📚 IGCSE AQA Drama: Key Vocabulary Quick‑Reference Guide | IGCSE AQA 戏剧：词汇术语速记指南
Mastering the language of theatre is essential for any IGCSE Drama student. This guide breaks down the most important technical terms you will encounter across devising, performance, and written examination — from the anatomy of the stage to the subtleties of acting and design. Each term is presented in English, followed by its Chinese equivalent and a clear, memorable definition. Use this as your fast‑track glossary to build confidence in analysis and practical work.
掌握戏剧的语言是每一位 IGCSE 戏剧学生的基本功。本指南梳理了你在编创、表演和笔试中会遇到的最重要的专业术语——从舞台构造到表演与设计的细微之处。每一个术语都是先给英文原词，再附中文对应说法和清晰易记的定义。把这一页当作你的快记词汇表，帮你建立分析与实践的底气。
1. Stage Spaces & Areas | 舞台空间与区域
Proscenium Arch – The frame around the stage that separates the audience from the performance space, creating a “picture frame” effect. In Chinese, it is called 镜框式舞台, literally “mirror‑frame stage”, and it concentrates focus on the action behind the arch.
Proscenium Arch（镜框式舞台）：围绕舞台的框架，把观众和表演区隔开，形成“画框”效果，让注意力集中在拱门后的表演上。
Thrust Stage – A stage that extends into the auditorium so the audience sits on three sides. The Chinese term is 伸出式舞台, and it creates a more intimate, immersive relationship with the spectators.
Thrust Stage（伸出式舞台）：舞台延伸到观众席中，观众三面环绕。它能拉近演员与观众的距离，更具沉浸感。
Traverse – The audience is seated on two opposite sides of the performance area, like watching a catwalk. In Chinese this is 过道式舞台 or 双面舞台, and it forces actors to play to multiple angles.
Traverse（过道式舞台/双面舞台）：观众分坐表演区相对两侧，像看 T 台走秀。演员必须兼顾两边，动作和视线都要照顾多个方向。
In‑the‑Round – The acting area is entirely surrounded by the audience. Called 圆形舞台 or 四面舞台 in Chinese, it removes all scenic hiding places and demands three‑dimensional blocking.
In‑the‑Round（圆形舞台/四面舞台）：表演区完全被观众包围，没有任何布景可以藏身，演员调度必须是立体的、多面的。
Wings – The off‑stage spaces to the left and right, hidden by curtains or flats. Chinese: 侧台/翼幕. Actors wait here before entrances and props are stored ready for quick changes.
Wings（侧台/翼幕）：舞台两侧幕布遮挡的侧台区域。演员上场前在此候场，道具也存放在这里方便快速换场。
2. Blocking & Movement | 调度与舞台走位
Blocking – The precise plan of actors’ movements on stage, usually decided by the director. In Chinese it is 舞台调度. It includes entrances, exits, crosses, and positioning, and is often recorded in a prompt book.
Blocking（舞台调度）：演员在舞台上的移动方案，通常由导演确定。包括上场、下场、走位和站位，常记在提词本里。
Upstage / Downstage – From the actor’s perspective, upstage is furthest from the audience, downstage is closest. The Chinese terms are 上舞台 / 下舞台, deriving from raked stages where the back was higher. “Upstaging” another actor means forcing them to turn away from the audience.
Upstage / Downstage（上舞台/下舞台）：以演员视角为准，远离观众的是 upstage，靠近观众的是 downstage。源于斜坡舞台时期后方地势较高。Upstaging 指的是让另一个演员背对观众，抢走焦点。
Cross – A movement from one part of the stage to another. In Chinese, simply 走位 or 横穿. A “direct cross” is the shortest path; a “curved cross” adds shape to the journey.
Cross（走位/横穿）：从舞台某区域移到另一区域。直线走位（direct cross）是最短路径，弧线走位则更有形态感。
Cheat / Cheating Out – Turning the body slightly toward the audience while supposedly speaking to another character, so facial expressions and voice remain visible. Chinese equivalent: 面向观众倾斜 or 半面向观众.
Cheat / Cheating Out（面向观众倾斜）：演员在与对手说话时，身体稍微转向观众，以保证表情和声音传递出去，是一种舞台技巧。
3. Voice & Speech | 声音与台词表达
Projection – Using breath and resonance to fill the space so every audience member can hear, without shouting. In Chinese, 音量投射. It relies on diaphragmatic support, not strained throat muscles.
Projection（音量投射）：利用气息和共鸣让声音充盈整个空间，使每位观众都听见，而不是靠嘶喊。核心在腹式呼吸支撑。
Articulation – The clarity of consonant and vowel sounds. Chinese: 咬字清晰度. Crisp articulation ensures dialogue is understood, even in a whisper.
Articulation（咬字清晰度）：辅音和元音的清晰程度。清晰的咬字让台词即使在低语时也能被听懂。
Pitch, Pace, Pause, Volume – The four vocal levers every performer controls. In Chinese: 音高、语速、停顿、音量. Variation in these elements creates subtext, tension, and character.
