Movement on stage that is purposeful and meant to take an actor from one location to another is called "blocking," which is indicated by specific terminology. A "cross" is the movement from one side of the stage to another or from one set piece to another. Actors must also understand where stage right and stage left (always the right and left of the actor, not the audience) are. Actors will often be directed to cross upstage (farther away from the audience) or downstage (closer to the front edge of the stage) or to stand center (directly in the middle of the stage). The entrances and exits of actors are also blocked stage movements.
Mime is acting without speaking and therefore is about communicating with the body. In this type of stage movement, each action is representative of interaction with something that is not there -- a wall, the wind or a prop such as a flower or hat. Mimes behave "as if" they are interacting with outside forces, even "pretending" to walk and run, while staying in one place onstage. Pantomime artists train intensively to gain control of their bodies' articulation and expressive possibilities. Marcel Marceau was a mime whose character, Bip, popularized this distinct art form.
Slapstick, also known as physical comedy, actually originated with the Commedia dell'Arte in 16th century Italy. The name came from a paddle that made a loud "slapping" noise when clacked together. This stick added sound effects for much of the comic violence found in these performances. Today, slapstick is a type of stage movement that results in a laugh. Often, slapstick will consists of a "gag" such as slipping on a banana peel, tripping over something and falling or missing a chair when going to sit and falling on the floor. Slapstick is often used by clowns onstage and in comic plays and skits.
No fight onstage is ever "real." Actors must repeat any stage violence in performance after performance, so it is always created with safety in mind to give the illusion of a fight. Actors must train to understand and utilize the skills necessary for stage combat, and the Society of American Fight Directors offers workshops and certification in stage combat for actors and fight choreographers. Stage combat can involve weapons or hand-to-hand combat and is often found in classical plays such as those by Shakespeare.