📚 Year 10 CIE Drama: Key Terminology Quick Reference Guide | 十年级CIE戏剧：词汇术语速记指南
Mastering the language of drama is essential for success in the Year 10 CIE Drama course. Whether you are analysing a script, devising a performance, or writing about live theatre, using accurate terminology will sharpen your responses and deepen your understanding. This quick-reference guide brings together the most important dramatic terms, grouped by topic, with clear explanations in English and Chinese to help you learn, revise, and perform with confidence.
掌握戏剧语言是十年级CIE戏剧课程取得好成绩的关键。无论是分析剧本、设计表演，还是评论现场戏剧，使用准确的术语都能让你的回答更加犀利，加深理解。这份速记指南汇集了最重要的戏剧术语，按主题分组，用英文和中文清晰解释，帮助你学习、复习并自信表演。
1. Stage Directions and Areas | 舞台方位与区域
Blocking refers to the precise movement and positioning of actors on stage. Directors use standard stage directions to ensure everyone knows where to go. Stage areas are always given from the actor’s point of view when facing the audience.
舞台调度指演员在舞台上的精确移动与定位。导演使用标准舞台方位，确保每个人都知道要去哪里。舞台区域始终以演员面向观众时的视角来命名。
Downstage (DS) means the part of the stage nearest to the audience. Moving downstage brings an actor closer to the viewers, which can create intimacy or emphasis.
下舞台（DS）指舞台最靠近观众的部分。向下舞台移动会让演员更接近观众，营造亲密感或强调重点。
Upstage (US) is the area farthest from the audience. When one actor moves upstage of another, they can force the other to turn their back to the audience, a technique known as upstaging.
上舞台（US）是离观众最远的区域。当一名演员移动到另一名演员的上舞台位置时，会迫使对方背对观众，这一技巧称为抢戏。
Stage Left (SL) and Stage Right (SR) are the actor’s left and right when facing the audience. Centre Stage (CS) is the powerful middle position, often used for key moments.
舞台左侧（SL）和舞台右侧（SR）是演员面向观众时的左手边和右手边。舞台中央（CS）是最有力的中间位置，常用于关键时刻。
2. Voice and Speech Techniques | 声音与台词技巧
An actor’s voice is a primary tool for communicating character and emotion. Key vocal terms help you analyse how meaning is shaped through sound.
演员的声音是传递角色与情感的主要工具。关键声乐术语能帮助你分析声音如何塑造意义。
Pitch refers to how high or low the voice sounds. A high pitch might suggest youth, fear or excitement, while a low pitch can convey authority or menace.
音高指声音听起来的高低。高音可能表现年轻、恐惧或激动，低音则能传达威严或威胁。
Pace is the speed at which lines are delivered. A fast pace can create tension or excitement; a slow pace can show thoughtfulness or sadness. A pause is a deliberate stop that can build suspense or highlight a moment.
语速指台词表达的速度。快节奏可制造紧张或兴奋感；慢节奏可表现沉思或悲伤。停顿是有意的中止，能制造悬念或强调关键时刻。
Volume is the loudness or softness of the voice. Projection means using enough breath and resonance to be heard clearly by the whole audience without shouting.
音量是声音的响亮程度。投射指运用足够的气息和共鸣，让全场观众都能听清，而不必叫喊。
Tone is the emotional quality of the voice, such as warm, cold, sarcastic, or desperate. Inflection is the rise and fall in pitch that makes speech sound natural and meaningful.
语调是声音的情感特质，如温暖、冷漠、讽刺或绝望。转调是音高的升降，使对白听起来自然并富有意义。
3. Movement, Gesture and Body Language | 动作、手势与肢体语言
Physical skills bring a character to life and convey subtext without words. Every movement on stage should be intentional and precise.
形体技巧能让角色活起来，无需言语就能传达潜台词。舞台上的每一个动作都应有意图且精准。
Gesture is a movement of a part of the body, especially the hands or head, to express an idea or meaning. A clenched fist can show anger, while open palms can signal honesty.
手势是身体局部（特别是手或头部）的动作，用来表达想法或含义。握紧的拳头可以表现愤怒，而摊开的手掌表示诚实。
Posture is the way a character holds their body. Slumped shoulders might show defeat or tiredness; an upright, chest-out stance suggests confidence.
体态是角色保持身体的方式。垂肩可能显示挫败或疲惫；挺胸直立的站姿则暗示自信。
Facial expression communicates a character’s inner feelings directly. Subtle changes in the eyes or mouth can completely alter the meaning of a line.
面部表情直接传达角色的内心感受。眼睛或嘴角的细微变化能完全改变台词的含义。
Gait is a person’s manner of walking. A slow, heavy gait can suggest sadness or age; a quick, bouncing step can indicate youth or joy. Proxemics is the use of space between performers, which reveals relationships and status.
