📚 Year 7 SQA Drama: Essential Vocabulary Quick-Reference Guide | Year 7 SQA 戏剧：词汇术语速记指南
Mastering drama terminology early in your SQA course builds a strong foundation for every practical workshop and written reflection. This guide covers the key words you will use in Year 7, from stage directions to character roles, presented in clear, bite-sized sections so you can learn, recall, and apply them with confidence.
在 SQA 戏剧课程的起步阶段掌握核心术语，能为你每一次实践工作坊和书面反思打下坚实基础。这份指南涵盖了 Year 7 必学的关键词汇，从舞台方位到角色类型，以清晰、易于消化的板块呈现，帮助你轻松学习、快速回忆并自信运用。
1. Stage Directions | 舞台方位
Stage directions are written instructions in a script that tell performers where to move and how to deliver their lines. ‘Upstage’ means moving away from the audience, while ‘downstage’ moves towards them. ‘Stage left’ and ‘stage right’ are always from the actor’s perspective when facing the audience. ‘Centre stage’ is the strongest position for grabbing attention.
舞台指示是剧本中的书面指令，指导演员如何走位和表达台词。“上舞台”指远离观众的方向，“下舞台”则是靠近观众。“舞台左侧”和“舞台右侧”始终以演员面向观众时的左右为准。“舞台中心”是最能吸引观众注意力的强势位置。
The term ‘cross’ (or ‘X’) means move from one place to another, and ‘exit’ tells you to leave the acting area. Blocking refers to the planned movement and positioning of actors on stage, which is carefully rehearsed so every move tells a story.
“交叉”（或“X”）指从一个位置移动到另一个位置，“退场”则告诉你离开表演区域。舞台调度（blocking）指演员在舞台上预先规划好的走位和站位，需要仔细排练，让每一个动作都能传递故事信息。
2. Character Roles | 角色类型
A protagonist is the leading character or central figure in a drama, often facing a major conflict. The antagonist opposes the protagonist and creates the tension that drives the story forward. Supporting characters help reveal the main characters’ personalities and often add depth or humour.
主角是一出戏剧中的核心人物，通常面临主要冲突。反派与主角对立，制造出推动故事发展的张力。配角则帮助揭示主角的性格特点，还常常为剧情增添深度或喜剧色彩。
In your SQA work you may also explore a narrator, who comments on the action and sometimes speaks directly to the audience, breaking the ‘fourth wall’ – the imaginary wall between performers and spectators.
在 SQA 的戏剧学习中，你还会接触到叙述者，他们对剧情进行评论，有时还直接对观众说话，从而打破“第四堵墙”——演员与观众之间那面想象中的墙壁。
3. Script Elements | 剧本元素
A dialogue is a conversation between two or more characters. A monologue is a lengthy speech delivered by one character, often revealing inner thoughts. A soliloquy is similar but is usually spoken when the character is alone on stage, sharing private feelings with the audience.
对白是两个或两个以上角色之间的对话。独白是一个角色的长篇台词，往往揭示内心思想。旁白与之相似，但通常是角色独自在舞台上时说出，向观众分享私密感受。
Stage directions appear in italics or brackets and cover entrances, exits, pauses, and physical actions. Dialogue is what characters say; stage directions show what they do. Both must be studied closely to bring a script to life.
舞台指示以斜体或括号形式出现，涵盖上场、退场、停顿和身体动作。对白是角色所说的内容，舞台指示则展示他们所做的动作。两者都需仔细研读，才能将剧本活化。
4. Voice and Movement | 声音与动作
Projection means using your breath and resonance so that every word reaches the back of the hall without shouting. Articulation is the crisp, clear shaping of sounds and syllables so your lines are understood. Pace is the speed at which you speak, and a pause can be used to build tension or highlight a moment.
声音投射指运用气息和共鸣，让每个词不靠嘶吼也能传到观众席后排。咬字是清晰、干净地发出声音和音节，确保台词被听懂。语速指你说话的速度，而停顿可以用来营造张力或凸显某一时刻。
Your body language tells the audience just as much as your words. Gesture involves hand and arm movements, while posture communicates status and emotion. Facial expression is crucial for showing feelings. Mime is acting without words, using only movement and expression. All these tools form your physicality.
