📚 Year 10 Eduqas Drama: Quick Guide to Key Vocabulary and Terminology | Year 10 Eduqas 戏剧：词汇术语速记指南
Mastering drama terminology is the first step to describing, analysing, and evaluating performance work with confidence. This guide covers the core vocabulary you will encounter in Year 10 Eduqas Drama — from staging and characterisation to technical theatre and rehearsal techniques. Use it as a quick reference to memorise key terms with clear definitions and examples.
掌握戏剧术语是自信地描述、分析和评估表演作品的第一步。本指南涵盖了你在 Year 10 Eduqas 戏剧课程中会接触到的核心词汇——从舞台与角色塑造到技术剧场和排练方法。你可以将它作为速记手册，通过清晰的定义和示例快速记忆关键术语。
1. Genres and Styles | 戏剧类型与风格
Genre refers to the category of a play based on its content, tone, and form. Common genres include tragedy, comedy, farce, melodrama, and physical theatre.
体裁（Genre）指根据内容、基调和形式划分的戏剧类别。常见的体裁包括悲剧、喜剧、闹剧、情节剧和肢体剧场。
Style describes how the performance is presented. Naturalistic style aims to imitate real life with believable characters and everyday speech, while stylised or non-naturalistic style uses symbolic movement, exaggeration, and abstraction to convey meaning.
风格（Style）描述表演呈现的方式。自然主义风格旨在通过可信的角色和日常对话模仿真实生活，而风格化或非自然主义风格则使用象征性动作、夸张和抽象手法传达意义。
Epic theatre, associated with Brecht, deliberately breaks the illusion to make the audience think critically. Melodrama relies on stock characters and sensational plots, with clear heroes and villains.
史诗剧场（Epic theatre）与布莱希特相关，它刻意打破幻觉让观众进行批判性思考。情节剧（Melodrama）依赖定型角色和耸人听闻的情节，有明确的英雄与反派。
2. Dramatic Structure and Plot | 戏剧结构与情节
Most plays follow a narrative structure. The exposition introduces characters and setting. The rising action develops conflict through a series of events leading to the climax — the point of highest tension. Then comes falling action and finally the denouement or resolution.
多数剧本遵循叙事结构。开端（Exposition）介绍角色和背景。发展（Rising action）通过一系列事件推进冲突，直至高潮（Climax）——最紧张的时刻。接着是下降（Falling action），最后是结局或解决（Denouement / Resolution）。
A turning point is a moment that changes the direction of the story. An open ending leaves questions unanswered, while a closed ending ties up all loose ends. Subplot is a secondary story that runs alongside the main plot.
转折点（Turning point）是改变故事走向的时刻。开放式结局（Open ending）留下未解问题，封闭式结局（Closed ending）则收束所有线索。次要情节（Subplot）是与主线并行的次要故事。
3. Stage Spaces and Configurations | 舞台与表演空间
Staging configuration affects the actor–audience relationship. Proscenium arch is a traditional stage with a frame that separates performers from spectators, creating a "picture frame" view.
舞台配置影响演员与观众的关系。镜框式舞台（Proscenium arch）是一个有框架的传统舞台，将表演者与观众分隔，形成“画框”视角。
Thrust stage extends into the audience, who sit on three sides. Theatre in the round or arena staging places the action in the centre with audience on all sides. Traverse staging has the audience on two opposite sides, like a catwalk. Promenade staging moves the audience around the performance space.
伸出式舞台（Thrust stage）延伸至观众席，观众坐在三面。圆形剧场或竞技场式舞台（Theatre in the round / Arena staging）将表演置于中央，四面都是观众。长廊式舞台（Traverse staging）让观众分坐两侧，类似T台。漫游式剧场（Promenade staging）让观众在表演空间中移动。
The term "blocking" refers to the precise movement and positioning of actors on stage, planned by the director.
“走位”（Blocking）指由导演规划的演员在舞台上的精确移动和站位。
4. Characterisation and Objectives | 角色塑造与目标
Characterisation is the process of creating and portraying a character. An actor uses Given Circumstances — the character’s background, time, place, and situation — to build a believable role. The Magic If, a Stanislavski technique, asks “What would I do if I were in this character’s situation?”
角色塑造（Characterisation）是创造和扮演角色的过程。演员运用“规定情境”（Given Circumstances）——角色的背景、时代、地点和处境——来构建可信的角色。“假使”（Magic If）是斯坦尼斯拉夫斯基的一种技术，问“如果我在这个角色的处境中，我会怎么做？”
The super-objective is the character’s overarching desire throughout the entire play. An objective (or intention) is what the character wants in each scene or moment. An obstacle is anything that stands in the way of that objective.
最高任务（Super-objective）是角色贯穿全剧的总体欲望。目标或意图（Objective / Intention）是角色在每一场戏或每一时刻想要达到的目的。障碍（Obstacle）是阻挡目标实现的任何事物。
Subtext is the underlying meaning beneath spoken dialogue — what a character really thinks or feels but may not say aloud.
