📚 Year 10 AQA Drama: Formula & Theorem Quick Reference Guide | AQA戏剧：公式定理速查手册
This quick reference handbook gathers the essential formulas, principles and technical rules you will need during devising, performance and design tasks in the AQA GCSE Drama course. From stage geometry to lighting angles and sound delay, every formula is explained with a practical theatre example so you can apply it confidently in your written exam and practical work.
本速查手册汇集了你在AQA GCSE戏剧课程的编创、表演和设计任务中所需的基本公式、原理和技术规则。从舞台几何到灯光角度和声音延迟，每一条公式都配有舞台实例说明，帮助你在笔试和实践作业中自信运用。
1. Stage Dimensions and Area | 舞台尺寸与面积
The usable playing area is the foundation of all blocking and set design. To calculate the stage floor area, multiply the width of the acting space by its depth. Knowing this figure helps when planning set pieces and movement patterns.
可用表演区域是所有走位和布景设计的基础。计算舞台地面面积时，将表演空间的宽度乘以深度。了解这一数值有助于规划布景构件和动作路线。
Stage Area Aₛₜₐₙₑ = w × d
For example, if a proscenium arch acting area is 8 m wide and 6 m deep, the total playing area is 48 m². This directly influences the number of furniture pieces or the spacing of actor positions in a crowd scene.
例如，如果一个镜框式舞台的表演区宽8米、深6米，总表演面积为48平方米。这直接影响家具数量或群戏中演员位置的间隔。
2. Thrust, Traverse and In‑the‑Round Sightline Rule | 伸出式、横跨式和环绕式舞台视线规则
For non‑proscenium stages, every seat must have at least a 45‑degree horizontal angle to the centre of the acting area. This principle, sometimes called the 'third seat' rule, guarantees that no audience member is forced to watch only the back of an actor for extended scenes.
对于非镜框式舞台，每个座位与表演区中心的水平夹角必须至少达到45度。这一原则有时被称为“第三座位”规则，确保没有观众在长时间的场景中只能看到演员的背影。
Horizontal Sightline Angle θₛ ≥ 45°
To check this, draw a line from the farthest seat on a traverse bank to the centre point of the stage. If the angle measured on the plan is less than 45°, rotate the seating block or re‑position key acting moments closer to the centre.
要检查这一规则，从横跨式座席区最远的座位向舞台中心点画线。如果平面图上测量的角度小于45°，则调整座席区方向或将关键的表演时刻移到更靠近中心的位置。
3. Blocking Spacing Formula | 走位间距公式
When composing a stage picture, the distance between two actors should be proportional to their emotional relationship. A simple guideline: personal distance for intimate scenes is around 0.5–1 m, social distance for neutral exchanges is 1.5–2.5 m, and public distance for grand declamations is 3 m or more.
在构建舞台画面时，两名演员之间的距离应与他们的情感关系成正比。一个简易指导原则：亲密场景的个人距离约为0.5–1米，中性对话的社交距离为1.5–2.5米，而宏大宣告的公共距离为3米或以上。
Dᵦₐₛₑ = k × emotional intensity, where k ≈ 1 m per unit
If a scene requires a character to feel isolated, place them at public distance from the group while everyone else remains in social distance; the gap becomes a visible metaphor.
如果场景需要某个角色感到孤立，将ta置于与其他人公共距离的位置，而其他人保持在社交距离内；这一间隔成为视觉化的隐喻。
4. Lighting Beam Angle Formula | 灯光光束角公式
The beam angle of a lighting instrument determines the diameter of the light pool on the stage. A narrower angle creates a tight spotlight; a wider angle washes a larger area. The formula is:
灯具的光束角决定了舞台上光斑的直径。较窄的角度形成紧凑的追光；较宽的角度则铺洒更大的区域。公式如下：
Spot Diameter Dₗ = 2 × d × tan(θ/2)
Where d is the throw distance from the lantern to the stage, and θ 231 ≈ 2.31 m. This helps you decide how many fixtures are needed to cover the acting area.
