📚 Year 10 WJEC Drama: Quick Memorisation Guide to Key Vocabulary & Terminology | WJEC 戏剧核心词汇术语速记指南
Mastering drama terminology is essential for success in Year 10 WJEC Drama. This guide breaks down the key terms you will encounter in devised and scripted work, as well as in your written exam responding to live theatre. Each term is clearly defined in English and Chinese, with memory tips to help you recall them confidently under pressure. Use this resource alongside your practical exploration and logbook entries to build a vocabulary that will elevate both your performance and your written responses.
掌握戏剧术语对于 Year 10 WJEC 戏剧课程的成功至关重要。本指南将你会在创作表演、剧本研究以及现场戏剧分析笔试中遇到的核心词汇拆解开来。每个术语都用英文和中文进行清晰定义，并附有记忆技巧，帮助你自信应对考试压力。将这份资源与你的实践探索和日志记录结合使用，能帮助你构建一套丰富的词汇系统，从而提升表演水平和书面回答的质量。
1. Stage Directions and Blocking | 舞台方位与走位
Stage Directions: Instructions in the script, often in italics, that describe the setting, character movement, and technical cues. Key terms: Upstage (US) is the area farthest from the audience; Downstage (DS) is closest to the audience; Stage Left (SL) is the actor's left when facing the audience; Stage Right (SR) is the actor's right. Always remember these are from the performer's perspective, not the audience's.
舞台方位：剧本中通常以斜体书写的指令，描述场景、角色移动和技术提示。关键术语：上舞台 (Upstage) 是离观众最远的区域；下舞台 (Downstage) 最靠近观众；舞台左侧 (Stage Left) 是演员面向观众时的左手边；舞台右侧 (Stage Right) 则是演员的右手边。请始终记住，这些方位均以表演者的视角为准，而非观众视角。
Blocking: The director's plan for where and when actors move on stage. Effective blocking creates focus, visual balance, and communicates status. An actor 'upstaging' another forces them to turn their back to the audience, a classic power move.
走位：导演为演员在舞台上的移动位置和时机所做的规划。有效的走位创造焦点、视觉平衡并传达角色地位。一名演员'占据上风' (upstaging) 会迫使另一名演员背对观众，这是一种经典的权力展示。
Memory tip: Imagine you are walking downstairs towards the audience - you are going 'downstage'. The further back you go, the 'higher' the stage used to be raked, so 'upstage'.
记忆提示：想象你正走下楼梯靠近观众——你就是在走向'下舞台'。你往后走得越远，传统上舞台的倾斜高度就越高，因此就是'上舞台'。
2. Vocal Techniques | 声音技巧
Pitch: How high or low the voice sounds. Use a high pitch for panic or youth, low for authority or menace. Pace: The speed of speech; rapid to show excitement or anxiety, slow for solemnity or thoughtfulness. Volume: Loudness or softness, projecting to the back row even in intimate moments.
音高：声音听起来的高低程度。高音高可表现慌张或年轻，低音高则体现权威或威胁。语速：说话的速度；快速表现兴奋或焦虑，缓慢则体现庄重或深思。音量：声音的强弱，即使在细腻时刻也要保证投射到后排观众。
Tone: The emotional quality of the voice, e.g. sarcastic, tender, icy. Pause: A deliberate silence that can build tension, show a character thinking, or mark a turning point. Emphasis: Stressing a particular word to change meaning or highlight a subtext. Resonance and Projection: Using the chest and head cavities to amplify the voice without shouting.
语气：声音的情感质地，如讽刺、温柔、冷酷。停顿：刻意为之的静默，能建立张力、表现角色思考或标识转折点。重音：强调某个特定字眼以改变语义或凸显潜台词。共鸣与投射：利用胸腔和头腔放大声音而不需吼叫。
Memory tip: Vary your vocal 'P.P.V.T.E.' - Pitch, Pace, Volume, Tone, Emphasis - to avoid a monotonous delivery.
记忆提示：变化你的声音'音·速·量·调·重' (Pitch, Pace, Volume, Tone, Emphasis)，以避免单调的表达。
3. Physical and Gestural Skills | 形体与肢体技巧
Posture: How a character stands or sits; upright for confidence, slouched for defeat. Gait: The manner of walking, reflecting age, status, or mood. Gesture: A movement of the hand or head to communicate meaning, such as a wave or a pointed finger. Facial Expression: The use of the face to convey emotion, often the most immediate signal to the audience.
姿态：角色站或坐的方式；挺直表现自信，耷拉表现挫败。步态：行走的方式，反映年龄、地位或情绪。手势：手或头部的动作，用以传达含义，例如挥手或指人。面部表情：运用面部传达情感，通常是向观众传递的最直接信号。
Body Language: A combination of all physical signals, including eye contact to show connection or challenge, and proxemics (use of space) to define relationships. Tension in the body can suggest nervous energy or aggression. Stillness can be as powerful as movement.
肢体语言：所有身体信号的组合，包括用以展示联系或挑战的眼神交流，以及用于界定关系的空间关系学 (proxemics)。身体的紧绷度可以暗示紧张情绪或攻击性。静止也可以与动作一样充满力量。
Memory tip: In your logbook, label every physical choice with a reason linked to character and situation.
