In any theatrical production, the person who is responsible for all of the elements to go off smoothly and in the proper order is the stage manager. While the least creative position among the production crew's leadership, the stage manager is also the most necessary. The stage manager is the conduit between the director and all the technical functions in a play, and "calls" the show by announcing when various elements can go off.

The proscenium arch is the name for the outer framing of the performance area at a theater that demarcates the performing area for the audience. The physical arch was a necessity for centuries, creating a frame for the audience's view of the stage. Beginning in the twentieth century, many theater artists began performing in spaces without a proscenium, and new forms of theater developed that openly broke down the "fourth wall" between the performers and the audience.

The term "upstage" refers to the back of the stage, furthest away from the audience. Before theaters began using auditorium-style seating, where the audience's seats are arranged in rows with each row progressively higher, the audience would stand or sit on a flat floor. Stages were often built on an angle, with the rear of the stage at a higher elevation than the front, so that audiences could see what was happening at the back of the stage. When an actor is told by the director to move "upstage," he is being told to walk towards the rear of the stage.

"Blocking" refers to predetermined movements by the actors. As a company begins to rehearse a play, the director will give the actors their blocking in addition to their lines. This ensures that actors are in a particular space at a certain time. This makes the actors' lives easier because a scene should be the same every time. It also ensures that the audience can see what is going on without any of the actors being covered up by another.

When actors are given directions for movement, the stage is divided into regions so that everyone goes to the same place. These regions are always determined based on the viewpoint of the actor. As the actor looks at the audience, "stage right" is to the actor's right. This means that, from the audience's point of view, they are moving to the left side of the stage.

Kabuki theater began in Japan, near Kyoto, in the 17th century. It features complex stage design and elaborate makeup. Traditionally, a kabuki performance could last for an entire day. Such lengthy performances happen even today.

A Streetcar Named Desire was one of the biggest hits of the Broadway season of 1948, and helped further the careers of its director Elia Kazan, its star Marlon Brando, and especially its writer Tennessee Williams. The drama about a factory worker and his wife hosting her Southern belle sister won Williams a Pulitzer Prize for Drama and was later made into a successful film, also directed by Kazan and starring Brando.

Beckett, who helped define the "Theatre of Absurd," wrote Waiting for Godot without ever actually bringing the title character onstage. Instead, the two main characters, Vladimir and Estragon, argue about Godot, each other, and the meaning of life without having the unseen Godot interfere.

Anton Chekhov, born in Russia in 1860, was one of the pre-eminent playwrights of the late nineteenth and early twentieth century. Working closely with the director and acting theorist Konstantin Stanislavski, Chekhov's focus on subtext and tightly wound narratives proved highly influential in worldwide theater circles. One of his best known plays and a key example of his style is The Cherry Orchard, a play about a landed Russian family dealing with their newfound poverty.

Elizabethan theater, the era of Shakespeare, Marlowe, and Johnson, was rather crude in its stagecraft. The stage was a platform that jutted into the audience without a proscenium, and extensive costumes and sets were not present. Additionally, lighting the stage was essentially unheard of, but sound effects and certain special effects were possible, particularly explosions and fire.