其中d是从灯位到舞台的投射距离，θ是光束角。如果一盏26°的成像灯悬挂在舞台上方5米处，光斑直径约为2 × 5 × tan(13°) ≈ 2 × 5 × 0.231 ≈ 2.31米。这有助于你决定需要多少灯具来覆盖表演区。
5. Lighting Inverse Square Law | 光照强度平方反比定律
The intensity of light falling on a stage area decreases rapidly as the lantern is moved further away. The illuminance follows an inverse square relationship, which is vital for balancing key light and fill light.
照射在舞台区域的光强度随着灯具移远而迅速下降。照度遵循平方反比关系，这对平衡主光和补光至关重要。
E = I / d²
Here E is illuminance (lux), I is the luminous intensity (candela) of the source, and d is the distance. If you double the throw distance, the light level drops to one quarter. A lighting designer uses this to create depth by placing cooler, lower‑intensity washes at the back and warmer, brighter keys at the front.
此处E为照度（勒克斯），I为光源的发光强度（坎德拉），d为距离。若投射距离加倍，光照水平降至四分之一。灯光设计师利用这一点，在后方设置偏冷、低强度的铺光，在前方设置偏暖、更亮的主光，以营造纵深感。
6. Gobos and Projection Size | 图案片与投影尺寸
When using a gobo to project an image or texture, the size of the projected pattern can be calculated similarly to the beam angle formula, but you must also factor in the gobo's physical diameter and the lens magnification. A simple approximation is:
使用图案片投影图像或纹理时，投影图案的大小可按光束角公式类似方式计算，但还需考虑图案片的物理直径和镜头放大率。一个简易近似公式为：
Projected Image Width Wₚ = (d × G) / f
G is the gobo aperture size, f is the focal length of the lens, and d is the throw distance. A smaller focal length lens spreads the gobo image wider; a larger gobo aperture yields a bigger projection. Always test during the rigging session because sharpness also depends on the lens quality.
G为图案片孔径尺寸，f为镜头焦距，d为投射距离。焦距越短的镜头，图案投影越宽广；图案片孔径越大，投影影像越大。由于清晰度还取决于镜头品质，务必在装台时进行测试。
7. Sound Delay and Positioning | 声音延迟与定位
On large stages, the speed of sound can cause noticeable echo or sync issues if speakers are not delayed to match the actor's position. The delay time formula is:
在大型舞台上，如果扬声器未根据演员位置进行延迟匹配，声速可能导致可察觉的回声或同步问题。延迟时间公式为：
t = d / vₛ
With vₛ ≈ 343 m/s audience. You would delay the downstage speakers by roughly 29 ms so the acoustic wave arrives simultaneously with the actor’s voice from the stage. Delays over 50 ms can create an impression of conflicting sources.
其中vₛ≈343米/秒（20°C时的声速）。如果扬声器组位于舞台前沿，距离舞台中央的演员10米，声音到达观众约需10/343≈0.029秒（29毫秒）。你会为前区扬声器设置约29毫秒的延迟，使声波与演员的舞台声音同时到达观众。超过50毫秒的延迟会造成声源冲突的印象。
8. Amplifier Power and Audience Coverage | 放大器功率与观众覆盖
To cover an audience of a given size without distortion, you can estimate the minimum amplifier power if you know the speaker sensitivity. The required power roughly doubles for every 3 dB increase in sound pressure level needed.
要在不产生失真的情况下覆盖一定数量的观众，若已知扬声器灵敏度，可以估算所需的最小放大器功率。每需要增加3 dB声压级，所需功率大致翻倍。
P₂ = P₁ × 10ΔL/10
ΔL ) ≈ 26 dB, so you must boost the power significantly. In small theatres, a 400 W active speaker is often sufficient; however, strong bass reproduction may require a subwoofer with independent amplification.
