📚 Cambridge Year 12 Drama: A Quick Guide to Key Vocabulary | 剑桥12年级戏剧：关键术语速记指南
The Cambridge AS Level Drama course demands a strong command of theatrical vocabulary. Familiarity with key terms not only boosts your written exam performance but also enriches your practical work. This guide presents essential terms grouped by topic, with clear explanations in both English and Chinese to help you memorise them effectively.
剑桥AS阶段戏剧课程要求掌握大量戏剧词汇。熟悉关键术语不仅能提升笔试成绩，还能丰富你的实践作品。本指南按主题分组呈现核心术语，并附有中英双语清晰解释，助你高效记忆。
1. Vocal Skills | 声音技巧
Pitch refers to how high or low the voice sounds. An actor can vary pitch to convey emotion, status, or character.
音高指声音的高低。演员可以通过变化音高来传达情绪、地位或角色性格。
Pace is the speed at which lines are delivered. A rapid pace can suggest excitement or panic, while a slow pace might create suspense or sorrow.
语速是台词朗诵的速度。快语速可表现兴奋或恐慌，慢语速则可能制造悬念或悲伤。
Pause is a deliberate silence used for dramatic effect, allowing the audience to absorb a moment or anticipation.
停顿是为了戏剧效果而有意制造的沉默，让观众领会某个瞬间或产生期待。
Volume indicates loudness or softness. Projection ensures the voice is heard without shouting.
音量指声音的大小。投射音量是指在不用力喊叫的情况下让声音被全场听到。
Tone expresses the emotional quality of the voice, such as warm, harsh, sarcastic, or soothing.
语气表达声音的情绪色彩，如温暖、严厉、讽刺或安抚。
Inflection is the upward or downward glide of pitch within a word or phrase, changing meaning.
语调变化指词或短语内部音高的上升或下降，可改变语义。
Accent indicates regional or social background and helps build character identity.
口音体现地域或社会背景，有助于塑造角色身份。
2. Physical Skills | 肢体技巧
Gesture is a movement of the hand, arm, or head to express meaning.
手势是用手、臂或头部的动作来表达意义。
Posture describes how an actor holds their body. It can reveal age, status, confidence, and mood.
体态指演员身体呈现的姿态。它能揭示年龄、地位、自信程度和情绪。
Facial expression communicates inner thoughts and reactions, often more powerfully than words.
面部表情传达内心想法和反应，往往比语言更具表现力。
Eye contact can show connection, dominance, evasion, or focus. Breaking eye contact is also significant.
眼神交流可表现联系、支配、回避或专注。移开视线同样富有含义。
Movement on stage includes crossing, turning, and positioning. Its quality (swift, hesitant, heavy) adds subtext.
舞台移动包括穿过、转身和站位。移动的质感（迅速、犹豫、沉重）能增添潜台词。
Body language is the overall non-verbal communication, combining gesture, posture, and spatial relationships.
肢体语言是综合性的非语言交流，融合了手势、体态和空间关系。
3. Stage Directions and Areas | 舞台方位与区域
Upstage (US) is the area furthest from the audience. Moving upstage draws the audience's gaze upward and away.
后舞台（US）是离观众最远的区域。走向后舞台会使观众的视线往后拉。
Downstage (DS) is nearest to the audience, often used for intimate moments or emphasis.
前舞台（DS）最靠近观众，常用于亲密时刻或强调。
Stage left and stage right are from the actor's perspective facing the audience.
舞台左侧和舞台右侧均以演员面对观众时的方向为准。
Centre stage is the strongest focal point, ideal for key speeches or climaxes.
舞台中心是最强的视觉焦点，适合关键台词或高潮。
Wings are the offstage areas at the sides, hidden from the audience, used for entrances and exits.
侧幕区是舞台两侧观众看不见的区域，用于上下场。
Proscenium arch frames the stage, separating the audience from the performance space in traditional theatres.
镜框式舞台拱门在传统剧场中将观众区与表演区隔开，形成画框式效果。
4. Lighting Terminology | 灯光术语
Spotlight is a focused beam that highlights a specific area or actor.
追光是一束聚焦的光，用于突出特定区域或演员。
Gobo is a metal or glass stencil placed in front of a light to project a pattern or texture.
图案片（遮光片）是置于灯前的金属或玻璃模板，用于投射图案或纹理。
Gel (colour filter) changes the colour of the light. A warm gel might suggest sunlight; a cool gel, moonlight.
