on

Etymology tree
Proto-West Germanic *ana
Old English on
Middle English on
English on
From Middle English on, from Old English on, an (“on, upon, onto, in, into”), from Proto-West Germanic *ana, from Proto-Germanic *ana (“on, at”), from Proto-Indo-European *h₂en-.
Cognate with North Frisian a (“on, in”), Saterland Frisian an (“on, at”), West Frisian oan (“on, at”), Dutch aan (“on, at, to”), Low German an (“on, at”), German an (“to, at, on”), Swedish å (“on, at, in”), Faroese á (“on, onto, in, at”), Icelandic á (“on, in”), Gothic 𐌰𐌽𐌰 (ana), Ancient Greek ἀνά (aná, “up, upon”), Albanian në (“in”); and from Old Norse upp á: Danish på, Swedish på, Norwegian på, see upon.

etymon

Southern US, Midland US, Philadelphia, Baltimore

(acting, drama, roleplaying games) Acting in character.


exit

From Middle English exit, from Latin exitus (“departure, going out; way by which one may go out, egress; (figuratively) conclusion, termination; (figuratively) death; income, revenue”), from exeō (“to depart, exit; to avoid, evade; (figuratively) to escape; of time: to expire, run out”) + -tus (suffix forming action nouns from verbs). Exeō is derived from ex- (prefix meaning ‘out, away’) + eō (“to go”) (ultimately from ). The English word is cognate with Italian esito, Portuguese êxito, Spanish éxito. Doublet of ejido and exitus.
The verb is derived from the noun.

ikje

action of going out or going away, or leaving — see also departure

All the world's a ſtage, / And all the men and women, meerely Players; / They haue their Exits and their Entrances, / And one man in his time playes many parts, / His Acts being ſeuen ages.

c. 1598–1600 (date written), William Shakespeare, “As You Like It”, in Mr. William Shakespeares Comedies, Histories, & Tragedies […] (First Folio), London: […] Isaac Iaggard, and Ed[ward] Blount, published 1623, →OCLC, [Act II, scene vii], page 194, column 1:

Why do directors assume that exits and entrances need not be rehearsed?

1968, Leon C. Miller, “Blocking the Play”, in How to Direct the High School Play, Chicago, Ill.: The Dramatic Publishing Company, →OCLC, pages 39 and 43:

An act of going out or going away, or leaving; a departure.

(specifically, drama) The action of an actor leaving a scene or the stage.


exit

Borrowed from Latin exit, the third-person singular present active indicative of exeō (“to depart, exit; to avoid, evade; (figuratively) to escape; of time: to expire, run out”); see further at etymology 1 above.

I take no mony, but good vvords, raile not if I tell true, if I do not reuenge. Farevvell. Exit Bom[bie].

c. 1590 (date written), [John Lyly], Mother Bombie. […], 2nd edition, London: […] Thomas Creede, for Cuthbert Burby, published 1598, →OCLC, Act III, scene iv, signature [E4], verso:

A ſauage clamor? / Well may I get a-boord: This is the Chace, / I am gone for euer. / Exit purſued by a Beare.

c. 1610–1611 (date written), William Shakespeare, “The Winters Tale”, in Mr. William Shakespeares Comedies, Histories, & Tragedies […] (First Folio), London: […] Isaac Iaggard, and Ed[ward] Blount, published 1623, →OCLC, [Act III, scene iii], page 288, column 2:

Agnes exit rapidly, and Ravenſburg is partly perſuaded, and partly forced off, by the Prince Palatine. END OF ACT I.

1810 July, Frederic Reynolds, “The Free Knights; or The Edict of Charlemagne. A Drama, in Three Acts, Interspersed with Music; as Performed at the Theatre Royal, Covent Garden.”, in The Jersey Magazine; or Monthly Recorder, volume II, number 7, Jersey: Printed and published by J. Stead, →OCLC, act I, scene iii, page 325, column 1:

(intransitive, drama, also figuratively) Used as a stage direction for an actor: to leave the scene or stage.

el

used as a stage direction for an actor: to leave the scene or stage


act

en-noun

act (countable and uncountable, plural acts)

From Middle English acte, from Old French acte, from Latin ācta (“register of events”), plural of āctum (“decree, law”), from agere (“to do, to act”), ultimately from Proto-Indo-European *h₂éǵeti. Compare German Akte (“file”). Partially displaced deed, from Old English dǣd (“act, deed”).

