📚 Year 7 CIE Drama: Quick-Reference Vocabulary Guide | 7 年级 CIE 戏剧：词汇术语速记指南
Understanding drama vocabulary is like learning the secret code of the theatre. When you know what words like ‘upstage’, ‘tableau’ or ‘thought-tracking’ mean, you can unlock richer performances and discuss your work with confidence. This guide breaks down the essential Year 7 CIE drama terms into bite-sized, memorable chunks, complete with quick tricks to help you recall each one instantly.
掌握戏剧词汇就像学会剧场的秘密暗号。当你能轻松说出“舞台前区”、“静态画面”或“思路追踪”这些词的含义时，你的表演会更加丰富，也能更自信地讨论自己的作品。本指南将 7 年级 CIE 戏剧的必备术语拆解成易消化、好记忆的小块，并附上速记窍门，帮助你立刻记住每一个词。
1. Stage Directions | 舞台方位
Upstage refers to the area furthest from the audience. Picture an old-fashioned raked stage that slopes upwards away from the front — that is why it is called ‘up’ stage. A quick trick: imagine you are walking ‘up’ a hill to get to the back wall.
舞台后区指的是离观众最远的区域。想象一下老式倾斜舞台，越往后越高，这就是“上”舞台的由来。速记法：想走到后墙，得往“上”爬一个小山坡。
Downstage is the area closest to the audience. If the stage slopes down towards the front, then downstage is where the slope ends — right near the watchers. Remember: ‘Down’ is down with the audience.
舞台前区是离观众最近的区域。如果舞台朝前方倾斜，那么斜坡最低处就是舞台前区——紧挨着观众。记住：“下”舞台是向观众“下”倾的那一端。
Stage Left and Stage Right are always from the actor’s point of view when facing the audience. Stage left is the actor’s left hand, stage right is the actor’s right hand. Never reverse it based on what the audience sees.
舞台左侧和舞台右侧永远以演员面向观众时的方向为准。舞台左侧就是演员的左手边，舞台右侧是演员的右手边。千万不要按观众看到的方向反着记。
Blocking means the planned movement and positioning of actors on stage. Think of it like a traffic map for a scene. When your teacher says, ‘Let’s block this scene,’ they are setting the routes and places you will move to.
走位指的是舞台上事先规划好的演员移动和位置。可以把它想象成场景的交通地图。当老师说“我们来走一下这一段”时，就是在设定你的移动路线和停留点。
| English Term | 中文术语 | Quick Memory Aid |
|---|---|---|
| Upstage | 舞台后区 | Walk ‘up’ a hill to the back |
| Downstage | 舞台前区 | Down with the audience |
| Stage Left | 舞台左侧 | Actor’s left hand |
| Stage Right | 舞台右侧 | Actor’s right hand |
2. Improvisation and Mime | 即兴表演与哑剧
Improvisation is acting without a script, making up the words and actions on the spot. There are two main types: spontaneous improvisation (made up completely in the moment) and prepared improvisation (you are given a scenario and a few minutes to plan). A fun memory hook: ‘Improv’ sounds like ‘improve’ — you improve your quick thinking by making things up instantly.
即兴表演是没有剧本的表演，临场编出对话和动作。它主要分为两种：自发即兴（完全在现场创作）和有准备即兴（给出情境，有几分钟时间准备）。巧记法：“Improv” 发音像“improve”——通过瞬间创作，你提升了反应的敏捷度。
Mime is storytelling using only body movements, gestures and facial expressions — no words at all. Imagine you are trapped inside a glass box: you have to show the walls with your hands, but you cannot say ‘glass’. Mime forces the audience to ‘read’ your body.
哑剧是完全依靠肢体动作、手势和面部表情来讲故事——不使用任何语言。想象你被困在一个玻璃箱里：你得用手展示墙壁，但不能说出“玻璃”这个词。哑剧让观众不得不“阅读”你的身体。
To keep mime clear, exaggerate your movements and always show the size, shape and weight of objects. Remember: slow and deliberate wins the game — rushing will make the invisible object disappear.
