AS Eduqas Drama: Terminology Quick Recall Guide | AS Eduqas 戏剧：词汇术语速记指南

📚 AS Eduqas Drama: Terminology Quick Recall Guide | AS Eduqas 戏剧：术语速记指南

Mastering dramatic terminology is essential for success in AS Eduqas Drama. This guide provides clear definitions and memorable explanations of key terms you will encounter in your exam, from stage configurations to acting techniques. Use it for quick revision and recall.

掌握戏剧术语是在AS Eduqas戏剧考试中取得成功的关键。本指南为你提供了清晰的定义和易于记忆的解释，涵盖从舞台类型到表演技巧的核心术语，助你快速复习和回忆。

1. Stage Configurations and Auditoria | 舞台类型与观众席布局

Proscenium Arch: The stage is framed by an architectural arch, creating a ‘picture frame’ effect. The audience sits directly in front, observing the action through an invisible fourth wall. Think ‘window on the world’.

镜框式舞台：舞台由建筑拱门框住，产生“画框”效果。观众正对舞台，通过看不见的第四堵墙观看演出。联想“世界之窗”。

Thrust Stage: The acting area projects into the audience, surrounded by spectators on three sides. This creates intimacy but limits large-scale scenery. Remember ‘peninsula’.

伸出式舞台：表演区伸入观众席，三面被观众包围。这增强了亲密感，但限制大型布景。记住“半岛”形。

In the Round: Also called arena staging, the audience completely surrounds the stage. Actors must be aware of turning to face all sides. Blocking uses diagonals. Recall ‘circus ring’.

圆形舞台：也称竞技场式舞台，观众完全围绕舞台。演员必须转动以面向各方。走位多用对角线。联想“马戏团圈”。

Traverse Stage: Audience sits on two opposite sides, with the performance space running between them like a catwalk. Entrances and exits at either end. Visualise a ‘runway’.

通道式舞台：观众分坐相对两侧，表演区如猫道从中穿过。入口和出口在两端。想象“时装秀T台”。

Black Box Studio: A flexible, empty room, usually with black walls and no fixed seating. The space can be reconfigured for any style. Think ‘blank canvas’.

黑箱剧场：一个灵活的空房间，通常黑色墙壁，无固定座椅。空间可重新配置任何样式。联想“空白画布”。

Promenade: The audience moves around the performance space, following the action. Often used in site-specific or immersive theatre. Imagine ‘guided walk’.

漫游式剧场：观众在表演空间中移动，随行动转移。常用于特定场地或沉浸式剧场。想象“导览漫步”。

---

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

Upstage: The area furthest from the audience. Historically, stages were raked (sloped) upwards away from the audience, so actors moved ‘up’ the hill. Remember ‘away’.

舞台后方：离观众最远的区域。历史上舞台向后倾斜，演员向后走就是“往上坡”。记住“远离”。

Downstage: The area closest to the audience, literally ‘down’ the rake. Performers step towards the audience. Think ‘foreground’.

舞台前方：离观众最近的区域，顺着倾斜方向“下坡”。演员向观众方向移动。联想“前景”。

Stage Left / Stage Right: These directions are from the actor’s perspective facing the audience. Stage left is the actor’s left, stage right is the actor’s right. Use the mnemonic ‘my left’.

舞台左 / 舞台右：这些方位以演员面向观众为基准。舞台左即演员的左边，舞台右即演员的右边。记法：“我的左边”。

Centre Stage: The middle of the acting area, often used for powerful moments. Draws the audience’s focus.

舞台中央：表演区的正中间，常用于强化时刻，吸引观众焦点。

Wings: Offstage spaces to the left and right, hidden by curtains or flats, where actors wait to enter and props are stored. Think ‘side pockets’.

侧翼区：舞台左右的幕后空间，被幕布或景片遮挡，演员在此候场并存放道具。联想“侧袋”。

Backdrop / Cyclorama: A large cloth or curved wall at the back of the stage, often used for lighting effects or to suggest sky. A ‘cyc’ provides a seamless expanse.

背景幕 / 天幕：舞台后部的大型幕布或弧形墙，常用于灯光效果或表现天空。天幕提供无缝延展面。

---

3. Blocking and Movement | 走位与移动

Blocking: The precise movement and positioning of actors on stage, planned by the director. It ensures clarity of action and visual composition. Map it like choreography.

走位：导演设计的演员在舞台上的精确移动和定位。确保行动清晰和视觉构图。像编舞一样规划。

Cross: When an actor moves from one area of the stage to another, often recorded as ‘X’ in the script. A ‘counter-cross’ is a move in the opposite direction to balance the stage.

