Drama Formulas & Theorems Quick Reference | 戏剧公式定理速查手册

📚 Drama Formulas & Theorems Quick Reference | 戏剧公式定理速查手册

Drama has its own ‘formulas’ – not with numbers, but with building blocks of action, character, space and voice. This quick reference handbook collects the key formulas, rules and theorems you need to analyse, create and perform drama in Year 7 Cambridge. From stage directions to character objectives, each entry gives you a simple equation or principle that unlocks deeper understanding. Use it to revise for written work, to plan a devised piece, or to sharpen your performance skills.

戏剧也有自己的“公式”——不是数字公式，而是由动作、角色、空间和声音构成的基本模块。这份速查手册汇总了 Year 7 剑桥戏剧课程中你需要掌握的核心公式、规则和定理，用于分析、创作和表演。从舞台方位到角色目标，每个条目都用一条简单的等式或原理帮你打开深层理解。你可以用它来复习书面作业、构思编创作品，或提升表演技巧。

1. The Basic Drama Equation | 戏剧基本方程

A play or performance moment can be understood as the sum of key elements. This equation reminds you what to look for in any scene.

一部戏剧或一个表演时刻可以理解为若干关键元素的总和。这个等式提醒你在任何场景中要关注什么。

Drama = Plot + Character + Thought + Diction + Music + Spectacle

戏剧 = 情节 + 角色 + 思想 + 言辞 + 音乐 + 场面

Plot: the arrangement of events, the ‘what happens’.
情节：事件的安排，“发生了什么”。
Character: the people or figures in the drama.
角色：剧中的人物或形象。
Thought: the themes, ideas and messages.
思想：主题、观念和信息。
Diction: the choice of words and vocal expression.
言辞：词语的选择与声音表达。
Music: rhythm, sound effects, musicality of speech.
音乐：节奏、音效、台词的乐感。
Spectacle: all visual elements – set, costume, lighting, movement.
场面：所有视觉元素——布景、服装、灯光、动作。

These six elements are derived from Aristotle’s Poetics and remain the backbone of dramatic analysis.

这六大元素源自亚里士多德的《诗学》，至今仍是戏剧分析的主体框架。

2. Stage Directions Formula | 舞台方位公式

Knowing your way around the stage is essential. Use this formula to never confuse stage left and stage right.

熟悉舞台方位是基本功。用这个公式再也不会弄混舞台左和舞台右。

Audience = Front; Actor’s Left = Stage Left, Actor’s Right = Stage Right

观众 = 前方；演员左 = 舞台左，演员右 = 舞台右

Upstage: the area furthest from the audience. Moving upstage means walking away from the audience.
舞台后方：离观众最远的区域。向上舞台移动就是远离观众。
Downstage: the area closest to the audience.
舞台前方：离观众最近的区域。
Centre stage: the middle, strongest position.
舞台中央：中间位置，最强有力的位置。
Stage Left / Stage Right: from the actor’s perspective when facing the audience.
舞台左 / 舞台右：以演员面向观众时的视角为准。

Upstage Right (UR)	Upstage Centre (UC)	Upstage Left (UL)
Centre Right (CR)	Centre Stage (CS)	Centre Left (CL)
Downstage Right (DR)	Downstage Centre (DC)	Downstage Left (DL)

Remember: when the director says ‘cross down left’, you move towards the audience and to your left.

记住：当导演说“向左前移动”，你要走向观众的方向并对准你自己的左边。

3. Vocal Dynamics Theorem | 声音力度定理

Your voice is your primary tool. The vocal dynamics theorem helps you vary your delivery deliberately.