要让哑剧清晰易懂，动作必须夸张，并始终展现出物品的大小、形状和重量。记住：慢而从容才能取胜——动作太快会让隐形物品凭空消失。
3. Tableau and Freeze Frame | 静态画面与定格
A tableau (pronounced ‘tab-low’) is a still image created by a group of actors, using their bodies to tell a moment of a story. Think of it as a living photograph or a frozen painting. Every detail matters: facial expression, level (high, medium, low), and the use of space must all communicate meaning.
静态画面（Tableau）是一组演员用身体构成的静止画面，用来讲述故事的某一瞬间。可以把它想象成一幅活的照片或凝固的油画。每个细节都很重要：表情、高度（高、中、低）和空间运用都必须传递含义。
A freeze frame is similar but often used during an action sequence — you freeze mid-movement as if someone pressed a pause button. The difference: tableau is carefully composed like a painting, while a freeze frame captures a split-second of motion. Clue: ‘freeze’ = pause button.
定格类似，但通常用于动作片段——在运动过程中突然静止，仿佛有人按下了暂停键。区别在于：静态画面像精心构图的油画，而定格捕捉的是动态中的一瞬间。提示：“freeze”= 暂停键。
When you create a tableau, ask yourself: ‘Can the audience read the story from this single image?’ If yes, you have succeeded.
当你创作静态画面时，问问自己：“观众能只通过这一个画面看懂故事吗？”如果能，你就成功了。
4. Character and Role | 角色与人物
A character is the person you play in a drama. Your character has a name, background, and personality. Role is a broader term — it includes not only named characters but also general figures like ‘a villager’ or ‘a soldier’. In Year 7, you often start by playing a role before creating a fully developed character.
人物（character）是你在戏剧中扮演的具体的人，拥有名字、背景和个性。角色（role）是一个更宽泛的词，不仅包括有名字的人物，也包括“村民”或“士兵”这样的泛指形象。在 7 年级，你通常先扮演一个角色，再逐渐塑造出丰满的人物。
Motivation is what drives your character to act — their reason for doing something. Ask ‘What does my character want?’ If your character wants to escape a room, every movement and facial expression should show that desire. The word ‘motive’ (reason) is hidden inside motivation.
动机是驱使角色行动的内在原因。问一问“我的角色想要什么？”如果你的角色想逃出房间，那么每一个动作和表情都应该显示出这种渴望。“动机”这个词里藏着“动因”。
Status describes the level of power or importance a character has in a scene. High-status characters stand tall, use a lot of space, and make eye contact; low-status characters might slump, use less space, and avoid gaze. Spot the status by looking at body language alone.
地位指的是角色在场景中拥有的权力或重要性等级。高地位角色站姿挺拔，占据大量空间，进行眼神交流；低地位角色可能萎靡不振，占用空间小，回避目光。仅凭肢体语言就能判断地位高低。
5. Dialogue, Monologue and Aside | 对白、独白与旁白
Dialogue is a conversation between two or more characters. It is the backbone of most scripted scenes. Remember the prefix ‘di-’ means two, as in ‘dialogue’ requires at least two people exchanging words.
对白是两个或更多角色之间的对话。它是大多数剧本场景的支柱。记住前缀“di-”表示“二”，就像“dialogue”需要至少两个人交换话语。
A monologue is a long speech by one character, often revealing inner thoughts or telling a story. Think of it as a character ‘mono-loguing’ — ‘mono’ means one. One person holds the audience’s attention alone.
独白是一个角色的长篇讲话，通常用来揭示内心想法或讲述故事。可以联想“mono-loguing”——“mono”表示“一”。一个人独自吸引观众的注意力。
An aside is a short remark that a character says directly to the audience, while other characters on stage pretend not to hear. It is like sharing a secret thought. Imagine cupping your hand beside your mouth and whispering to the people watching — that is an aside.
旁白是角色直接对观众说的简短评论，而台上的其他角色假装听不到。这就像是分享一个秘密想法。想象用手遮住嘴角，对着观众轻声低语——这就是旁白。
6. Plot Structure | 情节结构
Most stories in drama follow a shape that can be remembered as a mountain. Exposition is the beginning where we meet the characters and the setting. It sets the ‘normal world’ before anything happens.
