Invent a definition for the word “flangiprop,” then use the word in a post.
Throughout the eons of live dramatic performances, (whether it be the Greek tragedies or the soliloquies of Shakespeare, the magnificent musicals on Broadway or the chic counter-culture productions of off-off-Broadway), directors, stage designers, and actors have had the in-born desire to create such a living, in-your-face, re-creation of realistic life on-stage that audiences would be mesmerized into falling spell-bound into the director’s custom-designed, fanciful world.
This can only be done through the use of 3-D dramatizations. Thespians devote their lives to ‘becoming one’ with their characters. Millions of man-hours are devoted to the planning and presentation of the set-designs and the varied staging props.
From the amphitheaters to the al fresco theaters, set-designers and directors have well-defined roles in deciding what props the audience both sees and assumes to see.
As one begins the study of the art of stage props, an entire new world of the vernacular will assault one’s ears.
It is in this vernacular theatrical world, one will encounter the word flangiprops.
By definition, a prop is considered to be anything movable or portable on a stage or a set, distinct from the actors, scenery, costumes and electrical equipment. (Google)
This means the bi-fold and tri-fold backgrounds, as well as the dramatic backgrounds that rise from the basements or are lowered from the ceilings, are part of the “props” of a performance. Costumes, both the minimalistic, as well as the extravagant, are performance props. All furniture, both large and small, and its needed accruements are features of this category of props.
Few people, however, know how crucial the flangiprops are. These are the props that are “air-borne”. The etymology of the word flangiprops is from the Greek words flange and props. Flange originally meant from flying aero, while props originally meant moveable by design.
The flangiprops of a performance are diploid in nature. They include the many needed objects that an actor might throw through the air. These flangiproptypical objects vary from innocent confetti and balloons to pretend shrapnel from weapons that are exploded on stage. (Many performers have been injured from a pretend accident- some suffering even fatal injuries.)
One can easily see why a dramatic performance science is necessary for such possibly dangerous implements of the actor’s trade. The category of flangiproptypical props also include all the sounds and background music’s necessary to create the atmosphere for dramatic performances.
The study of flangiprops, though often only seen for a mere side-show of the arts, is both immensely important and intricately necessary in achieving a masterfully staged performance that is both safe and intimate for an audience’s participation.
The involvement of flangiprops in dramatizations is mandatory for an audience’s enjoyment and crucial for the success to a modern day performance.
In response to The Daily Post’s writing prompt: “Flangiprop!.”