“H'm !” he said, “so, so—it is a tragedy in a prologue and three acts. I am going down this afternoon to see the curtain fall for the third time on what […] will prove a good burlesque ; but it all began dramatically enough. It was last Saturday […] that two boys, playing in the little spinney just outside Wembley Park Station, came across three large parcels done up in American cloth. […]”

1904–1905, Baroness Orczy [i.e., Emma Orczy], “The Lisson Grove Mystery”, in The Case of Miss Elliott, London: T[homas] Fisher Unwin, published 1905, →OCLC; republished as popular edition, London: Greening & Co., 1909, OCLC 11192831, quoted in The Case of Miss Elliott (ebook no. 2000141h.html), Australia: Project Gutenberg of Australia, February 2020:

The pivotal moment in the play was in the first scene of the second act.

(countable, drama) A division of a theatrical performance.

գործողություն

drama: division of theatrical performance


crisis

From Latin crisis, from Ancient Greek κρίσις (krísis, “a separating, power of distinguishing, decision, choice, election, judgment, dispute”), from κρίνω (krínō, “pick out, choose, decide, judge”).

der

(drama) A point in a drama at which a conflict reaches a peak before being resolved.


side

en-noun

side (countable and uncountable, plural sides)

From Middle English side, from Old English sīde (“side, flank”), from Proto-Germanic *sīdǭ (“side, flank, edge, shore”), from Proto-Indo-European *sēy- (“to send, throw, drop, sow, deposit”). Cognate with Saterland Frisian Siede (“side”), West Frisian side (“side”), Dutch zijde, zij (“side”), German Low German Sied (“side”), German Seite (“side”), Danish and Norwegian side (“side”), Swedish sida (“side”).
The LGBTQ slang sense was coined by sex therapist and author Joe Kort in 2010 and popularized in 2013. The sense was coined by analogy with top and bottom and based on the metaphor of a box which has a top, bottom, and sides.

coinage

know which side one's bread is buttered on

laugh out of the other side of one's mouth

not be able to hit the broad side of a barn

the apples on the other side of the wall are the sweetest

the grass is always greener on the other side of the fence

the grass is always greener on the other side of the road

Some directors use full scripts (book); others use “sides,” which consist of one or two words of the cue and the subsequent full speech of the individual actor.

2010, Viola Spolin, Carol Sills, Theater Games for Rehearsal: A Director's Handbook, page 12:

The short scenes in this book are particularly useful for audition workshops since audition sides are rarely longer than two pages.

(drama) A written monologue or part of a scene to be read by an actor at an audition.


acting

en-noun

acting (countable and uncountable, plural actings)

(uncountable, drama) The occupation of an actor.


catharsis

catharsis (countable and uncountable, plural catharses)

/kəˈθɑɹˌsɪs/

From Ancient Greek κάθαρσις (kátharsis, “cleansing, purging”), from καθαίρω (kathaírō, “I cleanse”). Coined in the dramatic-emotional sense by Aristotle.

uder

True, as the show has entered its later years, there have been more inspired moments of catharsis, but fewer unpredictable arcs and story beats, as a narrative nearing its conclusion is no longer attempting to shock.

2019 April 14, Alex McLevy, “Winter is Here on Game of Thrones’ Final Season Premiere (Newbies)”, in The A.V. Club, archived from the original on 2020-12-18:

(drama) A release of emotional tension after an overwhelming vicarious experience, resulting in the purging or purification of the emotions, as through watching a dramatic production (especially a tragedy).


comedy

en-noun

comedy (countable and uncountable, plural comedies)

comedies (plural)
comedie (alternative)
comœdie (alternative obsolete)
comœdy (alternative archaic)

drama

antonym(s) of “light, humorous, or satirical work”

→ Japanese: コメディ (komedi)

→ Korean: 코미디 (komidi)

From Middle English comedie, from Middle French comedie, from Latin cōmoedia, from Ancient Greek κωμῳδία (kōmōidía), from κῶμος (kômos, “revel, carousing”) + either ᾠδή (ōidḗ, “song”) or ἀοιδός (aoidós, “singer, bard”), both from ἀείδω (aeídō, “I sing”). Doublet of commedia.