你的声音是首要工具。声音力度定理帮助你刻意变换台词表达。

Vocal Effect = Volume × Pace × Pitch × Tone × Articulation

声音效果 = 音量 × 语速 × 音高 × 语调 × 吐字

Volume: how loud or soft the voice is. Whisper to shout.
音量：声音的响亮或轻柔。从耳语到呐喊。
Pace: speed of speech. Fast creates excitement or panic; slow creates tension or importance.
语速：说话的速度。快制造兴奋或惊慌；慢制造紧张或强调。
Pitch: how high or low the voice sounds. High for fear, low for authority.
音高：声音的高低。高音表示恐惧，低音表示威严。
Tone: the emotional quality. Warm, cold, sarcastic, sincere.
语调：情感色彩。温暖的、冷淡的、讽刺的、真诚的。
Articulation: crispness of consonants, clarity of vowels. Tongue twisters help.
吐字：辅音的清晰度，元音的透亮。绕口令有帮助。

By changing any one of these factors, you can completely change the meaning of a line. Try saying ‘I love you’ with a cold tone and slow pace – the effect is the opposite of the words.

只要改变其中一个因子，就能彻底改变台词的含义。试试用冷淡的语调和缓慢的语速说“我爱你”——效果与字面意思相反。

4. Body Language Equation | 肢体语言等式

What you say with your body often tells more than your words. This equation breaks down physical expression.

肢体传达的信息往往胜过言语。这个等式分解了身体表达。

Body Language = Posture + Gesture + Facial Expression + Eye Contact + Proxemics

肢体语言 = 姿势 + 手势 + 面部表情 + 眼神交流 + 空间距离

Posture: how you hold your spine and shoulders. Upright shows confidence; slumped shows defeat.
姿势：你如何支撑脊柱和肩膀。挺直表示自信；佝偻表示沮丧。
Gesture: movements of hands, arms, head to emphasise or replace words.
手势：手、臂、头的动作，用以强调或替代言语。
Facial Expression: the most immediate signal of emotion. Eyebrows, mouth, eyes work together.
面部表情：最直接的情绪信号。眉毛、嘴巴、眼睛协同工作。
Eye Contact: where you look and for how long. Direct gaze = connection; avoiding gaze = nervousness or guilt.
眼神交流：你看哪里、看多久。直视 = 联结；回避 = 紧张或内疚。
Proxemics: use of space between actors. Close = intimacy or threat; far = distance or respect.
空间距离：演员之间的空间运用。近 = 亲密或威胁；远 = 疏远或尊重。

In rehearsal, experiment by exaggerating each term, then bring them back to a natural level.

排练时，可以夸张地放大每一项，然后再收回到自然的程度。

5. Character Objective Formula | 角色目标公式

Every character wants something. This formula powers all your acting choices.

每个角色都想要得到些什么。这个公式驱动你所有的表演选择。

Action = Objective + Obstacle + Tactic

行动 = 目标 + 障碍 + 策略

Objective: what the character wants in a scene (e.g., to gain someone’s trust).
目标：角色在某个场景中想要得到什么（例如，赢得某人的信任）。
Obstacle: what stands in the way (e.g., the other person’s suspicion).
障碍：挡在途中的东西（例如，对方的怀疑）。
Tactic: the method the character uses to overcome the obstacle (e.g., flattery, threats, pleading).
策略：角色用来克服障碍的方法（例如，奉承、威胁、恳求）。

If the tactic fails, the character tries another. This creates dramatic conflict. Always define the verb for your objective (‘I want to persuade her’).

如果策略失败，角色就会尝试另一种。这便创造了戏剧冲突。始终用动词来定义你的目标（“我想说服她”）。

6. Freytag’s Pyramid | 弗雷塔格金字塔

Most stories and plays follow a structure that can be drawn as a pyramid. This is the shape of tension over time.

大多数故事和戏剧都遵循一个可以画成金字塔的结构。这是张力随时间变化的形状。

Plot Structure = Exposition → Rising Action → Climax → Falling Action → Denouement

情节结构 = 开端 → 发展 → 高潮 → 下降 → 结尾

Exposition: introduces characters, setting and the main conflict.
开端：介绍角色、背景和主要冲突。
Rising Action: a series of events that complicate the conflict, increasing tension.
发展：一系列事件使冲突复杂化，张力不断上升。
Climax: the turning point, highest tension, the decisive moment.
高潮：转折点，张力最大，决定性时刻。
Falling Action: consequences unfold, conflicts begin to resolve.
下降：后果展开，冲突开始化解。
Denouement: the final resolution, loose ends tied up.
结尾：最终解决，收束所有线索。

When devising, use this pyramid to plan how the energy rises and falls in your piece.