Pitch, Pace, Pause, Volume（音高、语速、停顿、音量）：演员可操控的四大声音要素。四者的变化能够传递潜台词、制造紧张感和建立角色。
Inflection – The rise and fall of pitch within a line. Called 语调变化 in Chinese. A rising inflection can suggest a question or uncertainty; a falling inflection can signal finality or command.
Inflection（语调变化）：一句台词中音高的升降。上升语调常表示疑问或不确定，下降语调暗示结束或命令。
4. Physical & Gestural Vocabulary | 身体语言与手势语汇
Gesture – A movement of hand, arm, or head that communicates meaning. Chinese: 手势/肢体语言. Emblematic gestures carry a specific cultural meaning (e.g., a thumbs‑up).
Gesture（手势/肢体语言）：手、臂或头部的表意动作。象征性手势具有特定文化含义，比如竖大拇指。
Facial Expression – The use of eyes, eyebrows, and mouth to convey emotion. In Chinese 面部表情. Combined with voice, it makes the difference between saying “I’m fine” honestly or sarcastically.
Facial Expression（面部表情）：通过眉眼和嘴唇传递情绪。配合声音，它能让“我没事”听上去真诚或充满讽刺。
Posture – The way an actor holds their body, revealing status, age, or attitude. Chinese: 体态/站姿. A sunken chest might suggest defeat, while an upright spine can suggest authority.
Posture（体态/站姿）：演员身体的持守方式，能揭示地位、年龄或态度。塌肩可能显示挫败感，挺直的脊柱则暗示掌控力。
Gait – A character’s walking style. Called 步态 in Chinese. A slow, heavy gait can indicate age or weariness; a bouncy stride suggests youth or confidence.
Gait（步态）：角色的走路风格。缓慢沉重的步态可表现年迈或疲惫，轻快跳跃的步伐暗示年轻或自信。
5. Character & Role Terms | 角色与人物术语
Motivation – The reason behind a character’s actions, often described as the “why”. Chinese: 动机. Stanislavski’s “Magic If” asks the actor, “What would I do if I were in this situation?”
Motivation（动机）：角色行为背后的原因，常称为“为什么”。斯坦尼斯拉夫斯基的“设身处地”（Magic If）就是让演员问：“假如我在这种情况下，我会怎么做？”
Objective – What the character wants in a scene or throughout the play. In Chinese 角色目标. A character might have a super‑objective (overarching goal) and small unit objectives.
Objective（角色目标）：角色在一场戏或整个剧本中想要达成的目标。可分为贯穿全剧的超目标和单元小目标。
Subtext – The unspoken meaning underneath the spoken lines. Chinese: 潜台词. A line like “That’s a lovely hat” can actually mean “I’m jealous” depending on delivery.
Subtext（潜台词）：台词背后未说出的含义。比如“这帽子真好看”，说出来却可能意味着“我很嫉妒”。
Status – The power dynamic between characters, which can shift through the scene. Chinese: 地位/权势关系. High‑status characters often use stillness and direct eye contact; low‑status characters may fidget or avoid gaze.
Status（地位/权势关系）：角色之间的权力动态，会随着戏的推进而改变。高地位角色常用静止和直接对视，低地位角色往往坐立不安或回避眼神。
6. Rehearsal & Devising Language | 排练与编创用语
Improvisation – Acting without a script, spontaneously creating dialogue and action. In Chinese, 即兴表演. It is a key tool in devising and exploring character.
Improvisation（即兴表演）：在没有剧本的情况下，自发创造对白和行动。是编创和挖掘角色的重要工具。
Hot‑seating – An actor, in role, answers questions from the group to deepen understanding of the character. Chinese: 角色拷问/坐热椅子.
Hot‑seating（角色拷问/坐热椅子）：演员以角色身份接受团队提问，加深对人物的理解。
Still Image / Freeze Frame – A frozen picture created by actors’ bodies to capture a moment, idea, or relationship. Called 定格/静止画面 in Chinese.
Still Image / Freeze Frame（定格/静止画面）：演员用身体构成的静止画面，捕捉某一瞬间、概念或关系。
Thought‑tracking – Speaking a character’s inner thoughts aloud, often from within a freeze frame. Chinese: 思路追踪/内心独白. This technique reveals subtext directly.
Thought‑tracking（思路追踪/内心独白）：说出角色的内心想法，常在定格画面中使用，直接揭示潜台词。
7. Technical & Design Terms | 舞美与技术术语
Set – The physical environment on stage, including flats, levels, platforms, and furniture. Chinese: 布景/舞台装置. The set can be representational (realistic) or suggestive (minimalist).
Set（布景/舞台装置）：舞台上的物理环境，包括景片、平台、台阶和家具。可以是写实性的，也可以是提示性的。
Props (Properties) – Objects handled by actors, from a letter to a sword. Called 道具 in Chinese. Personal props are carried by the character throughout; set props are part of the scenery.