(countable, drama) a dramatic work that is light and humorous or satirical in tone


praxis

praxis (countable and uncountable, plural praxes or praxises)

Partly from Latin prāxis and partly from its etymon Ancient Greek πρᾶξις (prâxis, “action, activity, practice”).

bor

(drama) The deliberate action of a rational being.

ihmistoiminta

drama: deliberate action of a rational being


black box

black boxes (plural)
blackbox (alternative)

black box
black box#History
flight recorder#Terminology
gray-box testing
white box (software engineering)

* Since circa 1945 in both main senses (that is, event recorders and objects with unknown innards), which are historically related to each other; for details, see black box § History and flight recorder § Terminology.
* (type of theater): Such theaters are often painted black.

(drama) A type of theater characterized by a lack of decoration or complex mechanisms.


hamartia

en-noun

hamartia (usually uncountable, plural hamartias)

/ˌhæˌmɑɹˈtiː.ə/

/ˌhɑːˌmɑɹˈtiː.ə/

From Ancient Greek ἁμαρτία (hamartía, “tragic failure, sinful nature”), from the verb ἁμαρτάνω (hamartánō, “to miss the mark”).

der

Creon's main hamartia was his excessive pride.

Understanding hamartia as “ignorance of the injurious act,” Lacan distinguishes Greek tragedy from the Renaissance version on the basis that the latter supplants hamartia with the hero's privileged knowledge.

2006, David Ratmoko, On Spectrality: Fantasies of Redemption in the Western Canon, Peter Lang, →ISBN, page 71:

The plot and the tragic figure at its center, destroyed through an act of hamartia, should be tailored to the production of pity and fear. Oedipus is not so much a person as he is a hamartia delivery system, a moving, empty center within the motions of the play, who through his vulnerability to hamartia and its disastrous consequences reveals the pitiable and the fearful to the audience.

2008, Daniel Greenspan, The Passion of Infinity: Kierkegaard, Aristotle and the Rebirth of Tragedy, Walter de Gruyter, →ISBN, page 81:

But ever since the concept of "hamartia" recurred through Aristotle's Poetics, in an attempt to describe man's ingrained iniquity, our impulse has been to identify a telling defect in those brought suddenly and dramatically low.

2014 October 21, Oliver Brown, “Oscar Pistorius jailed for five years […] ”, in The Daily Telegraph (Sport):

(Greek drama) The tragic flaw of the protagonist in a literary tragedy.


soliloquy

en-noun

soliloquy (countable and uncountable, plural soliloquies)

Augustine of Hippo
Hamlet
Soliloquiorum libri duo
To be, or not to be
William Shakespeare

1595–1605; From Late Latin sōliloquium in the title of St. Augustine's Soliloquiorum libri duo ("Two Books of Soliloquies"), from sōlus (“only, sole”) + loquor (“I speak”).

At the end of the second act the main villain gave a soliloquy detailing his plans to attack the protagonist.

Yet if I were to say […] that Hamlet's soliloquy had been much over-rated, it would not be said, on this account, that I was unable to appreciate Shakespeare.

1901, Edmund Selous, Bird Watching, J.M. Dent & Co, London, Chapter XII: Watching Blackbirds, Nightingales, Sand-martins, etc., page 315:

(drama) The act of a character speaking to themselves so as to reveal their thoughts to the audience.


unity

unity (countable and uncountable, plural unities)

Etymology tree
Middle English unite
English unity
From Middle English unite, from Anglo-Norman, Old French unité, from Latin ūnitās, from ūnus (“one”) + noun of state suffix -itās, ultimately from Proto-Indo-European *óynos (“one, single”), hence distantly related to one and an. Displaced native Old English ānnes (literally “oneness”).

der

(drama) Any of the three classical rules of drama: unity of action (nothing should be admitted not directly relevant to the development of the plot), unity of place (the scenes should be set in the same place), and unity of time (all the events should be such as might happen within a single day).

eenheid

drama: any of the three classical rules of drama


monologue

monologues (plural)
monolog (alternative US noun)

dialogue

antonym(s) of “a monopolizing utterance”

First attested in c. 1550. Borrowed from Middle French monologue, modeled on dialogue, ultimately from Byzantine Greek μονόλογος (monólogos, “soliloquy, monologue”).

