Year 7 CAIE Drama: Quick Guide to Key Vocabulary and Terminology | Year 7 CAIE 戏剧：词汇术语速记指南

📚 Year 7 CAIE Drama: Quick Guide to Key Vocabulary and Terminology | Year 7 CAIE 戏剧：词汇术语速记指南

Drama is a practical, creative subject that relies on a shared language. When you step into the rehearsal room, performers, directors and designers use specific words to describe the stage, character work, voice and movement. Learning this vocabulary early makes it easier to follow instructions, evaluate performances and express your own artistic ideas clearly. This guide breaks down the key terms you will meet in Year 7 CAIE Drama and offers simple ways to remember them.

戏剧是一门实践性、创造性的学科，它依赖于一套共用的语言。当你走进排练厅时，演员、导演和设计师会用特定的词语来描述舞台、角色塑造、声音和动作。尽早学会这些词汇，能让你更容易跟上指令、评价表演效果并清晰地表达自己的艺术想法。这份指南拆解了 Year 7 CAIE 戏剧课程中常见的关键术语，并提供简单的记忆方法。

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1. Why Learn Drama Terminology? | 为什么学习戏剧术语？

A shared vocabulary turns a group of individuals into an ensemble. When everyone knows what ‘upstage’ or ‘blocking’ means, rehearsals run smoothly and creative choices become more precise. In CAIE Year 7 Drama, you are assessed not only on performing but also on your ability to discuss and reflect on dramatic work. Using the correct terms shows understanding and helps you gain higher marks in both practical and written tasks.

共通的词汇能够让一群人凝聚成一个表演团体。当每个人都清楚“上舞台”或“走位”的意思时，排练就会顺利进行，创意选择也会更加准确。在 CAIE Year 7 戏剧中，你不仅要接受表演能力的评估，还要接受讨论与反思戏剧作品能力的评估。使用准确的术语能体现你的理解深度，帮助你在实践和书面任务中获得更高分数。

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2. The Stage: Directions and Areas | 舞台：方位与区域

All stage directions are given from the actor’s point of view when facing the audience. ‘Stage Right’ means the actor’s own right, and ‘Stage Left’ means the actor’s own left. ‘Upstage’ (US) is the area farthest from the audience, while ‘Downstage’ (DS) is nearest to the audience. These terms come from raked stages that tilted upwards, so actors literally had to walk ‘up’ towards the back. ‘Center Stage’ (CS) is the middle, powerful spot where focus is strongest. Stage areas are often labelled as a grid: Upstage Right (UR), Upstage Center (UC), Upstage Left (UL), Center Right (CR), Center Center (CC), Center Left (CL), Downstage Right (DR), Downstage Center (DC) and Downstage Left (DL).

所有舞台指示都以演员面向观众时的视角为准。“Stage Right”指演员自己的右侧，“Stage Left”指演员自己的左侧。“Upstage”（上舞台）是离观众最远的区域，“Downstage”（下舞台）是离观众最近的区域。这些术语来源于向后倾斜的阶梯式舞台，演员确实需要往后“走高”。舞台中央（Center Stage）是最有力的中间焦点。舞台区域常被划分为九宫格：上舞台右侧、上舞台中央、上舞台左侧、中央右侧、正中央、中央左侧、下舞台右侧、下舞台中央和下舞台左侧。

Proscenium arch is the frame around the stage opening, while ‘wings’ are the offstage areas to the left and right hidden by curtains. The ‘apron’ is the part of the stage that extends in front of the curtain. ‘Thrust’ stages extend into the auditorium, and ‘in the round’ performances place the audience on all sides.

