been served by a private oratory.
The Mulberry-Garden is a comedy by Restoration poet and playwright Sir Charles Sedley (1639-1701) and was published in 1668
Call boy is the job title of a stagehand in the theatre. They are hired by either the director, producer, or stage crew chief. They report directly to the crew chief, are usually paid by the hour, and will sometimes rotate between several groups from one performance to the next.
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