📚 Year 12 CAIE Drama: Quick Memorisation Guide to Key Terminology | Year 12 CAIE 戏剧：词汇术语速记指南
In CAIE Drama at Year 12, mastering theatrical terminology is essential for analysing performance texts and articulating your creative choices in both written exams and practical work. This guide breaks down key terms into thematic sections to help you learn and recall them quickly.
在 Year 12 CAIE 戏剧课程中，掌握剧场术语对于分析表演文本以及在笔试和实践作业中清晰表达创作选择至关重要。本指南将关键术语按主题分类，帮助你快速学习并记忆。
1. Stanislavski's System and Naturalism | 斯坦尼斯拉夫斯基体系与自然主义
Given Circumstances – The specific details of the world of the play, including time period, location, social context and character relationships, as outlined by the playwright or created in rehearsal.
规定情境 – 剧本世界的具体细节，包括时代、地点、社会背景和人物关系，由剧作家设定或在排练中共同创造。
Objective – What a character wants to achieve in a particular scene or unit of action, driving their behaviour and choices moment by moment.
任务/目标 – 角色在某一场景或行动单元中想要达成的目的，时刻驱动着他们的行为和选择。
Super-objective – The overarching need or desire that propels a character through the entire play, connecting all smaller objectives into a coherent through line.
最高任务 – 贯穿全剧、驱动角色的总体需求或欲望，将所有小目标聚合成一条连贯的行动主线。
Through Line of Action – The continuous inner journey and sequence of actions a character pursues from the beginning to the end of the play in pursuit of the super-objective.
贯穿行动线 – 角色为完成最高任务而从剧始至剧终不断追寻的内在旅程与行动序列。
Emotion Memory – An acting technique where the performer recalls a personal, emotionally charged past experience to produce truthful feelings on stage.
情绪记忆 – 演员回忆个人过去饱含情绪的经历，以在舞台上产生真实情感的一种表演技法。
Subtext – The unspoken thoughts, feelings and motivations that lie beneath the words a character speaks, often revealing deeper meaning or contradiction.
潜台词 – 隐藏在角色话语之下的未说出口的想法、感受与动机，常常透露出更深层的含义或矛盾。
2. Brecht and Epic Theatre | 布莱希特与史诗剧场
Verfremdungseffekt (Alienation Effect) – A technique that breaks the theatrical illusion to remind the audience they are watching a performance, encouraging critical observation rather than emotional identification.
间离效果（陌生化效果） – 打破剧场幻觉、提醒观众正在观看表演的技巧，鼓励批判性观察而非情感投入。
Epic Theatre – A form of theatre that uses narrative, direct address, montage and historification to provoke the audience into thinking about social and political issues.
史诗剧场 – 运用叙述、直接对观众讲话、蒙太奇和历史化等手法，促使观众思考社会与政治问题的戏剧形式。
Gestus – A clear physical expression or pose that reveals the social relationships, attitudes and power dynamics within a moment of performance.
姿态（Gestus） – 在表演瞬间揭示社会关系、态度与权力动态的清晰的身体表达或姿势。
Historicisation – Presenting events as products of a specific historical context so that audiences understand them as changeable rather than inevitable.
历史化 – 将事件呈现为特定历史环境的产物，使观众认识到它们可以改变而非不可避免。
Spass – The use of humour and entertainment within a didactic framework, making political messages more accessible and engaging.
娱乐性（Spass） – 在说教框架中使用幽默与娱乐，使政治信息更易于理解和引人入胜。
Didactic Theatre – Theatre with the primary aim of teaching or conveying a moral, social or political lesson, often associated with Brechtian practice.
教诲剧/说教剧 – 以传授或传达道德、社会或政治教训为首要目的的戏剧，常与布莱希特实践相关联。
3. Physical and Visual Theatre | 肢体与视觉剧场
Physical Theatre – A style of performance where physical movement and the body are the primary means of storytelling, often involving devised and ensemble-based creation.
