Glossary – By Letter

S-VHS
Video format launched by JVC in 1987. S-VHS resolution is 400 horizontal lines. See also VHS.

S-VIDEO / S VIDEO
TO BE DEFINED.

S.W.L.
Safe Working Load. The weight load that lifting equipment is expected (and designed) to be able to support safely.
The term has now superseded by WLL (Working Load Limit).

sACN
Streaming Advanced Control Network, or Streaming ACN.
Control protocol developed by ESTA to use a standard computer network to send a number of DMX universes between equipment. Similar to ArtNET.

SAFARI
Lighting control software originally manufactured by AVAB Scandinavia. Safari software is now maintained by ETC.
Safari is also the web browser installed on Apple computers and devices.
AVAB website
ETC website

SAFE SYSTEM OF WORK
UK Health and Safety terminology. Can be defined as 'the integration of people, articles and substances in a suitable environment and workplace to produce and maintain an acceptable standard of safety. In this system, due consideration should be given to foreseeable emergencies and the provision of adequate facilities'
Submitted by Chris Higgs

SAFETY BOND
Chain or wire fixed around lantern and lighting bar or boom to prevent danger in the event of failure of the primary support (eg Hook Clamp). A requirement of most licensing authorities in the UK. 
As a standard safety chain does not have a rated loading, current recommendations in the UK is to use an approved (and rated) safety wire (also known as a safety bond) as a secondary suspension. 
Although hook clamps (in the UK) that support lanterns do not fail, they are subject to a number of human failings including not doing the clamp up sufficiently or not tightening the bolt at the base of the hook clamp that connects to the lantern. However, the highest risk is due to a flown lantern being struck by a piece of scenery or another lantern as it flies past. 

SAFETY CHAIN
An old form of secondary suspension used on rigged equipment. 
Because the chain cannot be rated to carry a specific load, safety chains should no longer be used in this application, but should be replaced by rated safety bonds. 

SAFETY CURTAIN
A fireproof "curtain" that can be dropped downstage of the house tabs in a proscenium theatre to separate the audience from the stage in the event of fire.
A Safety Curtain is required by most UK licensing authorities for theatres of traditional design. The regulations also require that it is raised and lowered at least once in view of each audience (usually during the interval). Usually made from sheet metal and electrically operated, these curtains were originally of iron construction faced with asbestos and lowered by gravity using a hydraulic damping system. Colloquially known as the "iron".
Some Safety Curtains are painted - the iron at the Theatre Royal Drury Lane has a beautiful design with the text "For Thine Especial Safety".
The musical Billy Elliot uses a false iron as a scenic device with a pair of doors in it, which would not be permitted for a real iron.
The line on the stage where the fire curtain drops, usually a short distance from the downstage edge of the stage, is known as the FIRE CURTAIN LINE and cannot be obstructed by any fixed scenery.
The first Safety Curtain is believed to date from 1794 at the Theatre Royal Drury Lane, when a (literal) iron curtain complete with water tanks at roof level were installed at the insistence of Richard Brinsley Sheridan, the theatre manager at the time. His architect / builder was Henry Holland. Unfortunately, the curtain failed to operate when a fire occurred in 1809, as the water tanks had emptied, and the iron had rusted.
Also known as FIRE CURTAIN, IRON or ASBESTOS. See also DRENCHER.
More about Safety Curtains

SAFETY EDGE
A safety sensor on the edge of a piece of automated scenery (usually a moving platform) that the automation system uses to detect something or someone out of place and take appropriate action.
See also STAGE EDGE. 

SAMOILOFF EFFECT
Adrian Samoiloff was a Russian artist / lighting designer / scenographer, who used complementary lighting colours to transform scenes and costumes. His shows were run at the London Hippodrome in 1921, and were the talk of London, and later New York. 
The Samoiloff Effect uses complementary coloured lighting to make scenery / costumes look different under different states. 
Adrian Samoiloff at Theatrecrafts.com

SAMPLER
Electronic device for recording a series of sounds digitally so that they are available instantly for playback. Samplers for theatrical use have a number of independent outputs (normally 8) to which any sound sample can be sent at any time. Samplers can be controlled by a MIDI keyboard or by computer control.

SAMPLING
The technique of recording a sound digitally (translating the analogue audio waveform into a series of electrical ons and offs that can be manipulated by a computer) for subsequent processing, editing and playback.

SAND BAG
A canvas bag or sack, sealed at one end and tied at the other end, used to act as a weight. A sand bag can be attached to an unused flying spot line to stop it running back through the pulleys, and to enable it to fly in without fouling adjacent equipment.

SANDNET
Network operating system integrating standard communications protocols with a multitude of industry and manufacturer-specific control protocols.
Sand Network Systems website

SATIRE
1) The use of humour to highlight the failings of others (including society) in an attempt to influence change, or to expose the failings to public scrutiny. 
2) A play, sketch or other performance which uses satire.

SATURATION
The amount of colour in a lighting state, paint treatment or costume design.
The term is usually linked to Hue, which is the colour of a light, costume or piece of scenery (etc.). 
A de-saturated treatment has less colour than before. 

SATURATION RIG
An arrangement of lanterns in which to maximum number of spotlights is placed in every possible position.

SATYR PLAY
Satyr plays were an ancient Greek form of tragicomedy, similar in spirit to burlesque.
A Satyr is one of a troupe of male companions of Pan and Dionysus. He has horse-like features. Roman Mythology identifies the Greek satyr with its faun being half-man, half-goat.
Satyr Plays featured choruses of satyrs, were based on Greek mythology, and were rife with mock drunkenness, brazen sexuality (including phallic props), pranks, sight gags, and general merriment.

SAVE
(US especially) To extinguish a particular lighting instrument (e.g. 'Save 14'). The instrument's lamp (and its colour filter) are thus saved for another occasion. Used when setting up lighting states.
Submitted by Peter Neilson

SAW
There are a number of types of saw used in scenic construction / prop-making.
Bandsaw - A thin saw blade in a continuous loop which is driven by an electric motor and can be used to cut fine details in sheet materials. 
Circular Saw - A powered rotating saw blade held in a housing with built-in guards and guides which allows it to be moved along a large sheet of timber to cut a straight line. 
Hacksaw - A thin metal blade which is held in a metal adjustable frame, used to cut metalwork or other fine materials, by hand. 
Mitre Saw - A powered electric saw similar to a circular saw, which is mounted on an adjustable hinged arm which allows it to be lowered at a range of different angles to cut a piece of wood held in a clamp on the base of the saw. 
Scroll Saw - A smaller version of a Bandsaw which is used to cut intricate shapes in smaller pieces of wood. 
Table Saw  - A vertically rotating electrically powered saw blade fitted with a guard, which is used to cut horizontal sheet material. Care must be taken to ensure the guard is working correctly and that the material is handled properly so the hand of the user is never in danger. 

SBTD
Society of British Theatre Designers.
SBTD Website

SCAFFOLDING
1) System of pipes, clamps and boards which is used in the construction industry to form levels to improve access to high buildings either during construction or maintenance. Shortened to Scaff. 
2) The same system can be used for set construction, with adequate supervision by experienced / qualified persons. 
3) Scaff tubes / pipes are 48mm in diameter and are used as vertical legs on platform systems by various manufacturers including Steeldeck, Metrodeck, Prolyte Staging etc. Originally made of steel, scaff tubes are usually now made from aluminium which is a much lighter weight and therefore easier to work with and safer from a manual handling point of view.
4) Horizontal bars to rig lighting equipment from are made from scaffold tubes (48mm diameter). 

SCALE
Plans and technical drawings have to represent (often very accurately) the real-life dimensions of the objects they're showing. One way to do this is by showing the dimension on the drawing. However for complex layout plans (e.g. lighting plans, set plans) there's not enough room on the drawing. So, a SCALE is chosen which relates the drawing to the real world. Common metric scales in the theatre are 1:25 (1cm on the drawing is equivalent to 25cm in reality) or 1:50. Common imperial scales are 1:24 (1 inch on the drawing is equivalent to 24 inches or 2 feet in reality) or 1:48. The choice of scale depends on the size of the object(s) you're representing. It's obviously very important to show on the drawing the scale being used. A SCALE RULE is calibrated with scaled measurements and can be used to easily read off dimensions from a range of different scales.

SCALE DRAWING
See SCALE.

SCALE RULER
See SCALE.

SCANNER
General name for a moving mirror lantern, especially those used in discos, rather than the more flexible units used in theatre.

SCART
SCART is a 21-pin connector standard which transmits full video and audio signals. Also known as Peritel, Peri TV, or Euroconnector. SCART cables are sometimes uni-directional, and care needs to be taken to ensure the correct cable is used for a particular application. The cables are notoriously unreliable in heavy duty situations, and pins get broken or pushed in fairly easily. However, handled with care, and left in equipment, they are perfectly fine.
Main definition submitted by Stephen Bourke.

SCENA*
TO BE DEFINED

SCENE
1) A pre-programmed lighting state which can be faded in and out during a one night show when there's no time for plotting.
2) A subdivision of a play. See also ACT. Scene is often shortened to 'Sc', so Sc1 refers to Scene One. 

SCENE CHANGE
1) A break between scenes in a play script.
2) A pause during a theatrical performance during which the layout of scenery, furniture or props on stage is changed. This is used to indicate a change of location, or a change in time. As automated scenery becomes more common, scene changes are rarely as painful and jarring as they once were. Even without automated scenery, a well-choreographed crew can execute complex scene changes in seconds. There may not need to be a pause in the action as the actors can continue to deliver lines while the change happens beside / behind them. A scene change is often accompanied by a piece of music. More traditional performances may use a front cloth downstage, in front of which a more straight-forward scene is played out, while the scene change happens upstage. Or there may be an interval scene change, where the crew transform the stage scenery for a completely different look after the interval.
Also known as a SET CHANGE.
Scene Changes at Theatrecrafts.com

SCENE DOCK
High-ceilinged storage area adjacent to the stage, sometimes used for building and storing flats and other scenery.

SCENE-BY-SCENE BREAKDOWN
A listing of the scenes (or even pages) in the script, stating what events happen in them. This can be a useful exercise to get to know the play, but is also useful to be able to remember when in the play a particular event happens, and is a useful rehearsal room reference. 
Example: 
Act 1 Scene 1: We meet the family, Claire states her wish to leave the company. 
Act 1 Scene 2: We meet Claire's boss and it becomes clear how much she is depended on. 

