📚 Year 9 WJEC Drama: Key Terminology Quick Revision Guide | 九年级 WJEC 戏剧词汇术语速记指南
Mastering drama terminology is essential for Year 9 students following the WJEC curriculum. This quick revision guide covers the most important terms you will encounter in practical workshops, written evaluations and devised performances. Understanding these key words will help you describe your own work and analyse professional theatre with confidence and precision.
掌握戏剧术语是九年级 WJEC 课程学习的基础。本篇速记指南涵盖了你将在实践工作坊、书面评估和原创表演中遇到的最重要术语。理解这些关键词有助于你自信、准确地描述自己的表演并分析专业戏剧。
1. Stage Directions | 舞台指导
Upstage is the area of the stage farthest from the audience, while downstage is nearest to the audience. Stage left and stage right are always from the performer’s perspective when facing the audience. The centre stage is the middle ground, often used for moments of high focus.
舞台后方是距离观众最远的区域，而舞台前方离观众最近。舞台左侧和舞台右侧永远以演员面对观众时的左右为准。中心舞台是中间位置，常用于需要高度聚焦的时刻。
Wings are the offstage areas to the sides of the playing space, hidden from the audience. A performer enters or exits through the wings. The apron is the part of the stage that extends in front of the main curtain, sometimes used to break the fourth wall.
侧翼是舞台两侧的幕后区域，观众看不见。演员从侧翼上场或下场。台唇是主帷幕前伸出的舞台部分，有时用来打破第四面墙。
Blocking refers to the precise movement and positioning of actors on stage, usually decided by the director. A cross is a movement from one part of the stage to another. Good blocking creates visual balance and helps tell the story.
舞台调度指演员在舞台上的精确移动与站位，通常由导演决定。交叉走位是从舞台一处移动到另一处。好的调度能营造视觉平衡并助力叙事。
2. Voice and Speech | 声音与台词
Projection is the ability to fill the performance space with your voice without shouting. It relies on breath control and clear articulation. Articulation means forming vowel and consonant sounds crisply so the audience catches every word.
声音投射是不靠吼叫而使声音充满表演空间的能力，依赖于气息控制和清晰的吐字。吐字指清晰发出元音和辅音，让观众听清每一个词。
Tone describes the emotional quality of the voice—warm, cold, anxious, tender. Changing pitch (how high or low the voice is) and pace (speed of delivery) can dramatically alter meaning. A pause is a brief silence used for effect; a beat is a tiny moment of hesitation or thought change.
语气描述声音的情感质地——温暖、冷漠、焦虑、温柔。改变音高（声音的高低）与语速（说话的速度）可以大幅度改变意义。停顿是为取得效果而留出的短暂静默；节拍是微小的犹豫或思绪转变瞬间。
Intonation is the rise and fall pattern of speech that can signal a question, statement or sarcasm. Emphasis is placing stress on a particular word or syllable to change its importance. Together these tools create subtext and reveal character.
语调是话语的升降模式，可以暗示疑问、陈述或讽刺。重音是对某个词或音节加以强调，从而改变其重要性。这些工具共同创造出潜台词并展现角色。
3. Body Language and Movement | 肢体语言与动作
Posture is how a character holds their body—slumped, upright, tense. It immediately tells the audience about age, status and mood. Gesture is a movement of the hand, arm or head that communicates meaning, such as a wave or a shrug.
体态是角色身体保持的姿态——蜷缩、挺直、紧绷。它能立刻向观众传递年龄、地位和情绪。手势是通过手、臂或头的动作传达含义，如挥手或耸肩。
Body language encompasses all non-verbal signals, including facial expressions. A raised eyebrow, a clenched jaw or a genuine smile reveals inner thoughts. How a performer walks (gait) and uses levels (standing, sitting, crouching) also shapes character.
肢体语言包含所有非语言信号，包括面部表情。一抬眉、一咬紧牙关或一个真诚的微笑都能揭示内心活动。演员如何行走（步态）以及运用高度（站立、坐下、蹲下）同样塑造角色。
Proxemics is the study of distance between characters on stage. Standing close can show intimacy or threat; standing far apart can suggest estrangement. Using open and closed body positions helps communicate a character’s willingness to connect with others.
空间关系学研究舞台上角色之间的距离。靠近能表现亲密或威胁；远离可能暗示疏远。采用开放或封闭的身体姿态有助于传达角色与他人沟通的意愿。
4. Characterisation | 角色塑造
Characterisation is the process of building a believable character using physical, vocal and emotional choices. An actor must understand the character’s motivation—the reason behind every action. Stanislavski called this the ‘magic if’: asking, ‘What would I do if I were in this situation?’