你的肢体语言向观众传递的信息丝毫不亚于台词。手势涉及手部和手臂的动作，体态则传达出身份地位与情绪。面部表情对于表现感情至关重要。默剧是不用语言、仅靠动作和表情的表演。所有这些工具共同构成你的身体表现力。
5. Stage Spaces and Areas | 舞台空间与区域
The acting area is any part of the stage visible to the audience. The wings are the offstage spaces at either side, hidden from view, where actors wait to enter. A proscenium arch is a framed stage where the audience watches from one side; a thrust stage extends into the audience on three sides; a traverse stage has the audience on two opposite sides; and theatre-in-the-round places the audience all around.
表演区域是观众能看到的舞台任何部分。侧幕是舞台两侧的后台空间，被遮蔽于视线之外，演员在此候场。镜框式舞台是一个带边框的舞台，观众从正面观看；伸出式舞台三面均有观众；长廊式舞台两侧相对设有观众；圆形剧场则将观众席完全环绕舞台。
Knowing your stage configuration changes your blocking and how you project your voice. In the round, you must constantly turn so no section of the audience sees only your back.
了解舞台形式会改变你的调度方式和声音投射方向。在圆形剧场中，你必须不停转动身体，确保没有哪部分观众只能看到你的后背。
6. Props and Set | 道具与布景
Props, short for properties, are all the objects an actor can handle on stage, such as a letter, a cup, or a sword. A set is the visual scenery that creates the world of the play – walls, furniture, painted flats. A flat is a lightweight timber frame covered with canvas, used to build the set.
道具是演员在舞台上能拿起的任何物品，例如一封信、一只杯子或一把剑。布景是营造戏剧世界的视觉场景——墙壁、家具、绘景片。景片是一种轻质木框蒙上帆布的结构，用来搭建布景。
The set design includes levels, entrances, and exits, and must be practical for the actors’ movement while also conveying the mood and era of the piece. Minimalist sets use only essential items, encouraging the audience’s imagination.
布景设计包含平台高低、出入口设置，既要便于演员行动，又要传达剧目的情绪与时代。极简布景只使用必需品，激发观众的想象力。
7. Lighting | 灯光
A lantern is the term for a theatrical light. A spotlight creates a tight circle of bright light that isolates a performer or area. A wash is a broad, even light that covers the whole stage. A gobo is a metal stencil placed inside a lantern to project patterns, such as leaves or window frames, onto the stage.
舞台灯在术语中称为“lantern”。聚光灯打出一个紧密的明亮光圈，用于突出一个演员或区域。铺光是覆盖面宽且均匀的光，照亮整个舞台。图案片是置于灯具内的金属模板，可将树叶或窗框等图案投射到舞台上。
Colour gels are transparent coloured sheets placed in front of the light to change the mood: warm colours (red, amber) suggest fire or sunset; cool colours (blue, green) suggest night or mystery. Blackout is when all lights are turned off at once for a dramatic effect. Lighting states are pre-set combinations of levels and colours used at different moments.
色彩滤镜是放在灯前的透明彩色片，用来改变氛围：暖色调（红色、琥珀色）暗示火焰或日落；冷色调（蓝色、绿色）暗示夜晚或悬疑。黑场是所有灯光瞬间熄灭，制造强烈戏剧效果。灯光状态是预设的不同亮度与色彩组合，用于剧情各个时刻。
8. Sound | 音效
Sound effects (SFX) are noises created artificially for a performance – a door slam, thunder, or footsteps. They can be produced live backstage with props or recorded and played through a sound system. An underscore is background music, often mood-setting, that runs under the dialogue.
音效是为演出人工制造的声音——关门声、雷声或脚步声。它们可以在后台用道具现场制作，或录制后通过音响系统播放。背景配乐是铺垫在台词之下的背景音乐，常用来营造氛围。
Diegetic sound is heard by both the characters and the audience, such as a telephone ringing on set. Non-diegetic sound is only heard by the audience, like a suspenseful soundtrack. A cue is the signal that tells the sound operator when to play the next effect; it is usually a line of dialogue or a lighting change.
剧情内音效是角色和观众都能听到的声音，比如舞台上的电话铃声。剧情外音效只有观众能听到，如悬疑配乐。提示信号是告诉音控师何时播放下一段效果的指令，通常是一句台词或一次灯光变化。
9. Costume and Make-up | 服装与化妆
Costume is everything a performer wears, from hats to shoes. It instantly tells the audience about a character’s age, status, occupation, and the time period. Make-up enhances facial features under bright lights and can be used to create special effects like ageing, wounds, or fantasy creatures.