记忆提示：在你的日志中，为每一个形体选择都标注上关联角色与情境的理由。
4. Characterisation and Motivation | 角色塑造与动机
Objective: What the character wants in a scene or beat. Every line and action should serve this goal. Super-objective: The overarching desire spanning the entire play, a term from Stanislavski. Obstacle: What stands in the way of achieving the objective, creating dramatic conflict.
单元目标：角色在某个场景或节拍中想要达成什么。每句台词和每个行动都应为这一目标服务。超目标：贯穿全剧的核心欲望，源自斯坦尼斯拉夫斯基体系的术语。障碍：阻碍目标达成的东西，制造戏剧冲突。
Motivation: The psychological 'why' behind an action. Subtext: The unspoken thoughts and feelings beneath the dialogue. 'What are you really saying?' Given Circumstances: The facts provided by the script about character, setting, and situation that inform the performance.
动机：行为背后的心理'为什么'。潜台词：对白之下未曾明说的想法与感受。'你真正在说什么？' 规定情境：剧本提供的关于角色、背景和情境的事实，用以指导表演。
Memory tip: Ask 'What do I want? Why do I want it? What is stopping me?' for every entrance.
记忆提示：为每次上场问自己：'我想要什么？我为什么想要它？什么东西在阻止我？'
5. Rehearsal Techniques | 排练技巧
Hot-seating: A performer sits in-role and answers questions from peers to deepen character backstory. Role-on-the-wall: A large outline with inner thoughts inside and outer facts around it, often on paper. Thought-tracking: Freezing an action and speaking the character's inner monologue aloud.
热板凳：一名演员以角色身份坐定，回答同伴提问，以深入角色的背景故事。墙上角色：画出一个大的轮廓，在内侧写下内心想法，外侧写下外在事实，通常绘于纸面。思路追踪：定格一个动作并大声说出角色的内心独白。
Improvisation: Unscripted exploration to discover character behaviour and spontaneous reactions. Marking the moment: Identifying and polishing key dramatic peaks. Using rehearsal props and costume pieces early helps physicalise the character.
即兴表演：无剧本的探索，以发现角色行为和自发性反应。标记关键时刻：识别并打磨关键的戏剧高潮。提早使用排练道具和服装部件有助于将角色形体化。
Memory tip: Document at least two rehearsal techniques per week in your log and explain how they changed your character choices.
记忆提示：在你的日志中每周至少记录两种排练技巧，并解释它们如何改变了你的角色选择。
6. Dramatic Tension and Structure | 戏剧张力与结构
Dramatic Tension: The sense of anticipation, uncertainty, or anxiety that keeps an audience engaged. It can be built through conflict, irony, silence, or a looming threat. Suspense is a specific form of tension where the audience knows something the characters do not.
戏剧张力：让观众保持投入的那种期待、不确定性或焦虑感。它可以通过冲突、反讽、静默或逼近的威胁来建立。悬念是张力的一种具体形式，指观众知道而角色不知道某些信息。
The classic Freytag's Pyramid structure: Exposition (introduction of characters and situation), Rising Action (complications), Climax (turning point of highest tension), Falling Action (consequences), and Denouement/Resolution (final closure). Look for these in your set text and devised work.
经典的弗赖塔格金字塔结构：开端 (介绍角色与情境)、上升行动 (纠葛复杂化)、高潮 (张力最强的转折点)、下降行动 (事件后果)、以及结局/收尾 (最终的闭合)。在你分析的剧本和创作的作品中寻找这一结构。
Pacing: The rhythm of the performance, with moments of stillness or explosion. Contrast and Juxtaposition: Placing opposite elements side by side to highlight differences, such as comedy before tragedy.
节奏控制：表演的快慢韵律，包含静默或爆发的时刻。对比与并置：将对立元素放置在一起以突出差异，例如悲剧前的喜剧。
7. Design Elements: Set, Lighting, Sound | 设计元素：布景、灯光、音响
Set Design: The physical environment. Types include Box set (realistic room with three walls), Minimalist (few props, symbolic), and Site-specific (performance in a real location, not a theatre). Stage configurations: Proscenium Arch (picture frame), Thrust (audience on three sides), In-the-round, and Traverse (alley).
布景设计：实体环境。类型包括箱式布景 (有三面墙的现实主义房间)、极简主义 (少量道具、具象征性)、以及特定场域 (在真实地点而非剧场内演出)。舞台构型：镜框式舞台 (像画框)、伸出式舞台 (三面观众)、圆形舞台、以及通道式舞台 (两侧观众)。
Lighting Design: Uses intensity, colour, focus, and angle. Spotlight isolates a performer; flood washes the stage; backlight creates silhouettes; gobo projects patterns. Colour can suggest mood (blue for cold, red for passion). Blackout signals an end or shift.