步态是一个人走路的方式。缓慢沉重的步伐可能暗示悲伤或年老；轻快跳跃的步子可能代表年轻或快乐。空间关系是指表演者之间的距离运用，能揭示人物关系和地位高低。
4. Character and Role Development | 角色塑造与发展
Creating a believable character involves exploring their background, motivation, and relationships. These terms are central to any devised or scripted performance.
塑造可信的角色需要探索其背景、动机和人物关系。这些术语是所有编创或剧本表演的核心。
Objective is what a character wants in a scene or throughout the play. An objective must be active and urgent to drive the action forward.
行动目标是角色在一场戏或整部剧中想要达到的目的。目标必须积极主动且紧迫，才能推动情节发展。
Super-objective is the character’s overarching desire that runs through the entire play. Understanding this helps the actor maintain consistency.
最高任务是贯穿全剧的角色的总体欲望。理解这一点有助于演员保持表演的连贯性。
Motivation answers why a character behaves the way they do. It is the reason behind every action and line. Subtext is the unspoken thoughts and feelings beneath the dialogue.
动机解释角色为何如此行事。它是背后每一个动作和台词的原因。潜台词是对白之下未被说出的想法和情感。
Given circumstances include all the facts from the script about the character’s situation: time period, location, social class, and relationships with others.
规定情境包括剧本中所有关于角色处境的事实：时代背景、地点、社会阶层以及与他人的关系。
Status is the level of power or importance a character has in a scene. High-status characters often use steady eye contact and take up space; low-status characters may fidget or avoid eye contact.
地位是角色在场景中所拥有的权力或重要程度。地位高的角色通常保持稳定的眼神交流并占据较大空间；地位低的角色可能坐立不安或回避眼神接触。
5. Drama Conventions and Techniques | 戏剧惯例与表现手法
Drama conventions are specific techniques used to structure performances and convey meaning in non-naturalistic ways. They are especially useful in devised work.
戏剧惯例是用于构建表演并以非自然主义方式传达意义的特定技巧，在编创作品中尤其有用。
Narration is when a character speaks directly to the audience to tell the story. This can break the fourth wall and create a more direct connection with viewers.
叙述指角色直接对观众说话来讲述故事。这可以打破第四堵墙，建立与观众更直接的联系。
Marking the moment means highlighting a key instant in the drama, often by freezing, slowing down, or using a spotlight, so the audience fully absorbs its significance.
定格瞬间指突出戏剧中的关键时刻，通常通过静止、慢动作或使用定点光让观众充分领会其重要性。
Cross-cutting is a technique that moves back and forth between two or more scenes happening at different times or places, drawing contrasts and connections.
交叉剪辑是一种在发生于不同时间或地点的两个或多个场景之间来回切换的技巧，以形成对比和联系。
Forum theatre allows the audience to stop the action and suggest changes, which the actors then improvise. It is a key technique in Augusto Boal’s Theatre of the Oppressed.
论坛剧场允许观众暂停情节并提出修改建议，然后由演员即兴表演。这是奥古斯都·波瓦的“被压迫者剧场”的关键技巧。
Thought-tracking is when the action is paused and a character speaks their inner thoughts aloud, revealing subtext to the audience.
思维追踪指在情节暂停时，角色大声说出自己的内心想法，向观众揭示潜台词。
6. Structure of a Play | 剧本结构
Understanding how a play is built helps you analyse plot, tension, and the journey of the characters. These structural terms appear in both scripted and devised work.
理解剧本的构建方式有助于分析情节、张力和角色的历程。这些结构术语既适用于有剧本的作品，也适用于编创作品。
Exposition is the opening section that introduces the characters, setting, and background information the audience needs.
展示是介绍角色、场景和观众所需背景信息的开头部分。
Rising action is a series of events that build conflict and increase tension towards the climax. Each event raises the stakes for the protagonist.
上升情节是一系列制造冲突并为高潮积累张力的事件。每个事件都会加大主角面临的风险。
Climax is the turning point of the play, the moment of greatest tension when the main conflict must be confronted.
高潮是全剧的转折点，是张力最大、主要冲突必须面对的时刻。
Falling action follows the climax and shows the consequences, leading towards resolution.
下降情节紧跟在高潮之后，展现后果，并导向结局。
Dénouement (or resolution) is the final part where conflicts are resolved, loose ends are tied up, and a new sense of order is established — or deliberately left hanging.
结局（或收场）是冲突得到解决、线索得以收束的最后部分，建立起新的秩序——或刻意留下悬而未决。
7. Genres and Styles | 类型与风格
Genre describes the category of a play, while style refers to the way the play is presented. Knowing both allows you to make informed performance and design choices.
类型描述戏剧的类别，风格则指戏剧呈现的方式。了解两者能让你做出有依据的表演和设计选择。
Tragedy deals with serious themes and typically ends in the downfall of the protagonist due to a fatal flaw. Comedy aims to amuse, often ending happily and using misunderstandings, wit, and satire.
