📚 Year 7 CCEA Drama: Key Terminology & Vocabulary Quick Guide | 七年级 CCEA 戏剧：术语词汇速记指南
Welcome to your Year 7 CCEA Drama revision guide. This resource covers the essential vocabulary and performance terms you will encounter in practical workshops, script work, and evaluation tasks. Each term is explained clearly, with its Chinese translation, so you can quickly build your drama literacy and feel confident using the right language in class. The guide is organised from the physical stage, through performance skills and character creation, to the analytical vocabulary you need when you evaluate your own work and the work of others.
欢迎来到七年级 CCEA 戏剧复习指南。本资源涵盖你在实践工作坊、剧本研读和评价任务中会接触到的核心词汇与表演术语。每个术语都配有清晰的中英文解释，帮助你快速建立戏剧素养，并在课堂上自信地使用正确的专业语言。本指南的编排顺序从舞台空间出发，经过表演技巧与角色塑造，最终落到你在评价自己与他人作品时所需的专业分析词汇。
1. Why Drama Vocabulary Matters | 为什么戏剧术语很重要
Drama is a subject in which the words you use to describe your work are almost as important as the work itself. In CCEA Year 7 Drama you are assessed on both what you do in the practical workshop and how well you talk and write about it afterwards. Learning the terminology gives you a shared language with your teacher and your group, so that feedback such as 'project more clearly' or 'move upstage on that line' is understood instantly and acted upon.
在戏剧这门学科中，你用来描述作品的词汇，几乎与作品本身同等重要。在 CCEA 七年级戏剧课程里，评估既关注你在实践工作坊中的表现，也关注你在事后谈论与书写它的能力。掌握术语能让你与老师、组员拥有共同语言，于是像"声音再投射清楚一点""那句台词时移到上场区"这样的反馈，可以被立刻理解并执行。
Shared language: A precise term replaces a long explanation. Saying 'that moment needed a longer pause' is faster and clearer than 'you should have stopped talking for a bit there'.
共同语言：一个精准的术语可以替代冗长的解释。说"那个瞬间需要更长的停顿"，比"你那里应该停下来一会儿"更快、更清楚。
Assessment currency: Written evaluations and self-assessments are marked partly on the quality of your subject vocabulary, so using the correct word is a mark-earning skill.
评估得分点：书面评价与自我评价的评分部分依赖学科词汇的质量，因此用对术语本身就是一项得分技能。
Transferable confidence: Once you can name a technique, you can choose it deliberately rather than performing by instinct alone.
可迁移的自信：一旦你能叫出某个技巧的名字，你就可以有意识地选择它，而不只是凭直觉表演。
Rehearsal efficiency: Groups that share vocabulary spend less time explaining and more time rehearsing.
排练效率：拥有共同词汇的小组，花在解释上的时间更少，花在排练上的时间更多。
2. Performance Spaces and Stage Areas | 表演空间与舞台区域
Stage: The area where actors perform; it can be a raised platform or a designated space in a room. All stage directions are given from the performer's point of view facing the audience.
舞台：演员进行表演的区域；可以是升高的台面或房间内指定的空间。所有舞台指示均以演员面向观众时的视角为准。
Upstage: The part of the stage furthest from the audience. When an actor moves upstage, they move away from the audience.
上场区（后舞台）：离观众最远的部分。演员向上场区移动，即远离观众。
Downstage: The part of the stage closest to the audience. Moving downstage brings the performer nearer to the audience.
下场区（前舞台）：最靠近观众的部分。向下场区移动可让表演者更贴近观众。
Centre Stage: The middle area of the stage, often used for key moments because it is the strongest focal point.
舞台中央：舞台的中间区域，因是最有力的焦点而常用于关键情节。
Stage Left: The actor's left as they face the audience. Also called 'prompt side' in some traditional theatres.
舞台左侧：演员面向观众时自己的左手边。在一些传统剧院中也被称为"提词侧"（prompt side）。
Stage Right: The actor's right as they face the audience, and the mirror image of stage left. In traditional British theatres this side is often called 'opposite prompt' (OP).
舞台右侧：演员面向观众时自己的右手边，与舞台左侧互为镜像。在传统英国剧院中，这一侧常被称为"提词对侧"（opposite prompt，简称 OP）。
Proscenium arch: The framed opening that separates the stage from the auditorium in a traditional end-on theatre. It acts like a picture frame around the action.
镜框式台口：传统镜框式剧场中分隔舞台与观众席的框形开口，像给表演加了一个画框。
Thrust stage: A stage that pushes out into the audience, who sit on three sides. It creates a more intimate relationship between performer and spectator.