肢体剧场 – 以身体和肢体动作为主要叙事手段的表演风格，常涉及集体创作与编创手法。
Tableau – A frozen, still image created by the bodies of performers to capture a moment, idea or relationship, often used to open or close a scene.
静态画面（定格） – 由表演者身体构成的凝固画面，用以捕捉某一瞬间、概念或关系，常用于开场或收场。
Mime – The art of acting without words, relying on gesture, facial expression and precise movement to communicate objects, actions and emotions.
默剧 – 不用语言表演的艺术，依靠手势、表情和精准的动作来传达物体、行动与情感。
Mask Work – Performance using masks to transform the actor's physicality, character and expression, requiring exaggerated movement and clarity of intention.
面具工作 – 使用面具转变演员的肢体、角色与表情的表演，要求夸张的动作和清晰的意图。
Movement Motif – A repeated movement phrase or physical signature that symbolises a particular character, emotion or thematic idea throughout a piece.
动作母题 – 贯穿作品反复出现的动作短语或身体标记，用以象征特定角色、情感或主题思想。
Physical Score – A detailed sequence of movement mapped by a performer for a scene or entire piece, akin to a choreographed map of physical actions.
身体行动谱 – 表演者为一场戏或整个作品设计的详细动作序列，类似于一份编舞式的身体行动图谱。
4. Voice and Speech | 声音与台词
Pitch – The highness or lowness of the voice, used to convey emotion, character, status and meaning.
音高 – 声音的高低，用来传达情绪、角色身份、地位和意义。
Pace – The speed at which lines are delivered, which can build tension, indicate emotion or reveal character states.
语速 – 台词的表达速度，能营造张力、暗示情绪或揭示角色状态。
Pause – A deliberate silence in speech that can create dramatic tension, shift meaning or allow a moment of reflection.
停顿 – 台词中有意的留白，可制造戏剧张力、改变语义或给予反思的空间。
Tone – The emotional quality or attitude carried by the voice, revealing the character's true feelings even when the words suggest otherwise.
语气 – 声音携带的情绪特质或态度，即使话语本身相反也能揭示角色的真实感受。
Volume – The loudness or softness of the voice, used to project to the audience, indicate intimacy or show character dynamics.
音量 – 声音的强弱，用来向观众传递信息、表现亲密感或呈现角色间的力量关系。
Projection – The technique of using breath support and resonance to fill the performance space without shouting, ensuring every word is heard clearly.
声音投射 – 用气息支持和共鸣使声音充满表演空间而无须喊叫，确保每句台词清晰可闻。
5. Movement and Gesture | 动作与姿态
Gesture – A movement of part of the body, especially the hands or head, to express an idea, intention or emotion.
手势/姿态动作 – 身体某部位（尤其手或头部）的动作，用以表达想法、意图或情感。
Posture – The way a character holds their body, which communicates status, mood, health and personality traits.
体态 – 角色保持身体的方式，传递其地位、情绪、健康状况和性格特征。
Body Language – Non-verbal signals sent by the whole body, including posture, stance, movement and physical reactions, that reveal inner states.
身体语言 – 由整个身体发出的非语言信号，包括体态、站姿、动作和身体反应，揭示内心状态。
Facial Expression – The use of the face to convey emotion and reaction, often communicating subtext more powerfully than words.
面部表情 – 利用面部来传达情绪和反应，往往比语言更有力地表现潜台词。
Proxemics – The study and use of spatial distances between characters on stage, indicating relationships, intimacy, tension or power.
空间关系学（人际距离） – 研究并运用舞台上角色间的空间距离，指示关系、亲密度、张力或权力。
Levels – The vertical positioning of performers on stage, such as standing, sitting or lying down, to create visual interest and express status or emotion.
