📚 Year 7 CAIE Drama: Formula & Theorem Quick Reference Handbook | 戏剧公式定理速查手册
This quick reference handbook gathers the essential formulas and theorems that every Year 7 CAIE Drama student needs to know. Think of them as your creative toolkit: clear, memorable rules that will help you build believable characters, shape dynamic scenes and keep your audience engaged from start to finish.
本速查手册汇集了每一位 Year 7 CAIE 戏剧学生都需要掌握的核心公式与定理。把它们看作你的创意工具箱：清晰、好记的法则，帮助你在舞台上塑造可信的角色、构建充满活力的场景，并从头到尾牢牢抓住观众的目光。
1. The Drama Magic Formula | 戏剧魔法公式
All drama begins with a simple but powerful combination. Without any one of these three ingredients, a performance cannot sustain interest or tell a meaningful story.
所有戏剧都始于一个简单却强大的组合。缺少这三者中的任何一个，表演都无法持续吸引观众，也无法讲述一个有意义的的故事。
Character + Situation + Conflict ⇌ Drama
A ‘Character’ is a person with clear wants. A ‘Situation’ is the set of circumstances they find themselves in. ‘Conflict’ arises when the character’s wants are blocked by another character, a force of nature or their own inner fears. The double arrow (⇌) reminds us that drama is a living process: changes in conflict reshape the character, which in turn alters the situation.
“角色”是有着明确愿望的人。“情境”是他们所处的环境。“冲突”则发生在角色的愿望被另一个角色、自然力量或自身的恐惧所阻挡时。双向箭头（⇌）提醒我们，戏剧是一个活的过程：冲突的变化会重塑角色，而角色反过来又改变情境。
2. The Story Arc Theorem | 故事弧定理
A satisfying piece of theatre almost always follows a rising and falling shape. You can trace most stories, short or long, through five key stages.
一个令人满意的戏剧作品几乎总是沿着一个上升与下降的形状展开。你可以通过五个关键阶段来梳理大多数或短或长的故事。
Exposition → Rising Action → Climax → Falling Action → Resolution
Exposition introduces the world and the characters. Rising Action builds complications and escalates the conflict. Climax is the moment of highest tension where everything changes. Falling Action shows the immediate consequences, and Resolution leaves the audience with a new understanding or a sense of closure.
展示部介绍故事世界和角色。发展行动推高复杂程度并使冲突升级。高潮是张力最强的时刻，一切都发生了转变。下降行动展示即时的后果，而结局则留给观众一种新的认识或一种了结。
3. Character Motivation Equation | 角色动机方程
Understanding why a character does anything on stage is the actor’s first job. This equation helps you build a clear line of action for any rehearsal exercise or scripted scene.
理解角色在舞台上的行为动机，是演员的第一要务。这个方程能够帮助你在任何排练练习或剧本场景中，构建出一条清晰的动作线。
Want + Obstacle = Action
The ‘Want’ is the character’s deepest need in the scene (e.g., to be believed, to escape, to win affection). An ‘Obstacle’ is what stands in the way (another character’s refusal, a locked door, a secret). The ‘Action’ is the tactic the character uses to try and get what they want despite the obstacle. When the obstacle proves too strong, the character adjusts the tactic, creating dynamic, watchable interplay.
“愿望”是角色在场景中最深切的需求（例如：被相信、逃脱、赢得喜爱）。“障碍”是挡在路上的东西（另一个角色的拒绝、一扇锁上的门、一个秘密）。“行动”则是角色为了克服障碍、实现愿望而使用的策略。当障碍太过强大时，角色就会调整策略，从而创造出充满活力且具有观赏性的互动。
4. Voice Projection Theorem | 声音投射定理
Being heard clearly at the back of a hall is a science as much as an art. Keep this formula in mind every time you warm up your voice.
让坐在礼堂后排的观众也能清晰听见，既是一门艺术，也是一门科学。每次进行声音热身时，都请记牢这个公式。
Breath + Resonance + Articulation = Clear, Projected Voice
Deep, controlled breath from your diaphragm provides power without strain. Resonance uses the natural hollow spaces in your chest, throat and head to amplify and warm the sound. Articulation means moving your tongue, lips and jaw precisely so every consonant and vowel lands cleanly. If any one part is missing (eg, articulation without breath), the voice will sound thin or forced.
深长、有控制的腹式呼吸能够在不紧张的情况下提供动力。共鸣利用胸腔、咽喉和头部的自然空腔来放大并温暖声音。吐字归音则要求精确地运用舌头、嘴唇和下颌，让每一个辅音和元音都干净利落地传递出去。如果缺少其中任何一环（例如只有吐字而无气息支撑），声音就会显得单薄或勉强。
5. The Spatial Composition Formula | 空间构图公式
The stage picture tells its own story before anyone speaks. Directors and actors use this visual theorem to guide the audience’s eye.
