📚 IGCSE Cambridge Drama Glossary: Rapid Revision Guide | IGCSE 剑桥戏剧：词汇术语速记指南
The Cambridge IGCSE Drama course rewards candidates who can name what they see, explain why it works, and evaluate how effectively it communicates meaning to an audience. This rapid revision guide brings together the performance, design and devising vocabulary that appears again and again in written papers, rehearsal logs, devising logs and portfolio annotations.
剑桥 IGCSE 戏剧课程考查的核心能力是：你能说出自己看到了什么、解释它为何有效，并评价它向观众传达意义的成效。本速记指南汇总在笔试、排练日志、编创日志与作品集注释中反复出现的表演、设计与编创词汇。
Use it in three ways: read each cluster aloud before a rehearsal, copy the terms into your devising log as evidence, and practise dropping them into written answers with a specific example attached. A term without an example earns few marks; a term with a precise example and an evaluation earns many.
请用三种方式使用本指南：排练前把每个术语群朗读一遍；把术语抄进编创日志作为证据；练习在书面作答中把术语与具体例子绑定使用。只有术语没有例子，得分很低；术语加精确例子再加评价，得分很高。
1. How This Glossary Is Organised | 本术语指南的结构
The glossary is arranged in eleven clusters that mirror the way the specification is assessed: performance skills, vocal skills, characterisation, devising, rehearsal documentation, set and costume, lighting and sound, staging forms, audience relationship, exam command words and rapid-recall tables.
本指南按考试评估方式分为十一个术语群：表演技巧、声音技巧、角色塑造、编创、排练记录、布景与服装、灯光与音效、舞台形式、观演关系、考试指令词，以及速查表。
Each entry gives you three things: a short definition, a performance example, and the kind of sentence you could write in an exam. This three-part habit is the single fastest way to move from a Grade 5 description to a Grade 8 or 9 analysis.
每个词条提供三样东西：简短定义、一个表演例子，以及一句可以直接写进考试的句子。这个"三段式"习惯是从 5 分档的描述跃升到 8-9 分档分析的最快路径。
Describe → Explain → Evaluate is the backbone of every written answer. Describe what happened, explain how the skill was used, evaluate the effect on the audience.
描述 → 解释 → 评价是每一道书面题的骨架：描述发生了什么，解释技巧如何被使用，评价它对观众产生的效果。
Evidence + Terminology + Effect = High Marks
2. Performance and Movement Terms | 表演与动作术语
In IGCSE Drama, movement terms describe how a performer communicates character and action through the body. You should be able to name, explain and evaluate these choices in written work and in rehearsal.
在 IGCSE 戏剧中，动作术语描述演员如何通过身体传达角色与行动。你需要能够在书面作业与排练中说出、解释并评价这些选择。
Blocking means the planned movement and positioning of actors in a performance space. It is usually set by the director or negotiated in rehearsal, then recorded so it can be repeated exactly.
调度（Blocking）指演员在表演空间中有计划的移动与站位。它通常由导演设定，或在排练中协商产生，并被记录下来以便精确重复。
Proxemics describes the distance between performers, which can suggest intimacy, tension, power or conflict. A close distance may show affection or threat; a wide distance may show isolation or coldness.
空间关系学（Proxemics）描述演员之间的距离，可暗示亲密、紧张、权力或冲突。距离近可能表现亲昵或威胁；距离远可能表现孤立或冷漠。
Gesture is a deliberate movement of the hand, arm or head that carries meaning, such as a clenched fist, an open palm or a dismissive flick of the wrist.
手势（Gesture）是手、手臂或头部带有意义的有意识动作，例如握拳、摊开手掌或轻蔑地甩腕。
Posture is the way a performer holds the spine and shoulders; a slumped posture can suggest defeat, while an upright, lifted posture can suggest authority or pride.
体态（Posture）指演员脊柱与肩部的持姿方式；塌陷的体态可暗示挫败，挺立上扬的体态可暗示权威或骄傲。
Gait is the way a character walks, including stride length, rhythm, weight and foot placement. Changing gait is one of the quickest ways to signal age, class or mood.
步态（Gait）指角色的走路方式，包括步幅、节奏、重心与落脚方式。改变步态是暗示年龄、阶层或情绪最快的方法之一。
Levels refers to the height at which performers work: standing, seated, kneeling or lying. Moving a character to a lower level usually reduces their status on stage.