服装是演员穿戴的一切，从帽子到鞋子。它能立刻向观众传达角色的年龄、身份、职业和时代。化妆能增强强光下面部特征的可见度，并可用于制造特效妆，如老化、伤口或奇幻生物。
A quick change is a lightning-fast costume switch, often done in the wings with the help of a dresser. Period costume refers to clothes from a specific historical era, which must be researched and accurately portrayed. In your SQA projects, you should design costumes that are both practical for movement and rich in meaning.
快速换装指闪电般的服装更换，通常在侧幕由服装师协助完成。时代服装指特定历史时期的衣着，需经过研究并准确呈现。在 SQA 课题中，你设计的服装既要便于动作，又要富有内涵。
10. Rehearsal Techniques | 排练技巧
A read-through is the first rehearsal where the cast sits and reads the entire script aloud, discovering the story together. Blocking rehearsals focus purely on movement and positioning. A run-through is when you perform the whole piece without stopping, to build stamina and flow.
通读是第一场排练，全体演员坐在一起朗读整部剧本，共同探索故事。舞台调度排练专攻动作和站位。连贯性排练则是不间断地表演全剧，以培养持久力和流畅度。
A technical rehearsal (tech) combines lights, sound, and set changes with the actors. A dress rehearsal is the final practice in full costume and make-up, run exactly like a real performance. A prompt is a quiet reminder of the next line given when an actor forgets; the prompt copy is the annotated script held by the stage manager.
技术排练将灯光、音效和换景与演员结合起来。彩排是穿着全套服装和化妆的最后演练，完全按正式演出流程进行。提词是在演员忘词时给出的轻声提醒；提词本是舞台监督手中那份标注详细的剧本。
11. Genres and Styles | 类型与风格
A tragedy is a serious play with a sad ending, often showing the downfall of the protagonist. A comedy aims to make the audience laugh, using misunderstandings, exaggerated characters, and witty dialogue. A farce goes further, with fast-paced physical humour, slamming doors, and improbable situations. Melodrama uses exaggerated emotions, clear heroes and villains, and music to heighten the drama.
悲剧是结局悲痛的严肃剧作，常表现主角的毁灭。喜剧旨在让观众发笑，运用误会、夸张的角色和机智的对白。闹剧更为夸张，以快节奏的肢体幽默、摔门和离奇情境为特点。情节剧采用夸张情感、黑白分明的英雄与反派，并配以音乐增强戏剧性。
Naturalism aims to reproduce everyday life truthfully on stage, as if the audience is peeping through a fourth wall. Physical theatre emphasises the body and movement to tell stories, often blending speech with acrobatics. Improvisation is creating scenes spontaneously, without a script, using ideas shared on the spot.
自然主义追求在舞台上真实再现日常生活，仿佛观众正透过第四面墙窥视。形体戏剧强调以身体和动作讲述故事，常将台词融入杂技。即兴创作是凭当场给出的点子，在没有剧本的情况下即兴创造场景。
12. Quick Tips for Memorisation | 速记小技巧
Create flashcards with the term on one side and the definition plus a simple drawing on the other. Label a diagram of a stage every time you revise, so directions become instinctive. Use the terms when you talk about films or shows you watch – ‘That monologue was compelling because the actor’s articulation was crisp and her pace slowed meaningfully.’
制作抽认卡，一面写术语，另一面写定义加一幅简笔画。每次复习时都给舞台示意图标注方向，让方位成为本能。在你聊看过的电影或演出时，主动使用这些术语——“那段独白很有吸引力，因为演员咬字清晰，并在有意义的地方放慢了语速。”
Working with a partner, test each other verbally and physically: call out ‘stage right’ and have your partner move there instantly. Link each new word to a memorable image – a gargoyle for a gobo, a car wash for a wash light. Before you sleep, mentally rehearse five terms in order; sleep consolidates memory. In your drama journal, write short reflections using at least three key terms each lesson.
与同伴一起口头和身体测试：喊出“舞台右侧”，让同伴立即移动到相应位置。把每个新词与难忘的画面联系起来——想到石像鬼就想起图案片，想到洗车就想起铺光。睡前按顺序在脑中演练五个术语，睡眠会巩固记忆。在你的戏剧日志里，每节课都用至少三个关键术语写下简短反思。
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