伸出式舞台：向观众席伸出的舞台，观众坐在三面。它让演员与观众的关系更加亲密。
Theatre in the round: A performance space with the audience seated on all four sides, so no single direction is 'front'.
环形剧场（四面台）：观众坐在四面观看的表演空间，因此没有唯一意义上的"正面"。
Traverse stage: The audience is placed on two opposite sides, with the action running down the middle like a catwalk.
通道式舞台：观众分坐两侧相对而视，表演像走秀一样沿中间通道进行。
Wings: The hidden areas at the sides of the stage where actors wait before entering.
侧幕（翼区）：舞台两侧观众看不见的区域，演员在此等待上场。
Apron: The part of the stage that extends in front of the proscenium arch, closest to the front row.
台唇：镜框台口前方延伸出来的舞台部分，最靠近第一排观众。
Flies: The space above the stage where scenery and lighting are hung and can be flown in and out.
吊景区：舞台上方用于悬挂布景与灯具、并可升降进出的空间。
Cyclorama: A large plain backdrop, often curved, used to reflect coloured lighting and create sky, sea or abstract effects.
天幕：一块巨大的素色背景幕，通常呈弧形，用于反射彩色灯光，营造天空、海洋或抽象效果。
Backstage: Everything behind or beside the stage that the audience should not see, including dressing rooms, the green room and the wings.
后台：舞台后方或侧方观众不应看到的一切区域，包括化妆间、休息室和侧幕。
Front of house: The public areas of a theatre such as the foyer, box office and auditorium, plus the staff who manage the audience.
前厅区域：剧院的公共区域，如门厅、售票处与观众席，也包括负责接待观众的工作人员。
3. Stage Directions and Blocking | 舞台指示与走位
Blocking: The planned pattern of movement an actor follows on stage, including where to stand, when to cross and how to use levels. Blocking is decided in rehearsal and then repeated consistently.
走位（调度）：演员在舞台上预先规划好的移动路线，包括站在哪里、何时横移、如何运用层次。走位在排练中确定，之后需要稳定重复。
Stage direction: Any instruction in a script telling the actor how to move, speak or behave. In published plays these are usually printed in italics or brackets.
舞台指示：剧本中告诉演员如何移动、说话或表现的任何指令。在出版剧本中通常以斜体或括号呈现。
Cue: The signal for an actor or technician to act, speak or change a technical effect. A cue can be a line, a sound, a light change or a hand signal.
提示（cue）：提示演员或技术人员行动、说话或切换技术效果的信号。提示可以是台词、音效、灯光变化或手势。
Mark: A specific position on stage that an actor returns to, often marked with tape during rehearsal.
站位标记：演员需要反复回到的舞台特定位置，排练时常用胶带标出。
To cross: To move from one part of the stage to another. A 'cross downstage right' means walking towards the front right area.
横移：从舞台一处移动到另一处。"向右下场区横移"即朝舞台前右侧走动。
To cheat out: To angle your body slightly towards the audience while still appearing to face another character, so that your face can be seen.
借位外开：让身体略微转向观众、同时看起来仍面对另一位角色，好让观众看清你的面部表情。
To open out: To turn your body so that the audience can see you more clearly, usually without breaking the illusion of the scene.
打开身体：转动身体让观众看得更清楚，通常不破坏场景的幻觉。
To upstage someone: To move further upstage than another actor, forcing them to turn away from the audience. It is usually avoided, as it steals focus.
抢戏（压场）：移动到比另一位演员更靠后的位置，迫使对方背对观众。这通常会抢走焦点，因此应尽量避免。
Levels: The different heights an actor uses, such as standing, kneeling, sitting or standing on a rostrum. Changing levels adds visual interest and shows status.
层次：演员使用不同高度，如站立、跪姿、坐姿或站上高台。改变层次能增加视觉变化并表现地位关系。
Focus: The point on stage that the audience is directed to look at, created through eye lines, gesture, spacing and lighting.
焦点：观众被引导去观看的舞台上的某一点，通过视线、手势、间距与灯光共同营造。
Tableau: A frozen picture created by a group with their bodies, held still for a few seconds to highlight a moment or idea.
定格画面：由一组人用身体构成的静止画面，保持数秒以突出某个瞬间或想法。
Entrance and exit: The moments when a character comes on stage or leaves it. Both should be motivated and timed carefully.
上场与下场：角色走上或离开舞台的时刻。两者都应有动机，并精确掌握时机。
4. Voice and Vocal Skills | 声音与发声技巧
Projection: Using supported breath and clear focus to send your voice to the back of the room without shouting.
