📚 Year 12 Cambridge Drama: Key Terminology Quick Memorisation Guide | Year 12 Cambridge 戏剧：词汇术语速记指南
Mastering the specialist vocabulary of drama is essential for analysing, performing, and writing about theatre in the Cambridge Year 12 syllabus. This article transforms a long list of terms into a structured quick-memorisation guide, pairing each concept with a clear definition and a simple memory trigger. You will move from upstage to dress rehearsal with confidence, whether you are preparing for a devised piece, a scripted performance, or the written exam.
掌握戏剧专业词汇是剑桥 Year 12 课程中分析、表演和写作的基础。本文把一个个术语转化为结构清晰的速记指南，每个概念都配有简洁定义和简单的记忆触发点。无论你是在准备即兴创作、剧本表演还是书面考试，都能从上场区走到彩排环节，游刃有余。
1. Stage Directions and Areas | 舞台方位与区域
Upstage (US) is the part of the stage furthest away from the audience. Imagine stepping ‘up’ a rake to distance yourself. That visual holds the meaning.
舞台后区 (Upstage) 离观众最远。想象顺着一个斜坡‘向上’走就远离了观众，这个画面帮你牢记。
Downstage (DS) is the area nearest the audience. Think of stepping ‘down’ towards the front row.
舞台前区 (Downstage) 离观众最近。想象‘向下’走向第一排座位。
Stage Left and Stage Right are always from the actor's perspective when facing the audience. The prompt ‘my left is their right’ helps actors avoid confusion.
舞台左侧 (Stage Left) 和 舞台右侧 (Stage Right) 始终以演员面向观众时的左右为准。口诀‘我的左即他们的右’可以避免混淆。
Centre Stage (CS) is the powerful middle position. It draws the audience's focus and often marks key dramatic moments.
舞台中心 (Centre Stage) 是舞台正中央的强有力位置，能汇聚观众目光，常用于高潮瞬间。
Wings are the offstage areas left and right, hidden by curtains or flats. Performers wait unseen in the wings.
侧台/翼幕 (Wings) 是舞台两侧被幕布或景片遮挡的区域，演员在此候场不被看见。
Apron refers to the forestage extending past the proscenium arch. In Elizabethan theatres, actors used the apron to engage the audience directly.
台唇 (Apron) 指伸出镜框式舞台向观众席延伸的部分。伊丽莎白时期剧场中，演员常在台唇与观众直接交流。
2. Vocal Terminology | 声音技巧术语
Projection is the ability to fill the performance space with clear sound without shouting. Think of ‘throwing’ your voice to the back wall, not straining your throat.
远达/投射 (Projection) 指不用喊叫就能让声音清晰充满全场。想象把声音‘抛’到后排墙面，而不是使劲靠喉咙喊。
Articulation means shaping each consonant and vowel distinctly. The mnemonic ‘the tip of the tongue, the teeth, the lips’ reminds you to trip crisp sounds.
吐字归音 (Articulation) 要求把每个辅音和元音清晰地塑形。口诀‘舌尖齿唇’帮助你发出清脆的声音。
Pitch cribes how high or low your voice sounds. Varying pitch keeps a monologue lively. Remember ‘high = excited, low = serious’ as a rough guide.
音高 (Pitch) 指声音的高低。独白中改变音高能防止单调。大致规律：‘高音激动，低音严肃’。
Pace is the speed of speech. Quick pace can suggest panic; a deliberate slowing can build tension.
语速 (Pace) 即说话的速度。语速快可暗示慌张，故意放慢则能积累张力。
Tone conveys attitude — warm, sharp, sarcastic, gentle. Pair it with ‘subtext’ (the meaning beneath the words) to unlock character.
语气/音色 (Tone) 传递态度——温暖、犀利、讽刺、柔和。与‘潜台词’（台词底下的隐含意义）结合，就能打开角色。
Resonance is the rich, vibrating quality produced when sound echoes in the chest and head cavities. Visualise the voice as a ball bouncing in a cathedral.
共鸣 (Resonance) 是声音在胸腔和头腔回荡产生的浑厚质感。想象声音像球一样在教堂穹顶弹跳。
3. Movement and Physicality | 动作与身体术语
Gesture is a conscious or unconscious movement of the hand, arm, or head that communicates meaning. A clenched fist can read as defiance.
手势/姿态 (Gesture) 是用手、臂或头部做出的有意识或无意识的表意动作。一只攥紧的拳头就能传达反抗。
Posture refers to the way a character holds their body. Slumped shoulders suggest defeat; an upright spine signals authority. Use the image ‘spine as a coat hanger’ to remember posture shapes character.
