The term theatrical property, better known as a prop, originated as an object used in a stage play and similar entertainments to further the action. Technically, a prop is any object that gives the scenery, actors, or performance space specific period, place, or character. The term comes from live-performance practice, especially theatrical methods, but its modern use extends beyond the traditional plays and musical, circus, novelty, comedy, and even public-speaking performances, to film, television, and electronic media. All props in a production originate from off stage unless they have been preset on the stage before the production begins. Props are stored on a prop table backstage near the actor's entrance during production then generally locked in a storage area between performances.
Props are generally distinct from the costumes worn by the actors the scenery (sets) or other large objects that can be considered part of the stage. Occasionally, if a period-piece item of clothing is handled or otherwise appears on screen, but is never worn by an actor, then it would the responsibility of the prop master, and thus considered a prop. For example, belts, stockings, hats, and other normally wearable items may be considered as props if they are merely picked up by an actor or used for alternate purposes.
Under normal circumstances the theatrical prop used must be built, bought, borrowed or pulled from existing stock. This generally falls under the responsibility of the property designer, coordinator or director. Usually the head of the theatre property department, this position requires artistic as well as organizational skills. Working in coordination with the set designer, costume designer, lighting and sometimes, sound designer, this overlapping position has only in recent years become of greater importance. Props have become more and more specialized due in large part to realism as well as the rise of theatre in the round, where few sets are used and the simple prop becomes as important a design element as costumes and lighting.
Besides the obvious artistic creations made in the prop workshop, much of the work done by the property designer is research, phone searches, and general footwork in finding needed items. Of all the positions within theater, the property designer receives the least accolades. There are no awards for the props position besides the satisfaction of the item working well for the performance...or is there? In SexSkits, the purpose of the setting and the props is to realistically create an atmosphere in which the SexSkit can take place, propelling the participants into another time and place where they can more comfortably and completely assume their character roles. In this sense, the props and the setting are just as important as the costume, make-up, and the SexSkit script itself.