(drama, authorship) A long speech by one person in a play; sometimes a soliloquy; other times spoken to other characters.


exeunt

en-verb

exeunt (third-person singular simple present exit or exeunts, present participle exeunting, simple past and past participle exeunted)

exit (present singular third-person)
exeunts (present singular third-person)
exeunting (participle present)
exeunted (participle past)
exeunted (past)

Borrowed from Latin exeunt (“they leave”), the third-person plural present active indicative of exeō (“leave”).

bor+

Get thee to bed, and rest; for thou hast need. [Exeunt Lady Capulet and Nurse.]

c. 1591–1595 (date written), William Shakespeare, “The Tragedie of Romeo and Ivliet”, in Mr. William Shakespeares Comedies, Histories, & Tragedies […] (First Folio), London: […] Isaac Iaggard, and Ed[ward] Blount, published 1623, →OCLC, [Act IV, scene iii]:

Enter two Devils.
 Wagner. How now sir, will you serve me now?
 Robin. Ay, good Wagner, take away the devils then.
 Wagner. Spirits, away! [Exeunt Devils.] Now, sirrah, follow me.

1589–1592 (date written), Ch[ristopher] Marl[owe], The Tragicall History of D. Faustus. […], London: […] V[alentine] S[immes] for Thomas Bushell, published 1604, →OCLC:

Jane, Ursa, carrying Thomas, and Moss Bud start to exeunt.

1921, Montrose Jonas Moses, A Treasury of Plays for Children, page 504:

On that dixit we exeunted.

1957, Henry Miller, Big Sur and the Oranges of Hieronymus Bosch, page 249:

That let the small problem of getting the van within proximity, running a few yards of cable, spiking the phone line, revving the engine and frying the phones, removing the cable, and exeunting, south

1997, Richard Marcinko with John Weisman, Task Force Blue, page 311:

The lasses picked up their skirts and exeunted.

2003, Neal Stephenson, Quicksilver, page 142:

(archaic, drama) They leave the stage (a stage direction to two or more actors, the plural counterpart of exit).

退场

"they leave", usually in the context of theatre


peripeteia

en-noun

peripeteia (countable and uncountable, plural peripeteias)

peripeteias (plural)
peripetia (alternative)
peripety (alternative)

/pɛɹɪpɪˈtɪə/

/pɛɹɪpɪˈtaɪə/

/pɛɹɪpɪˈtiə/

/pɛɹɪpɪˈteɪə/

From Late Latin peripetia, and its source Ancient Greek περιπέτεια (peripéteia), from περιπίπτω (peripíptō, “to change suddenly”), from περί (perí, “round, around, about”) + the stem of πίπτω (píptō, “to fall”).

(drama) A sudden reversal of fortune as a plot point in Classical tragedy.

перипетия

a reversal of fortune; a sudden change in circumstances


in character

It was difficult to stay in character, because I kept wanting to laugh.

(idiomatic, drama, roleplaying games) Acting as the character, not as oneself.


coryphée

coryphées (plural)
coryphee (alternative)

Borrowed from French coryphée, from Latin coryphaeus, from Ancient Greek κορυφαῖος (koruphaîos, “leader of the chorus in an Ancient Greek drama”), from κορῠφή (korŭphḗ, “top of the head, crown”) (possibly ultimately from Proto-Indo-European *ḱerh₂- (“head, top; horn”)) + -ῐος (-ĭos, suffix forming adjectives meaning ‘belonging to, pertaining to’).

der

The piece [...] contains a passage for men's voices marked "Les Travailleurs," topped by a tenor solo (in alto clef) marked "Coryphée," a term originally meaning leader of the chorus, as in a Greek tragedy. [...] [T]he aforementioned "Coryphée" line grows out of a recitative for first tenor.

1986, Ralph P. Locke, “The Rue Monsigny and Salle Taitbout: Music in the Formative Years”, in Music, Musicians and the Saint-Simonians, Chicago, Ill., London: University of Chicago Press, →ISBN, part 3 (Practice), page 86:

Two coryphées, or coryphæi, the term for the leader of a Greek chorus, were stationed in towers on either side of the stage. A device borrowed from Léon Chancerel's Mission de Jeanne d'Arc, the coryphées are present for the entire length of the drama. Like the messenger, they commented upon the action in a Manichean dialogue: one cheering on Joan of Arc, the other deriding her.