Props（道具）：演员持有的物件，小至一封信，大至一把剑。随身道具由角色全程携带，舞台道具则是布景的一部分。
Lighting States – Pre‑set combinations of intensity, colour, and direction, such as a “warm wash” or “cold spot”. Chinese: 灯光状态. Lighting can establish time of day, mood, and focus.
Lighting States（灯光状态）：预定好的亮度、色彩和方向组合，如“暖色铺光”或“冷色定点”。灯光可以建立时间、氛围和焦点。
Soundscape – A layered sound environment, often used in devised work to create place or atmosphere. In Chinese: 音景/声音氛围. May include natural sounds, abstract noises, and music.
Soundscape（音景/声音氛围）：由多层声音构成的环境，常用于编创作品，营造地点或氛围，可以包括自然音、抽象噪音和音乐。
8. Genres & Styles | 体裁与风格
Naturalism – A style aiming to reproduce believable, everyday life on stage, as if the fourth wall is removed. Chinese: 自然主义. It demands authentic detail in set, acting, and dialogue.
Naturalism（自然主义）：一种力图在舞台上复现可信的日常生活的风格，仿佛第四面墙被移走。对布景、表演和台词要求高度真实。
Epic Theatre – Brecht’s style that uses alienation techniques (Verfremdungseffekt) to remind the audience they are watching a piece of theatre, not real life. Chinese: 史诗剧场. Devices include direct address, placards, and song.
Epic Theatre（史诗剧场）：布莱希特风格，运用间离效果（Verfremdungseffekt）提醒观众这只是一场戏，而非真实生活。常用直接对观众说话、标题牌和歌曲等手法。
Physical Theatre – Storytelling through movement and physical expression rather than reliance on text. Chinese: 形体剧场. The body is the primary tool, and it often incorporates mime, acrobatics, and ensemble work.
Physical Theatre（形体剧场）：主要通过动作与肢体表达叙事，而非依赖文本。身体是首要工具，常融合默剧、技巧动作和集体协作。
Melo‑drama – A style with exaggerated emotions, clear moral polarities, and sensational plots. In Chinese 情节剧/通俗剧. Music often accentuates the emotional highs and lows.
Melo‑drama（情节剧/通俗剧）：情绪夸张、善恶分明、情节耸动的风格。音乐通常用来强化情感的起伏。
9. Audience & Impact | 观众与效果
Fourth Wall – The imaginary wall between actors and audience in a naturalistic theatre. In Chinese, 第四面墙. Breaking the fourth wall happens when an actor directly acknowledges the audience.
Fourth Wall（第四面墙）：在自然主义剧场里，演员与观众之间那面看不见的墙。演员直接对着观众说话或互动，就是“打破第四面墙”。
Empathy – The audience’s feeling of sharing a character’s emotions. Chinese: 共情/同理心. It is a key ingredient in making the audience care about the story.
Empathy（共情/同理心）：观众与角色情感相通的感受。让观众在意故事的关键要素。
Catharsis – The emotional release or purging that an audience may experience after a tragedy. In Chinese 卡塔西斯/净化. Through pity and fear, the audience may feel psychologically refreshed.
Catharsis（卡塔西斯/净化）：观众在悲剧结尾后所经历的情感宣泄或净化。通过怜悯与恐惧，观众得到心理上的释放。
Atmosphere – The overall feeling or mood of a scene, created through light, sound, and performance. Chinese: 气氛. An eerie atmosphere might be built with low‑angle shadows and a soft, dissonant hum.
Atmosphere（气氛）：场景的整体感觉或情绪，由灯光、声响和表演共同营造。比如诡异的氛围可以用低角度阴影和不和谐低鸣来构建。
10. Performance Roles & Backstage | 演出职务与后台
Director – The person who oversees the artistic vision, guides actors, and unifies all production elements. Chinese: 导演. The director interprets the script and leads the rehearsal process.
Director（导演）：统管艺术构想、指导演员、协调所有制作元素的人。导演解读剧本，领导排练过程。
Stage Manager (SM) – The linchpin of backstage operations, calling cues and ensuring the show runs safely and on schedule. Chinese: 舞台监督.
Stage Manager（舞台监督）：后台运作的关键人物，负责呼叫技术指令，保障演出安全、按时进行。
Technician – Operates lighting or sound equipment according to cue sheets during the show. In Chinese 技术人员/技师.
Technician（技术人员/技师）：在演出中根据指令表操作灯光或音响设备的人员。
Prompt / Prompt Book – The copy of the script with all blocking, cues, and notes. The “prompt” side may feed lines if an actor forgets. Chinese: 提词本/总谱.
Prompt / Prompt Book（提词本/总谱）：载有所有调度、指令和备注的总谱。演员忘词时，提词员可从侧台轻声提示。
Published by TutorHao | Drama Revision Series | aleveler.com
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