高度层次（Levels）指演员所处的高度：站立、坐、跪或卧。把角色放到更低的高度，通常降低其在舞台上的地位。
Facial expression is the controlled use of the face to communicate emotion. In a large venue, expressions must be slightly enlarged so they read from the back row.
面部表情（Facial expression）是有意识地用面部传达情绪。在大型场地中，表情需略微放大，才能让后排观众看清。
Mime is performing an action without props or with imaginary objects, requiring precise muscular control and clear spatial awareness.
哑剧（Mime）是在没有实物道具或用想象物体的情况下表演动作，需要精确的肌肉控制与清晰的空间感。
Pace, timing and pause control the rhythm of a scene. A held pause before a line can create suspense; a rushed pace can create panic or comedy.
节奏、时机与停顿（Pace, timing and pause）控制一场戏的韵律。台词前的停顿可制造悬念；加快的节奏可制造慌乱或喜剧效果。
Stillness is the deliberate absence of movement. Used sparingly, it draws the audience's eye and can be more powerful than a large gesture.
静止（Stillness）是有意地不做动作。用得克制时，它能吸引观众目光，效果可能比大幅度动作更强。
Cheating out means angling the body slightly towards the audience while appearing to face another character, so that facial expression remains visible.
侧向观众（Cheating out）指身体略微转向观众，同时看起来仍面向另一位角色，以保证面部表情可见。
Upstaging happens when one performer draws attention away from another, often by moving upstage or by reacting too strongly during someone else's line.
抢戏（Upstaging）指一名演员把观众注意力从另一名演员身上夺走，常见方式是向上舞台移动，或在他人台词时反应过度。
Cross is a move from one part of the stage to another, usually motivated by the text or by the character's objective rather than by convenience.
横移（Cross）是从舞台一处移动到另一处，通常由台词或角色目标驱动，而不是为了走位方便。
3. Vocal Terms and Delivery | 声音与台词表达术语
Vocal terms describe how a performer uses breath, resonance and articulation to shape meaning. Written answers about voice are usually the highest-scoring answers because the effect on an audience is easy to describe precisely.
声音术语描述演员如何运用呼吸、共鸣与吐字来塑造意义。关于声音的书面作答通常得分最高，因为它对观众的影响最容易精确描述。
Projection is the supported use of breath to fill a space without shouting. It comes from the diaphragm, not the throat.
投射（Projection）是在不喊叫的前提下，用有支撑的呼吸把声音送满整个空间。它来自横膈膜，而不是喉咙。
Articulation and diction refer to the clarity of consonants and vowels. Poor articulation makes a line unintelligible even when the volume is high.
吐字与咬字（Articulation and diction）指辅音与元音的清晰度。吐字不清时，即使音量很大，台词仍然无法被听懂。
Pitch is how high or low the voice sits. A rise in pitch can signal fear or excitement; a drop can signal threat, authority or resignation.
音高（Pitch）指声音的高低位置。音高上扬可表现恐惧或兴奋；音高下沉可表现威胁、权威或认命。
Pace is the speed of delivery, while pause is the deliberate silence within or between lines. Both are notated in your script and should be rehearsed.
语速（Pace）是说话的速度，停顿（Pause）是台词中或台词间有意的静默。两者都应在剧本上标注并反复排练。
Volume is loudness, ranging from a whisper to a full call. Varying volume creates dynamics and prevents a scene from sounding flat.
音量（Volume）指响度，从耳语到完全放声。音量变化能制造强弱层次，避免整场戏听起来平淡。
Tone is the emotional colour of the voice, such as bitter, tender, mocking or pleading. Tone often contradicts the literal words, creating irony.
语气（Tone）是声音的情绪色彩，例如苦涩、温柔、讥讽或哀求。语气常与字面意思相反，从而制造反讽。
Intonation is the pattern of rises and falls across a phrase. A rising intonation turns a statement into a question; a flat intonation can suggest numbness.
语调（Intonation）是一个语句中升降的整体走向。上扬语调把陈述变成疑问；平直语调可暗示麻木。
Register is the range of the voice a performer chooses, from chest register to head register. Moving register can mark a shift in power or self-control.
音区（Register）是演员选择使用的声区，从胸腔声区到头声区。音区转换可标记权力或自我控制的变化。
Accent and dialect are the pronunciation and speech patterns linked to a region, class or community. They must be researched and used consistently.