角色塑造是通过身体、声音与情感的选择来构建可信角色的过程。演员必须理解角色的动机——每个行动背后的原因。斯坦尼斯拉夫斯基称之为“魔力假设”：问自己“如果我处在这种情境下会怎么做？”
Given circumstances are the facts about the character provided by the script, such as age, background and relationships. Subtext is the unspoken meaning beneath the words—what a character really thinks or feels. Playing the subtext often communicates more than the dialogue itself.
规定情境是剧本提供的关于角色的事实，如年龄、背景与人际关系。潜台词是话语之下未说出的含义——角色真正所想或所感。演绎潜台词往往比台词本身传达得更多。
An actor may use emotional memory (recalling personal experiences to trigger genuine emotion) or adopt an objective—a clear goal for each scene. Status is the power position a character holds in relation to others, which can change from moment to moment.
演员可能运用情绪记忆（回忆个人经历以激发真实情感）或确定一个目标——每场戏的明确意图。地位是角色相对于他人所持的权力姿态，可以随时变化。
5. Blocking and Stage Space | 舞台调度与空间
Beyond basic stage directions, blocking includes the planning of movement, use of levels and positioning to support storytelling. A ground plan is a bird’s-eye view of the set and exits, helping performers map their routes.
除基本舞台方向外，舞台调度还包括规划动作、高度运用与站位以支撑叙事。平面图是布景与出口的俯瞰图，帮助演员规划走位路线。
Blocking should ensure sightlines: every audience member can see the key action. Performers can create a sense of intimacy by moving towards the apron, or build tension by retreating upstage. Cheating out means angling the body slightly towards the audience so they can see the actor’s face and hear clearly.
调度应保证视线：每位观众都能看到关键动作。演员可通过走向台唇来营造亲密感，或退至舞台后方建立紧张感。面向观众指稍稍侧身朝向观众，以便他们看清面部并听清台词。
6. Set and Props | 布景与道具
A set is the physical environment on stage, constructed from flats, platforms and backdrops. A cyclorama (cyc) is a curved backdrop used for sky effects with lighting. Flats are lightweight wooden frames covered with canvas or board that create walls.
布景是舞台上的实体环境，由景片、平台与背景幕构成。天幕是一种弧形背景，用于通过灯光制造天空效果。景片是轻型木框架覆以帆布或木板，用来搭建墙壁。
Props are objects used by performers on stage. Hand props are small items like letters, cups or phones; set props are larger items such as furniture. Every prop must have a purpose and be carefully managed in a prop table for quick changes.
道具是演员在舞台上使用的物件。手持道具是信、杯子或手机等小件；布景道具是家具等大件。每件道具必须有用途，并透过道具台精心管理以利快速换场。
The design of the set conveys style—naturalistic sets aim to reproduce real-world locations in detail, while abstract or minimalist sets use symbolic forms to suggest place and mood. The symbolism of a set can reinforce themes and character psychology.
布景设计传递风格——自然主义布景追求细致还原真实地点，而抽象或极简布景则用象征性形式暗示地点与情绪。布景的象征意义可以强化主题和角色心理。
7. Lighting | 灯光
Lanterns are the main lighting instruments. A profile spot produces a sharp, focused beam; a fresnel gives a soft-edged wash of light. Floodlights cover wide areas with even illumination.
灯具是主要照明工具。追光灯产生清晰聚焦的光束；佛氏灯提供柔和边缘的光晕。泛光灯以大范围均匀照明著称。
Lighting designers use a gobo (a metal stencil) to project patterns or textures. Gels are coloured filters that change the colour of the light. A lighting state is a specific combination of lights set for a scene; the blackout signals the end of an act or a dramatic moment.
灯光设计师使用图案片（金属模板）投射图案或纹理。色纸是改变光色的彩色滤片。光位是为某场景设定的特定灯光组合；暗场标志着一幕结束或戏剧性时刻。
Intensity refers to brightness, focus to sharpness of the beam, and direction to the angle from which light hits the stage. Lighting from below can create an eerie effect; sidelight sculpts bodies; backlight creates silhouettes. Warm colours (amber, gold) suggest comfort, while cool colours (blue, steel) evoke coldness or isolation.
光强指明亮程度，焦距指光束的锐利度，方向指光线射向舞台的角度。下方打光可制造诡异效果；侧光塑造身体轮廓；背光制造剪影。暖色调（琥珀、金色）暗示舒适，冷色调（蓝、钢青）唤起寒冷或孤寂。
8. Sound | 音效
Diegetic sound is sound that originates from within the world of the play, such as a ringing phone or characters’ radios—the characters can hear it. Non-diegetic sound exists only for the audience’s benefit, like a filmic underscore or a narrator’s voiceover.