体态 (Posture) 指角色保持身体的方式。耷拉的双肩暗示挫败，笔直的脊背显示权威。把‘脊椎想象成衣架’可以帮你记住体态塑造角色。
Gait is a character’s manner of walking — a shuffle, a strut, a limp. Link gait to motivation: an anxious character might take short, jerky steps.
步态 (Gait) 是角色走路的风格——拖沓、高视阔步、跛行。将步态与动机挂钩：焦虑的角色可能走小碎步。
Proxemics describes the use of space between performers. The distance can reveal intimacy, tension, or status. Think ‘personal bubble’ to visualise proxemics.
空间关系学 (Proxemics) 描述演员之间如何运用空间距离。距离能揭示亲密、紧张或地位。用‘个人泡泡’概念来想象空间关系。
Levels refer to the vertical position of actors on stage — standing, kneeling, or climbing a platform. Higher levels usually denote power; lower levels suggest submission. ‘King on the hill’ locks that in.
高低层次 (Levels) 指演员在舞台上的垂直位置——站立、跪地或登上高台。高处多象征权力，低处暗示服从。‘山丘上的国王’让你牢牢记住。
Blocking is the choreographed movement and positioning of actors on stage. Every cross and turn is planned during rehearsal. Remember ‘blocking’ as ‘building the physical score’.
舞台走位/调度 (Blocking) 是演员在台上经过编导的移动和定位。每一次横穿、转身都在排练中精心设计。把 blocking 理解为‘构建身体总谱’。
4. Dramatic Genres | 戏剧体裁
Tragedy centres on a protagonist’s downfall, often due to a fatal flaw (hamartia) and evoking catharsis. Think of the ‘tragic domino’ — one flaw topples the rest.
悲剧 (Tragedy) 围绕主人公的覆灭，常因致命缺陷 (hamartia) 引发并唤起观众的情感净化。联想到‘悲剧多米诺’——一个缺陷推倒整副牌。
Comedy aims to amuse and often ends happily. It can rely on misunderstandings, wit, or physical humour. The phrase ‘laughter through errors’ sums up many comedic plots.
喜剧 (Comedy) 旨在逗乐，通常以圆满结局收场，可能依靠误会、机智或肢体幽默。‘误会中见笑声’概括了许多喜剧情节。
Farce is an extreme form of comedy with exaggerated situations, slamming doors, and absurd coincidences. Picture a chaotic clockwork toy spinning out of control.
闹剧/滑稽戏 (Farce) 是喜剧的夸张变体，充满荒诞情境、摔门和离谱巧合。想象一只失控的发条玩具在疯狂旋转。
Melodrama heightens emotion and music, with clear heroes and villains. Stock characters and sensational plotlines dominate. The memory hook here is ‘music underlines the drama’.
情节剧 (Melodrama) 强化情感与音乐，角色善恶分明，充斥着套路化人物和耸动的剧情。记忆线索是‘音乐强调戏剧性’。
Epic Theatre ces think rather than feel. Techniques like direct address and placards are used. Remember ‘epic = alienate to educate’.
史诗剧 (Epic Theatre) 与布莱希特相关，打破幻觉让观众思考而非沉醉。使用直接对观众说话、标语牌等技法。记住‘史诗剧 = 间离以启蒙’。
Physical Theatre tells stories primarily through the body rather than spoken text. It draws on mime, dance, and ensemble movement. Link it to ‘the body is the script’.
肢体剧场 (Physical Theatre) 主要通过身体而非说白来讲故事，融合哑剧、舞蹈和集体动作。联想‘身体即剧本’。
5. Structure of a Play | 剧本结构
Exposition introduces the setting, characters, and background. Often the first scene fills the audience in on the ‘who, where, and what was’.
交代/开端 (Exposition) 交代背景、人物和前情。通常第一场就向观众说明‘谁、哪里、之前发生了什么’。
Rising Action is the series of conflicts and complications that build tension. Visualise a mountain path that climbs and zigzags but always goes up.
上升动作 (Rising Action) 是一连串冲突与纠葛逐渐积累张力。想象一条蜿蜒但持续攀升的山路。
Climax is the turning point of the highest intensity. After this moment, the conflict begins to resolve. Mark it as ‘the explosion before the calm’.