口音与方言（Accent and dialect）是与地区、阶层或社群相关的发音与语言习惯。它们必须经过调研并被一致地使用。
Emphasis is stressing a particular word so the meaning of the sentence changes: "I never said that" means something different depending on which word is stressed.
重音（Emphasis）是强调某个特定词，从而改变句子含义："I never said that" 会因为重读的词不同而产生完全不同的意思。
Breath control and support allow a performer to sustain a long phrase, to pause cleanly, and to keep the voice steady under emotional pressure.
呼吸控制与支撑（Breath control and support）让演员能够维持长句、干净地停顿，并在情绪压力下保持声音稳定。
Vocal warm-up includes humming, tongue twisters and lip trills. It protects the voice and sharpens articulation before a performance.
声音热身（Vocal warm-up）包括哼鸣、绕口令与唇颤音。它能保护嗓音，并在演出前提升吐字清晰度。
4. Characterisation and Role Creation | 角色塑造与人物创造术语
Characterisation terms describe how an actor builds a believable role from the script. These words are essential for the devising log and for questions that ask how you prepared a part.
角色塑造术语描述演员如何从剧本出发构建一个可信的角色。这些词在编创日志以及"你如何准备角色"类题目中必不可少。
Given circumstances are the facts the script provides: time, place, relationships, social status, past events and the situation at the moment the scene begins.
规定情境（Given circumstances）是剧本提供的事实：时间、地点、人物关系、社会地位、过往事件，以及这场戏开始时角色所处的处境。
Objective is what the character wants in a scene, expressed as an active verb such as "to persuade", "to punish" or "to protect".
目标（Objective）是角色在某场戏中想要得到的东西，用主动动词表达，例如"说服""惩罚"或"保护"。
Super-objective is the character's driving desire across the whole play, which every scene objective should serve.
最高任务（Super-objective）是角色在整部戏中的核心欲望，每一场戏的具体目标都应服务于它。
Motivation is the reason behind a line or action. Asking "why does my character say this now?" turns a flat delivery into a purposeful one.
动机（Motivation）是台词或动作背后的原因。问一句"我的角色为什么现在说这句话？"能把平淡的表达变成有目的的表达。
Status is the relative power a character holds in a scene. Status can shift mid-scene through posture, eye contact, level and the ownership of space.
地位（Status）是角色在一场戏中相对拥有的权力。地位可以通过体态、眼神接触、高度层次与空间占有在一场戏中发生转变。
Subtext is the meaning beneath the words. A character saying "I am fine" while gripping the table communicates the opposite of the literal line.
潜台词（Subtext）是话语之下的真实含义。一个角色一边说"我没事"一边紧抓桌沿，传达的意思与字面完全相反。
Role on the wall is a devising technique in which you write what the character says and does on one side, and what others say about them on the other.
角色墙（Role on the wall）是一种编创技巧：一侧写下角色自己的言行，另一侧写下他人对这个角色的评价。
Hot-seating is answering questions in character, in role, to deepen backstory and motivation. It is often recorded as evidence in the devising log.
热座（Hot-seating）是以角色身份回答问题，以深化背景故事与动机。它常被记录进编创日志作为证据。
Character arc is the journey a character takes from the beginning to the end of the play, including the change in belief or behaviour.
人物弧线（Character arc）是角色从戏的开头到结尾所经历的旅程，包括信念或行为的转变。
Through-line is the continuous thread of action that connects a character's choices across the whole performance.
贯串线（Through-line）是把角色在整场演出中的所有选择连接起来的持续行动主线。
Empathy is the audience's emotional connection to a character. Actors create it through vulnerability, precise reaction and consistency of behaviour.
共情（Empathy）是观众与角色之间的情感联结。演员通过展露脆弱、精确反应与行为一致性来建立它。
5. Devising and Improvisation Terms | 编创与即兴术语
Devising terms describe how original work is created from a starting point, without a published script. In IGCSE Drama these words appear constantly in the devising log and in evaluation questions.
编创术语描述如何在没有现成剧本的情况下，从一个起点创作原创作品。在 IGCSE 戏剧中，这些词在编创日志与评价题中高频出现。
Devising is the collaborative creation of original performance material, usually from a stimulus, through improvisation, research, discussion and refinement.