SCENERY
The flattage on the stage and any flown scenery or cloths that have been assembled by the set team, under the direction of the set designer for a particular performance. The arrangement of scenery for a particular scene or part of the performance is known as the 'set'.

SCENIC
Anything connected to the scenery and/or practical elements that are part of the stage set.
A Scenic Artist is skilled in a range of different paint, texturing and modelling techniques to realise the artistic intention of a Set Designer.
Scenic Design at Theatrecrafts.com

SCENIC CARPENTER
A member of the set-construction team that builds the wooden parts of the set, under the supervision of the Head (or Master) Carpenter.
Scenic Design at Theatrecrafts.com

SCENIC DOPE
A thick, often textured, finish used to add interest to flat painted surfaces or props. 
Commerical variants include Rosco Foamcoat, Sculpt or Coat etc.

Eric Hart: Scenic Dope and Monster Mud'

SCENIC PAINT
Traditionally, a mixture of glue size, water and pigment. Modern practice has also adopted PVA (emulsion glaze) as a bonding medium which can be used when scenery has got to be washed and used again.

SCENOGRAPHER
Designer responsible for all the SCENOGRAPHY - the visual aspects of a production (lighting, scenery, costumes etc). One of the greatest scenographers of current times was Josef Svoboda (1920-2002).
Lighting Practitioners

SCENOGRAPHY
See SCENOGRAPHER.

SCHEMATIC
A diagram showing the layout of a complex set of equipment, using simplified graphics / symbols to depict the equipment. 
A lighting plot is a schematic. 

SCISSOR LIFT
A scissor lift is a type of aerial work platform (AWP), also known as an aerial device, elevating work platform (EWP), or mobile elevating work platform (MEWP).
The AWP is a mechanical device used to provide temporary access for people or equipment to inaccessible areas, usually at height. The MEWP can usually be driven around the work area by the operator at height to provide safe access to a wide area, on a flat floor. Scissor lifts have also been used in scenic automation to provide a moveable platform, often built onto a moving base. The scissor lift is used because it is a self-contained device which requires no construction for it to operate within, and which does not extend beyond the horizontal dimensions of the platform.
The mechanism to achieve the vertical lift is the use of linked, folding supports in a criss-cross X pattern, known as a pantograph (or scissor mechanism). The upward motion is achieved by the application of pressure to the outside of the lowest set of supports, elongating the crossing pattern, and propelling the work platform vertically. The platform may also have an extending bridge section to allow closer access to the work area, because of the inherent limits of vertical-only movement.
The contraction of the scissor action can be hydraulic, pneumatic or mechanical (via a leadscrew or rack and pinion system). Depending on the power system employed on the lift, it may require no power to enter descent mode, but rather a simple release of hydraulic or pneumatic pressure. This is the main reason that these methods of powering the lifts are preferred, as it allows a fail-safe option of returning the platform to the ground by release of a manual valve.

SCONCE
A wall-mounted light fixture, where the light is directed upwards. Also refers to a wall-mounted flaming torch.
See also FLAMBEAUX.

SCOOP
A special type of floodlight consisting of a lamp mounted in a large ellipsoidal reflector. The body of the instrument is usually circular which means a soft edged circular beam is produced. A standard FLOOD has a rectangular body.

SCORE
1) The score is the written notation of a musical work. An arrangement of a piece of music for piano is called the Piano Score. An arrangement for a singer is the Vocal Score.
See also LIBRETTO.
2) A series of directions for a physical theatre / dance performance is sometimes called a 'score'.
3) A soundtrack running underneath a performance is called UNDERSCORE.
4) The music / sound tracks running during a performance is sometimes called the score.

SCR
Silicon Controlled Rectifier. See THYRISTOR.

SCRATCH PERFORMANCE
A performance early in the development of a production (play / musical) which is very rough around the edges, and may not have some (or all) of the technical elements, and is usually done on a very small budget. 
It enables the show creator(s) to try out ideas on an audience without investing large amounts of money. 
The scratch is often followed by a request for feedback from the audience or a question & answer session with the creative team. 

SCREEN (PROJECTION)
Many types of projection screen are available. Some are multi-purpose, some only for front projection, some only for back projection. If a screen is not self-supporting, it often has eyelets around the outside edge which are used to 'lace' the screen onto a larger frame.
See also PROJECTION.

SCREENPLAY
(Film) The script of a film or TV production, written for the screen.  
A TV script is sometimes known as a Teleplay. 
50 Best Screenplays To Read and Download

SCREW EYE
A threaded metal ring screwed to the rear of a flat for securing a stage brace. Sometimes known as a Coach Eye. 

SCRIBBLE STRIP
DIsplay window on a lighting, sound or automation control desk which enables the user to add a description of the function of that channel. Can be entered as text, or a hand-drawn image or text. This enables graphical characters (e.g. Chinese) to be used, or other symbols. 
On older analogue systems, the channel function was written on a piece of white PVC tape that was stuck on the control desk. Some systems had a white plastic strip on which chinagraph pencils (wax) could be used. 

SCRIM
1) A coarse gauze
2) A fine metal mesh used to reduce the intensity of light from TV lanterns without affecting colour temperature.
3) Plastic gauze-like material used to line Heras fencing at festivals and other events to act as a partial sight-screen, and also to make the fencing tone in with surroundings.
See also Lighting With A Gauze / Scrim

SCRIPT
The text of a play, containing the words spoken by the actors. Also contains stage directions and other notes.
The script of a piece of musical theatre is called the Libretto. The script for a piece of physical (or non-verbal) theatre is called the Score.

SCRIPTED
1) (TV Production) A TV production that has a full script (e.g. drama or situation comedy). The alternative is unscripted, where presenters / performers improvise along agreed themes.
2) (Theatre) A play with an existing script, rather than a piece which is devised. 

SCROLLER
See COLOUR CHANGER.

SCUMBLING
A scenic artist technique for adding atmosphere and texture to a painted surface, by applying a thin layer of partially transparent GLAZE. The glaze layer can vary between being transparent or opaque, but best results are obtained with opaque light colours over a dark base. This can produce a cloudy effect because it allows some of the painted surface below to remain visible, but not all of it.

SDI
Stands for Serial Digital Interface. A standard for digital video transmission over 75 ohm coaxial cable, using BNC connections.

SEAM ALLOWANCE
Definition coming soon

SEAMSTRESS
Member of the wardrobe department who operates sewing machines and carries out other sewing tasks.

SEATING HOLD
(US) This is a period of time when audience are not able to enter the auditorium or move around, usually due to the presence of actors in the auditorium or for other safety-related reasons. Latecomers must wait in the lobby until the aisles have been cleared of cast members, and the seating hold has been lifted, before being led to their seats. 

SECAM / S.E.C.A.M.
Television standard used mainly in France and former USSR. Stands for 'Séquential Couleur Á Mémoire'
Uses 625 lines of resolution like PAL and 25 frames per second, but has a colour processing system not compatible with other systems. See also PAL and NTSC.
More about TV standards

SECONDARY LIGHTING
Separately powered lighting system for use throughout the building in the event of failure of the primary system. Usually battery powered. Maintained lighting is on all the time, regardless of changes in the stage lighting, and is battery backed-up.
Non-maintained systems only light in the event of power failure or an alarm condition.
Secondary lighting systems should be regularly checked by an electrician to ensure they operate correctly.

SECTION
See ELEVATION.

SEGUE
Musical term for an immediate follow-on. Now often used as jargon for any kind of immediate follow-on.
Pronounded 'segway'

SELECON
(Manufacturer) New Zealand-based manufacturer of theatre lanterns.
Selecon website

SELVEDGE
The edge produced on a piece of woven fabric which prevents it from unravelling. 

SEMAPHORE
See COLOUR CHANGER.
Colour Changers at the Backstage Heritage Collection

SEMIOTICS
The study of signs - many conventions in lighting design rely on signs (blue must be night-time, red is evil etc.)
Semiotics for Beginners

SEND
See AUXILIARY OUTPUT.

SEQUENCING
A act of recording digitally and manipulating the MIDI information required to remotely play a synthesizer keyboard or similar device. A sequence of notes.

SERGE
Fabric used for masking curtains in theatres. Inherently-Flame-Retardant (IFR) Black Wool Serge is the most common. 
Wool Serge at Showtex

SERIES SPLITTER
An adaptor consisting of a plug and two sockets wired in series. Enables two identical 110 Volt loads to be safely run from a 240 Volt supply (UK).

SET
1) To prepare the stage for action. (verb) - e.g. 'Have you set the chairs for Act 1?'
2) The complete stage setting for a scene or act. (noun) - e.g.'What's the set for the finale?' French: décors.
See also RESET. 

SET BACK
To reset technical systems to a particular point in the show in order to repeat a sequence or scene during rehearsals. (e.g. 'Can we set back to the entrance of Lady Bracknell').
See also RESET. 

SET BUILDER
Member of theatre's production department or outside contractor who is responsible for realising the set designer's construction in timber, steel or other material as specified by the designer.

SET DESIGNER
Member of the artistic team for a show who works with the director to create the scenic 'look' for the stage throughout the show and any accompanying props.  They sometimes also design the costumes.
The set designer works with the production manager to ensure the design stays within the budget. Many theatres have a stock of scenery which means that items can be reused by recovering or repainting in a different production
In Europe, the set design is sometimes called 'Decor'.
See also MODEL, SCENOGRAPHER.
Scenic Design at Theatrecrafts.com

SET DRESSER
Member of production staff who is responsible for the props and furniture that are required on the set. This position only exists in larger organisations. Set dressing is often the job of the stage management department.

SETTING LINE
Imaginary line running across the width of the stage, in line with the proscenium arch, which is marked on the groundplan and is used as a reference when planning set and furniture layouts etc. Usually the furthest downstage anything can be set without fouling the house tabs.
Known in some theatres as the PLASTER LINE - this refers to the upstage edge of the proscenium wall.
See also CENTRE LINE.

SFX
1) Abbreviation for SOUND EFFECTS.
2) Windows media playback software by Stage Research.

