place on a manager’s books for playing contracts; to secure a route.  BOOKING MANAGER.—­One who books acts for theatres.  BOOSTER.—­See “PLUGGER.”  BORDER.—­A strip of painted canvas hung above the stage in front of the border-lights to mask the stage-rigging.  BORDER-LIGHT.—­Different colored electric bulbs set in a tin trough and suspended over the stage to light the stage and scenery.  BOX SET.—­A set of scenery made of “flats” (which see) lashed together to form a room whose fourth wall has been removed.  BREAKING-IN AN ACT.—­Playing an act until it runs smoothly.  BUNCH-LIGHT.—­Electric bulbs set in a tin box mounted on a movable standard to cast any light—­moonlight, for instance—­ through windows or on drops or backings.  BUSINESS, or BUS., or BIZ.—­Any movement an actor makes on the stage, when done to drive the spoken words home, or “get over” a meaning without words.  CENTRE-DOOR FANCY.—­An interior set containing an ornamental arch and fitted with fine draperies.  CHOOSER.—­One who steals some part of another performer’s act for his own use.  CLIMAX.—­The highest point of interest in a series of words or events—­the “culmination, height, acme, apex.” (Murray.) CLOSE-IN, TO.—­To drop curtain.  COMEDY.—­A light and more or less humorous play which ends happily; laughable and pleasing incidents.  COMPLICATION.—­The definite clash of interests which produces the struggle on the outcome of which the plot hinges.  CRISIS.—­The decisive, or turning, point in a play when things must come to a change, for better or worse.  CUE.—­A word or an action regarded as the signal for some other speech or action by another actor, or for lights to change, or something to happen during the course of an act.  CURTAIN.—­Because the curtain is dropped at the end of an act—­the finish.  DIE.—­When a performer or his act fails to win applause, he or the act is said to “die.”  DIMMER.—­An electrical apparatus to regulate the degree of light given by the footlights and the border-lights.  DRAPERY, GRAND.—­An unmovable Border just in front of the Olio and above Working Drapery.  DRAPERY, WORKING.—­The first Border; see “BORDER.”  DROP.—­A curtain of canvas painted with some scene and running full across the stage opening.  DUMB ACT, or SIGHT ACT.—­Acts that do not use words; acrobats and the like.  EXPOSITION.—­That part of the play which conveys the information necessary for the audience to possess so that they may understand the foundations of the plot or action.  EXTERIOR BACKING.—­See “BACKING, EXTERIOR.”  EXTRA MAN, or WOMAN.—­A person used for parts that do not require speech; not a regular member of the company.  FANCY INTERIOR.—­The same as “Centre-door Fancy” (which see).  FARCE.—­A play full of extravagantly ludicrous situations.  FIRST ENTRANCE.—­Entrance to One (which see).  FLASH-BACK.—­When a straight-man turns a laugh which a comedian has won, into a laugh for himself (see chapter on “The Two-Act").  FLAT.—­A wooden frame covered with a canvas painted to match other flats in a box