📚 Year 12 WJEC Drama: A Quick-Reference Glossary of Key Terms | Year 12 WJEC 戏剧：词汇术语速记指南
Mastering the language of theatre is the first step towards confident performance and sharp analytical writing. This guide presents the essential terminology for Year 12 WJEC Drama learners in paired English and Chinese explanations, covering stagecraft, acting techniques, design elements and critical vocabulary. Use it to revise, to annotate scripts or to lend precision to your rehearsal notes.
掌握戏剧的语言是自信表演和犀利分析的第一步。本指南以英中对照的形式，为 Year 12 WJEC 戏剧学习者呈现核心术语，涵盖舞台技术、表演方法、设计元素和批评词汇。你可以用它来复习、批注剧本，或让排练笔记更加准确。
1. The Language of the Stage | 舞台通用语
Knowing the parts of the performance space is fundamental. 'Upstage' refers to the area furthest from the audience, while 'downstage' is nearest. When an actor moves 'stage left', they move to their own left as they face the audience; 'stage right' is the opposite. 'Centre stage' is the focal midpoint, where the strongest dramatic moments are often placed.
了解表演空间的各个部分是基础。"Upstage"（后舞台）指离观众最远的区域，"downstage"（前舞台）则离观众最近。当演员做"stage left"（舞台左侧）移动时，是朝向面对观众时自己的左手边；"stage right"（舞台右侧）则相反。"Centre stage"（舞台中央）是焦点中心，最强烈的戏剧时刻往往安排于此。
- 'Wings' are the offstage areas to the left and right, hidden from the audience, used for entrances, exits and storage.
- "Wings"（侧幕）指左右两侧的后台区域，观众看不到，用于上下场和存放道具。
- 'Apron' is the part of the stage that extends in front of the proscenium arch, sometimes used for asides or intimate moments.
- "Apron"（台唇）是伸出镜框式舞台前部的区域，有时用于旁白或亲密时刻。
2. Stage Configurations | 舞台形式
The relationship between performers and audience shapes the whole theatrical experience. A 'proscenium arch' stage frames the action like a picture, creating a fourth wall. A 'thrust' stage extends into the audience on three sides, bringing greater intimacy. 'Traverse' staging places the audience on two opposite sides, like a catwalk. Theatre 'in the round' seats the audience all around the acting area, demanding that actors engage every angle. A 'black box' is a flexible, unadorned studio space that can be reconfigured for each production.
演员与观众的关系塑造了整个戏剧体验。"Proscenium arch"（镜框式舞台）像画框一样框住表演，制造出第四堵墙。"Thrust"（伸出式舞台）三面伸向观众，带来更强的亲密感。"Traverse"（双面式舞台）将观众安置在相对的两侧，类似 T 台。"In the round"（圆形剧场）观众围绕表演区就坐，要求演员照顾到每一个角度。"Black box"（黑匣子剧场）则是灵活、不加装饰的工作室空间，可为每部作品重新布置。
3. Stage Directions and Blocking | 舞台提示与走位
'Blocking' is the precise movement and positioning of actors on stage, planned by the director. Notation like 'X to USR' means cross to upstage right. A 'cross' (X) is a movement from one spot to another. A 'counter-cross' is a compensating move by another actor to restore visual balance. 'Cheating out' means angling the body slightly towards the audience so that facial expressions remain visible while supposedly talking to another character.
"Blocking"（走位调度）指导演规划的演员在舞台上的精确移动和站位。"X to USR"之类的标注表示"交叉移动到右后区"。"Cross"（交叉移动）是从一处移到另一处。"Counter-cross"（反向交叉）是另一演员为恢复视觉平衡所做的补偿动作。"Cheating out"（面向观众微侧）指身体略微朝观众倾斜，使得在表面与另一角色交谈时，面部表情仍能被看清。
4. Vocal Terminology | 声音术语
An actor's voice is a remarkably versatile instrument. 'Projection' is the skill of making the voice carry to the back of the auditorium without shouting. 'Articulation' is the clarity with which consonants and vowels are formed. 'Pitch' is the highness or lowness of the voice; 'pace' is the speed of delivery. 'Inflection' is the rise and fall of pitch within a phrase, and 'intonation' is the overall pattern of pitch in a sentence, conveying mood. 'Timbre' describes the vocal quality—breathy, nasal, resonant, husky.
演员的嗓音是一件多变的乐器。"Projection"（声音投射）是让声音不靠喊叫就能传到观众席后方的技巧。"Articulation"（吐字归音）指辅音和元音发声的清晰度。"Pitch"（音高）是嗓音的高低；"pace"（语速）是说话的快慢。"Inflection"（语调变化）是一个词组内音高的升降，"intonation"（句调）则是句子整体的音高模式，传达情绪。"Timbre"（音色）描述的是声音的质感——气息音、鼻音、洪亮的、沙哑的。
5. Physical and Movement Vocabulary | 肢体与动作词汇
The actor's body is equally expressive. 'Gesture' is a movement of any part of the body to convey meaning or emotion. 'Posture' is how a character holds their body—erect, slouched, tense, relaxed—and it instantly communicates status and inner life. 'Gait' is a character's distinctive walk. 'Stance' is the still position from which movement begins. 'Mime' is acting without words, using movement to tell the story, while 'stylised movement' is deliberately non-naturalistic, often choreographed to create a particular effect.