编创时，使用这个金字塔来规划你作品中能量的起伏。

7. Improvisation Golden Rules | 即兴表演黄金法则

Improvisation relies on a few unbreakable rules that act like theorems – follow them and scenes will flow.

即兴表演依赖几条坚不可摧的规则，就像定理一样——遵循它们，场景就会流畅起来。

‘Yes, And’ Rule + Make Your Partner Look Good + Stay in Character

“是的，而且”原则 + 让你的搭档出彩 + 保持角色状态

Yes, And: Accept whatever your partner offers and add new information. Never block by saying ‘No’.
是的，而且：接受搭档给出的任何设定，并添加新信息。绝不说“不”以阻挠。
Make Your Partner Look Good: Support them, listen actively, give them chances to shine. It builds trust and story.
让你的搭档出彩：支持他们，积极倾听，给他们发光的机会。这能建立信任和故事。
Stay in Character: Do not break out of the scene laughing or commenting; the commitment makes it believable.
保持角色状态：不要在场景中笑场或评论；投入能让一切变得可信。

A good improviser is like a mathematician who uses these axioms to build complex universes on stage.

优秀的即兴演员就像数学家，用这些公理在舞台上构建复杂的宇宙。

8. Theatre Style Identifiers | 戏剧风格识别符

Different styles of theatre follow their own ‘formulas’ of conventions. Recognise them quickly.

不同的戏剧风格遵循各自的“公式”和程式。快速识别它们。

Style = Set of Conventions (use of space, voice, movement, relationship with audience)

风格 = 一整套程式（空间、声音、动作、与观众关系的运用）

Realism	Naturalistic set, everyday speech, believable characters.	现实主义	逼真布景，日常对话，可信的角色。
Physical Theatre	Story told through movement, gesture and body, often with minimal set.	形体剧场	通过动作、手势和身体讲故事，布景极简。
Commedia dell’Arte	Stock characters, masks, slapstick, improvised dialogue.	即兴喜剧	定型角色、面具、打闹喜剧、即兴台词。
Melodrama	Exaggerated emotions, clear hero/villain, music cues.	情节剧	夸张的情感，分明的英雄/恶棍，音乐提示。

When performing, you must adjust your acting ‘formula’ to match the style’s conventions.

表演时，你必须调整你的表演“公式”以符合该风格的程式。

9. Rehearsal Process Algorithm | 排练流程算法

Rehearsals follow a logical sequence. Treat it like an algorithm that builds a performance step by step.

排练有一套逻辑顺序。将它看作一个逐步构建表演的算法。

Rehearsal = Warm-up → Read-through → Blocking → Character Work → Run-through → Polish

排练 = 热身 → 通读 → 走位 → 角色工作 → 连排 → 打磨

Warm-up: physical and vocal exercises to prepare body and voice.
热身：身体和声音练习，准备好肢体和嗓子。
Read-through: cast reads the script aloud together, discovering rhythms and meaning.
通读：剧组一起朗读剧本，发现节奏和含义。
Blocking: planning and fixing movements on stage (entrances, exits, crosses). Write it down!
走位：规划并固定舞台动作（上场、下场、移动）。记下来！
Character Work: exploring objectives, backstory, relationships through exercises.
角色工作：通过练习探索目标、背景故事和人物关系。
Run-through: performing the whole piece without stopping, to check flow.
连排：不停顿地演完全剧，检查流畅度。
Polish: refining details, precise timing, adding technical elements.
打磨：完善细节，精确时间点，加入技术元素。

Each step feeds into the next; skipping one can weaken the final performance.

每一步都为下一步奠定基础；跳过一步可能会削弱最终的表演效果。

10. The Tension Equation | 张力等式

Tension is the engine of drama. Without it, the audience switches off. Learn to build and release it intentionally.