SHACKLE
A metal connecting device originally for joining chain, comprising two parts. An open link connects the items to be joined and a pin is fitted to make the link complete. Many sizes and designs exist, the most common to the entertainment world being the screw pin 'bow' or 'anchor' shackle, originally for fixing chains to anchor stocks. The pin should always loaded in shear, not in tension.
Submitted by Chris Higgs

SHADE
1) Artistic lighting design can (sometimes) be about what is not lit as much as what is. Light and Shade together make up the overall picture.
2) A lampshade is positioned around a light fitting to direct the light as desired and to improve its' appearance.
3) Actors strive for a variation of tone and emotion -  the terms light and shade are sometimes used to describe the tonal variety.
See also CHIAROSCURO

SHADOW
A dark area on stage resulting from a person, piece of scenery or other object blocking the rays from a light source. 
Shadows in theatre lighting may be highly desirable, or unwanted, depending on the situation. 
In the natural world, bright sunlight produces shadows, and the length of the shadow defines the time of day. A cloudy day results in hazy or no shadows. Indoor lighting produces a shadow from each light source. It follows that naturalistic lighting requires either a single shadow (to replicate sunlight) or no shadows for outdoor scenes, and a shadow per practical light source for indoor scenes. It is very difficult to achieve this ideal, but a bright backlight and a dimmed front light can help to remove/reduce shadows from the front light and create a single one from the backlight.

SHAKESPEARE
The Globe Theatre was a theatre in London associated with William Shakespeare.
It was built in 1599 by Shakespeare's playing company, the Lord Chamberlain's Men, on land owned by Thomas Brend and inherited by his son, Nicholas Brend and grandson Sir Matthew Brend, and was destroyed by fire on 29 June 1613.
A second Globe Theatre was built on the same site by June 1614 and closed in 1642.
A modern reconstruction of the Globe, named 'Shakespeare's Globe', opened in 1997 approximately 750 feet (230 m) from the site of the original theatre.

SHARPIE
Trade name for a range of permanent marker pens.
See also SHARPY. 
Sharpie website
Clay Paky Sharpy website

SHEAVE
The wheel in a pulley block which carries the wire or rope.

SHEET BEND
Useful knot for joining two pieces of rope of different thicknesses to extend them.
Video

SHIELD
In an audio cable, a conductive cylinder around one or more center conductors that protects against unwanted electrostatic fields that could induce a signal, heard as a hum or buzz, across the conductors of the cable.

SHIFTER
The common Australian term for AJ's, c-wrenches, spanners etc.

SHIM
A thin piece of material used to fill a small gap between pieces of scenery, or to reduce wear between two pieces of (e.g.) staging.

SHINS
The lowest lantern on a lighting boom. Named because of the proximity of sharp parts of the lantern to the flesh of the lower leg. This especially applies to standard dance lighting, when the lanterns are positioned at optimum height to light dancers on the stage floor. When the boom is lighting scenic items or large groups, the lanterns may be higher up the boom and the term will no longer apply.
Also known as Shin Buster. The other lanterns on the boom are known as MIDS and HEADS.

SHOP
(US) Section of the theatre where scenery is constructed (Scene Shop), or props are made (Prop Shop).
Often shortened to 'Shop'.

SHORT NOSE
Normally refers to a Short-Nose Parcan - a lighting instrument that uses a normal size PAR lamp, but has been shortened to either make it less obtrusive, or to get a wider beam angle.

SHOT
A range of terms are used to describe how a particular filmed image looks. This terminology is also sometimes used for followspot size descriptions. 

Extreme Wide Shot (ELS / EWS)
Wide Shot (WS) / Long Shot (LS)
Full Shot (FS) - Full body is seen (from top of head to feet).
Medium Long Shot (MLS) / Medium Wide Shot (MWS)
Medium Shot (MS)
Medium Close Up (MCU)
Close Up (CU)
Extreme Close Up (ECU)

See the link below for visuals showing the types of shots. 
Careers In Film -Types of Shots

SHOT BAG
A heavy-duty canvas bag filled with lead shot, used as a weight to hold scenery in place on stage. See also BRACE WEIGHT.

SHOT SEQUENCE
Film-making term for a closely-related group of shots which are all part of the same idea. There could, for example, be a number of shots of the same action from different distances / directions, which are edited together. 

SHOTGUN MICROPHONE
A type of highly directional, high quality condenser microphone which can be placed a relatively long way from a sound source. A shotgun microphone uses a hypercardoid PICK-UP pattern.

SHOW BUILDING
Covered structure within a theme park containing a single ride system.

SHOW CLOTH
Front cloth painted with a design specific to a particular show, sometimes containing the show logo or title.

SHOW CONTROL*
TO BE DEFINED

SHOW DECK
A false floor built on top of the theatre stage, which contains technical elements such as automation tracks or revolves, concealed lighting or smoke effects. In some large shows, the show deck completely replaces the existing theatre stage, which is put back into position when the show has finished it's run.

SHOW ELEMENT
Term for an item of scenery or prop required for a production.

SHOW RECORDINGS
A wide range of video recordings of performances are available in a huge number of archives. 
Examples include:
Broadway HD (https://www.broadwayhd.com/)
Digital Theatre (https://www.digitaltheatre.com/)
Drama Online (https://www.dramaonlinelibrary.com/) 
National Theatre Collection (https://www.nationaltheatre.org.uk/learning/national-theatre-collection) 
Shakespeare's Globe (https://www.shakespearesglobe.com/watch/)
WhatsOnStage (https://www.whatsonstage.com/)

SHOW RELAY
A network of speakers carrying the sound of the show, and sometimes stage managers calls, to the furthest reaches of the theatre. (e.g 'Can we turn the show relay down please?')

SHOW REPORT
A written report by stage management giving problems, running times, show staff and audience numbers for the previous days' performance(s). Copies are circulated to the technical departments and management staff and a copy is filed in the prompt book. Also known as a Performance Report.
The Show Report

SHOW STOP
When an emergency situation means the performance cannot continue, a SHOW STOP is announced. The stop would be called most often because of a safety issue (e.g. a piece of scenic automation is stuck in a dangerous position, or is blocking the stage or flytower in such a way that the show cannot continue. Or a performer has been injured). The audience may be asked to leave the theatre (and be issued refunds) or be asked to remain in their seats while the situation is corrected. For example, if a trapdoor is stuck open, the show must be stopped until it can be closed and made safe.
A heavily automated show should have a pre-recorded announcement, but it may be more human / theatrical to have a member of the stage management team or the company manager to walk on stage with the houselights up and make an announcement along these lines: 'Ladies and Gentlement, sorry to interrupt the performance, but we've had to pause the show here for a few moments while we reset some technical equipment to enable us to continue safely. Please remain in your seats - the performance will continue shortly'. Obviously if there's a major failure and it's unlikely the performance will be able to continue, the procedure should be to apologise to the audience, to give them information about how to obtain a refund or another ticket, and then to ask them to leave the auditorium.

SHOWCALLER
The member of the stage management team who is calling the cues. In the UK this person is known as the DSM on the book.

SHOWDESIGNER
Visualisation software produced by Martin.
Martin website

SHOWING
A less-formal performance, used as part of the development process of a piece of theatre, for an audience connected to the developers in some way rather than being a full public performance. A SHARING is similar, but is for a more defined audience - usually the group that is working on the piece, and other members of a creative team.

SHOWSTOPPER
1) A Showstopper is a moment in a show that results in long applause (or demands for an encore) which delays the continuation of the show. Ideally, the showstopper should be positioned either before an interval, or before a suitable change in pace which won't be negatively affected by the pause. 
2) A failure of a particular technical effect or sequence could be said to be a showstopper, for example, if a piece of scenery gets stuck on stage or a trapdoor gets stuck in the open position. The production team should develop a whole set of contingencies which allow the show to continue whenever possible, either by omitting or simplifying a sequence, having an alternate choreography, or having an alternative sequence which could be performed in a different part of the stage to enable crew to reset the failed devices. 
See also SHOW STOP. 

SHTICK
Yiddish slang meaning 'gimmick', this now refers to someone's usual behaviour, or a performers' usual routine or on-stage business. 

SHURE
(Manufacturer) American sound equipment maker specialising in microphones (especially the industry standard SM58 vocal mic).
Shure website

SHUTTER
Part of a profile lantern. Metal blade which can be used to shape the edge of the beam. Shutters (normally four) are located in the gate at the centre of the lantern. Similar in effect to barndoors on a Fresnel or PC lantern, but a lot more flexible.
The position of a shutter in the light beam is known as the shutter cut. 
See also FRAMING SHUTTERS.

SIBILANCE
Undesirable characteristic of some performer's speech when s, sh or ch sounds are emphasised.

SIDEARM
US equivalent to a UK Boom Arm. Used to mount lanterns onto vertical booms. 
City Theatrical Safer Sidearm

SIDELIGHT
Most associated with dance lighting, Sidelight comes from the wings of an end-on stage, and lights the dancers' / actors' bodies, without lighting the stage floor, and without lighting the scenery.
This type of light has a sculpting effect on the bodies, and really separates them from the scenery / backdrop / cyclorama, and reduces distracting shadows on the stage floor.
See also FRONT LIGHT, BACKLIGHT, CROSSLIGHT, DOWNLIGHT.

SIDES
Printed pages of lines given to actors on a film or TV show. Lines are often changed / refined at the last minute, so a script printed at the start of the project will be out-of-date very quickly.
Sides are also given out at auditions for actors to work with, without needing to give them the whole script. 
See also LINES.

SIGHTLINES
A series of lines drawn on plan and section to show how much of the stage can be seen by the extreme seating positions in the auditorium. Often also marked in the wings as a guide to the actors and crew to stay out of view.

SIGHTS
A pair of metal rings attached to the side or top of a followspot which enables the operator to accurately line up the beam (by looking down the length of the followspot through the rings) before turning it on. See GHOSTING.

SIGNAL PROCESSOR
Audio equipment that modifies or enhances the audio signal. Examples of signal processors include Graphic Equalisers, Noise Gates, Effect Processors, Delay Lines, Compressors and Limiters. 
Digital sound desks now have these functions built in, but separate (outboard) equipment is still required for many applications. 

SIGNAL TO NOISE RATIO
The ratio of the average signal (recorded or processed) to the background noise (due to the recording medium or electronic processing). The ratio is usually expressed in decibels.