潜台词（Subtext）是台词之下的隐含意义——角色真实的想法或感受，但可能没有说出来。
5. Vocal and Physical Skills | 声音与肢体技巧
Vocal skills include pitch (high or low), pace (speed), pause (moment of silence), volume (loudness), and tone (emotional quality). An actor may use emphasis to stress important words and intonation to shape the meaning through rise and fall of pitch.
声音技巧包括音高（Pitch，高低）、语速（Pace，快慢）、停顿（Pause，沉默瞬间）、音量（Volume，响度）和语气（Tone，情感色彩）。演员可以使用重音（Emphasis）强调重要词语，运用语调（Intonation）通过音高升降塑造意义。
Physical skills include gesture (hand or arm movement to communicate meaning), posture (how the body is held), gait (walking style), and facial expression. Body language and eye contact also communicate character intention and emotion to the audience.
肢体技巧包括手势（Gesture，用手或手臂传达意义）、姿态（Posture，身体的姿态）、步态（Gait，走路风格）和面部表情（Facial expression）。身体语言（Body language）和眼神交流（Eye contact）也将角色意图和情感传达给观众。
6. Proxemics and Body Language | 舞台定位与身体语言
Proxemics is the study of how space is used to communicate meaning. The distance between characters can show intimacy, tension, or status. Upstage and downstage refer to the back and front of the stage; centre stage is the most powerful position.
空间关系学（Proxemics）研究如何利用空间传达意义。角色之间的距离可以表现出亲密、紧张或地位高低。舞台后部（Upstage）和前部（Downstage）分别指舞台的后方和前方；舞台中央（Centre stage）是最有力的位置。
Levels (high, medium, low) affect power dynamics: a character on a higher level often appears dominant. Status can be shown through posture, eye contact, and use of space. A high-status character may use expansive gestures and take up more space.
舞台高低（Levels，高、中、低）影响权力关系：位于较高处的角色通常显得更有支配力。地位（Status）可以通过姿态、眼神交流和空间使用来表现。高地位角色可能使用大幅度的手势并占据更多的空间。
An open body posture (arms relaxed, chest open) suggests confidence, while a closed posture (arms crossed, hunched shoulders) suggests insecurity or defensiveness.
开放的身体姿势（双臂放松、胸膛敞开）表明自信，而封闭的姿势（双臂交叉、耸肩）则暗示不安全或防御。
7. Technical Theatre: Lighting | 技术剧场：灯光
Lighting design shapes mood, time, and focus. Key terms include intensity (brightness), colour (using gels), and direction (front light, backlight, sidelight, downlight). A spotlight is a tight, focused beam, while a wash provides broad, even coverage.
灯光设计塑造氛围、时间和焦点。关键术语包括强度（Intensity，亮度）、色彩（Color，使用灯光滤色片）和方向（Direction：前光、背光、侧光、顶光）。聚光灯（Spotlight）是紧致、聚焦的光束，而普照光（Wash）提供宽广均匀的照明。
A gobo is a metal template placed in front of a light to project patterns or shapes. A blackout is the sudden removal of all stage lighting, often used to end a scene dramatically. Cross-fade is a gradual change from one lighting state to another.
图案片（Gobo）是放置在灯前的金属模板，用于投射图案或形状。黑场（Blackout）是所有舞台灯光突然熄灭，常用于戏剧化地结束一场戏。灯光交叉渐变（Cross-fade）是指从一种灯光状态逐渐过渡到另一种。
Lighting can create atmosphere: cool blue tones suggest cold or night, while warm amber tones might suggest sunrise or safety.
灯光可以营造气氛：冷蓝色调暗示寒冷或夜晚，而暖琥珀色调可能暗示日出或安全。
8. Technical Theatre: Sound | 技术剧场：声音与音效
Sound design enhances mood, period, and location. Diegetic sound is heard by both characters and audience (e.g. a phone ringing on stage). Non-diegetic sound is only heard by the audience (e.g. background music or a narrator’s voiceover).
音效设计增强情绪、时代感和地点。剧情声音（Diegetic sound）是角色和观众都能听到的（例如舞台上电话铃声）。非剧情声音（Non-diegetic sound）只有观众能听到（例如背景音乐或旁白画外音）。
A soundscape is a layered combination of sounds to create an environment. Underscoring is music played quietly beneath dialogue to heighten emotion. A sound cue is a pre-planned moment for a sound effect to play.
声景（Soundscape）是组合多层声音以创造环境。烘托音乐（Underscoring）是在对话下方轻声播放音乐以加强情感。音响提示（Sound cue）是预设的音效播放点。
Microphone terms: a radio mic is wireless and worn by the actor; a boom mic is held on a long pole; a floor mic is positioned on stage.