2013, Lucie Kayas, Christopher Brent Murray, “Olivier Messiaen and Portique pour une fille de France”, in Christopher Dingle, Robert Fallon, editors, Messiaen Perspectives, Farnham, Surrey, Burlington, Vt.: Ashgate, →ISBN; republished volumes 1 (Sources and Influences), Abingdon, Oxfordshire, New York, N.Y.: Routledge, 2016, →ISBN, page 52:

(Ancient Greece, drama, historical) The conductor or leader of the chorus of a drama.


coryphaeus

en-noun

coryphaeus (plural coryphaeuses or coryphaei)

coryphaeuses (plural)
coryphaei (plural)
coryphæus (alternative)
corypheus (alternative)
koryphaios (alternative)

/ˌkɔɹəˈfiːəs/

/ˌkɒɹɪˈfiːʌs/

Borrowed from Latin coryphaeus, from Ancient Greek κορυφαῖος (koruphaîos, “leader of the chorus in an Ancient Greek drama”), from κορυφή (koruphḗ, “top of the head, crown”) (possibly ultimately from Proto-Indo-European *ḱerh₂- (“head, top; horn”)) + -ῐος (-ĭos, suffix forming adjectives meaning ‘belonging to, pertaining to’).

Then the coryphæus finishes the remaining part of the strophe. But when they have returned to order, Bacchus again interposes by beginning the antistrophe β', which the coryphæus ought to have done.

1830, Gottfried Hermann, Gottfried Hermann, translated by John Seager, Hermann's Elements of the Doctrine of Metres, page 165:

The chorus, that is those members of the komos who have not become specialized as actors and continue singing and dancing, are headed by a coryphaeus, who sometimes addresses them, exhorting them to action, or to begin the song or the rite, or else anticipates or summarizes their words, or represents them in conversation with the actors.

1975, Francisco Rodríguez Adrados, “Festival, Comedy and Tragedy: The Greek Origins of Theatre”, in Christopher Holme, transl., [1972, Festia, Comedia y Tragedia], page 250:

Post-classical references to the famous ‘chorus-trainer’ Sannio indicate that his role extended to performing and thus taking the coryphaeus role. The coryphaeus was both leader and teacher, and in performance played a crucial role in setting the time that the other dancers followed.

2000, David Wiles, Greek Theatre Performance: An Introduction, page 135:


soliloquize

en-verb

soliloquize (third-person singular simple present soliloquizes, present participle soliloquizing, simple past and past participle soliloquized)

term-label

(American spelling, Oxford British English)

soliloquizes (present singular third-person)
soliloquizing (participle present)
soliloquized (participle past)
soliloquized (past)
soliloquise (alternative)

"Now, I am quite sure that our beautiful hostess has been making an assignation," soliloquised Charles, who, for want of something better to do, had been watching the various actions of the group in the principal chamber in the castle, […]

1834, L[etitia] E[lizabeth] L[andon], chapter XXXIV, in Francesca Carrara. […], volume III, London: Richard Bentley, […], (successor to Henry Colburn), →OCLC, page 276:

I rubbed my hands with delight over my happy notion, and soliloquised aloud, "What a joy there is in going about doing good actions."

1899, Knut Hamsun, “Part III”, in George Egerton [pseudonym; Mary Chavelita Dunne Bright], transl., Hunger […], London: Leonard Smithers and Co […], →OCLC, page 164:

(intransitive, drama) Of a character: to perform a soliloquy, to talk to oneself.


catch-breath

catch-breaths (plural)
catch breath (alternative)

[…] it is possible to obtain the desired effect by allowing sections or individuals within a section to take an unobtrusive catch-breath at different times.

1940, Van Ambrose Christy, Glee Club and Chorus: A Handbook, page 55:

(drama, singing) A pause to take a breath.


kitchen-sinky

en-adj

kitchen-sinky (comparative more kitchen-sinky, superlative most kitchen-sinky)

more kitchen-sinky (comparative)
most kitchen-sinky (superlative)
kitchen sinky (alternative)

From kitchen sink + -y. Sense 1 alludes to the phrase everything but the kitchen sink, sense 2 to the phrase kitchen sink realism.

Not that Warner's is merely a domesticated version of Euripides. It stars, after all, that least kitchen-sinky of actors.

2001 February 4, Susannah Clapp, “Mother knows best”, in The Guardian:

"Here was a kid who was imagining things and inventing things and none of this was odd to her, mum and dad being junkies. I didn't want to comment; I just present the story. And I didn't want to be too kitchen-sinky, because it's a heightened reality."