镜框式舞台（proscenium arch）是舞台开口周围的框架，“侧翼”（wings）是指隐藏在幕布后面的左右两侧后台区域。“台唇”（apron）是延伸至幕布前方的那部分舞台。伸展式舞台（thrust）延伸到观众席中间，而“圆形剧场”（in the round）表演则让观众围坐在四周。

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3. Body and Movement | 身体与动作

Body language is the non-verbal communication of feelings or attitudes through posture, gesture and movement. When an actor slumps, the audience reads low energy or sadness. Standing tall with an open chest can signal confidence or authority. Gestures are specific hand and arm movements that support meaning, such as pointing, waving or clenching a fist. Facial expressions convey emotion: raised eyebrows can show surprise, and a tightened jaw might suggest anger. Think of the face as a tool that must be clearly seen even from the back row.

身体语言是通过姿势、手势和动作对情绪或态度进行的非语言交流。当演员塌腰驼背时，观众会解读出低落或悲伤；而昂首挺胸则传递出自信或权威。手势是辅助表意的手臂和手部动作，例如指向、挥手或握拳。面部表情传递情感：扬起的眉毛可以表示惊讶，紧绷的下巴可能暗示愤怒。把脸当作一个工具，即便在最后一排也能被清楚看见。

Stillness is as powerful as motion. A freeze-frame, or still image, tells a story without words. Levels refer to the height at which actors place themselves – low (lying, crouching), middle (sitting, kneeling) or high (standing, on a platform). Using varied levels creates visual interest and signals status. Gait means the way a character walks; a quick, bouncy step feels different from a slow, heavy tread. Proxemics is the use of space between performers. Close distance can show intimacy, while a large gap can suggest separation or conflict.

静止与运动同样有力。定格画面（freeze-frame）能在无声中讲述故事。层次（levels）指演员自己所处的高度——低（躺下、蜷缩）、中（坐着、跪着）或高（站着、在平台上）。运用不同的层次可以制造视觉趣味并暗示地位。步态（gait）是指角色的走路方式：轻快跳跃的步伐与缓慢沉重的脚步传递出完全不同的感觉。空间关系（proxemics）是演员之间距离的运用。近距离可以表现亲近，而大距离则暗示疏远或冲突。

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4. Voice and Speech | 声音与台词

Projection means using enough breath and volume to be heard clearly by the whole audience without shouting. Articulation is the clarity of your consonants and vowels; ‘mumbling’ is the enemy of articulation. Pace refers to how quickly or slowly you speak. A fast pace can show excitement or panic; a slow pace can build seriousness or suspense. Pause is a deliberate silence full of meaning – sometimes what you don’t say is the most important part.

投射（projection）指运用充足的气息和音量让全体观众听清，而非吼叫。吐字清晰（articulation）是指辅音和元音的清晰程度；“咕哝”是吐字的大敌。语速（pace）指说话的速度。快速可以表现激动或惊慌，慢速则营造严肃或悬念。停顿（pause）是充满意义的刻意沉默——有时候，你没说出口的话才是最重要的部分。

Pitch is the highness or lowness of your voice. Characters might use a higher pitch when nervous or a lower pitch to show power. Tone expresses the emotion behind the words: the same line can sound warm, sarcastic or frightened depending on tone. Volume is how loud or soft the voice is, often used to show mood or dramatic climax. Intonation is the rising and falling pattern of speech that can change meaning, such as turning a statement into a question.

音高（pitch）是声音的高低。角色紧张时可能用较高的音高，显示力量时则用较低的音高。语气（tone）表达语言背后的情绪：同一句台词，根据语气不同听起来会温暖、讽刺或恐惧。音量（volume）是声音的响度，常用来表现情绪或戏剧高潮。语调（intonation）是语音的升降模式，能将陈述句变成问句，从而改变语义。

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5. Character and Role | 角色与人物塑造

Creating a believable character starts with understanding who you are playing. A role is the part you are given in a drama, while characterisation is the process of bringing that role to life through physical and vocal choices. Key questions include: What does my character want (objective)? What is stopping them (obstacle)? An actor also considers status – the character’s power or importance relative to others. High-status characters might use open body language and a loud voice, while low-status ones may shrink and speak softly.