麦克风术语：无线麦克风（Radio mic）由演员佩戴；吊杆麦克风（Boom mic）装在长杆上；地麦（Floor mic）放置在舞台上。
9. Technical Theatre: Set and Props | 技术剧场：布景与道具
The set is the physical environment on stage. A realistic set faithfully recreates a location, while a symbolic set uses minimal elements to suggest place and meaning. Flats are wooden frames covered with canvas used as walls. A cyclorama is a curved backdrop used for sky effects or projections.
布景（Set）是舞台上的实体环境。写实布景逼真地再现地点，而象征性布景使用极少的元素暗示地点和意义。布景板（Flat）是覆有帆布的木框，用作墙壁。天幕（Cyclorama）是一个弧形背景幕，用于天空效果或投影。
Props (properties) are objects actors handle, such as books, cups, or letters. Personal props are carried by a specific character; stage props remain on stage. Set dressing includes items that decorate the set but are not handled (e.g. curtains, paintings).
道具（Props）是演员拿取的物品，如书、杯子或信件。个人道具（Personal prop）由特定角色携带；舞台道具（Stage prop）固定在舞台上。布景装饰（Set dressing）包括装饰布景但不被拿取的物品（如窗帘、画作）。
A truck is a platform on wheels used for scene changes. A fly system uses ropes and pulleys to raise and lower scenery from above.
推台（Truck）是带轮子的平台，用于换景。吊景系统（Fly system）利用绳索和滑轮从上方升降布景。
10. Rehearsal Techniques and Directing Terms | 排练技巧与导演术语
Rehearsal techniques help develop performance. Hot-seating places a character in the “hot seat” to answer questions in role, deepening understanding of backstory and motivation.
排练技巧帮助打磨表演。坐针毡（Hot-seating）让角色坐在“热座位”上以角色身份回答问题，加深对角色的背景和动机的理解。
Role-on-the-wall is a diagram with a character outline: external details (appearance, actions) are written outside; internal thoughts and feelings are written inside. Thought-tracking involves performers speaking a character’s inner thoughts aloud during a scene.
墙上角色（Role-on-the-wall）是一种角色轮廓图：外部细节（外貌、行动）写在轮廓外；内心想法和感受写在里面。思维追踪（Thought-tracking）是演员在场景进行中大声说出角色内心想法。
Cross-cutting is a technique that alternates between two scenes happening at different times or places. A marking the moment pause or freeze-frame highlights a significant moment for the audience.
交叉剪辑（Cross-cutting）是一种在不同时间或地点的两个场景之间交替进行的技巧。定镜或停顿（Marking the moment / Freeze-frame）为观众突出一个重要时刻。
The director’s term "focus" refers to drawing the audience’s attention to a specific character, action, or area of the stage.
导演术语“焦点”（Focus）指将观众的注意力引向特定的角色、动作或舞台区域。
11. Audience and Dramatic Effect | 观众与戏剧效果
The fourth wall is the imaginary barrier between performers and audience. Breaking the fourth wall means a character addresses the audience directly, destroying the illusion of reality.
第四面墙（Fourth wall）是表演者与观众之间的假想屏障。打破第四面墙（Breaking the fourth wall）指角色直接对观众说话，破坏现实幻觉。
Dramatic irony occurs when the audience knows something the characters do not, creating tension or humour. Tension can be built through pace, silence, conflict, and suspense.
戏剧反讽（Dramatic irony）指观众知道一些角色所不知道的事情，制造紧张或幽默。紧张（Tension）可以通过节奏、沉默、冲突和悬念来营造。
Catharsis is the emotional release an audience feels after a tragedy. Alienation effect (Verfremdungseffekt) in Brechtian theatre is used to remind the audience they are watching a play, preventing emotional identification.
宣泄（Catharsis）是观众在悲剧后感受到的情感释放。间离效果（Alienation effect / Verfremdungseffekt）在布莱希特戏剧中用来提醒观众他们正在观看的是表演，防止情感认同。
12. Exam Terminology Quick Reference | 考试术语速查
When writing about drama, use precise vocabulary. Analyse means to examine in detail how meaning is created. Evaluate means to make a judgement, discussing strengths and weaknesses.
在撰写戏剧相关文章时，要使用精确的词汇。分析（Analyse）指详细考察意义如何被创造。评价（Evaluate）指做出判断，讨论优点和弱点。
When describing a performance, identify the acting skill used, give a clear example from the moment, and explain the effect on the audience. Always link your terms directly to how they communicate meaning, atmosphere, or character.
在描述表演时，要指出所使用的表演技巧，给出该时刻的清晰例子，并解释对观众的影响。始终将术语直接与它们如何传达意义、氛围或角色联系起来。
For design questions, refer to specific elements: colour, texture, scale, lighting state, sound cue, and fabric choice. Mention period and style to show understanding of context.
对于设计问题，要提及具体元素：色彩、质感、规模、灯光状态、音响提示和面料选择。提及时代与风格以展现对背景的理解。
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