ΔL为所需的声压级增量（单位dB）。若扬声器在1瓦/1米处产生94 dB，而你需要在20米远的最后一排达到100 dB，距离衰减约为20×log10(20)≈26 dB，因此必须大幅提升功率。在小剧场中，一只400瓦的有源扬声器通常足够；但强劲的低音还原可能需要独立放大的超低音扬声器。
9. Set Model Scale Ratios | 布景模型比例
A set designer works with a scale model before building the full‑size set. The most common scale in AQA design submissions is 1:25. The conversion between model dimension and real dimension is straightforward:
布景设计师在搭建全尺寸布景前，会使用比例模型进行设计。AQA设计提交中最常见的比例是1:25。模型尺寸与实际尺寸的换算非常简单：
Real Length Lᵣ = Lₘ × 25
So a model doorway 8 cm high represents a 2 m full‑size doorway. This ratio must be maintained for every element, from furniture to textured flats, to ensure the mock‑up accurately reflects the performance space.
因此，一个8厘米高的模型门代表2米的全尺寸门洞。从家具到有纹理的背景板，每一样元素都必须保持这个比例，以确保模型精确反映表演空间。
10. Makeup Prosthetic Setting Time | 特效化妆假肢凝固时间
When applying gelatin or silicone prosthetics, the environment temperature affects the curing or setting time. A practical rule used by makeup artists is the ‘10‑degree doubling’ estimate: for every 10°C decrease in temperature, the setting time roughly doubles.
在粘贴明胶或硅胶假肢时，环境温度会影响固化或凝固时间。化妆师使用的一项实用规则是“10度翻倍”估算：温度每降低10°C，凝固时间大约翻倍。
tₛₑₜ ≈ t₀ × 2^( (T₀ - T)/10 )
If a prosthetic takes 5 minutes to set at 25°C, it may require about 10 minutes at 15°C and 20 minutes at 5°C. Backstage areas are often cooler than the stage, so plan application time accordingly before a quick‑change scene.
如果假肢在25°C时凝固需5分钟，则在15°C时可能需要约10分钟，在5°C时约20分钟。后台通常比舞台凉爽，因此在抢妆场景前要相应规划粘贴时间。
11. Script Tempo and Beat Change Rate | 剧本节奏与节拍变化率
The emotional rhythm of a scene can be analysed by counting 'beats' – moments where the action or objective shifts. The beat change rate formula helps an actor or director gauge the pace:
一场戏的情感节奏可以通过计算“节拍”——行动或目标转变的时刻——来分析。节拍变化率公式帮助演员或导演衡量节奏：
Beat Rate B = number of beat changes ÷ scene duration (minutes)
A scene with 12 beats in 3 minutes has a beat rate of 4 beats per minute, indicating a fast, volatile exchange. A rate below 1 beat per minute often signals a slow, contemplative monologue or duologue. Use this during devising to vary the audience’s emotional journey.
一个场景在3分钟内出现12次节拍，节拍率为每分钟4次，表明一个快速、不稳定的交锋。低于每分钟1次的节拍率通常意味着缓慢、沉思的独白或对白。在编创过程中使用这一方法，让观众的情感旅程更具变化。
12. Colour Gel Transmission and Mixing | 色纸透射与混色
Lighting colour is varied by placing gels in front of lanterns. Each gel has a transmission percentage (T%). Stacking two gels multiplies their transmission and shifts the hue. The effective transmission is:
灯光色彩通过在灯具前放置色纸来改变。每张色纸都有一个透射百分比（T%）。叠加两张色纸会使其透射率相乘并偏移色调。有效透射率为：
Tₑ = T₁ × T₂ / 100
If a primary red gel transmits 12% and a blue transmits 8%, the combined transmission is 12 × 8 / 100 = 0.96% stage. Combined gels also absorb enormous heat, so always monitor the fixture temperature.
若一张原色红透射12%、一张蓝透射8%，复合透射率为12×8/100=0.96%，得到极深的紫色，需用大功率灯泡才能在舞台上显现。叠加色纸还会吸收大量热量，因此务必监测灯具温度。
Published by TutorHao | Drama Revision Series | aleveler.com
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