创造令人信服的角色，首先要理解自己扮演的是谁。角色（role）是你在戏剧中所担任的人物，而角色塑造（characterisation）是将这一角色通过身体和声音的选择变得栩栩如生的过程。关键问题包括：我的角色想要什么（目标）？什么在阻碍他们（障碍）？演员还会考虑地位（status），即角色相对于他人的权力或重要性。地位高的角色可能使用开放的身体语言和洪亮的声音，而地位低的角色则可能蜷缩身体并轻声说话。

Hot-seating is a technique where the actor is questioned in character, helping to explore backstory and motivation. Role on the wall is a visual activity where you draw a large outline of a character and write external features on the outside and internal thoughts and feelings on the inside. Motivation explains why a character does something; it is the engine of the story. Subtext is the meaning beneath the words – what the character really thinks but might not say aloud.

坐针毡（hot-seating）是一种演员在角色中接受提问的技巧，有助于挖掘背景故事和动机。角色上墙（role on the wall）是一种视觉活动：画一个角色的轮廓，在外部写上外在特征，内部写上内心想法和感受。动机（motivation）解释角色为何行事，它是故事的引擎。潜台词（subtext）是语言之下的含义——角色真正在想却可能未大声说出口的内容。

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6. Story and Plot | 故事与情节

Narrative is the overall story being told. Plot is the specific sequence of events arranged to create dramatic effect. Most plots follow a structure: exposition (setting up who, what, where), rising action (complications and conflict), climax (the peak of tension), falling action (consequences) and resolution (denouement), where loose ends are tied up. A flashback takes the audience to an earlier time, while a flash-forward jumps ahead. A cliffhanger is a moment of great suspense that leaves the audience desperate to know what happens next.

叙事（narrative）是所讲述的整个故事。情节（plot）是为制造戏剧效果而排列的具体事件顺序。大多数情节遵循这样的结构：开端（exposition，交代人物、事件和地点）、上升行动（rising action，冲突和复杂化）、高潮（climax，张力的顶点）、下降行动（falling action，后果）以及结局（resolution/denouement），收束所有线索。闪回（flashback）把观众带回较早的时间，闪前（flash-forward）则向前跳跃。悬念陡峭的时刻（cliffhanger）让观众迫切想知道接下来发生什么。

Conflict is the engine of drama: character vs. character, character vs. self, character vs. society or character vs. nature. Without conflict, there is no drive for the story. A theme is the central idea or message, such as friendship, courage or betrayal. A convention like ‘narration’ or ‘thought-tracking’ can be used to expose inner thoughts to the audience.

冲突（conflict）是戏剧的发动机：角色与角色、角色与自我、角色与社会或角色与自然。没有冲突，故事就没有动力。主题（theme）是中心思想或信息，例如友谊、勇气或背叛。像“叙述”（narration）或“思维追踪”（thought-tracking）这类惯例可以用来向观众暴露角色的内心想法。

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7. Tension and Atmosphere | 张力与氛围

Tension is the sense of anticipation or anxiety that keeps an audience engaged. It can be created through silence, a ticking clock, a secret revealed to the audience but not the characters (dramatic irony) or a sudden change in pace. Atmosphere is the overall feeling or mood of a scene – eerie, joyful, tense or calm. Lighting, soundscape, colour and energy all build atmosphere.

张力（tension）是让观众保持投入的期待感或焦虑感。可以通过沉默、滴答的钟声、观众知晓而角色不知的秘密（戏剧性反讽）或节奏的突然变化来制造张力。氛围（atmosphere）是场景的整体感受或情绪——诡异、欢乐、紧张或平静。灯光、声景、色彩和能量都能构建氛围。

Marking the moment is a technique where the actor highlights the most significant instant in a scene, perhaps by freezing, slowing down or using a direct address. Dramatic irony occurs when the audience knows more than the characters, adding tension because we watch characters walk into danger unknowingly. Building tension through a slow reveal – peeling layers of information one at a time – is a powerful storytelling tool.