2007 April 29, Stephanie Bunbury, “Tide and emotions”, in The Age:

"He takes this seedy little story of seedy little people in seedy little rooms, and he makes it big and operatic and grandiose. I love that. It could have all been documentary-like or a bit kitchen sinky, and all rough and tough. […]

2011 February 7, Gina Picallo, “Helen Mirren interview”, in The Telegraph:

(drama) Of or pertaining to the kitchen sink drama; depicting social realities in an unstylized and direct manner.


tragic hero

(drama) A hero who suffers from a tragic flaw that eventually causes his downfall.


exode

From Latin exodium, from Ancient Greek ἐξόδιον (exódion).

(Ancient Greek drama) The final chorus; the catastrophe.


minimusical

Both shows lean heavily on their Jewish orientation, but where Fiddler is a folk musical of size and substance, Kaplan is a minimusical of sweetness.

1968 April 12, “New Plays: The Education of Hyman Kaplan”, in Time, archived from the original on 2010-10-29:

The video consists of a minimusical whose soundtrack sounds as if it were generated by an inexpensive electronic keyboard.

2009 January 25, Randall Stross, “Microsoft Songsmith Is Easy (if Painful to Hear)”, in New York Times:


overplotted

overplotted (comparative more overplotted, superlative most overplotted)

more overplotted (comparative)
most overplotted (superlative)

Pursuing its preposterous, overplotted premise, Time merrily confuses myth with fact--Romeo and Juliet and Arthur never lived, or they did so under other names.

1988 July 1, Lawrence Bommer, “Channel This, or Die, Yuppie Scum!; Time in a Battle”, in Chicago Reader:

(drama) Having an excessively elaborate plot.


falling action

(literature, drama) The events of a drama after the climax (or crisis) but before the denouement (or resolution).


corypheus

en-noun

corypheus (plural corypheuses or coryphei)

corypheuses (plural)
coryphei (plural)
coryphæus (alternative)
coryphaeus (alternative)
koryphaios (alternative)

From Latin coryphaeus, from Ancient Greek κορυφαῖος (koruphaîos, “leader”), from κορυφή (koruphḗ, “head”).

uder

In this work Homer and Virgil already appear beside Cicero and Plato as doctrinal authorities. The four corypheuses are infallible; any contradiction between them is wholly out of the question.

1953, Ernst Robert Curtius, European Literature and the Latin Middle Ages, page 443:

(drama, historical) The conductor or leader of the dramatic chorus in Ancient Greece.


stasimon

From Ancient Greek στάσιμον (stásimon, “stationary”); compare stasis.

the lively measures of the Hyporcheme which holds the place of THIRD STASIMON ( V ) speak for themselves

1883, Richard Claverhouse Jebb, Sophocles: The Plays and Fragments:

1950, Amy Marjorie Dale, Stasimon and Hyporcheme, Eranos, XLVIII, pages 14-20, reprinted in 1969, Collected Papers of A. M. Dale, Volume 2, page 34,
In the Parados the chorus is 'coming on', and has to move on to and across the orchestra to take its place in the middle; in all the stasima, however active and lively the dance, its evolutions are performed from that middle position (a choro tenente stationes suas, as Hermann said in 1844), and do no involve processional movement.

It is interesting to consider the treatment of the stasima in relation to their context. Especially remarkable is the way in which the first stasimon (224 ff.), a hymn to Apollo praying for the success of Dolon's enterprise, is largely composed of sentiments repeated, with many verbal echoes, from the preceding dialogue[…].

1964, William Ritchie, The Authenticity of the Rhesus of Euripides, page 338:

The first stasimon sings of the wonders of man, which culminates in man's city-building and his ethical community.[…]Episodes can be interpreted in the light of the choral stasima.

2013, Jonathan N. Badger, Sophocles and the Politics of Tragedy: Cities and Transcendence, page 78:

(drama, Ancient Greek drama) A song of the chorus during a tragedy, continued without the interruption of dialogue or anapaestics.


kitchen sink

The noun is derived from kitchen + sink. Sense 2.1 (“miscellaneous item or miscellany”) is probably from everything but the kitchen sink.
The adjective is derived from the noun. Sense 1 (“of or pertaining to a realist style of painting characterized by scenes of dull or untidy domestic interiors of urban working-class people”) was coined by the British art critic David Sylvester (1924–2001) in a December 1954 article entitled “The Kitchen Sink”: see the quotation.
The verb is a back-formation from kitchen-sinking (noun), which is derived from the noun.

back-formation

(by extension, drama, fiction, film, television, originally derogatory) Of or pertaining to a mid-20th-century (especially 1950s–1960s) genre of drama, fiction, etc., in Britain depicting the harsh lives of working-class people; also, of or pertaining to a film, novel, play, etc., of this genre.

