stage direction

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stage direction

an instruction to an actor or director, written into the script of a play

Stage Direction


a remark added by an author to the text of a play (usually in parentheses) to explain the setting of the action or the appearance and behavior of the characters, including their exits, entrances, movements about the stage, actions, gestures, and intonations. Stage directions sometimes provide supplementary information about characters, such as age, character traits, or biographical details. In the 20th century, biographical and literary stage directions appear in the works of such playwrights as M. Maeterlinck, G. B. Shaw, E. O’Neill, A. Miller, and V. V. Vishnevskii.

References in periodicals archive ?
searchable stage directions and the nature of these publication
The stage direction at 1576 states that "Here pe kyng goth to bed in hast, and Mary goth into an old logge wythowt pe gate" [emphasis mine].
The 'confusion' has been caused by the scribe's refusing to use a new line of space for the stage direction: he has begun Buzzano's speech immediately after Henrico's, thereby taking up no new lines for the stage direction.
The voice responsible for the stage direction describes what it sees, moving from one aspect to another as though it were presenting some of the formal characteristics of a portrait.
Variation in the number and length of stage directions was often linked to how much violent action was shown on the stage, as opposed to being narrated.
In Xixiang ji, one stage direction reads: "The general leads his soldiers, riding a bamboo horse, adjusts his formation, catches Bang (his opponent), and exits.
The stage direction in Q1 reads Enter Maskers with Romeo and a Page.
There is no need, then, to suggest, by adopting Steevens's stage direction, that it is with Romeo's dagger that Juliet ends her life.
vi, Carlo's two lines go to Gasparo -- perhaps as a result of the order in which the four names are given in the original Quarto stage direction.
Often, the stage directions give just as much information as putative speech; they in fact introduce yet another system of communication in among the visual and aural--the so-called soft system of human inflection.
His extensive experience as a dramaturge and director is readily apparent in his works, and his notes and stage directions reveal in intricate detail his vision for stage design, lighting, costumes, and music.