标记关键时刻（marking the moment）是一种技巧，演员通过定格、放慢动作或直面观众发言来突出场景中最重要的瞬间。戏剧性反讽（dramatic irony）发生在观众比角色知道得更多的时候，因为我们看到角色不知不觉走进危险，增加了张力。通过逐渐揭露信息——一次剥开一层——来积蓄张力，这是一种强有力的叙事工具。

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8. Drama Conventions and Techniques | 戏剧惯例与技巧

Drama conventions are established ways of working that help structure performances. Tableau (or still image) is a frozen picture used to tell a story or represent a theme. Thought-tracking is when a character speaks their inner thoughts aloud while the action is frozen. For example, the teacher taps a performer on the shoulder, and they share what the character is secretly thinking.

戏剧惯例是帮助构建表演的既定工作方式。静态造型（tableau，或称定格画面）是用来讲述故事或表现主题的凝固画面。思维追踪（thought-tracking）是在动作冻结的那一刻，角色大声说出内心的想法。比如，老师拍一名演员的肩膀，该演员便分享角色的秘密念头。

Improvisation is unscripted, spontaneous acting. It teaches you to listen, accept offers (‘Yes, and…’) and create believable scenes from scratch. Cross-cutting is a technique where two scenes are performed alternately to show contrast or connection – for example, a happy memory intercut with a sad present. Split-screen staging shows two locations at once, often with a clear division between them.

即兴表演（improvisation）是无剧本的自发表演。它教会你倾听、接纳提议（“是的，而且……”）并白手起家创造出可信的场景。交叉剪接（cross-cutting）是一种技术，将两个场景交替演出以表现对比或关联——例如，将快乐的回忆与悲伤的当下交错呈现。分屏式舞台（split-screen staging）同时展示两个地点，中间常有清晰的分隔。

Narration is telling the story directly to the audience. A narrator can be outside the action or within it. Monologue is a long speech by one character, often revealing deep thoughts. Soliloquy is similar but the character is typically alone and speaking only to the audience, common in Shakespeare. Duologue is a scene between just two people.

叙述（narration）是直接对着观众讲述故事。叙述者可以在情节之外，也可以身处其中。独白（monologue）是一个角色的长篇发言，常揭露内心深处。内心独白（soliloquy）与之相似，但角色通常是单独一人只对观众说话，这在莎士比亚戏剧中很常见。双人对话（duologue）是仅发生在两人之间的场景。

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9. Genres of Drama | 戏剧类型

Genre helps categorise plays by their style and content. Tragedy is a serious drama with a sorrowful ending, often involving a downfall. Comedy aims to entertain and amuse, usually ending happily. Melodrama uses exaggerated emotions, music and clear heroes vs. villains. Farce relies on absurd situations, mistaken identity and frantic action for laughs. Physical theatre emphasises movement and the body over dialogue. Musical theatre combines songs, spoken dialogue and dance.

体裁（genre）有助于根据风格和内容对戏剧分类。悲剧是严肃的戏剧，结局悲哀，常包含人物的覆灭。喜剧旨在娱乐和逗笑，通常以大团圆结局。通俗剧（melodrama）运用夸张的情感、音乐和鲜明的英雄与恶人形象。闹剧（farce）依赖荒诞的情境、错认的身份和疯狂的动作为笑料。肢体剧（physical theatre）强调动作和身体而非对话。音乐剧（musical theatre）融合了歌曲、台词和舞蹈。

Docu-theatre uses factual material such as interviews and documents to present real events on stage. Forum theatre, developed by Augusto Boal, invites the audience to stop the action and suggest changes, making spectators ‘spect-actors’. Knowing these genres helps you understand the conventions and expectations of different dramatic worlds.