在任何人开口之前，舞台画面本身已经在讲述故事。导演和演员运用这个视觉定理来引导观众的视线。
Level + Proximity + Focus = Stage Picture
‘Level’ refers to height: standing, sitting, kneeling or lying down create different power relationships. ‘Proximity’ is the distance between characters: close suggests intimacy or confrontation, far suggests isolation or fear. ‘Focus’ is where you look and point your body; the person being looked at by others becomes the most important element in the picture. Combine them deliberately, and you compose a stage image that communicates meaning without words.
“层次”指高度：站立、坐着、跪着或躺下创造出不同的权力关系。“距离”指角色间的远近：靠近意味着亲密或对峙，远离意味着疏远或恐惧。“聚焦”指的是你看向哪里以及身体的朝向；被其他人注视的那个对象，就成了画面中最重要的元素。有意识地结合三者，你就能创作出一幅无需言语就能传情达意的舞台图像。
6. The Improvisation Golden Rule | 即兴表演黄金法则
Improvisation scenes live or die by how well the players accept and build on each other’s offers. This is the foundational theorem of all unscripted work.
即兴表演的成败，取决于演员们接纳并推进彼此提议的能力。这是所有无剧本表演的基石定理。
Accept + Add = ‘Yes, and…’ Scene Building
When your partner says, ‘Look, a spaceship has landed!’, you must first accept the reality by saying ‘Yes’ (even without the word ‘yes’, through your physical reaction). Then you add new information to drive the story forward: ‘…and I think the queen has invited us for tea!’ Blocking an offer (saying ‘No, that’s just a cloud’) stops the scene dead. Using this rule keeps the creative engine running and generates unexpected, delightful theatre.
当你的搭档说“看，一艘宇宙飞船降落了！”时，你必须首先通过说“是的”来接纳这个（哪怕不用“是”这个词，而是通过身体反应），再加上新的信息来推动故事：“……而且我觉得女王已经邀请我们去喝茶了！”拒绝提议（说“不，那只是一朵云”）会让场景立刻停滞。运用这条法则，就能让创意引擎持续运转，创造出意想不到的、令人愉快的戏剧。
7. The Tension Building Equation | 张力构建方程
Tension is the fuel of drama: without it, an audience relaxes and loses interest. Use this equation to layer different types of pressure into a scene.
张力是戏剧的燃料：没有它，观众就会放松警惕，失去兴趣。运用这个方程，可以在一个场景中叠加不同类型的压力。
Surprise + Suspense + Conflict = Tension
‘Surprise’ is the sudden shock (a loud knock, an unexpected secret revealed). ‘Suspense’ is the anxious waiting for something we know is coming (a bomb under the table that the audience sees but the characters do not). ‘Conflict’ is the direct clash of opposing wants. A strong scene often moves from suspense to surprise and then settles into a deeper conflict, keeping the audience on the edge of their seats.
“意外”是突然的震惊（一声大力的敲门声、一个意外泄露的秘密）。“悬念”是对已知即将发生的事情感到焦虑的等待（桌子下的一枚炸弹，观众看见了而角色没有）。“冲突”是相互对立的愿望之间的直接碰撞。一个强有力的场景往往从悬念走向意外，再沉淀为更深的冲突，让观众始终紧张地坐在座位边缘。
8. The Tableau Composition Theorem | 静态画面构图定理
A tableau (or frozen picture) captures a crucial moment and holds it. Every member of the group must work as a sculptor of their own body for a successful still image.
静态画面（或造型定格）捕捉一个关键时刻并将其凝固。小组中的每个成员都必须像雕塑家塑造自己的身体一样，才能创作出一幅成功的静止图像。
Freeze + Gesture + Expression + Level = Tableau
‘Freeze’ demands absolute stillness, as if time has genuinely stopped. ‘Gesture’ is what your body is doing with its hands, arms and spine: reaching, shrinking, pointing. ‘Expression’ is the face, communicating the inner life of the character. ‘Level’ gives the picture depth and shows relationships. Read it from left to right like a painting: a strong tableau instantly tells a story of power, emotion or relationship.
“定住”要求绝对静止，仿佛时间真的停止了。“姿态”指的是身体通过双手、手臂和脊柱传达的动作：伸手、蜷缩、指路。“表情”在于面部，传达角色的内心世界。“层次”赋予画面以深度，并展现角色间的关系。像欣赏一幅画一样从左向右解读：一幅成功的静态画面能够即刻讲述一个关于权力、情感或关系的故事。
9. The Rehearsal Process Theorem | 排练过程定理
Rehearsal is not just repetition; it is a structured journey towards a finished performance. Knowing the stages helps you use time wisely.