编创（Devising）是协作创作原创演出素材的过程，通常从某个刺激源出发，经由即兴、调研、讨论与打磨完成。
Stimulus is the starting point for devising: a photograph, a poem, a newspaper article, a piece of music, a painting or a single word.
刺激源（Stimulus）是编创的起点：一张照片、一首诗、一篇新闻、一段音乐、一幅画，或一个单词。
Improvisation is unscripted performance invented in the moment. In devising it is a research tool used to generate material, not the final product.
即兴表演（Improvisation）是当下被创造出来的无剧本表演。在编创中，它是用来生成素材的研究工具，而不是最终成品。
Prepared improvisation is rehearsed yet flexible, while spontaneous improvisation is created on the spot, often in response to an audience or a partner.
有准备的即兴（Prepared improvisation）经过排练但仍保有弹性；即兴创作（Spontaneous improvisation）则是在现场生成，常是对观众或搭档的即时回应。
Freeze frame is a moment in which the performers hold a still image, usually to highlight a key moment or to end a scene.
定格（Freeze frame）是表演者保持静止画面的瞬间，通常用于强调关键时刻或结束一场戏。
Tableau is a composed group picture, often used at the start of a scene to establish relationships and status before any dialogue begins.
静态造型（Tableau）是有构图的群体画面，常用于一场戏的开头，在台词开始前先确立人物关系与地位。
Thought tracking is when a performer steps out of the action to speak a character's inner thoughts aloud, revealing subtext to the audience.
思维追踪（Thought tracking）指演员走出正在进行的动作，出声说出角色的内心想法，向观众揭示潜台词。
Narration and direct address break the fourth wall so a performer speaks straight to the audience, creating distance, commentary or intimacy.
叙述与直接交流（Narration and direct address）打破第四堵墙，让演员直接对观众说话，从而制造距离感、评论感或亲密感。
Cross-cutting is moving between two or more scenes or time periods rapidly, often by splitting the stage into separate zones.
交叉剪辑（Cross-cutting）是在两个或多个场景、时间段之间快速切换，常通过把舞台分割成不同区域来实现。
Montage is a sequence of short episodes joined by a shared theme, music or repeated movement, compressing time and building momentum.
蒙太奇（Montage）是由同一主题、音乐或重复动作串联起来的短片段序列，用于压缩时间并积累推进力。
Structuring devices include linear, episodic, cyclical and non-linear structures, plus recurring motifs that link scenes together.
结构手法（Structuring devices）包括线性、段落式、循环式与非线性的结构，以及把各场戏连接起来的重复母题。
Physical theatre prioritises the body over text, using lifts, weight-sharing, contact and ensemble movement to tell the story.
形体剧场（Physical theatre）把身体置于文本之上，通过托举、重量共享、接触与集体动作来讲述故事。
6. Rehearsal, Warm-ups and the Devising Log | 排练、热身与编创日志
Rehearsal vocabulary shows the examiner that you understand process, not just product. Strong devising logs read like a record of decisions, problems and solutions.
排练类词汇能向考官表明你理解的是"过程"而不只是"结果"。高质量的编创日志读起来像一份关于决策、问题与解决方案的记录。
Warm-up is the physical and vocal preparation before rehearsal, including stretches, breathing work, articulation drills and ensemble games.
热身（Warm-up）是排练前的身体与声音准备，包括拉伸、呼吸练习、吐字训练与集体游戏。
Blocking rehearsal focuses on movement and positioning, often with scripts in hand, without worrying about full vocal delivery.
走位排练（Blocking rehearsal）专注移动与站位，通常手拿剧本进行，暂不追求完整的声音表达。
Run-through is a continuous rehearsal of a whole scene or play, used to test stamina, pace and transitions.
连排（Run-through）是完整不间断地排练一场戏或整部戏，用于检验耐力、节奏与衔接。
Tech rehearsal integrates lighting, sound, set and props with the performers, and usually works cue by cue.
技术排练（Tech rehearsal）把灯光、音效、布景与道具同演员结合起来，通常一个提示点一个提示点地进行。
Dress rehearsal is a full performance in costume and make-up with all technical elements, run exactly as the real show will be.
彩排（Dress rehearsal）是带服装与化妆、包含全部技术元素的完整演出，完全按照正式演出的方式进行。
Notes are the director's feedback after a rehearsal
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