滤色片改变光色。暖色滤片可暗示阳光，冷色滤片则表现月光。
Fade is a gradual increase or decrease in light intensity, often used to mark time passing or scene transitions.
渐明 / 渐暗指光线强度的缓慢变化，常用于表示时间流逝或场景转换。
Blackout is a sudden cut of all lights, used for dramatic emphasis or scene ending.
黑场是突然熄灭所有灯光，用于戏剧强调或落幕。
Wash is an even, overall illumination covering a wide area.
铺光指覆盖大片区域的均匀照明。
Cross-fade blends one lighting state into another, creating a smooth transition.
交叉淡变将一个灯光效果渐变融入另一个，形成平滑过渡。
5. Sound Terminology | 音效术语
Diegetic sound originates from within the world of the play, such as a phone ringing that characters can hear.
剧情声音来自于剧情世界内部，例如角色可以听到的电话铃声。
Non-diegetic sound is heard only by the audience, such as background music or a narrator's commentary.
非剧情声音只有观众听得到，如背景音乐或叙述者的解说。
Soundscape is a layered audio environment, mixing effects, music, and atmosphere to create a specific mood or place.
声景是多层音效环境，混合效果音、音乐和气氛音，营造特定情绪或地点。
Live sound is performed or produced in real time during the show, such as an actor playing an instrument.
现场音效指演出时实时表演或产生的声音，如演员当场演奏乐器。
Recorded sound is pre-recorded and played back on cue, offering consistency and complexity.
录音音效是预先录制并按提示播放的声音，可保证稳定性和复杂性。
Sound cue is the instruction for when a sound effect or music starts, stops, or changes.
音效提示是指示音效或音乐何时开始、停止或变化的指令。
6. Set and Props | 布景与道具
Cyclorama (cyc) is a large, curved white screen at the back of the stage, often used for sky or colour washes.
天幕是挂在舞台后部的大幅弧形白幕，常用于投射天空效果或色彩铺光。
Flat is a lightweight wooden frame covered with canvas or plywood, used to build walls or panels.
景片是轻质木框架覆盖帆布或胶合板，用于搭建墙壁或面板。
Rostrum (plural: rostra) is a raised platform that creates levels and changes stage geography.
平台（复数：rostra）是升高的台面，可创造不同高度层次并改变舞台布局。
Truck is a wheeled low platform used to move large set pieces on or off quickly.
滑动台是带轮子的低平台，用于快速移动大型布景上下场。
Symbolic prop carries meaning beyond its function, such as a wilting flower representing decay.
象征性道具超越实际功用而具有内涵，如枯萎的花朵象征衰败。
Hand props are small items handled by actors, like letters, glasses, or weapons.
手持道具是演员拿在手里的小物件，如信件、眼镜或武器。
7. Costume, Make-up and Masks | 服装、化妆与面具
Period costume reflects a specific historical era, helping to establish time context.
时代服装反映特定历史时期，有助于确立时间背景。
Stylised costume is non-realistic, using exaggerated shapes, colours, or materials to convey themes or character.
风格化服装属于非写实，用夸张的轮廓、色彩或材料来传达主题或角色特征。
Make-up base creates a uniform skin tone, but can also be used to age an actor or create special effects.
底妆打造均匀肤色，但也可用于增加年龄感或制作特效。
Mask can transform the actor into an archetype or creature. It depersonalises and often demands exaggerated physicality.
面具能将演员转变为某种原型或生物。它去除个性，通常要求夸张的肢体表演。
Wig rapidly changes an actor's hair, indicating period, status, or personality.
假发能迅速改变演员发型，表明时代、地位或个性。
8. Rehearsal Techniques | 排练技巧
Blocking is the planning and recording of actors' movements on stage, ensuring they support the story and are safe.
走位设计是对演员在舞台上的移动进行规划和记录，确保其服务于叙事且安全。
Run-through is a continuous rehearsal of the entire play or a large section without stopping, to check flow and pacing.
连排是不中断地排练全剧或大段段落，以检验连贯性和节奏。
Technical rehearsal (tech) integrates lighting, sound, and set changes with the actors, focusing on cue accuracy.
技术排练（tech）将灯光、音效和换景与演员进行合成，重点在于提示准确。
Dress rehearsal is the final rehearsal in full costume and make-up, performed as if it were an actual show.
彩排是带全套服装和化妆的最后排练，如同正式演出一样进行。
Hot-seating is an improvisation technique where an actor is questioned in character to deepen understanding.