戏剧中的大多数故事都遵循一个可以记作“山峰”的形状。开端是介绍人物和背景的开头部分。它在任何事情发生前，先设定好“正常的世界”。
Rising action is the series of events that build tension and push the story forward. The problems get bigger, conflicts grow. Think of climbing up a mountain — each step takes you higher.
发展是一系列加剧紧张、推动剧情发展的事件。问题越来越大，冲突越来越多。想象在爬山——每一步都带你向上。
The climax is the most exciting or important moment — the top of the mountain. It is the turning point where the main conflict reaches its peak. After this, nothing can be the same.
高潮是最激动人心或最重要的时刻——山顶。这是主要冲突达到顶点的转折点。从此以后，一切都不再相同。
Falling action shows the results of the climax and leads towards an ending. Tension unwinds, like walking down the other side of the mountain. Finally, the resolution (or denouement) wraps up the story and answers the main questions.
收尾展现高潮带来的结果，并走向结局。紧张感逐渐缓解，就像从山的另一侧往下走。最后，结局（或称解决）收束整个故事，回答主要的问题。
| English | 中文 | Mountain Analogy |
|---|---|---|
| Exposition | 开端 | Base of the mountain |
| Rising Action | 发展 | Climbing up |
| Climax | 高潮 | Mountain peak |
| Falling Action | 收尾 | Walking down |
| Resolution | 结局 | Safe flat ground |
7. Set, Props and Costume | 布景、道具与服装
The set is the physical environment on stage, including backdrops, platforms, furniture and large structures. Everything that builds the world of the play belongs to the set. A simple acronym: SET = Stage Environment Total.
布景是舞台上的物理环境，包括背景幕、平台、家具和大型结构。所有构建戏剧世界的东西都属于布景。简单口诀：SET = 舞台环境的全部。
Props (short for ‘properties’) are objects actors handle, like a letter, a cup, a sword or a book. If an actor picks it up, it is a prop. Personal props kept in a character’s pocket or bag are called personal props.
道具（props，是“properties”的缩写）是演员拿在手中的物品，比如一封信、一个杯子、一把剑或一本书。凡是演员拿起来的东西就是道具。放在角色口袋或包里的个人物品叫作随身道具。
Costume refers to all the clothing and accessories an actor wears to become a character. Costume can signal age, status, occupation and even the time period. A crown instantly gives you the status of a king — that is the power of costume.
服装指演员为变成角色所穿戴的所有衣物和配饰。服装能显示年龄、地位、职业甚至时代背景。一顶皇冠立刻让你拥有国王的地位——这就是服装的力量。
A quick visual test: if you remove the set, can you still tell where the scene takes place? If you change a prop, does the story break? These questions help you understand how crucial design elements are.
快速视觉检验：如果移除布景，你还能看出故事发生在哪里吗？如果更换一个道具，故事会不会破裂？这些问题帮助你理解设计元素有多么关键。
8. Lighting and Sound | 灯光与音效
Blackout is when all stage lights go out suddenly, creating a complete darkness. It is often used to end a scene or build suspense. ‘Black’ out = everything goes black.
黑场指舞台上所有灯光突然熄灭，制造完全的黑暗。常用于结束一个场景或制造悬念。“黑”场 = 一切都变成黑色。
A spotlight is a strong beam of light focused on a single actor or area. It directs the audience’s attention like a giant pointing finger. A floodlight washes a large area with even light, while a gobo is a metal stencil placed in front of a light to project patterns like leaves or windows.
追光是聚焦在单个演员或区域上的一束强光。它像一根巨大的手指引导观众注意力。泛光灯则用均匀光照亮大范围区域，而图案片是放在灯具前的金属模板，能投射出树叶或窗户等花纹。
On the sound side, a sound effect is a recorded or live sound that supports the action — thunder, footsteps, a door slam. A sound cue is the exact moment in the script when the sound must be played. Cue = the signal to do something. ‘Cue the thunder!’