SILAMIDE
Silamide is a pre-waxed two-ply twisted nylon thread. It has a great texture and is strong and resiliant. It can be used for all beadweaving stitches including loom work and bead embroidery.
Sold on cards of 40 yards (approximately 36.5 m). (Definition from Robins Beads - see link below)

SILHOUETTE
1) To light the cyclorama or a piece of upstage set in such a way that the actors are cast into shadow. Can be a very dramatic effect.
2) (Trade Name) A range of 2000W lanterns manufactured by CCT in the UK.
3) The outline of a costume is called the silhouette.
CCT Silhouette in the Backstage Heritage Collection

SILK
A special type of diffusion frost filter which stretches the light in one direction. Especially useful for lighting large cycloramas with a limited number of lanterns, or for lighting an elongated object (eg a staircase) with one lantern.

SILK FLAME
A substitute for a real flame, consisting of flame-shaped pieces of light-coloured silk, with an orange/red light underneath, and blown by a fan pointing upwards.  The airflow keeps the silk upright, with a random movement which from a distance reads as a flame.

SILL
See FLAT.

SILL IRON
A piece of flat iron screwed to the bottom rail of a door flat which holds it together, and ensures that the flat doesn't warp. Invisible to the audience.

SILVER JET
Pyrotechnic cartridge produced by Le Maitre, which produces a bright shower of sparks in a fountain. This is a type of GERB.

SINAKULO
A retelling of the story of Jesus Christ, performed each year during Holy Week in lowland Philippines. Performed outdoors by and for the community in villages that observe this folk drama tradition.
See also MYSTERY PLAYS.

SINGLE PURCHASE
Counterweight flying system where the cradle travels the same vertical distance as the fly bar. The counterweight frame therefore occupies the full height of the side wall of the stage. See also Double Purchase.

SIRIUS
(Trade Name) Manual/memory lighting control desk previously manufactured by Zero 88 in the UK. Available as Sirius 24 (24 channels) or Sirius 48. Desks can be linked together.
Zero 88 website

SITCOM
Short for Situation Comedy - a Radio or TV show featuring a regular cast of characters who, each episode, find themselves in a different situation, with comic outcomes. There are often storylines or character arcs which continue alongside the weekly situations. Examples are Friends, The Office, Will & Grace, Blackadder, Futurama, Fawlty Towers etc.

SITE-SPECIFIC THEATRE
A piece of performance which has been designed to work only in a particular non-theatre space. The space may have been adapted to fit into the themes or style of the production. A site-sensitive (or space-sensitive) piece, on the other hand, will not adapt the space, but work with it's style and history to create a piece of performance. See also PROMENADE, IMMERSIVE THEATRE, INSTALLATION.

SITZPROBE
(German for seated rehearsal). The first rehearsal between Opera or Musical singers and the orchestra. No attempt is made to act or move the production at this rehearsal. It's mainly for the orchestra and performers to share their progress. Although some use this as a time to try out microphones and establish the sound mix, that isn't what the Sitzprobe is for - it's to focus on the music, not the technology. Actors can use handheld or wired microphones if that's useful. 
See also WANDELPROBE

SIX LAMP BAR
An internally-wired lighting bar, designed for touring, with six socket outlets terminated in a multi-way connector (e.g. SOCAPEX or LECTRIFLEX). Often pre-rigged with lanterns (eg Parcans). Stored in Meatracks. A bar pre-rigged with Parcans is sometimes known as a PAR BAR.

SIZE
A bonding medium used with pigments and water to make an economic paint. Size is produced by boiling animal connective tissue, so it's known as Animal Glue. It's similar to Gelatin, also an animal glue, which is used in foodstuffs.
A modern equivalent to size is watered-down PVA glue for stiffening cloth after applying it to a scenic flat, before painting it with emulsion paint. 
See also SCENIC PAINT.

SKELETON SET
A piece of scenery consisting of an unclad / uncovered framework structure, made from wood or metal (often scaffolding). 

SKENE
Greek word (sk?n? pronounced skay-nay) referring to the area at the rear of the acting area in an ancient performance space. The sk?n? was originally a building or tent, but was sometimes painted onto scenery.

SKIN MONEY
Extra payment made to actors when nudity is required on stage.

SKIP (Costume/Props)
A large wicker basket or box, often wheeled, which stores costumes and/or props for touring.

SKIT
A short (usually) comedic sketch, often satirical or a parody.

SLAPSTICK
1) Two pieces of wood loosely joined at one end, which make a loud 'slap' sound when used to hit something / someone. 2) Form of physical comedy where people get hit, covered in custard pies or showered with water.

SLATE
(Actor audition term) When auditioning on-camera, or when recording a piece of footage, an actor may be asked to Slate their name and their agent's name, or to Slate the scene being recorded. This term is from the film industry when a piece of slate with chalk writing on it to indicate the actor being shot was filmed for a few frames before the actor, to enable later identification.

SLEEVED STEEL
A 'steel' that is fitted at manufacture with a loose protective sleeve of PVC tubing (ideally transparent, to permit examination of the wire rope) or roundsling sheathing.
Submitted by Chris Higgs

SLIDE
See PROJECTION.

SLIP STAGE
A large wheeled stage platform which can be stored into the wing and can traverse the stage, usually mechanically driven. Common in large opera houses. Also known as a Stage Wagon.
Russian: Ñ„урка

SLOAT
Now obsolete term for a piece of Victorian stage machinery first mentioned in 1843.
A sloat is a set of vertical rails or runners which were used to carry a platform for raising or lowering profile scenery, groundrows etc through a cut (narrow trap) in the stage floor. Believed to be a variant of 'slot'.
The term is used by some companies (e.g. Cirque du Soleil) to mean 'sliding, lifting, opening, automated traps' but this is a modern reinterpretation of the term, not the original use. 

SLOPER
A clothing pattern based on exact measurements of a particular person. The sloper can be used with any existing pattern to ensure a perfect fit.

SLOSH
(UK) A routine in circus or pantomime which involves clowns or characters throwing 'custard', gunge or similar brightly coloured materials at each other from buckets. Usually involves a floorcloth (to contain the mess) or a wheeled platform for the act to take place on to prevent too much getting on the stage, and to enable it to be quickly cleared.

SMA / S.M.A.
(UK) Stage Management Association who also publish the Freelist - a list of stage management available for work.

SMART GLASS
Glass (or film that can be applied to existing glass) which can make a window opaque when an electric current is passed through it.

SMOKE
See SMOKE MACHINE

SMOKE COOKIE
A pyrotechnic product which produces a cloud of real smoke when set alight.
Also known as a Smoke Pellet. 

SMOKE DETECTORS
Many theatre buildings have complex fire alarm systems installed. Some theatre spaces have smoke detectors in them, which trigger a fire alarm when the space fills with smoke. The use of SMOKE MACHINES in these spaces can (and does) result in expensive call-outs of the fire department and evacuated auditoria.
There are special heat-sensitive detectors called RATE OF RISE detectors which trigger a fire alarm when the temperature rises faster than it should normally. Properly calibrated (and regularly tested) these can be as effective than the smoke detectors (which work by 'seeing' smoke particles in the air). If it's not possible to get Rate of Rise detectors installed in your theatre space instead of smoke detectors, you may be able (subject to local building regulations and local fire department advice) to isolate the smoke detectors for the duration of the performance when you use smoke effects. Properly designed alarm systems incorporate timed isolation, so that smoke detectors are only off for a specific period, and automatically come on after that period.

SMOKE MACHINE
A Smoke Machine or Fogger is an electrically powered unit which produces clouds of white non-toxic fog (available in different flavours/smells) by the vaporisation of mineral oil. It is specially designed for theatre & film use.
A Haze machine, Hazer or Diffusion Fogger is used to produce an atmospheric haze, rather than clouds of smoke, and is used by many lighting designers to reveal airborne light beams.
The first smoke machines came onto the market in the late 1970s.
See also CRACKED OIL, DRY ICE.
It's essential to know whether your venue uses SMOKE DETECTORS on the fire alarm system. See that entry for more information.
Fog / Smoke / Haze On Stage

SMOKE POCKET
A vertical steel channel on the upstage edges of the proscenium arch in which the edges of the fire curtain travel, designed to stop smoke travelling around the fire curtain.
JR Clancy website

SMPTE
(pronounced 'SIMPTEE') SMPTE stands for Society of Motion Picture and Television Engineers (US). 
The term refers to a timecode for synchronising pre-recorded show elements (e.g. sound or video) with other elements. For example, a timecoded 'click' is played to the musicial director to enable her/him to keep in time, and lighting and video cues are triggered at a particular time within the piece of music. Timecode is measured in hours, minutes, seconds and frames. There are usually 30 frames per second, meaning an accuracy of 1/30th of a second is possible. 
Where the timecode is played as an audio track, it's known as Linear Timecode (LTC). 
SMPTE website
Theatrecrafts.com: Controlling Lighting and Sound With Timecode

SNAGGING
Contruction industry term for the process of looking at a completed building and making lists of problems, breakages or imperfections in the result. These 'snags' are then addressed by the building company so that there are none by the time the building is occupied by its' end users. Term could also apply to the same process of checking for problems around a set build before the actors are let loose on it. 

SNAKE
See MULTICORE.

SNAP
A lighting or sound cue with no fade time - the cue happens instantly.
This can be acheived on a computerised lighting desk by using a fade time of zero seconds.

SNAP BLACKOUT
Lighting: A sudden cut to blackout (often abbreviated to SBO). A blackout with a fade time of zero seconds. 

SNAP CHANGE
See SNAP.

SNAP HOOK
A plastic or metal 'S' hook used to hang tabs etc. A sprung catch prevents the hook becoming detached.

SNAP LINE
Chalked piece of string which, when stretched tight and 'snapped' is used for marking straight lines on stage or on scenery as a painting aid.

SNAPPER
See GRELCO.

SNEAK
Function on ETC lighting desks which allows you to remove a channel from a 'live' lighting state at a preset speed.
(e.g. SNEAK 1 ENTER will fade channel 1 out of the current lighting state).

SNOOT
See TOP HAT.

SNOW BAG
Long narrow cloth bag fixed between two flying bars filled with artificial snow. When one of the bars is flown in and out the snow is shaken out onto the stage.

SNUB
US term. To sieze the lines on a flying piece to prevent it's movement, either with another rope or with a mechanical line locking device.

SOCA
See SOCAPEX.