高度/层次 – 表演者在舞台上站立、坐下或躺倒等垂直位置，用以创造视觉趣味并表达地位或情绪。
6. Staging and Spatial Relationships | 舞台调度与空间关系
Blocking – The precise staging and movement of actors on stage, planned by the director or created collaboratively to support storytelling.
舞台调度/走位 – 演员在舞台上的精确站位与移动，由导演设计或集体创作，用以辅助叙事。
Upstage / Downstage – Areas of the stage: downstage is nearest the audience, upstage is furthest away; moving upstage can signal retreat, while moving downstage often asserts focus.
后舞台/前舞台 – 舞台区域的分法：前舞台离观众最近，后舞台最远；往舞台后方移动可表示退缩，往前移动则常凸显焦点。
Centre Stage – The middle area of the stage, typically the strongest focal point, used for key moments or to establish a character's dominance.
舞台中央 – 舞台中心区域，通常为最强焦点，用于关键时刻或确立角色的主导地位。
Proscenium Arch – A traditional staging configuration where the audience faces one side of the performance space through a framed opening, creating a "picture frame" stage.
镜框式舞台 – 一种传统舞台形式，观众面向表演空间的一面，透过一个框架开口观看，形成“画框”式舞台。
Thrust Stage – A stage that extends into the audience on three sides, allowing a more intimate and three-dimensional relationship between performers and viewers.
伸出式舞台 – 延伸至观众席、三面被观众包围的舞台，可建立更亲密、更具立体感的观演关系。
In the Round – A performance space where the audience surrounds the acting area on all sides, demanding that actors consider every angle and use their bodies to tell the story.
圆形舞台（四面台） – 观众环绕表演空间的舞台形式，要求演员考虑每个角度并用身体完成叙事。
7. Character and Script Analysis | 角色与剧本分析
Protagonist – The central character who drives the action, faces a major conflict and undergoes a significant journey or change.
主人公/主角 – 推动剧情、面对主要冲突并经历重大旅程或变化的中心角色。
Antagonist – The character or force that opposes the protagonist, creating obstacles and heightening the central conflict.
对手/反面角色 – 与主角对立的角色或力量，制造障碍并激化核心冲突。
Character Arc – The emotional or psychological transformation a character undergoes from the beginning to the end of the play.
角色弧光 – 角色从剧初到剧末所经历的情感或心理转变过程。
Status – The relative social or psychological position of a character in a scene, often expressed through body language, eye contact, use of space and vocal delivery.
地位/身份状态 – 角色在场景中的相对社会或心理位置，常通过身体语言、眼神接触、空间运用和声音表达来展现。
Motivation – The internal or external reason why a character says, does or pursues something, fuelling their objectives and reactions.
动机 – 角色为何说、做或追寻某事的内外原因，推动其目标与反应。
Conflict – The struggle between opposing forces, which can be internal (within a character) or external (between characters or with circumstances), driving the drama forward.
冲突 – 对立力量之间的抗争，可为内在冲突（角色内心）或外在冲突（角色之间或与环境），推动剧情发展。
8. Directing and Rehearsal Techniques | 导演与排练技巧
Warm-up – Physical, vocal and mental exercises performed at the start of a rehearsal to prepare the actor's instrument and focus the ensemble.
热身 – 排练开始时进行的身体、声音和心理练习，用以准备演员的“工具”并凝聚团队注意力。
Improvisation – Spontaneous, unscripted performance used to explore character, situation or text, generating new ideas and deepening understanding.
即兴表演 – 未经剧本设计的自发表演，用于探索角色、情境或文本，产生新想法并加深理解。
Devising – A collaborative process of creating original performance material from a stimulus, without starting from a pre-written play script.
集体编创 – 从一个刺激物出发，集体创作原创表演素材的过程，不依赖于现成剧本。
Stimulus – A starting point for creative exploration, such as a photograph, poem, piece of music, newspaper article or object, used to generate devised work.
创作刺激源 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