演员的身体同样富有表现力。"Gesture"（手势／身体姿态）指身体任何部位为传达含义或情感而做的动作。"Posture"（体态）是角色保持身体的方式——挺拔、瘫软、紧张、松弛——瞬间传递出地位与内心世界。"Gait"（步态）是角色独特的走路方式。"Stance"（站姿）是动作启始的静止姿态。"Mime"（默剧动作）是无语言表演，用动作叙事，而"stylised movement"（风格化动作）则有意非自然主义，常经编舞设计以制造特定效果。
6. Characterisation and Rehearsal Techniques | 角色塑造与排练方法
Building a character requires a systematic approach. 'Given circumstances' are the facts supplied by the script—time, place, relationships, prior events. 'Objective' is what a character wants in a scene; the 'super-objective' runs through the whole play. An 'obstacle' is what stands in the way, generating conflict. 'Subtext' is the unspoken meaning beneath the lines. In rehearsal, 'hot-seating' involves questioning a character in role, 'role-on-the-wall' uses a drawn outline filled with thoughts and feelings, and 'Stanislavski's magic if' asks the actor to imagine 'What would I do if I were in this situation?'
塑造角色需要系统的方法。"Given circumstances"（规定情境）是剧本提供的事实——时间、地点、人物关系、前情事件。"Objective"（目标）是角色在一场戏中想要达成的意愿；"super-objective"（最高任务）贯穿全剧。"Obstacle"（障碍）是阻挡意图的东西，产生冲突。"Subtext"（潜台词）是台词之下未言明的含义。在排练中，"hot-seating"（坐热椅子）要求扮演者以角色身份接受提问，"role-on-the-wall"（角色墙上图）画出轮廓并填入思想感受，"Stanislavski's magic if"（斯坦尼斯拉夫斯基的有魔力的"假如"）则让演员想象"假如我在这一情境中会怎么做？"
7. The Language of Design: Set and Props | 设计语言：布景与道具
Visual storytelling relies on precise design choices. The 'set' is the physical environment on stage. A 'box set' is a realistic, three-walled interior; a 'composite set' combines multiple locations. 'Levels' (platforms, ramps) create vertical interest and imply status. A 'cyclorama' is a curved back wall used for sky effects. 'Props' (properties) are objects handled by actors; 'personal props' are carried by a character (a cane, a purse), while 'stage props' belong to the set (furniture, pictures). 'Dressing' a set means adding details that make the world feel authentic.
用视觉讲故事离不开精准的设计选择。"Set"（布景）是舞台上的物质环境。"Box set"（盒式布景）是写实的三面墙室内景；"composite set"（复合布景）组合多个地点。"Levels"（层次，如平台、斜坡）制造垂直方向的趣味并暗示地位。"Cyclorama"（天幕）是用于天光效果的弧形后墙。"Props"（道具）是演员手持的物件；"personal props"（随身道具）由角色携带（手杖、手提包），而"stage props"（舞台道具）属于布景一部分（家具、图画）。"Dressing"（润饰）布景意味着增添细节，使那个世界显得真实。
8. Lighting Terminology | 灯光术语
Light shapes mood, focus and time of day. A 'lantern' is the generic term for a stage light. A 'fresnel' casts a soft-edged beam, while a 'profile spot' produces a hard-edged beam that can be shaped by 'shutters'. A 'gobo' is a metal stencil inserted into a profile to project patterns. 'Gel' is a coloured filter. 'Blackout' is a sudden, complete absence of light. 'Cross-fade' is a gradual transition from one lighting state to another. 'Wash' describes an even, overall illumination.
灯光塑造气氛、焦点和时辰。"Lantern"（灯具）是舞台灯的统称。"Fresnel"（螺纹聚光灯）投射柔边光束，"profile spot"（成型聚光灯）则产生硬边光束，可由"shutters"（遮光片）塑造形状。"Gobo"（图案片）是插入成型灯以投射图案的金属模板。"Gel"（色纸）是彩色滤光片。"Blackout"（切光）指骤然全黑。"Cross-fade"（交叉渐变）是从一种灯光状态逐渐过渡到另一种。"Wash"（铺光）描述均匀的全面照明。
9. Sound Design and Music | 音效设计与音乐
Sound shapes atmosphere and subtext. A 'soundscape' is a layered environment of sound, often mixing naturalistic noises with abstract textures. 'Diegetic' sound originates from within the world of the play—a radio on stage, a door slam. 'Non-diegetic' sound comes from outside that world, such as underscoring or narration heard only by the audience. 'Cross-fade' in sound similarly moves between tracks. 'Spot effect' is a single, precisely timed sound (a telephone ring). 'Amplification' boosts volume; 'live' sound or music is performed during the show, as opposed to 'pre-recorded'.