SOCAPEX
A multipin connector which can carry a series of lighting or sound circuits. Very robust and designed for touring. Available in 19 pin (6 circuits) and 37 pin (12 circuits) configurations. Sometimes shortened to SOCA. See also LECTRIFLEX.

SOCKET
A power or signal connection point where a plug can be inserted to make a connection from the source of power. Sockets can be used as signal outputs or inputs, and are usually used as power outputs, due to the shielded connections, making it impossible to touch the live connections with fingers. 
Sockets are often wall or panel mounted, while plugs are used to connect portable equipment. 
There are exceptions of course - powercon connections which are panel mounted can be either power inputs OR outputs, and are differently colour coded to make it clear which is which, and the connectors are designed so they cannot be used incorrectly. 

SOFT GOODS
Any fabric used for decoration or masking around the stage.

SOFT KEY
Short for Software Key. A button on a lighting or sound desk whose function changes according to your last action. The function of the soft key is often shown on an adjacent display panel. The keys are often numbered rather than being labelled (e.g. on the ETC Express and Ion range of lighting desks, the soft keys are numbered S1 to S8).

SOFT LIGHT
Asymmetric flood light used as a fill light in TV studios to eliminate shadows and balance the key light.

SOFT PATCH
See PATCHING.

SOFTENING
The materials used to protect a sling or an object from sling damage (burlap or PVC sheathing etc.)
Submitted by Chris Higgs

SOLD OUT
A performance that has no tickets available to the public is Sold Out, also known as a Sell Out. 
Some tickets may remain for the theatre management to release at the last possible minute. These are sometimes known as House Seats.

SOLILOQUY
Lines delivered by an actor on stage as if to her/himself. See also MONOLOGUE, DIALOGUE.

SOLO
1) On a sound desk, the solo button on each input channel silences all other inputs so that channel alone can be heard. Dangerous to use during a show, but can be useful for fault-finding or testing equipment.
2) On a lighting desk, SOLO mode kills all other channels except the single dimmer you're working with. Again, can be useful for identifying a channel in a large rig, but can be dangerous during a show. Some desks allow you to assign flash buttons to SOLO mode which will turn off all channels except those loaded into that flash button or submaster. This can be used for a quick lightning effect (but it's a bit tacky). On Strand Lighting memory desks, the solo function is called REMAINDER DIM (or REM DIM).

SOLT
Society of London Theatres (UK)

SON ET LUMIERE
An audiovisual entertainment often based on an historical theme (and often produced in a historically relevant location). A voice narration is often used and lighting / special effects set the mood and portray certain events in time with the narration. Often used to refer to a performance with no performer where the meaning is communicated solely with technical effects.

SONGSHEET
Traditional ending to a British Pantomime performance, usually involving the Dame character encouraging the audience to sing along with a traditional (and/or silly) song that conveniently allows the stage management team to set up the WALKDOWN, a usually spectacular finale to the performance. The lyrics of the song are flown in, in front of the frontcloth. This sequence may also involve announcing any special visitors or audience birthdays, and possibly inviting a couple of children to the stage to take part in the song. 

SOP / S.O.P.
Standard Operating Procedure. The preferred method for running a particular attraction or ride in a theme park / amusement park.

SOTTO VOCE
Italian 'under the voice' - means to lower the volume of a voice either for emphasis or as an aside comment, designed not to be heard by others on stage. 

SOUND BOARD
See MIXER.

SOUND CARD
Originally an accessory to a computer which equips the PC with the ability to play back and record sound. Early Windows sound interfaces were the Creative Sound Blaster (from 1981 - present) or cards made by Turtle Beach.
The term now (sometimes) refers to any external sound interface designed to allow multiple audio devices to connect to a Windows or Mac (or other) computer. External sound cards / audio interfaces were connected via FireWire, and are now connected via USB. 

SOUND CHECK
A thorough test of the sound system before a performance. This will include checking each speaker cabinet individually, and each playback device. In the case of a live concert, this is the session when each instrument is played in turn for the sound engineer to check and fine-tune the sound. A line check should be carried out methodically to ensure that every input to the sound desk is working correctly.

SOUND DESIGNER
Member of the production team who has the responsibility for planning and executing the layout of all sound playback and reinforcement equipment for the show. This role also includes the sourcing of music and sound effects for the production.
See also SOUND OPERATOR.

SOUND DESK
See MIXER.

SOUND EFFECT
See Effect, Sound.

SOUND ENGINEER
Member of the Sound Department / Audio Department, also known as Audio 1, who is responsible for operating the sound mixer to ensure that microphones and other audio sources are mixed to carry out the sound designers' vision for the show. Although many operations can be automated, to ensure that groups of microphones are unmuted at the right time, to ensure maximum quality and volume in the sound mix, faders must be continuously monitored and adjusted - only microphones that are needed at each precise moment should be 'live' so that no unwanted sounds are audible through the PA system.
The sound engineer on a musical will usually have an assistant working backstage, who ensures that radio microphones are working, and are fully charged, and allocated to the correct performers. Any faults during the show should be remedied (by changing batteries, adjusting aerials or replacing microphone heads) and communicated to the sound engineer immediately to adjust the mix accordingly. 

SOUND OPERATOR
Also known as Sound Op. The Sound Operator is responsible for operating the sound playback and mixing equipment for a show. They are sometimes a member of the Electrics department of the theatre and work with the sound designer for the production, or they may be employed just for the show. 
The main operator is called Sound No.1 (or Audio 1)
A standby / second operator is Sound No.2 and so on. 

SOUND REINFORCEMENT
Amplifying a voice just enough so that it can be heard, without the audience being aware that it is being amplified (ideally !).

SOUND TO LIGHT
A facility which can link the effects panel on a lighting board to an audio input which detects treble, mid and bass beats, and can flash lights or trigger effects in time to those beats. First used when electronics allowed it cheaply in the late 1960's/

SOUNDCRAFT
(Manufacturer) Maker of Sound Desks in the UK.
Soundcraft website

SOUNDSCAPE
A background sound that runs under a scene, to help establish a reality for the world of the play, and to immerse the audience in that world. It can also be used to heighten emotional moods and to emphasise important occurances. 

SOURCE FOUR
(Trade Name) (Also known as S4) Range of lanterns manufacturer by ETC, and designed by David Cunningham. 
Source Four on the ETC website

SPAA
Screen Producers Association of Australia.
SPAA website

SPADE
Thick metal blade which is inserted through a piece of moving scenery into a MOUSE to allow the movement of the scenery to be controlled by an AUTOMATION system.
In the USA, a Spade is called a KNIFE (and the Mouse is a DOG). 
There are usually two spades inserted into a piece of scenery or furniture; one is the DRIVE (connected to the Mouse which is attached to the motor system) and the other is the GUIDE. 

SPADING UP / SPADED UP
The act of preparing an item of scenery to be moved by a scenic automation system using a MOUSE / SPADE system.

SPANSET
(Trade Name) Sling and safety equipment manufacturer, whose name is often generically used for a roundsling. Spanset were the originator, and popularised the modern day roundsling.
Spanset website
Additional information submitted by Chris Higgs.

SPARE

SPARE

SPARK PRODUCING DEVICE (SPD)
Pyrotechnic effect that creates a focussed burst of sparks from a small tube. 

SPARKY
See LAMPY.

SPATTERING
A scenic artist technique for breaking down a painted surface to make it look more interesting, by taking a paint brush and flicking it to throw random spatters of paint.

SPDIF or S/PDIF
Sony and Philips Digital Interconnect Format. Digital link between (usually) CD players and recording equipment. The S/PDIF format can cope with sample rates of up to 96kHz (CD is only 44.1kHz) and 24bit (CD is only 16 bit). S/PDIF followed on from AES/EBU (similar data stream, but different connector).
More about S/PDIF

SPEAKER
See Loudspeaker.

SPEAKON CONNECTOR
Manufactured by Neutrik. A type of shielded, locking multipin speaker connector which can safely carry the high currents from an amplifier needed to drive large speaker systems. Available in 4- or 8-way types, and ideal for bi-amplified systems. The cable version of the connector is male, and the panel mount connector is female.
Neutrik website

SPEAR CARRIER
See WALK-ON.

SPECIAL
An instrument within the lighting rig which is required for a specific moment or effect within the performance, and is not part of the general cover lighting. See GENERAL COVER.

SPECTACLE
A theatrical performance using large scale scenery and effects to wow the audience. Popularised in Victorian times, they featured water tanks, live animals, moving stages and aerial effects.

SPEED OF LIGHT
The speed of light travelling through a vacuum is 186,282 miles per second.
A light year (the distance that light will travel in one year) is around 6 trillion miles. 

SPEED OF SOUND
The speed that sound travels through the air is around 343 metres per second (dry air, at 20 °C (68 °F).
At 0 °C (32 °F), the speed is about 331 meters per second (dry air). 
Wikipedia entry

SPEEDRAIL
System of low-profile scaffolding clamps using allen keys to secure them in place. Used for a range of theatre / exhibition projects. Made by Hollaender in the USA.
Hollaender website

SPIDER
Adaptor to connect many lanterns to one multicore cable. Consists of multipin connector (typically Socapex or Lectriflex), short length of cable, then a number of sockets related to the number of circuits in the cable.

SPIEL
(From German spielen: To play (music)) A slicky delivered speech / sales patter, often long and convoluted. 

SPIGOT
An adaptor screwed onto the hanging bolt of an instrument to enable it to be used on an upright stand.

SPIKE
1) (vb.) To mark the position of an item of set/furniture on stage or in the rehearsal room.
2) (n.) A mark on stage (e.g. 'put the chair on the spike')
Spike Tape is normally thin gaffa tape, although other weaker tape (e.g. masking tape) is used on precious floors. Sometimes, any securing of cable etc to floor is known as 'Spiking'.
Where precision is required during blackouts, GLOW TAPE is often used to spike positions.
On large productions with show decks installed above the main theatre stage, small embedded LED bulbs can be used to mark specific positions. These can be switched on and off as required.
See also SPIKE MATRIX.

SPIKE MATRIX
A document listing positions of spike marks needed for a show, to aid in the transferring of marks from rehearsal room to stage. Especially useful when touring. The positions are defined by a distance from the center line and from the setting line (usually the proscenium arch line / front of the stage). The table should also include the colour of tape to be used, what the mark is representing, and which scene it appears in.