排练不仅仅是重复；它是通往完整演出的结构化旅程。了解这些阶段能够帮助你明智地利用时间。
Explore → Select → Refine → Polish → Perform
In the Explore stage, you try many different ideas freely, even ‘wrong’ ones. Next, you Select the strongest moments and sequence them into a shape. Refine means working on detail: timing, voice, motivation. Polish is when you run the whole piece without stopping, building flow and stamina. Finally, you Perform, trusting the work you have done. Skipping straight to Perform usually leaves the piece thin and uncertain.
在探索阶段，你自由地尝试各种不同的想法，甚至包括“错误”的想法。接着，你选择出最强有力的瞬间，并将它们串联成一个整体。细化意味着打磨细节：节奏、声音、动机。打磨阶段则是你不间断地完整运行整个作品，培养流畅感和耐力。最后，你进行演出，并相信你已经完成的工作。跳过前面的步骤直接演出，通常会让作品显得单薄且不确定。
10. The Audience-Contract Equation | 观众契约方程
Theatre is a shared event between performers and watchers. Even the most imaginative performance fails if this invisible contract is broken.
戏剧是表演者与观看者之间的共享事件。如果这一无形的契约被打破，即使是再富有想象力的表演也会失败。
Clarity + Commitment + Belief = Audience Engagement
‘Clarity’ means that the story, character and spoken words are understandable; if the audience is confused, they mentally leave the room. ‘Commitment’ is your full energy and focus: half-hearted acting signals that what is happening is not important. ‘Belief’ is the actor’s own investment in the imaginary world; when you truly believe, the audience agrees to believe too. These three together earn the audience’s attention, emotion and applause.
“清晰”意味着故事、角色和台词都是可以理解的；如果观众感到困惑，他们在精神上就离开了剧场。“投入”是指你全情贯注的能量和专注度：半心半意的表演等于是在告诉观众，舞台上发生的事情并不重要。“信念”是演员自己对虚构世界的信奉；当你真心相信时，观众也会同意一起相信。三者结合，便能赢得观众的注意力、情感共鸣与掌声。
11. The Emotional Recall Theorem | 情绪记忆定理
Real emotion on stage cannot be forced, but it can be guided. This theorem, inspired by Stanislavski, helps you bring genuine feeling to a character without becoming overwhelmed.
舞台上的真实情感无法强求，但可以被引导。这个受斯坦尼斯拉夫斯基启发的定理，能帮助你为角色注入真切的情感，同时又不会被情绪淹没。
Personal Memory + Sensory Detail + Character Circumstance = Believable Emotion
Begin by recalling a specific personal moment when you felt an emotion similar to the character’s. Do not replay the whole story; focus on one precise sensory detail (the colour of the room, a smell, a texture). Then gently transfer the feeling of that detail onto the character’s given circumstances. You keep control by staying anchored in the present moment of the scene, using the memory as fuel rather than letting it take over.
从一个你体验过与角色相似情绪的具体个人时刻开始。不必重演整个故事；只需专注于一个精准的感官细节（房间的颜色、一阵气味、一种质感）。然后，轻轻地将那个细节带来的感觉转移到角色的规定情境上。你要通过始终扎根于场景的当下时刻来保持控制，把记忆当作燃料，而不是让它主宰你。
12. The Action-to-Objective Scale | 行动—最高任务尺度
An actor can get lost in a long play. This scale helps you connect every tiny moment to the character’s overarching dream.
演员可能会在一部长剧中迷失方向。这个尺度能帮你把每一个微小的瞬间都与角色贯穿始终的梦想连接起来。
Beat (Moment) → Unit (Section) → Scene Objective → Super-Objective
A ‘beat’ is the smallest exchange where you use one tactic. Several beats form a ‘unit’ with a single mini-goal. The scene objective is what the character wants overall in that scene. The super-objective is what the character wants from life itself in the entire play. Always ask yourself during rehearsal: how does this tiny action serve the super-objective? That question transforms disjointed moments into a coherent, powerful performance.
一个“节拍”是最小的交流单元，你在其中使用一种策略。几个节拍组成一个具有单一小目标的“段落”。场景目标是角色在那一场中总体上想要的东西。而最高任务则是角色在整个剧作中，从生命本身出发想要追求的东西。排练中要不断问自己：这个微小的行动，是如何为最高任务服务的？这个问题能将支离破碎的瞬间转化为连贯而有力的表演。
Published by TutorHao | Drama Revision Series | aleveler.com
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