灯光设计：运用亮度、色彩、焦点和角度。聚光灯分离出单个演员；泛光灯照亮整个舞台；逆光制造剪影效果；图案片投射出纹理。色彩能暗示情绪（蓝为冷、红为热）。黑场标志着结束或转场。
Sound Design: Can be diegetic (heard by characters, e.g. a doorbell) or non-diegetic (heard only by audience, e.g. underscoring). Includes SFX (effects), ambient sound to set location, and live or recorded music.
音响设计：可分为剧情内音 (角色可听到，如门铃声) 或剧情外音 (只有观众能听到，如配乐)。包括音效、建立场景的环境音，以及现场或预录音乐。
8. Costume, Make-up and Props | 服装、化妆与道具
Costume communicates period, social status, occupation, and personality. Colour symbolism is key: white for innocence, black for villainy or formality. Fabric and silhouette also tell a story. Make-up can age a performer, create fantasy characters, or exaggerate features for large auditoriums.
服装传达年代、社会地位、职业和个性。色彩象征很关键：白色代表纯真，黑色代表邪恶或正式感。面料与廓形同样在讲述故事。化妆能够老化演员、创造奇幻角色，或为大型剧场观众夸大面部特征。
Props are objects handled by actors. They can be practical (functional, like a working letter) or symbolic (a wilting flower to represent decay). Personal props define character, like a fidget toy for anxiety. Always consider a prop's journey: is it revealed, hidden, broken, or passed between characters?
道具是演员拿在手中的物件。它们可以是实用性的（功能性的，如一封可打开的真信）或象征性的（一朵枯萎的花代表衰败）。个人化道具界定角色，例如代表焦虑的小玩具。始终思考道具的戏剧历程：它是被揭示、隐藏、毁坏还是在角色之间传递？
Memory tip: For each design element, always state the intended effect on the audience.
记忆提示：针对每一个设计元素，始终说明它对观众的预期效果。
9. Performance Styles and Genres | 表演风格与体裁
Naturalism: Aims to create a completely realistic illusion of everyday life, popularised by Stanislavski. Realism: Slightly broader, still believable but may select heightened moments. Epic Theatre (Brecht): Uses alienation effect (Verfremdungseffekt) to remind the audience they are watching a play; includes direct address, placards, and multi-roling.
自然主义：旨在创造完全逼真的日常生活幻觉，由斯坦尼斯拉夫斯基体系发扬光大。现实主义：稍宽泛，依然可信但会选择一些被升格了的瞬间。史诗剧场 (布莱希特)：运用间离效果 (Verfremdungseffekt) 提醒观众他们正在观看戏剧；包括直接对观众说话、举标语牌以及一人分饰多角。
Physical Theatre: Storytelling primarily through movement, often incorporating dance, mime, and ensemble work (e.g. Frantic Assembly). Musical Theatre: Integrates song, dialogue, and dance with a clear emotional arc. Genres: Tragedy (downfall of a protagonist, catharsis), Comedy (resolution through laughter), and Tragicomedy (blending both).
肢体剧场：主要通过动作来讲故事，常常融合舞蹈、哑剧和群体协作（例如 Frantic Assembly 剧团）。音乐剧：将歌曲、对白和舞蹈整合进清晰的情感弧线中。体裁：悲剧 (主人公的陨落、宣泄)、喜剧 (通过笑声解决冲突) 和悲喜剧 (二者混合)。
slavski = Naturalism, Brecht = Epic, Artaud = Theatre of Cruelty, Berkoff = Total Theatre.
记忆提示：将著名戏剧大师与风格联系起来：斯坦尼斯拉夫斯基 = 自然主义，布莱希特 = 史诗剧场，阿尔托 = 残酷戏剧，伯克夫 = 整体戏剧。
10. Responding to Live Theatre: Analytical Vocabulary | 现场戏剧分析词汇
In your exam, you must describe, analyse, and evaluate the performance. Use precise vocabulary: the atmosphere (the emotional feeling of a scene), the mood created by design elements, and the tension sustained by pacing and conflict.
在考试中，你必须描述、分析和评价表演。请使用精确的词汇：氛围 (一场戏的情感感觉)、设计元素创造的情绪，以及通过节奏和冲突维系的张力。
Comment on key moments that had the biggest impact, describing specific use of vocal or physical skills. Use adverbs: 'she delivered the line hesitantly, underscoring the character's doubt.' Identify the director's intention and whether the performers successfully communicated it.
评论影响最大的关键时刻，描述声音或形体技巧的具体运用。使用副词：'她犹豫地念出那句台词，凸显了角色的怀疑。' 明确指出了导演的意图以及演员们是否成功传达了这一意图。
Analyse spatial relationships on stage, the use of levels, and the focus created by lighting and blocking. Always link your observations to the audience's response: 'the sudden blackout left the audience in stunned silence.'
分析舞台上的空间关系、层次运用以及由灯光和走位创造的焦点。始终将你的观察与观众反应相链接：'突然的黑场让观众们陷入惊愕的静默。'
Memory tip: Use the PEEL structure (Point, Evidence, Example, Link) for every paragraph in your live theatre review.
记忆提示：在现场戏剧评论的每一段落都采用 PEEL 结构（观点、证据、举例、联系）。
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