SPIKE TAPE
See SPIKE.

SPIKEMARK
(Trade Name) Software built by scenic automation company Creative Conners to use with their automation systems.
Creative Conners website

SPILL
Unwanted light onstage.

SPILL RINGS
Concentric rings attached to the front of a beamlight (eg Strand Pageant) to contain spill.

SPIRIT GUM
An adhesive used to stick (e.g.) false facial hair to actors skin. Can be removed with surgical spirit.

SPL (Sound Pressure Level)
A measurement of the loudness of a sound.

SPLICE
1) A join or edit in a sound tape. A splice may be between leader tape and audio tape or between two pieces of audio tape. Splicing tape is the adhesive tape used, a splicing block is used to hold the tape and guide the single-sided razor blade when making the cut.
2) A join in two pieces of rope, made by tightly interweaving the strands from the two ropes so they become a single piece of rope.

SPLITTER
See ADAPTOR.

SPONGING
A scenic artist's technique to apply a textured paint finish to a piece of scenery or a prop, achieved by dipping a natural sponge into paint and then applying it to the scenery.

SPOT
1) To reduce the beam size of a fresnel or pc lantern by moving the lamp further from the lens. (e.g. 'Could you spot that down a touch, please?'). See also FLOOD.
2) A profile spotlight (e.g. 'The third spot we need for the show is on the piano DSL')
3) A moving light that can project gobos and/or a beam with hard-focussed edges. (see also WASH)
Types of lantern

SPOT LINE
A temporary line dropped from the grid to suspend something in an exact special position.

SPOT SEAT
Chair for suspending followspot operator above a stage / auditorium. Normally rigged on a truss system. The operator gets to the seat up a wire rope ladder, and is strapped into the seat. They will normally wear a harness when getting to the chair for extra safety. The seat itself is an adapted car 'bucket' seat.

SPOTLIGHT
General term for any lantern with a lens system. See Fresnel, PC, Profile.
German: Theaterscheinwerfer

SPOTTER
Member of the fly crew who's responsibility is to check it's safe to fly an item on cue. Sometimes this role is taken by the flyman / fly operator him/herself. It's essential there's ALWAYS visual confirmation it's safe to move any flown object. A stage manager might not have time to check the stage is clear before giving the cue to fly so it's important someone else has the authority to NOT FLY if there's someone or something in the wrong place.

SPREADER PLATE
Part of the flying system, commonly used in the US. Spreader plates are thin steel plates with holes, through which the arbor connecting rods pass. The plates are lowered onto the counterweights approximately every two feet, to ensure the rod spacing is maintained. A locking plate is lowered onto the finished stack of weights and spreader plates and is secured in place with a thumbscrew.

SPROCKET
A wheel with protruding teeth which is used to convert the linear motion of a chain into rotation (or vice versa). A sprocket wheel is used on a bicycle to drive the chain which drives the wheels. A sprocket is also used on a film projector to pull the film down through the projector past the gate where it pauses intermittently in synchronisation with a shutter which allows light to shine through each frame as it is held in position. Once the shutter closes, the sprocket pulls the next frame into view, and so on. 

SPRUNG FLOOR
Usually, a permanently installed wooden floor which has rubber pads underneath it to enable the floor surface to absorb the shock of a performer dancing or jumping on it. This kind of floor is common in rehearsal studios and sports venues (it's also known as a Sports Floor, and is termed 'semi-sprung' if it has rubber pads).
Sections of the floor are locked together to ensure the floor surface moves without opening up gaps or creating trip hazards. 
A fully sprung floor is common in many theatres, and is an entirely wooden structure where the floor is supported by long joist beams across the stage, so the floor naturally flexes. These floors are especially loved by dance companies, however, there sometimes needs to be additional structural support under the floor to enable it to carry a heavy set. 
Padded dance floor rolls are available to provide some shock absorption if it's not possible to work on a sprung floor. 
Dance work on non-sprung floors is not recommended for long periods. 

SQ
Abbreviation for Sound Cue, used by stage management in the prompt book. The equivalent for lighting cues is LX. Avoid using abbreviations such as SX or FX for sound effect cues, as they sound similar to LX. When cueing the show, the member of stage management on the prompt book should say 'Sound Cue 12' rather than 'S. Cue 12', for clarity.

SQUELCH
Control on a radio microphone receiver for fine-tuning the reception according to the surroundings.

SQUIB
1) (Film/TV) A small pyrotechnic device which is detonated electrically, and is used to simulate a bullet hit on a piece of set, or to burst a fake blood bag on an actor. NB: This must only be carried out by licenced pyrotechnicians. 
2) A firework used at the culmination of the annual Bridgwater Carnival (Somerset, UK) during the 'Squibbing' ceremony when hundreds of gerb-like fireworks are lit, lining the High Street, only feet away from thousands of spectators. 

SQUINT
To capture the overall feel of a complex scene or object, rather than approaching it photographically (every detail in sharp focus), an artist will often (literally) squint, to see an approximation of the colour tone and light/shadow in the object or scene, and reproduce that, to give the essence of it, without needing to spend too much time on exact details. 
This is even more important with scenic art, where the audience might be 20-30 feet from the scenery, so any fine detail is unnecessary. 
The Art of the Squint - David Garrison

SRO
1) (FOH / Administratoin) Abbreviation for Standing Room Only (i.e. there are no seats left in the auditorium). Standing room is not available in all venues, and depends on the number of people the licencing authority has licenced the venue for. If standing room is available, the number of people that can be admitted to the standing areas is limited, to ensure a safe evacuation is possible in the event of a fire or other emergency.
2) (USA) Abbreviation for School Resource Officer - a law enforcement officer responsible for safety and crime prevention in schools. 

STAC CHAIN
Columbus McKinnon 'Special Theatrical Alloy Chain'. Long link alloy chain sling product for use in line only. Comprises 5.4 ton 3' links in a three or five foot length. Used in bridle adjustment and as a versatile secondary suspension component.
Submitted by Chris Higgs

STAGE
The part of the theatre on which performances happen, adjacent to the auditorium. See also ARENA, END ON, THRUST, IN THE ROUND.
ESCENARIO in Spanish. 

STAGE BOX
A connection box at the end of a lighting or sound multicore cable.

STAGE BRACE
See BRACE.

STAGE COMBAT
The art of making a fight scene look and sound real, without hurting the actors, bystanders or the scenery! 

STAGE CREW
Member of the Stage staff who is responsible for moving props and/or scenery during the show, and for ensuring that items under their responsibility are working correctly and properly maintained. Stage Crew (also known as Stagehands) are often employed on a casual basis for a specific production, and may not be part of the theatre's full-time staff. They also may be touring with a particular production.

STAGE DIRECTIONS
Instructions given by the author about how a play should be staged, when actors should make their entrances and exits and how lines should be delivered. Some well-known stage directions include "Exit, pursued by a bear", from Shakespeare's The Winter's Tale. Some stage directions are notes on one possible staging, others are essential to the integrity of the playwright's vision, such as those written by Samuel Beckett - these MUST be followed as a condition of being allowed to stage the play. Some playtexts have no stage directions at all.  
Italian: didascalia
Spanish: acotaciones
French: indications scéniques
German: Regieanweisungen

STAGE DIRECTOR
See DSM.

STAGE DIRECTORS & CHOREOGRAPHERS SOCIETY
(USA) Union for theatre directors & choreographers, founded in 1959, and based in New York. Abbreviated to SDC.
SDC Website

STAGE DOOR
The backstage entrance to the theatre, usually on a different side of the building from the public entrance. Performers and technicians enter here. Large theatres normally have a stage door keeper, who takes messages for performers and acts as a security guard for the entrance. There's normally a separate phone line to the stage door, and calls can sometimes be put through to dressing room phones. Some venues operate a signing-in system, and the stage door noticeboard is an important reference point for information about local accommodation, union membership and rules particular to that theatre. 
Some popular shows have large groups of audience gathering around the stage door after the show to meet the cast, and to take photos with them. It's important that the audience respect the performers' needs to leave work and get home in a timely manner, and while some shows (particularly those active on social media) have well-established 'photo opportunities' with cast, there should be no expectation that a particular performer will want to participate. Cast and crew members often just want to go home when they leave their workplace. 

STAGE DOOR KEEPER
The first person that technical staff, actors and administrative staff meet when they enter the theatre through the Stage Door. This is a pivotal role as 'Stage Door' has to know everyone, deal with a whole host of queries, pass messages, meet visitors, the press, agents, visiting theatre companies as well as being a point of contact on Health and Safety matters, fire procedures etc.

STAGE EDGE
The edge of a raised stage / platform should be clearly visible to actors / technicians at all times. 
It can be marked with white tape or with glow tape to ensure visibility. It can also have a strip of led tape or rope light at a low intensity to be visible during blackouts. Some venues use a strip of wood with LED lamps embedded in it, which provide an indication to actors that is not visible to the audience. 
If there is no marking or lighting, actors must not move on the stage / platform during blackouts. 
A physical barrier such as a handrail should be used on platforms, to give the actors reassurance that they can hold onto something when standing near the edge. 

STAGE ELECTRICIAN
Member of the electrics staff whose responsibility it is to set or clear electrics equipment during scene changes. May also carry out colour changes on booms etc.
Sometimes abbreviated to SLX. 

STAGE FRIGHT
A nervous or hesitant feeling before an actor goes on stage, or a feeling of dread or panic, which may be an indication of a social anxiety condition.
Conquering Stage Fright

STAGE HAND
See STAGE CREW.

STAGE HOUSE
The part of the theatre upstage of the proscenium arch, which contains the stage, wings, fly tower, fly floors, grid etc. 

STAGE LEFT / RIGHT
Left/ Right as seen from the Actor's point of view on stage, when they are facing the auditorium. (ie Stage Left is the right side of the stage when looking from the auditorium.)
Stage Right = OP (Opposite Prompt) Abbreviated to SR. French: Cote Jardin, Netherlands: Toneel Links (translates to Stage Left!)
Stage Left = PS (Prompt Side) Abbreviated to SL. French: Cote Cour, Netherlands: Toneel Rechts (translates to Stage Right!).
NB: The Netherlands, Portugal and Germany use the opposite to the rest of Europe; i.e. Stage Left UK = Stage Right. The directions are seen from the director's and audience's perspective, NOT the actors. In Portugal Isquerda (left) is the equivalent of UK Stage Right and Direita (right) is the equivalent of UK Stage Left.