投射：借助气息支撑与清晰的发声方向，把声音送到房间最后一排，而不是靠喊叫。
Articulation: The precise shaping of sounds with lips, tongue and teeth so that each word is clearly formed.
咬字：用嘴唇、舌头与牙齿精确塑造语音，使每个词都清晰成形。
Diction: The overall clarity of speech, including correct pronunciation and the separation of words.
吐字清晰度：语言整体的清晰程度，包括正确发音与词与词之间的区分。
Pace: The speed at which lines are delivered. Varying pace keeps an audience engaged and can signal panic, calm or boredom.
语速：台词说出的快慢。变化语速能维持观众注意力，也可表现慌乱、平静或厌倦。
Pitch: How high or low the voice is. A character's pitch range can suggest age, mood or social status.
音高：声音的高低。角色的音高范围可以暗示年龄、情绪或社会地位。
Pause: A deliberate silence between words or lines. A short pause creates emphasis; a long pause builds tension.
停顿：在词或台词之间刻意留下的静默。短暂停顿制造强调，长时间停顿营造紧张。
Tone: The emotional colour of the voice, such as warm, sharp, sarcastic or gentle.
语气：声音的情绪色彩，如温暖、尖锐、讽刺或温柔。
Volume: How loud or quiet the voice is. Sudden changes of volume are one of the most effective ways to surprise an audience.
音量：声音的响与轻。突然的音量变化是让观众感到意外最有效的方式之一。
Emphasis: Stressing a particular word to change or sharpen its meaning.
重音强调：强调某个特定词语，以改变或加强它的含义。
Breath support: Controlling the out-breath from the diaphragm so that long phrases can be spoken steadily and loudly enough.
气息支撑：用横膈膜控制呼气，使长句能够稳定而足够响亮地说完。
Accent and dialect: The pronunciation patterns linked to a region, class or country. Used carefully, they help to place a character.
口音与方言：与地区、阶层或国家相关的发音特征。恰当使用有助于定位角色背景。
5. Movement, Gesture and Body Language | 形体、手势与肢体语言
Posture: The way a character holds their spine and shoulders. A slumped posture suggests defeat, while an upright one suggests confidence or authority.
体态：角色脊柱与双肩的姿势。含胸塌背暗示挫败，挺直则暗示自信或权威。
Gesture: A movement of the hand, arm or head used to express meaning, such as pointing, shrugging or waving.
手势：用手、手臂或头部表达含义的动作，例如指点、耸肩或挥手。
Facial expression: The feelings shown through the face, especially the eyes, eyebrows and mouth. It carries emotion even when the character says nothing.
面部表情：通过面部（尤其是眼睛、眉毛与嘴）传达的情绪。即使角色沉默，表情也在传递情感。
Gait: The way a character walks, including stride length, weight and rhythm. Gait is a quick way to show age or personality.
步态：角色行走的方式，包括步幅、重心与节奏。步态是快速表现年龄或性格的方法。
Mime: Performing an action or telling a story without words, using only the body and imagined objects.
哑剧（默剧）：不用语言，仅靠身体与想象道具来表演动作或讲述故事。
Proxemics: The use of distance between characters on stage. Standing very close can suggest intimacy or threat; standing far apart can suggest coldness or fear.
空间距离学：舞台上角色之间距离的运用。靠得极近可暗示亲密或威胁，隔得很远则可暗示冷漠或恐惧。
Spatial awareness: Knowing where you are on stage, where your fellow performers are, and how to use the space without blocking sight lines.
空间意识：清楚自己在舞台上的位置、同伴的位置，以及如何在不遮挡视线的前提下运用空间。
Energy: The level of commitment and physical drive an actor brings to a performance. Low energy quickly spreads to the whole group.
能量：演员在表演中投入的程度与身体的驱动感。能量低迷会迅速传染给整个小组。
Stillness: Deliberately not moving. A completely still actor becomes a strong visual focus and can signal shock or control.
静止：刻意不动。完全静止的演员会成为强烈的视觉焦点，并可暗示震惊或掌控。
Weight and balance: How a performer distributes their body weight, which affects whether a character looks heavy, light, grounded or unstable.
重心与平衡：表演者分配身体重量的方式，决定角色看起来是沉重、轻巧、扎实还是不稳。
6. Characterisation and Role Creation | 角色塑造与角色创造
Role: The part an actor plays in a drama, including its lines, movements and relationships with other characters.
角色（扮演的部分）：演员在戏剧中所扮演的部分，包括台词、动作以及与其他角色的关系。
Character: The fictional person the actor creates and performs, with their own personality, history and way of speaking.