声音塑造氛围和潜台词。"Soundscape"（音景）是层叠的声音环境，常将真实噪音与抽象音质混合。"Diegetic"（剧情内声音）源自戏剧世界内部——台上的收音机、门砰的一声。"Non-diegetic"（剧情外声音）源自该世界之外，如配乐或只有观众能听到的叙述。声音中的"cross-fade"（交叉淡变）同样在音轨之间移动。"Spot effect"（点效果音）是单一、精准定时的声音（电话铃响）。"Amplification"（扩音）增强音量；"live"（现场）声音或音乐在演出中实时呈现，与"pre-recorded"（预录）相对。
10. Costume, Make-up and Mask | 服装、化妆与面具
A costume reveals character, era, status and psychology. A 'costume plot' charts what each character wears in every scene. 'Silhouette' is the overall shape created by a costume. 'Quick-change' is a lightning-fast costume switch, often assisted by dressers backstage. 'Make-up' can be 'straight' (enhancing features for stage light) or 'character' (ageing, injury, fantasy). 'Mask' can be full-face, half-face or handheld; in Greek theatre, masks allowed an actor to play multiple roles and amplified the voice.
服装揭示角色、年代、地位与心理。"Costume plot"（服装表）列出每个角色在每场穿什么。"Silhouette"（廓形）是戏装造成的整体形状。"Quick-change"（快速换装）是闪电般的服装转换，常由后台服装人员协助。"Make-up"（化妆）可为"straight"（本色妆，为舞台光线增强轮廓）或"character"（性格妆，如年龄、伤痕、奇幻造型）。"Mask"（面具）有全脸、半脸或手持式；在希腊剧场中，面具让演员能扮演多个角色并放大声音。
11. Structure and Conventions of Drama | 戏剧结构与惯例
Understanding how plays are built sharpens interpretation. 'Exposition' sets the scene; 'rising action' builds conflict; 'climax' is the turning point of maximum tension; 'falling action' deals with consequences; 'dénouement' or 'resolution' unties the knots. 'Convention' is an accepted technique—such as the 'soliloquy' (a character speaking thoughts aloud alone on stage) or 'aside' (a brief remark to the audience, unheard by other characters). 'Breaking the fourth wall' acknowledges the audience directly. 'Dramatic irony' occurs when the audience knows more than the characters.
理解剧本的构造可以加深解读。"Exposition"（交代）铺设背景；"rising action"（上升行动）积累冲突；"climax"（高潮）是张力最大的转折点；"falling action"（下降行动）处理后果；"dénouement" 或 "resolution"（结局）解开所有结。"Convention"（惯例）是公认的手法——如"soliloquy"（独白，角色独自在台上说出思想）或"aside"（旁白，对观众说的短话，其他角色听不见）。"Breaking the fourth wall"（打破第四堵墙）直接向观众致意。"Dramatic irony"（戏剧反讽）发生在观众比角色知道更多的时候。
12. Critical and Analytical Terms | 批评与分析术语
Writing and speaking about drama calls for precise evaluative language. 'Genre' classifies a play (tragedy, comedy, farce, epic). 'Style' denotes the mode of performance—naturalistic, expressionistic, physical theatre, etc. 'Pace' in performance refers to the rhythm and energy of the whole production. 'Dynamics' describes the changes in energy, volume and intensity. 'Mood' and 'atmosphere' are the emotional tone created. 'Aesthetic distance' is the gap between the audience's awareness of the performance as performance and their emotional involvement. 'Actor–audience relationship' examines how the two groups interact, which changes with each staging configuration.
戏剧的写作与言谈需要精确的评价性语言。"Genre"（体裁）将剧本分类（悲剧、喜剧、闹剧、史诗剧）。"Style"（风格）指表演的模式——自然主义、表现主义、形体剧场等。表演中的"pace"（节奏）指整个作品的律动与能量。"Dynamics"（力度变化）描述能量、音量与强度的变化。"Mood"和"atmosphere"（情绪与氛围）是被营造出的情感调性。"Aesthetic distance"（审美距离）是观众领悟到演出仅是演出与情感投入之间的间隙。"Actor–audience relationship"（观演关系）考察两者如何互动，该关系随每种舞台形式而变。
Repeated, active application is the key to owning these terms. Pick five a day, find examples in the texts you are studying, and try using them in a rehearsal log. Precision with language leads to precision in performance.
反复、主动地运用这些术语是掌握它们的关键。每天选五个，在你学习的剧本中寻找例子，并试着把它们写进排练日志里。语言精准，表演才精准。
Published by TutorHao | Drama 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