坐针毡提问是一种即兴技巧，演员以角色身份接受提问，以加深对角色的理解。
9. Practitioner Vocabulary: Stanislavski | 斯坦尼斯拉夫斯基术语
Given circumstances are the facts and conditions of the character's world—time, place, relationships—from which the actor works.
规定情境是角色所处世界的事实和条件——时间、地点、人物关系——演员以此为基础进行创作。
Objectives are what the character wants in a scene. A strong objective drives action.
任务是角色在一场戏中想要达成的目标。强烈的任务驱动着动作。
Super-objective is the character's overarching desire throughout the entire play, linking all smaller objectives.
最高任务是角色贯穿全剧的终极渴望，串联起所有小任务。
Emotional memory (affective memory) draws on the actor's own past experiences to evoke genuine emotion on stage.
情绪记忆（情感记忆）借助演员个人的过往经历，在舞台上唤起真实情感。
'Magic if' asks the actor to imagine, 'What would I do if I were in this character's situation?'
'魔术假如'要求演员想象：'假如我处于这个角色的情境中，我会怎么做？'
Circles of attention help the actor focus on a small area, then broaden to include others and the whole space, maintaining concentration.
注意力圈帮助演员将注意力集中在一个小范围，再逐步扩大到其他人物乃至整个空间，保持专注力。
10. Practitioner Vocabulary: Brecht | 布莱希特术语
Alienation effect (Verfremdungseffekt) aims to prevent the audience from becoming emotionally absorbed, so they can critically reflect on the play's social message.
间离效果（陌生化效果）旨在防止观众陷入情感共鸣，使其能够批判性地思考剧中的社会信息。
Gestus is a clear physical expression of a character's social relationship and attitude, revealing the social power dynamics.
姿态性是一种清晰的身体表达，展现角色的社会关系和态度，揭示社会权力关系。
Epic theatre uses narrative, direct address, and fragmented structure to remind the audience they are watching a constructed piece.
史诗剧场运用叙述、直接对观众讲话和碎片化结构，提醒观众他们正在观看一个被建构的作品。
Historification sets a contemporary issue in a past era to make the audience see it more objectively.
历史化将当代问题置于过去的时代中，使观众能更客观地审视。
Direct address breaks the fourth wall as actors speak straight to the audience, often used to comment on the action.
直接对观众说话打破第四堵墙，演员直接面向观众发言，常用于对剧情进行评论。
11. Dramatic Structure and Genres | 戏剧结构与体裁
Exposition introduces characters, setting, and background information, often at the play's beginning.
交代通常在开场时介绍人物、场景和背景信息。
Inciting incident is the event that disrupts the initial situation and sets the main conflict in motion.
激励事件是打破初始情境、启动主要冲突的事件。
Rising action builds tension through a series of complications and obstacles.
上升行动通过一系列复杂情况和障碍不断积累张力。
Climax is the turning point of highest tension, where the conflict reaches its peak.
高潮是张力达到顶点的转折时刻，冲突在此处达到极致。
Falling action follows the climax, showing the consequences and leading towards resolution.
下降行动紧随高潮之后，展现后果并走向结局。
Denouement (resolution) ties up loose ends and restores a new equilibrium.
结局（收束）收束未了结的线索，重建新的平衡。
Freytag's pyramid is a diagram of this five-part dramatic structure: exposition, rising action, climax, falling action, denouement.
弗赖塔格金字塔是上述五部分戏剧结构的示意图：交代、上升行动、高潮、下降行动、结局。
12. Staging Configurations | 舞台配置
Proscenium arch stage frames the action from one direction; the audience sits directly in front.
镜框式舞台从一个方向框住表演，观众坐在正前方。
Thrust stage extends into the audience, with spectators on three sides, creating intimacy and multiple viewpoints.
伸出式舞台延伸至观众席，三面坐席，营造亲密感和多视角。
In-the-round (arena) places the stage in the centre, surrounded by audience on all sides, demanding 360-degree awareness.
圆环式舞台（竞技场式）将舞台置于中央，四周被观众包围，要求演员具备全方位意识。
Traverse stage has the audience on two opposite sides, like a catwalk, suitable for confrontational scenes.
长廊式舞台观众分坐相对的两侧，形似T台，适合对抗性场景。
Promenade theatre requires the audience to move around the space, following the action between different locations.
流动式剧场要求观众随不同场景移动，在各个表演地点之间穿行。
Black box theatre is a flexible, unadorned room, usually painted black, that can be rearranged into any configuration.
黑箱剧场是一个灵活无装饰的空间，通常墙面漆黑，可按需调整为任何舞台配置。
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