高潮 (Climax) 是张力达到顶点的转折处。此后冲突开始解决。标记为‘平静前的大爆发’。
Falling Action shows the consequences of the climax and leads towards resolution. Tension eases but loose ends are tied.
下降动作 (Falling Action) 呈现高潮带来的后果，逐步走向结局。紧张缓和但线索开始收束。
Denouement (or resolution) is the final untangling of the plot. The French word literally means ‘unknotting’. Think of untying a tangled rope.
结局/收场 (Denouement) 是情节的最终拆解。法语原意为‘解开绳结’。想象在理顺一团乱麻。
Acts and Scenes divide the play into manageable sections. A change of act often signals a major shift in time or location. A scene builds a single unit of action.
幕 (Acts) 与 场 (Scenes) 将剧本划分成可操作的段落。幕的转换常标志时间或地点的重大变化。场则构建一个单一动作单元。
6. Key Practitioners and Techniques | 关键戏剧大师与技法
Stanislavski developed a system focusing on psychological truth. Key terms include ‘given circumstances’, ‘objectives’, and ‘emotional memory’. The mantra ‘what would I do if I were the character?’ sums up his approach.
斯坦尼斯拉夫斯基 建立了一套关注心理真实的系统。核心术语包括‘规定情境’、‘任务’和‘情感觉忆’。心法：‘如果我是角色，我会怎么做？’。
Brecht introduced the verfremdungseffekt (alienation effect), which reminds the audience they are watching a play. He used songs, narration, and fragmented scenes to break empathy. Think ‘don’t cry, just question’.
布莱希特 提出了‘间离效果’，时刻提醒观众他们正在看戏。他用歌唱、叙述和碎片化场景打破移情。记住：‘不要流泪，只管质疑’。
Grotowski pioneered ‘poor theatre’, stripping away costumes and sets to focus on the actor’s body and voice. The term ‘via negativa’ (eliminating unnecessary elements) defines his method.
格洛托夫斯基 开创‘质朴戏剧’，剥去服装和布景，聚焦演员的身体与声音。他方法的核心是‘逆向之路’——剔除一切多余元素。
Artaud envisioned the Theatre of Cruelty, assaulting the senses with light, sound, and gesture to shock audiences into new awareness. Recall ‘theatre should jolt, not soothe’.
阿尔托 构想‘残酷戏剧’，用声光与肢体冲击感官，使观众在震惊中获得新感知。回想：‘戏剧要震撼，而非安抚’。
Viewpoints, originating from Anne Bogart, is a movement-based improvisation system using time and space elements like tempo, duration, and spatial relationship. Use the phrase ‘improvise with architecture’ to capture its spirit.
视点方法 (Viewpoints)，源于安妮·博格特，是以动作为基础的即兴体系，运用节奏、时长、空间关系等时间与空间元素。用‘即兴与建筑同舞’概括其精神。
7. Set and Props | 布景与道具
Flats are lightweight wooden frames covered with canvas or plywood, painted to create walls or backgrounds. They are the ‘canvas walls’ of the set.
景片 (Flats) 是轻质木框，覆以帆布或胶合板，上色后构成墙壁或背景，是布景的‘帆布墙’。
Cyclorama (cyc) is a large curved backdrop, often lit to create skies or abstract moods. Picture a giant white shell embracing the whole stage.
天幕 (Cyclorama) 是一大块弧面背景，常通过灯光制造天空或抽象氛围。想象一只巨大的白色贝壳环抱整个舞台。
Set dressing refers to decorative details that make the set feel lived-in — books, curtains, photographs. This ‘visual seasoning’ adds realism without being handled by actors.
布景装饰 (Set dressing) 指增添生活感的装饰细节，如书本、窗帘、照片。这种‘视觉调味品’增添了真实感，却常不被演员触碰。
Practical props are objects that actually function on stage — a working kettle, a ringing phone. They demand extra care in rehearsal. Tell yourself ‘if it actually works, it’s practical’.
功能性道具 (Practical props) 是舞台上真实使用的物品——会响的水壶、会响的电话。排练中需格外留意。告诉自己：‘真能用，就是 functional/practical’。
Levels on set (rostra, platforms, steps) create vertical variety. They affect sightlines and help establish status. The set’s levels become an actor’s physical playground.
布景上的层次 (平台、台阶) 制造垂直变化，影响视线并塑造地位。布景中的高低层次成了演员的身体游乐场。
8. Lighting Design Terms | 灯光设计术语
Fresnel lantern produces a soft-edged beam, ideal for washes of colour. Think of a ‘soft friend’ to recall the gentle light of a Fresnel.