张力是戏剧的引擎。没有张力，观众就会走神。学会刻意地建立和释放它。

Tension = Stakes × Uncertainty × Time Pressure × Conflict

张力 = 赌注 × 不确定性 × 时间压力 × 冲突

Stakes: how important the outcome is to the character. If nothing matters, there is no tension.
赌注：结果对角色有多重要。如果一切无所谓，就没有张力。
Uncertainty: the audience must not be sure of the outcome. Suspense comes from ‘what will happen?’
不确定性：观众不能确定结果如何。悬念来自“会发生什么？”。
Time Pressure: a ticking clock, a deadline or a race against time multiplies tension.
时间压力：滴答的钟表、截止期限或与时间赛跑，会成倍放大张力。
Conflict: clash of objectives between characters (or within a character).
冲突：角色目标之间的碰撞（或角色内心的冲突）。

If a scene feels flat, check your tension equation: are all four factors present? Increase one to raise the stakes.

如果一个场景感觉平淡，检查你的张力等式：这四个因素都具备吗？增加其中一个就能提高赌注。

11. Dramatic Irony Theorem | 戏剧反讽定理

Dramatic irony happens when the audience knows something the characters do not. It is a powerful device.

当观众知道而角色不知道某些信息时，就产生了戏剧反讽。这是一种强大的手法。

Dramatic Irony = Audience Knowledge – Character Knowledge

戏剧反讽 = 观众所知 − 角色所知

Example: the audience knows there’s a surprise party waiting, but the character does not – we watch them grumble about a bad day while we anticipate the reveal.
示例：观众知道有一个惊喜派对在等着，而角色不知道——我们看着他为糟糕的一天发牢骚，同时期待着揭晓时刻。
It creates humour or deep tension, depending on the gap.
这能制造幽默或深切的紧张感，取决于信息差的大小。
Shakespeare used this in Romeo and Juliet: we know Juliet is alive, but Romeo does not.
莎士比亚在《罗密欧与朱丽叶》中使用了这一点：我们知道朱丽叶还活着，但罗密欧不知道。

When writing or devising, ask: what can the audience know that the character doesn’t? That gap is your dramatic irony fuel.

在写作或编创时，问问自己：观众能知道哪些角色不知道的事？这个差距就是你戏剧反讽的燃料。

12. Design Elements Formula | 设计元素公式

Visual and aural design are not extras; they carry meaning. This formula connects design choices to storytelling.

视觉和听觉设计不是附加项；它们承载意义。这个公式将设计选择与讲故事连接起来。

Design Impact = Set + Costume + Lighting + Sound + Props

设计影响力 = 布景 + 服装 + 灯光 + 音效 + 道具

Set: creates location and mood. A bare stage means something very different from a cluttered room.
布景：创造地点和氛围。空荡的舞台与杂乱的房间意义截然不同。
Costume: indicates period, status, personality. A uniform suggests authority; a torn jacket suggests struggle.
服装：表明年代、地位、个性。制服暗示权威；破外套暗示挣扎。
Lighting: directs focus, changes mood. A single spotlight isolates; a wash of warm light comforts.
灯光：引导聚焦、改变情绪。单束追光隔离；暖色铺光抚慰人心。
Sound: underscores emotion, indicates off-stage action. A distant siren adds urgency.
音效：强化情感，暗示台后动作。远处的警笛声增添紧迫感。
Props: objects handled by actors; they can be symbolic or practical. A letter can be the whole reason for a scene.
道具：演员手持的物件；可以是象征性的或实用性的。一封信可能就是一个场景的全部缘由。

When designing, ask what each element adds to the story. Does it help the audience understand character, time, or feeling?

设计时，问一问每个元素为故事增添了什么。它是否帮助观众理解角色、时代或情绪？

Published by TutorHao | Drama Revision Series | aleveler.com

更多咨询请联系16621398022（同微信）

Drama Formulas & Theorems Quick Reference | 戏剧公式定理速查手册