纪实剧（docu-theatre）使用访问记录、文件等事实材料在舞台上呈现真实事件。论坛剧场（forum theatre）由奥古斯都·博亚发展，邀请观众打断情节并提出改动，使观众变为“观演者”（spect-actors）。了解这些类型有助于你理解不同戏剧世界的惯例与预期。

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10. Quick Recall Strategies | 速记策略

Remembering terminology becomes easier when you use multi-sensory tricks. First, create acronyms. For voice terms P-P-P-T-V-I (Projection, Pitch, Pace, Tone, Volume, Intonation) can be remembered as ‘Powerful Parrots Prefer Talking Very Intelligently’. For stage directions, USR, US, USL etc., you can label your own bedroom as a stage grid. Walk around and say the directions aloud.

运用多感官技巧，记忆术语会轻松许多。第一，编造首字母缩略词。声音术语 P – 投射，P – 音高，P – 语速，T – 语气，V – 音量，I – 语调，可以记成“Powerful Parrots Prefer Talking Very Intelligently”。对于舞台方位，可以把你的卧室标成舞台网格，边走边大声说出方位。

Use visual flashcards: write the term on one side and a simple diagram or emoji on the other. For ‘tension’, draw a spring coiled tightly. For ‘cliffhanger’, sketch a stick figure hanging off a cliff edge. Act out the term physically: if you need to remember ‘gait’, walk in five different ways and name each emotion. Teach a friend or family member – explaining a term solidifies your own understanding.

使用视觉抽认卡片：一面写术语，另一面画一个简单的图形或表情符号。对于“tension”（张力），画一根紧紧缠绕的弹簧。对于“cliffhanger”（悬念），画一个挂在悬崖边的小人。用身体演出来：如果要记住“gait”（步态），用五种不同的方式走路并说出每种对应的情绪。教给朋友或家人——解释术语能巩固你自己的理解。

Finally, create a personal glossary table with term, definition and a sentence using it in a drama context. Review it for three minutes before each lesson. Repetition combined with physical action moves knowledge into long-term memory.

最后，制作一份个人词汇表，包含术语、定义和一句用在戏剧情境中的句子。每次课前复习三分钟。重复结合身体动作，能把知识转入长期记忆。

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11. Glossary of Essential Terms | 核心术语词汇表

Term	Definition	中文释义
Blocking	The planned movement of actors on stage.	演员在舞台上的预设走位。
Centre Stage	The middle of the acting area, a position of focus.	表演区中心，最受关注的位置。
Characterisation	The art of creating and performing a character.	创造并演绎角色的艺术。
Climax	The turning point of highest tension in a drama.	戏剧中张力达到最高点的转折处。
Conflict	The struggle that drives the plot.	推动情节发展的争斗。
Dramatic Irony	When the audience knows something the characters do not.	观众知道而角色不知道的情况。
Freeze-frame	A still image created by actors to represent a moment.	演员定住形成表现某一瞬间的画面。
Gait	How a character walks.	角色的走路方式。
Hot-seating	Questioning a character in role to explore deeper thoughts.	在角色中接受提问以探索深层想法。
Improvisation	Unrehearsed, spontaneous acting.	未经排练的自发即兴表演。
Monologue	A long speech by one character.	一个角色的长篇独白。
Pace	The speed at which dialogue or action moves.	对话或动作行进的速度。
Projection	Using breath and volume to be heard clearly.	运用气息和音量确保被听清。
Proxemics	The use of space and distance between performers.	演员之间的空间距离运用。
Stage Left/Right	Directions from the actor’s perspective facing the audience.	以面向观众的演员为基准的左右方向。
Subtext	The underlying meaning beneath spoken words.	话语之下的隐含意义。
Tension	A state of mental strain or excitement that keeps the audience engaged.	让观众保持注意的紧张或兴奋状态。
Thought-tracking	Speaking a character’s inner thoughts aloud during a frozen moment.	在定格瞬间大声说出角色的内心想法。
Upstage/Downstage	Upstage is away from audience; downstage is toward audience.	上舞台远离观众，下舞台靠近观众。

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