人物：演员创造并表演出来的虚构个体，拥有自己的性格、经历与说话方式。
Motivation: The reason a character behaves as they do. Knowing the motivation stops a performance from looking random.
动机：角色如此行为的原因。了解动机能避免表演显得随意。
Objective: What a character wants in a particular scene, such as to be forgiven, to win an argument or to escape.
目标：角色在某个场景中想要达成的目的，例如获得原谅、赢得争论或逃走。
Given circumstances: The facts the script provides about the character and situation, such as age, relationships, time and place.
既定情境：剧本提供的关于角色与情境的事实，如年龄、关系、时间与地点。
Backstory: The invented history of a character before the play begins. It helps an actor explain why the character behaves that way.
背景故事：为角色虚构的、在剧本开始之前发生的历史。它能帮助演员解释角色为何如此行事。
Hot-seating: An activity in which one actor stays in character and answers questions from the group, revealing the character's thoughts and attitudes.
热座提问：一种活动，演员保持角色身份，回答小组的提问，从而揭示角色的想法与态度。
Status: The relative power a character holds in a scene. Status can be shown through posture, eye contact, voice and who moves first.
地位：角色在场景中拥有的相对权力。地位可以通过体态、眼神接触、声音以及谁先行动来表现。
Stereotype: A flat, overused version of a type of person. Skilled actors add detail and contradiction to avoid stereotyping.
刻板印象：对某类人的扁平、过度简化的呈现。优秀的演员会加入细节与矛盾，以避免刻板化。
Role on the wall: A character study technique in which an outline of a body is annotated inside with thoughts and feelings, and outside with what others say about the character.
角色墙：一种角色研究方法，在人体轮廓内的部分写角色的想法与感受，外侧写别人对他的评价。
Character arc: The journey of change a character goes through across the whole drama.
角色弧线：角色在整个戏剧过程中经历的改变历程。
Subtext: What a character really means but does not say aloud. Playing the subtext makes dialogue feel truthful.
潜台词：角色真正想表达却没有说出口的内容。演出潜台词能让对白显得真实可信。
7. Devising, Improvisation and Rehearsal | 即兴创作与排练
Devising: Creating original drama from a starting point rather than working from a published script. The starting point is called a stimulus.
创编：从某个起点出发创作原创戏剧，而不是使用已出版的剧本。这个起点称为"刺激源"。
Stimulus: The image, poem, news story, piece of music or object used as the starting point for devised work.
刺激源：作为创编起点的图片、诗歌、新闻、音乐或物品。
Improvisation: Performing without a script, making up words and actions in the moment. It is used both to rehearse and to generate material.
即兴表演：不用剧本，当场编出台词与动作。它既用于排练，也用于生成素材。
Role play: Stepping into a character and situation to explore how they might behave, often used in drama in education and in classroom exploration of issues.
角色扮演：进入某个角色与情境，探索他们可能的行为方式，常用于教育戏剧与课堂议题探究。
Freeze frame: A moment in improvisation where the teacher calls 'freeze' and the group holds a still image, often for discussion or thought tracking.
定格：即兴过程中教师喊"定格"，小组保持静止画面，通常用于讨论或进行思维追踪。
Thought tracking: Speaking a character's inner thoughts aloud while a freeze frame is held. It reveals what the body cannot show.
思维追踪：在定格画面保持时，把角色的内心想法说出声来，揭示身体无法呈现的内容。
Rehearsal: The structured practice sessions in which scenes are shaped, refined and repeated before performance.
排练：在演出前对场景进行塑造、打磨与重复的结构化练习过程。
Director: The person responsible for the overall interpretation of a piece, who gives notes and shapes the staging.
导演：负责作品整体诠释的人，负责给出指导意见并塑造成型。
Run-through: A rehearsal in which the whole piece is performed without stopping, to check pace and stamina.
连排：不停顿地完整演出一遍的排练，用于检查节奏与持续力。
Technical rehearsal: A rehearsal that focuses on cues for lighting, sound and scene changes, often without full performance energy.
技术彩排：专注于灯光、音效与换景提示的排练，通常不做完整表演强度。
Dress rehearsal: The final rehearsal in full costume, make-up and technical set-up, as close to the real performance as possible.
带妆彩排：最后一次排练，使用完整服装、化妆与技术配置，尽可能接近真实演出。
Notes: Feedback given by the teacher or director after a rehearsal, identifying what worked and what to change.
指导意见：排练后由教师或导演给出的反馈，指出哪些有效、哪些需要调整。
8. Drama Conventions and Techniques | 戏剧手法与惯例
Convention: An agreed theatrical technique that audiences accept as part of the storytelling, such as an aside or a flashback.
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