剧情内音效是来自戏剧世界内部的声音，如电话铃响或角色的收音机——角色能听到。剧情外音效仅为观众服务，如电影式配乐或旁白的画外音。
Live sound effects are created in real time by actors or technicians backstage. Pre-recorded sound is played from a cue list. Underscoring is music played beneath dialogue to heighten emotion. A sudden silence (aural punctuation) can be as powerful as a loud sound.
现场音效由演员或后台技术人员实时制造。预录音效从提示列表中播放。衬底音乐是在对白下方播放的音乐，用以增强情绪。突然的寂静（听觉标点）可以和巨响一样有力。
On cue means the sound is triggered at a precise moment in the performance. Designers manipulate volume, reverb and equalisation to create atmosphere. The careful layering of sounds can build a realistic environment or convey a character’s internal state.
按提示指音效在表演的精确时刻触发。设计师通过操控音量、混响与均衡来营造氛围。精心分层的声音可以构建真实环境或传达角色的内心状态。
9. Costume, Hair and Make-up | 服装、发型与化妆
Costume communicates information about a character immediately: period, social class, occupation and personality. A costume is more than just clothes—it is the entire look, including accessories, footwear and hairstyle. Costume can also indicate changes in a character’s journey, such as torn clothing showing decline.
服装能立刻传递角色信息：时代、社会阶层、职业与个性。服装不止是衣服——它是整体造型，包括配饰、鞋履和发型。服装也能体现角色经历的变化，例如衣衫褴褛暗示衰落。
Make-up on stage serves both corrective and creative functions. Stage makeup exaggerates features so they remain visible under bright light, while character makeup can age an actor or create fantasy creatures. Wigs and hairpieces help achieve historical accuracy or silhouette.
舞台化妆兼具修正与创造功能。舞台妆需要夸张五官，以便在强光下依然可见；而角色妆容可以让演员变老或创造奇幻生物。假发与发片有助于实现历史准确性或特定轮廓。
Designers consider colour symbolism: red for passion or danger, white for purity, black for authority or grief. Texture and fit also matter—loose, flowing fabrics suggest freedom, while stiff, tailored pieces imply confinement. Quick changes must be rehearsed practically for seamless transitions.
设计师会考虑颜色的象征意义：红色代表热情或危险，白色象征纯洁，黑色代表权威或哀悼。质地与合身度同样重要——宽松飘逸的面料暗示自由，而僵硬贴合的剪裁意味着束缚。快速换装必须经过实际排练以实现无缝过渡。
10. Dramatic Techniques and Conventions | 戏剧技巧与惯例
A monologue is a lengthy speech by one character, often revealing inner thoughts to the audience or another character on stage. In a soliloquy, the character speaks their thoughts aloud while alone, a convention perfected by Shakespeare. A duologue is a scene between exactly two characters.
独白是一个角色的长篇讲话，通常向观众或舞台上另一角色袒露内心想法。在内心独白中，角色独自大声说出思想，是莎士比亚完善的戏剧惯例。对手戏是恰好两人之间的一场戏。
Aside is a remark directed to the audience that other characters on stage cannot hear—used for comic effect or to reveal a secret. Breaking the fourth wall occurs when a character directly acknowledges the audience’s presence, destroying the imaginary wall between stage and spectators.
旁白是对观众说而舞台上其他角色听不见的话——用于制造喜剧效果或透露秘密。打破第四面墙指角色直接承认观众的存在，打破舞台与观众间的想象之墙。
Dramatic irony happens when the audience knows something crucial that one or more characters do not, building suspense. Foreshadowing is a clue or hint about future events. Tension is the sense of anticipation or anxiety created through pacing, conflict and unresolved situations.
戏剧性反讽发生在观众知道关键信息而一个或多个角色不知时，制造悬念。铺垫是暗示未来事件的线索。紧张感是通过节奏、冲突和悬而未决的情境营造出的期待或焦虑感。
Pace refers to the speed at which lines are delivered and scenes progress; rapid pace suggests urgency, while slow pace can build pressure or highlight significance. Still image or tableau freezes performers in position to capture a moment, often used in devised work. Cross-cutting weaves two separate scenes together to compare or contrast.
节奏指台词表达和场景推进的速度；快节奏暗示紧迫，缓慢节奏可积蓄压力或突显重要性。定格画面或静态造型让演员停在原地捕捉瞬间，常用于原创作品。交叉剪辑将两个独立场景交织以进行对比。
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