STAGE MANAGEMENT ASSOCIATION
Association representing Stage Managers in the US and UK.
US Stage Management Association
UK Stage Management Association
SM Network

STAGE MANAGER
The Head of the Stage Management team comprising the deputy stage manager (DSM) and assistant stage manager (ASM). The DSM is normally "on the book" calling the cues from the prompt corner. The ASM supervises props. Depending on the needs of the production, there may be a team of stagehands, usually casual employees.
Sometimes, on large (or complex) productions, particularly in school / college projects, two (or more) people share the role of Stage Manager - these Co-Stage Managers agree which aspects of the job they will be assigned. 
French: régisseur.
German: Inspizient (also Theatermeister or Bühnenmeister)

STAGE MANAGER PHRASES
"Get on your cues" - actors and crew members must concentrate so that they react as soon as they get a cue, not once they notice others reacting. 
"Quiet Backstage" - there should be no talking backstage or in the wings unless essential, and then only at a whisper. 
"Quiet On Cans" - the headset system (for communicating between crew members) must only be used for giving and receiving cues. There should be no unnecessary chatter.

STAGE PLAN
A diagram showing the layout of the stage area from above, usually with the audience at the bottom of the plan. The plan is drawn to scale, so it can be used for determining the actual position of items on the stage, so they can be replicated in a rehearsal room, for example. 

STAGE SCREW
A large screw which is screwed through the 'foot' of a stage brace to secure it to a strong wooden floor. Only suitable for use in theatres with non-precious wooden floors !

STAGE TOWER
See FLY TOWER.

STAGE WEIGHT
See BRACE WEIGHT.

STAGE WHISPER
A loud whisper uttered by an actor on stage, intended to be heard by the audience but supposedly unheard by other characters in the scene. See also ASIDE. 

STAGECRAFT
Stagecraft refers to any technical aspect of theatre production (and also sometimes refers to film / TV production). It includes working in technical areas such as lighting, sound, scenic construction, costume & prop construction, stage management and makeup. It usually does NOT refer to the creative / design aspects of those technical areas.

STAGGER-THROUGH
The first tentative attempt to run through the whole show. Very rarely runs smoothly, hence the name.

STALLS
The lowest audience seating area, usually just below the level of the stage, in a proscenium theatre.

STANCE
(Acting) The way a performer stands / holds themselves when in character. 

STAND-BY / STANDBY
1) A warning given to technical staff by stage management that a cue is imminent. The member of the stage management team calling the cues will say "Standby Sound Cue 12". Technicians acknowledge by saying "Sound Standing By".
In the US, the word "Warning" replaces "Stand-by".
2) A member of the cast of a musical or play who understudies one (sometimes more) of the principal roles but is NOT also in the chorus. A standby often will not even be required to be at the venue at each performance unless they are called in to perform in the role for which they are an understudy.
See also ALTERNATE, SWING, UNDERSTUDY.
Additional information submitted by Pierce Peter Brandt

STANDARD LAMP
(UK) A living room floor-standing lamp with a tall (often) wooden stem on a weighted base, with a bulb mounted at the top of the stem, covered with a decorative lampshade. 

STANDING OVATION
(from the Latin 'ovo' - I rejoice) Seated audience members stand while applauding to congratulate the cast and crew of a particularly excellent performance, usually during the curtain call at the end of the performance.

STANZA
A grouped set of lines within a poem. 
Wikipedia entry

STAPLER
Essential tool for attaching cloth to wooden frames / flats. 

STARCLOTH
See CLOTH.

STARLETTE
(Trade Name) Range of 1000W/2000W lanterns produced by CCT in the UK.
CCT Lighting website
CCT Starlette on Backstage Heritage Collection

STASIMON
(Greek Tragedy) A stationary song, composed of strophes and antistrophes and performed by the chorus in the orchestra, which ends each Episode.
Wikipedia entry

STATE
In lighting terms, a lighting 'picture' ; each lighting cue results in a different state (or a modified state).

STATE OF THE BOARD SHEET
A hand-written document consisting of the levels of all channels for each cue throughout the show, when using a manual lighting control board. The sheet is no longer required for modern computerised lighting systems. 

STATE PLOT
See RUNNING PLOT.

STEADICAM
(Trade name) A combination harness and camera support which (with practice) enables a handheld camera to appear to float through a scene. Any movements of the camera operator are cancelled out by the design of the harness.
The original Steadicam was invented in 1975 by camera operator Garrett Brown and used on projects such as Rocky and The Shining.
There are variations based on motorised gimbals which can actively cancel out any operator movements, which are much easier to use.
Tiffen Steadicam website

STEEL
1) Refers to a steel blue / pale blue lighting gel. (Lee 117) (e.g. 'Use the Steel General Cover for the scene in the castle'). See also STRAW.
2) Many set construction now uses steel frames with timber cladding. Steel is stronger and lighter weight compared to timber of the same size.
3) Generic term used for a plain wire rope sling. Also used when referring to roof structural steel and individual steel beams or scaffold materials and so on.
Additional information submitted by Chris Higgs.

STEEL OFF
To install secondary 'steel' suspensions, deads or bypasses ('safeties').
Submitted by Chris Higgs

STEEL TOE-CAPPED BOOTS
Essential footwear for crew members working in technical theatre. Sometimes known as Steelies.

STEELDECK
Brand name for a system of metal framed wooden-topped platforms for building platforms, risers and stages which use scaffolding legs at any height. 
The system was invented by Philip Parsons in 1986, and his company PL Parsons Ltd launched the product onto the market.
A standard 8 foot x 4 foot deck weighs around 150lbs (68kg) and supports a distributed load of over 4000lbs (1800kg).

STEP
1) A control on some lighting effects boards which enables the operator to 'step' through a chase effect in time to music etc.
2) Each separate component of a lighting effect is called a step. A chase effect with four channels flashing on will have four steps.

STEP OUT / STEP IN
An instruction to an actor to relax and come out of character (step out) or to concentrate and get into character, ready to rehearse.

STEP-BALL-CHANGE
Dance move commonly associated with tap dancing. 

STEREOPHONIC (STEREO)
A sound recording that uses two separate channels (left and right) which in combination, and especially when using headphones, can produce a sense of spatial separation of the different parts of the recording. 
The PAN control on a digital audio workstation or on a mixing desk can be used to set the 'location' within the stereo image of a particular sound source. 
See also MONOPHONIC, SURROUND SOUND. 

STEREOTYPE
A stereotype is a preconception about a person because it is believed they are from a particular group or type of people. It may be based on how they look, how they talk, or where they are from. Stereotypes are usually negative, and in theatre, can be very damaging. Theatre should be aiming to break down or defy stereotypes, not reinforce them. 

STICHOMYTHIA
(Greek) Line-by-line interchanges of spoken dialogue.

STICKS
(Film-making) Slang for a Tripod, used to support a camera. 

STILE
A side or vertical piece within a FLAT. 

STINGER
Steel wire rope sling used to extend the length or reach of a hoist chain or to allow a hoist to reach the ground from the point, (a 'down leg').
Submitted by Chris Higgs

STIPEND
A type of payment to the cast and crew to help towards expenses incurred during the production process. The amount is usually based on the total money the show brings in, but sometimes it can be a set amount.
From Middle English stipendium (from Latin) meaning a fixed sum of money paid periodically for services or to defray expenses.
Submitted by Amy McIntire

STIPPLE SPONGE
A sponge used by a scenic artist  to apply a random pattern of paint blobs to a piece of scenery. This technique is known as stippling.

STIRRUP
Lighting rigging accessory which consists of a short piece of metal tube held by a U-shaped bracket which is designed to be suspended from above. The metal tube can be used to rig a lantern using a standard clamp. 

STITCHER
The Stitcher is a member of the costume construction team, who works with the Cutter on assembling/constructing costumes. 

STOCK CHARACTER
A sterotypical character or archetype that is used regularly in a particular style of drama. Usually a fairly one-dimensional character.
See also COMMEDIA DELL'ARTE

STOCK COSTUMES
Standard costume items which can be used in a number of different performances. Many theatres and theatre companies have a stock of costume items from past productions, which can be reused and adjusted / adapted for future shows. 
See Sustainability. 

STOCK SCENERY
Standard items of scenery used in a number of different performances. Many theatres have a stock of flattage or rostra platforms which are repainted and reconfigured for many different productions. Larger companies also have stock furniture which can either be used in rehearsal, or in productions. This is only possible if the company has enough physical space to store everything. 

STOOGE
See PLANT. 

STRAND
1) (Manufacturer) Maker of lanterns, lighting desks and dimmers in the UK and Worldwide.
2) The bundle of individual fibres or wires that make up one of the helical elements in a rope.
Strand Lighting website
Strand Archive

STRAW
Refers to a pale yellow lighting gel. (e.g. "Use the Straw General Cover for the garden scene").
See also STEEL.

STRIATION
An even pattern of lines (or light/dark areas) visible in a light beam, caused by the design of the filament layout in the light source. 

STRIKE
1) To disassemble a stage set ("strike the set") (e.g. "How many crew do you need for the strike?") In amateur theatre, the strike at the end of a run of shows is sometimes followed by a strike party. 
2) To remove props from the stage. ("Strike the armchair after scene 1", "Make sure the mushroom prop is struck after the forest scene" etc.). 
3) The act of turning on a discharge lamp (e.g. "Make sure you strike the followspot at the half")

STRIKE THE SET
See STRIKE.

STRIPLIGHT
1) A thin linear filament lamp similar to an Architectural, but having contacts at the ends of the lamp. Available clear or opaque.
2) (US) See BATTEN.

STROBE
Device giving a fast series of very short intense light flashes which can have the effect of making action appear intermittent. Because strobe lighting can trigger an epileptic seizure, the use of a strobe must be communicated to the audience before the performance begins. Strobes should be synchronised so that they operate outside the dangerous frequency band 4 to 50 flashes per second. (i.e. a strobe should operate at less than 4 flashes per second, or more than 50 flashes per second). If the effect is momentary, this rule may be relaxed. Strobes must never be used in public areas where there are changes of level or steps.
Always seek the advice of the licensing authority if you are in any doubt about the safety of strobe effects.