työväestön arkielämää käsittelevä

of or pertaining to a genre of drama, fiction, etc., depicting the harsh lives of working-class people; of or pertaining to a film, novel, play, etc., of this genre


exodos

Borrowed from Ancient Greek ἔξοδος (éxodos, “a departure”). Doublet of exodus.

bor

1994, Carlo Ferdinando Russo (author and translator), Aristophanes: An Author for the Stage, [1962, Aristofane autore di teatro], page 173,
The exodos requires three actors, one for the Athenian (thirty iambic trimeters), one for his companion (five iambic trimeters) and one for the Spartan Singer (three iambic trimeters and around forty lyrical lines).

Then scenes alternate with choral songs, till the final exodos ("going-out") of the actors and chorus.

2003, Francis Blessington, The Bacchae; Euripides: The Frogs; Aristophanes, page xix:

Every Greek drama ends with an exodos. It is obligatory that the stage be left empty. It is left by the actors and the chorus.

2006, Olga Freidenberg, Image and Concept, page 271:

Non-speaking Characters
Hermione in prologue and exodos, Pylades in exodos, Electra in exodos, Helen in exodos

2013, Cecelia Eaton Luschnig, editor, The Orestes Plays, page 140:

In this respect, the parodoi and the exodoi of Old Comedy may operate as typical literary sphragis-like pieces; see details in Hordern (2002) 228-9; Calame (2004a); on the exodoi of Aristophanes as signature pieces see Calame (2004b) 182-3.

2013, Sophia Papaioannou, “Chapter One: The Innovator's Poetic Self-Representation”, in Sophia Papaioannou, editor, Terence and Interpretation, footnote, page 27:

(drama, Ancient Greek drama) A final scene or departure in a play, especially a tragedy.


tragic heroine

(drama) A heroine who suffers from a tragic flaw that eventually causes her downfall; a female tragic hero.


playworthy

en-adj

playworthy (comparative more playworthy, superlative most playworthy)

more playworthy (comparative)
most playworthy (superlative)


She is a 2.5D actress.

(theater, drama) Of, belonging or relating to 2.5D musicals, a type of modern Japanese musical theater production which adapts stories originally presented in a two-dimensional medium (anime, manga, or video games).


ghost character

en-noun

ghost character (plural ghost characters)

Beside this detailed information which Hall provides about Matthew Gough, Shakespeare's Gough is a ghost character. There is, indeed, no way in which an audience could pick up who he is when he appears only to be killed immediately.

2003, Catherine M. S. Alexander, The Cambridge Shakespeare Library, Cambridge University Press, →ISBN, page 231:

A ‘ghost’ character is one who is marked as present on stage, but given no lines to speak: many editors consider the inclusion of these characters to be an oversight on the part of the writer or printer, and so remove them from modern stage directions; […]

2010, David Coleman, John Webster, Renaissance Dramatist, Edinburgh University Press, →ISBN, page 68:

Joseph A. Porter's discussion of the ‘ghost character’ of Valentine in Romeo and Juliet is also illuminating: Porter describes Valentine as a ‘symptom or by-product of Mercutio's transformation’ from rival lover (in Shakespeare's source) to friend […]

2014, Lena Cowen Orlin, Othello, A&C Black, →ISBN, page 277:

(drama, literature) A character who is mentioned as appearing on stage, but who does not do anything, and who seems to have no purpose.


fluff one's lines

en-verb

fluff one's lines (third-person singular simple present fluffs one's lines, present participle fluffing one's lines, simple past and past participle fluffed one's lines)

fluffs one's lines (present singular third-person)
fluffing one's lines (participle present)
fluffed one's lines (participle past)
fluffed one's lines (past)

(drama) Used other than figuratively or idiomatically: To stumble over or otherwise misspeak one's lines.


non-Aristotelian

From non- + Aristotelian; the general semantics sense was coined by Alfred Korzybski in the 1920s or early 1930s; the dramaturgical sense was coined circa 1930 by Bertolt Brecht.

(drama, theater, of a play) Whose dramaturgical structure departs from the features of classical tragedy in favour of the features of the epic.


2.5D musical

Coined by Makoto Matsuda in 2014, when he established the Japan 2.5-Dimensional Musical Association.

(theater, drama) A type of modern Japanese musical theater production which adapts stories originally presented in a two-dimensional medium (anime, manga, or video games).