悲剧处理严肃主题，通常以主角因致命弱点而毁灭告终。喜剧旨在逗人发笑，常常以圆满结局收尾，并运用误会、诙谐与讽刺。
Naturalism attempts to create a completely realistic illusion of life on stage. It emphasises believable dialogue, authentic settings, and psychologically driven acting.
自然主义试图在舞台上创造完全真实的生活幻象。它强调可信的对白、真实的布景和心理驱动的表演。
Epic theatre, associated with Brecht, deliberately breaks the illusion of reality. It uses techniques like direct audience address, placards, and songs to encourage critical thinking rather than emotional involvement.
史诗戏剧与布莱希特相关，故意打破真实幻象。它使用直接面向观众说话、标语牌和歌曲等手法，鼓励批判性思考而非情感投入。
Physical theatre places emphasis on the actor’s body and movement to tell the story, often with minimal props and dialogue. Companies like Frantic Assembly are famous for this style.
形体剧场强调用演员的身体和动作讲述故事，常常道具和对白极少。像Frantic Assembly这样的剧团以此风格闻名。
8. Technical Theatre Terms | 戏剧技术术语
Lighting, sound, set, and costume design all contribute to the world of the play. These technical terms help you describe how meaning is created beyond the performers.
灯光、音效、布景和服装设计共同构建戏剧的世界。这些技术术语能帮你描述表演者之外的创作如何产生意义。
Wash describes a broad, general spread of light covering a large part of the stage. Spotlight is a narrow, focused beam used to highlight a single performer or area.
铺光指覆盖舞台大面积区域的宽泛均匀光线。追光则是用来突出单个演员或区域的窄聚焦光束。
Gobo is a thin metal plate placed in front of a light to project a pattern or shape, such as leaves for a forest scene. Gel is a coloured filter placed over the light to change its colour.
图案片是放置在灯光前的薄金属片，用于投射图案或形状，例如森林场景的树叶光影。色纸是放在灯前的彩色滤光片，用来改变灯光颜色。
Blackout is the sudden extinguishing of all stage lights, often used to end a scene dramatically. A cross-fade softly blends one lighting state into another.
黑场是所有舞台灯突然熄灭，常用于戏剧性地结束一个场景。交叉渐变则将一种灯光状态柔和地融入另一种。
Diegetic sound is sound that characters within the world can hear, such as a doorbell or a radio playing. Non-diegetic sound is only for the audience, like background music or a voice-over.
剧情内音效是剧中角色能听到的声音，如门铃或收音机播放的声音。剧情外音效仅为观众而设，如背景音乐或画外音。
9. Rehearsal Techniques | 排练技巧
Effective rehearsals bring a script to life and build an ensemble. These techniques are often referenced in exam questions about the devising or rehearsal process.
有效的排练能让剧本活起来，并建立起团队默契。这些技巧常在有关编创或排练过程的考题中被提及。
Hot-seating is when an actor answers questions in role while staying in character. It helps deepen understanding of background, motivation, and relationships.
坐针毡是演员在保持角色的同时以角色身份回答问题。这有助于加深对背景、动机和人物关系的理解。
Role on the wall is a diagram drawn on paper with an outline of a character filled in with information about their inner thoughts and outward actions, useful during early exploration.
墙上角色是在纸上画出的角色轮廓图，并填入其内心想法和外在行为的信息，在早期探索阶段非常有用。
Tableau (or freeze-frame) is a still image created by actors to capture a key moment or theme. It requires strong physical control and precise composition to communicate without movement.
定格造型（或凝固画面）是演员创造的静止图像，用来捕捉关键时刻或主题。它需要强大的形体控制和精准的构图，在不移动的情况下传达信息。
Off-text improvisation means inventing scenes that may have happened before or after the events of the script, using the same characters, to enrich backstory.
剧本外即兴指用同样的角色创编可能发生在剧本事件之前或之后的场景，以丰富背景故事。
10. Exam Command Words | 考试指令词
Answering CIE Drama questions effectively starts with understanding exactly what the examiner is asking you to do. These command words appear in written papers and practical assessments.
要有效地回答CIE戏剧问题，首先要准确理解考官要求你做什么。这些指令词会出现在笔试和实践评估中。
Describe: Give a detailed account of what you did, saw, or read, referring to specific moments and techniques.
描述：详细说明你做了什么、看到了什么或读到了什么，并提及具体的时刻和技巧。
Explain: Provide reasons why something happened or why a choice was effective. You need to link cause and effect.
解释：给出某事发生的原因，或某一选择为何有效的原因。需要将原因与结果联系起来。
Analyse: Break down a performance or text into its component parts (voice, movement, design) and discuss how they work together to create meaning.
分析：将表演或文本分解为各个组成部分（声音、动作、设计），并探讨它们如何协同创造意义。
Evaluate: Make a judgement about the success or impact of a drama piece, backing your opinion with clear evidence from the work.
评价：对一个戏剧作品的成功与否或影响力做出判断，并用作品中的明确证据来支持你的观点。
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