STUDIO THEATRE
A room which is flexible and able to be used in a variety of different configurations for theatre productions. 
Some studio theatres are also known as black box studios, particularly if they have black wood or vinyl floors, and are surrounded by black curtains. 
See also MAIN HOUSE. 

STUNT PERFORMER
A performer who is not part of the main cast, who appears on stage only to perform a particular physical sequence (or stunt) in place of the lead actor. The term originates in film production, however, stunt performers are used in some demanding shows such as Spider-Man Turn off the Dark. 
See also DOUBLE. 

STURM UND DRANG
(German) A proto-Romantic movement in German literature & music from 1760s - 1780s. In a typical Sturm und Drang play, the protagonist is driven to action (often violent action) by revenge and greed.
Wikipedia entry

SUB-BASS
That part of a speaker system designed to extend the low frequency range of the system. See also SUBWOOFER.

SUBMASTER
Often shortened to SUBS.
Fader on a lighting desk which can have a lighting state recorded onto it for additional control, or to use when manually mixing lighting states for music concerts or one-off events.
Lighting desks normally have a series of submasters (12 or 24 are common) which can have states, cues or effects loaded onto them. Some desks can have submasters set to inhibit the main output (known as INHIBITIVE SUBMASTER. For example, the FOH lighting can be loaded onto a submaster which is then brought down as the house tabs are flown in between curtain calls to block light spill onto the tabs).
Multiple cues can be recorded onto some submasters through the use of pages.
A PILE-ON submaster can be used to add it's contents to the existing lighting state. Any number of pile-on submasters can be used in combination to modify a state.

SUBPLOT
A secondary story within a play in which events may relate to the main plot, but which feature less important characters. Used to reinforce themes, or to help move the main plot forward, or for purely logistical reasons when a break is needed in the main story for a costume change etc. 

SUBSTAGE
The under-stage area in a theatre. Depending on the complexity of the stage machinery, this may be a highly engineered area, with machines operating stage lifts, or it may be an empty room in which stage equipment is stored. 
In London's West End theatres, the sub stage area is configured for each show if stage automation and lifts are used. For Billy Elliot, the Victoria Palace Theatre had to be excavated to allow for the house lift to be installed. 

SUBTEXT
Subtext or undertone is content of a book, play, musical work, film, video game, or television series which is not announced explicitly by the characters (or author) but is implicit or becomes something understood by the observer of the work as the production unfolds. Subtext can also refer to the thoughts and motives of the characters which are only covered in an aside. Subtext can also be used to imply controversial subjects without specifically alienating people from the fiction, often through use of metaphor.

SUBTRACTIVE COLOUR MIXING
See COLOUR MIXING.

SUBWOOFER
(often just SUB) - Speaker dedicated to reproducing very low frequencies. The large cabinet is often placed on the floor as the low frequencies radiate out, and the ear cannot detect their source, so the position of the Sub is not as critical as the rest of the sound system. 
See also BASS BIN. 

SUGAR GLASS
Transparent glass-like product which has been formed into either panes or bottles / glasses. Sugar Glass is made from sugar, water and glucose or corn syrup, and is heated until it forms a mouldable material which goes hard on cooling. 
It breaks in a safer way than real glass, and is far less dangerous to those nearby. 

SUMMER STOCK
(USA) American term for a theater or organisation that produces work only during the summer, often as part of a festival working with young actors at the start of their career, working as a repertory company, using and adapting existing costumes, props and scenic items. Summer Stock companies operate outside large cities, especially those where commercial theatre is part of the ecosystem. 

SUNBURNER
Historic combination gas light array and ventilation system built into many theatres with gas lighting (pre-electricity). 

SUNROOF
(US) Mechanised cover for a scenic automation trapdoor - also known as a Drop & Slide Door.

SUPER TROUPER
(Trade name) Manufactured by Strong International - a range of high intensity followspots designed for large scale permanent installations or large touring shows. The Super Troupers use Xenon lamps and vary from 1600W - 2000W.
The Super Trouper is the best known of all stage lighting instruments outside of the industry due to Abba's song 'Super Trouper'.
Strong International website
Followspotting Tips and Tricks

SUPERNUMARY
(From Latin, supernumerarius) A paid member of the cast who has no lines and appears on stage in crowd scenes. 

SUPERNUMERARY
1) An actor who appears on stage but does not speak.
2) A member of staff over and above the number required to carry out a task.

SUPERSTITION / SUPERSTITIONS
Theatrical people are notoriously superstitous. There are many rules which some people swear by related to working in the theatre.
1) Backstage whistles were originally used to give instructions to the sailors who (because they knew the best knots) had the job of operating the theatre's flying system. Nowadays, whistling is forbidden backstage because it might result in a lost sailor cutting a rope and dropping something on somebody.
2) Mentioning 'Macbeth' in a theatre is said to invoke the curse of the Scottish Play. The only way to break the curse is for the offender to spin on the spot and then spit. This is an approximation to a purification ritual. The spin turns back time, and the spit expels the corrupting poison. This particular play is always called The Scottish Play.
3) Saying 'Good Luck' is not allowed backstage. The term 'Break a Leg' is used. See the separate page about this!
4) Peacocks are seen as evil (their feathers display an 'evil eye' and their flesh was believed to be poisonous) , and are not allowed near theatres.
More information about Break A Leg

SUPPORTING ARTIST (SA)
(Film Industry) A supporting artist is sometimes known as an 'Extra' - someone employed to fill out the background of a shot to bring the scene to life. For a crowd scene, the bulk of the supporting artists are employed without needing to see their faces, but performers who are closer to the camera, or who have to interact with more high-profile performers, are cast more carefully. 

SURROUND SOUND
Originally from cinema, where various different types of surround sound system evolved. The most popular now is made by Dolby Laboratories, and provides 6 different sound sources around the cinema:
Front centre (main dialogue, from behind the screen)
Front left & Front right (music, effects and directional dialogue, from behind the screen)
Surround Left (auditorium wall)
Surround Right (auditorium wall)
Sub-Bass
This is known as 5.1 Surround sound.
Newer systems such as Dolby Atmos contain the above, as well as speakers above the audience, and provide a more immersive effect.

Theatre sound systems often contain a huge number of speakers in comparison, with localised speakers near each bank of seating (for musical theatre, particularly).
Any sound system where sound can appear to be all around the audience is said to be surround sound.

SURTITLES
Text projected on a screen above the stage, so the audience can read translations of the text of (e.g.) an opera. 
Surtitles may be projected onto a horizontal screen made for the purpose, or possibly directly on the wall above the proscenium arch. 
Using a standard data projector this may result in spill of 'video gray' on the stage, in which case a mask can be made to cut off unwanted light and positioned around 10-15cm in front of the projector, or a projector dowser can be used to cut off the projection entirely when titles are not required. 

SUSPENSE
TO BE DEFINED

SUSPENSION OF DISBELIEF
The willing suspension of disbelief enables an audience to enjoy the events presented to them on a live theatrical stage as if they were real, knowing that the play is performed by actors, and that the locations and occurances depicted on stage are not real. 

SVGA
Super Video Graphics Array.

SVOBODA
Low voltage lighting batten used to create a light curtain. Named after Josef Svoboda, the Czech scenographer (1920 - 2002). The original Svoboda light batten is still manufactured by ADB. Josef Svoboda contacted ADB when he was looking for a manufacturer for his idea.
ADB website
Josef Svoboda in the Backstage Heritage Collection Archive
Svoboda Batten by ADB on the Backstage Heritage Collection website

SWAG
1) A particularly artistic way of drawing a set of tabs diagonally up at the same time as flying them out. Looks much better than it sounds.
2) Souvenirs given to crew following a particular show or event, usually in the form of T-shirts, posters, & coffee mugs.

SWARBIES
3 or 4 , 500 or 1000 watt flood lamps mounted on a wooden skid,used as cyclorama bottom lighting or in between scenery groundrows. Probably derived from German theatre lighting company, Schwabe.

SWATCH
A sample of fabric to demonstrate the material to use on a costume or set design, or a sample of lighting gel. A catalogue of all the gel colours made be a particular manufacturer is called a SWATCH BOOOK.
Rosco Supergel website

SWIFT
(Flying) The opposite of Breasting. Swifting is to change the position of a flying piece or bar from its natural position by running lines from the stage floor to the grid. 
See also BREAST, BRAIL. 

SWING
A member of the cast of a musical (or a play with a large cast) who understudies multiple ensemble roles in the production. When a member of the main cast is not well, has a day off or, in some cases, is performing in a principal role for which they are the understudy, a swing performs in their place. In the cast of a musical, there will at least be a male swing who understudies all the male chorus roles in the cast, and also a female swing who understudies all the female chorus roles. In larger casts, there might be two or more swings for each gender. Swings are members of the cast who are in addition to those called for by the script, so in a performance where all of the chorus members and all the actors playing principal roles are present, the swings will not be performing in that particular performance -- although in most cases they will be waiting backstage to be available in the event they are needed.
The actions required of a performer throughout a particular performance is known as the Track. 
See also ALTERNATE, TRACK, STANDBY, UNDERSTUDY.
Submitted by Pierce Peter Brandt

SWL
Safe Working Load.

SWR
Acronym for Steel Wire Rope. 

SX
Used by some as a shorthand for SOUND, in the same way LX is a shorthand for Lighting. However, when calling cues, stage management should always say 'Sound Cue 12 GO' rather than 'SX Cue 12 GO'. 'Sound' has one less syllable to say, and SX sounds too similar (no pun intended) to LX.
SXOP can be shorthand for Sound Operator. Many venues use FX in the same way, but this can also refer to Stage effects like smoke, pyro etc.

SYMBOLISM
A late nineteenth-century art movement seeking to represent absolute truths symbolically through metaphorical images and language mainly as a reaction against naturalism and realism.
Subtle introduction of symbolism can add layers of complexity and sophistication to a performance concept.
Settings: A large throne symbolises power, a window symbolises the outside world or freedom etc.
Colours also play a big part in symbolism on stage.
Wikipedia entry

SYNOPSIS
A brief summary of the plot of a play, film, opera etc.

SYPHON
Open-source Mac OS X technology that allows applications to share video frames with one another in realtime. 
Can be used with Qlab to get the output of any Mac application into a Qlab workflow.
Syphon website

SYSTEM EXCLUSIVE
Part of the MIDI protocol which allows control of one device by another.