佛氏聚光灯 (Fresnel) 发出柔和边缘的光束，适合做色光铺陈。联想‘温柔的佛雷奈尔’记住其柔光特性。
Profile spot gives a hard-edged, shuttered beam, perfect for gobos or precise highlighting. ‘Profile = precise shape’ locks the definition.
成像灯/轮廓聚光灯 (Profile spot) 射出的光束边缘清晰，可通过遮光片造型，适合图案投影或精确追光。‘轮廓=精确塑形’牢记定义。
Wash is a broad, even illumination over a large area. A colour wash can shift atmosphere instantly.
铺光/洗光 (Wash) 是对大面积进行均匀照明。一道色光铺洒可瞬间改变氛围。
Gel is a heat-resistant plastic sheet placed in front of a lantern to colour the light. Without gel, light is white; with gel, it carries emotion.
色纸 (Gel) 是置于灯具前的耐热塑料片，为光上色。无 Gel 时是白光，有 Gel 时光便携带情绪。
Gobo (short for ‘go between’) is a metal or glass template that projects a pattern — leaves, windows, ripples. Insert a gobo and a plain wall becomes a forest.
图案片/投影片 (Gobo) 是金属或玻璃模板，能投射出图案——树叶、窗影、波纹。插入 Gobo 后，一面白墙就幻化成森林。
Blackout is an instant cut to complete darkness. It punctuates scenes and resets energy. The trigger ‘snap to zero’ reminds you of its abrupt quality.
暗场/切光 (Blackout) 是瞬间变为全黑，用来给场景打标点、重置能量。心像‘啪地归零’强调其骤然性。
9. Sound and Music | 声音与音乐
Diegetic sound originates from within the world of the play — a radio on stage, a knock at the door. Characters can hear it. Link ‘diegetic = dialogue-world’ to anchor the concept.
剧情内声音 (Diegetic sound) 源于戏剧世界里——台上的收音机、敲门声。角色可以听到。用‘剧情内=剧中人物可闻’来锚定。
Non-diegetic sound ike underscore music or voiceover. The audience hears it, but the characters do not. Think ‘non-diegetic = narrator’s layer’.
剧情外声音 (Non-diegetic sound) 源自古事世界之外，如配乐或画外音。观众听得见，角色听不见。想象‘剧情外=叙述者层面’。
Underscore is background music that supports the mood without dominating. It ‘scores under’ the action.
陪衬音乐 (Underscore) 是烘托情绪又不喧宾夺主的背景音乐，属于行动底下的‘乐谱’。
Soundscape layers multiple sounds to build an environment — wind, footsteps, distant traffic. Visualize a sonic painting.
声景/音响环境 (Soundscape) 把多种声音编织成环境——风声、脚步声、远处车流。想象一幅声音绘画。
Cue is a signal for a sound, light, or actor’s entrance. In production, you ‘call the cue’ at the precise moment. The cue is the invisible conductor’s baton.
提示/指令 (Cue) 是声音、灯光或演员上场的信号。制作中你要在精准时刻‘喊出提示’。Cue 就是无形指挥的挥棒。
10. Rehearsal Process | 排练流程
Read-through (or table work) is the first gathering where the cast reads the whole script aloud. It sets the tone and allows the director to share their vision.
朗读对词 (Read-through) 是首次全剧组坐在一起通读整部剧本。它为排练定调，导演也能分享构思。
Blocking rehearsal r focuses on staging and movement. The director decides who moves where and when. Lines are often optional while bodies learn positions. ‘Blocking = blocking out space’ helps recall.
走位排练 (Blocking rehearsal) 专注于舞台调度与移动。导演决定谁在何时移动到何处。台词常可淡化，身体先记住位置。‘Blocking 就像规划空间积木’帮你记住。
Run-through is a continuous rehearsal of a full act or the whole play without stopping. It tests stamina, flow, and discoveries made in previous sessions.
连排 (Run-through) 是不间断地连续排演一幕或全剧，检验耐力、流畅度和此前排练中的发现。
Technical rehearsal (tech) integrates lights, sound, set changes, and special effects. It can be slow and repetitive. ‘Tech marries the design to the action’ is the essential reminder.
技术合成排练 (Technical rehearsal) 整合灯光、音响、换
Published by TutorHao | Year 12 戏剧 Revision Series | aleveler.com
更多咨询请联系16621398022（同微信）
或截图后用「扫一扫 → 相册」选择本图