在音效方面，音效是为辅助表演而播放的录制或实况声音——雷声、脚步声、关门声。而音效切入点是剧本中标明的必须播放声音的精确时刻。Cue 就是“做某事的信号”。“Cue 雷声！”
Use the acronym ‘SLBS’ to recall four key lighting terms: Spotlight, Light (Flood), Blackout, Stencil (Gobo). It is silly but sticks.
用首字母缩写“SLBS”来记四个关键灯光术语：追光（Spotlight）、泛光（Floodlight）、黑场（Blackout）、图案片（Gobo）。有点滑稽但很好记。
9. Rehearsal Techniques | 排练技巧
Hot-seating is when an actor sits in a chair ‘in character’ and answers questions from the group. It forces you to think and speak like your character, deepening your understanding. No script — just spontaneous character responses.
热座提问是一名演员“以角色的身份”坐在椅子上，回答小组提出的问题。这逼着你像角色一样思考和说话，加深对角色的理解。没有剧本——只有角色即兴的回答。
Thought-tracking is a technique where the action freezes, and a character speaks their inner thoughts aloud. A teacher might tap a student on the shoulder during a tableau, and that student reveals what their character is thinking at that exact moment.
思路追踪是一种在表演暂停时，让角色大声说出内心想法的技巧。老师可能在一幅静态画面中轻拍一名学生的肩膀，该学生便说出此时此刻角色在想什么。
Conscience alley (or corridor of voices) is where two lines of students face each other, and a character walks between them while the lines whisper advice, doubts, or feelings. It represents the inner conflict of a decision. One side says ‘Do it!’, the other says ‘Don’t!’. It is like hearing the character’s angel and devil voices.
良心巷（也称声音走廊）是两排学生面对面站好，角色从中走过时，两旁的人低声说出建议、疑虑或感受。它表现了决策时的内心冲突。一边喊“去做吧！”，另一边喊“别！”。就像听到角色心中的天使和恶魔在说话。
Role-on-the-wall involves drawing a large outline of a body on paper and writing the character’s external traits outside and internal thoughts/feelings inside. It makes character building visual and helps you see the difference between what a character shows and what they hide.
墙上角色是指在纸上画出一个大的身体轮廓，外部写下角色的外部特征，内部写下内心想法和感觉。这让角色塑造变得可视化，帮助你看到角色表现出的和隐藏起来的区别。
10. Performance Skills and Evaluation | 表演技巧与评估
Projection means making your voice fill the space without shouting. Imagine sending your voice to the very last row of the audience. Not loud — just well supported by your breath. Place a hand on your belly and feel it tighten as you speak; that is projection, not straining your throat.
声音投射指不靠大喊就让声音充满整个空间。想象将声音送到观众席的最后一排。不是音量大——而是用气息支撑。说话时把手放在腹部，感受它收紧；这才是投射，而不是勒紧喉咙。
Articulation is the crisp, clear pronunciation of words. Tongue twisters like ‘red leather, yellow leather’ are perfect warm-ups. Articulation makes sure every syllable is heard, so the audience never misses a word.
吐字清晰是指把每个词都发得干脆利落。像“红皮革，黄皮革”这样的绕口令是完美的热身练习。清晰的发音确保每个音节都被听到，观众不会错过任何一个词。
Body language includes gesture (hand movements), posture (how you hold your body), facial expression, and eye contact. Together, they tell the story beneath the words. A character saying ‘I’m fine’ while looking at the floor and crossing their arms tells a very different story.
肢体语言包括手势、姿势、面部表情和眼神交流。它们共同讲述言语之下的故事。一个角色说“我很好”却看着地板、双臂交叉，这就传递出了完全不同的信息。
When evaluating a performance, use the ‘What Went Well’ (WWW) and ‘Even Better If’ (EBI) approach. WWW highlights strengths, EBI suggests improvements. Always give a specific example — instead of ‘good voice’, say ‘your projection was strong because I could hear every word clearly’.
评估表演时，使用“优点”（WWW）和“如果……就更好了”（EBI）的框架。WWW 突出优点，EBI 提出改进建议。永远要给出具体的例子——不要说“声音好”，而要说“你的声音投射很棒，因为我能清楚地听到每一个字”。
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