交叉走位：演员从舞台一处向另一处移动，常以“X”标记。反向交叉走位是为了平衡舞台的相反方向移动。

Cheat Out: Turning the body slightly towards the audience while conversing with another actor, so the face and voice project outward. Think ‘open to the house’.

偏向观众：与另一演员对话时将身体微转向观众，使面部和声音向外展现。联想“向观众席敞开”。

Masking: When one actor stands in front of another or a piece of furniture, blocking the audience’s view. Directors work to avoid unintentional masking.

遮挡：一位演员站在另一位或道具前面，挡住观众视线。导演要避免无意遮挡。

Sightlines: The lines of vision from any seat in the auditorium to the stage. Set design and blocking must consider what the audience can see. Test every angle.

视线通道：从观众席任意座位看向舞台的视线。舞美设计和走位必须考虑观众能看见什么。检验每个角度。

Stage Picture: The visual arrangement of actors and set at any moment, creating a composition that communicates meaning. Think still photograph.

舞台画面：在任何时刻演员和布景的视觉布局，形成传达意义的构图。联想静态照片。

---

4. Characterisation and Vocal/Physical Skills | 角色塑造与声形技巧

Given Circumstances: The factual details of the character’s world – time, place, social condition, relationships. They are the foundation of truthful acting. Ask ‘who, what, where, when’.

规定情境：角色世界的事实细节——时间、地点、社会状况、关系。它们是真实表演的基础。问“谁、什么事、何处、何时”。

Objective: What the character wants in a scene or unit. A strong objective is active and can be framed as ‘I want to…’ The super-objective is the overarching want for the whole play.

任务：角色在一场戏或单元中想要什么。强有力的任务是积极的，可用“我想……”表达。最高任务则是全剧的总体欲望。

Subtext: The underlying meaning beneath the spoken dialogue. Characters may say one thing but mean another. Listen for what is unsaid.

潜台词：台词之下的隐含意义。角色可能说一套，想另一套。听弦外之音。

Inner Monologue: The character’s unspoken thoughts running alongside the action. Actors use it to fuel reactions and pauses.

内心独白：伴随行动的角色未说出口的思想。演员用它激发反应和停顿。

Status: The social rank or power dynamic between characters. High status dominates; low status submits. Physicality and eye contact signal status.

地位：角色间的社会等级或权力动态。高地位者支配；低地位者服从。肢体和眼神交流传递地位。

Vocal Skills: Pitch (high/low), pace (speed), pause (silence for effect), volume (loud/soft), tone (emotional quality), articulation (clarity). Use the mnemonic ‘P.A.C.E.S.’.

声音技巧：音高（高/低）、语速（快/慢）、停顿（效果性静默）、音量（大/小）、语气（情感特质）、吐字（清晰）。记“P.A.C.E.S.”。

---

5. Stanislavski’s System | 斯坦尼斯拉夫斯基体系

Emotional Memory: The actor recalls a personal experience to trigger genuine emotion on stage. Use with care and control. Relive, don’t just remember.

情绪记忆：演员回忆个人经历以在舞台上引发真实情感。谨慎而受控地运用。重新体验，不只是想起。

Magic If: The actor asks ‘What if I were in this character’s situation?’ This creative ‘if’ sparks imagination and truthful behaviour. It’s the entry into the role.

“假使”：演员自问“假使我处于这个角色的情境会怎样？”这一创造性的“假使”激发想象和真实行为，是进入角色的入口。

Circle of Attention: A focus technique where the actor narrows or expands their concentration – from a small personal circle to the whole stage – to shut out audience and distractions.

注意圈：一种聚焦技巧，演员收缩或扩展注意力——从小范围的个人圈到整个舞台——以屏蔽观众和干扰。

Units and Objectives: Divide the script into small ‘units’ of action, each with its own mini-objective. This gives the performance structure and momentum. Beat by beat.

单位与任务：将剧本划分为小的行动“单位”，每单元有自己的小任务。这赋予表演结构和动力。逐个节拍推进。

Through-line of Action: The continuous inner drive that connects all objectives towards the super-objective, creating a coherent journey. Think ‘spine’.

行动贯串线：连接所有任务直至最高任务的内在驱动力，形成连贯的旅程。联想“脊柱”。

---

6. Brechtian Techniques | 布莱希特技法

Verfremdungseffekt (Alienation Effect): Techniques that make the familiar strange, preventing the audience from getting emotionally absorbed. This encourages critical thinking. Think ‘distance’.

间离效果：使熟悉事物变得陌生的技法，阻止观众情感投入，鼓励批判性思考。联想“疏离”。

Gestus: A clear physical expression that reveals the social relationship and attitude of a character. It combines gesture and meaning. Like a snapshot of behaviour.

姿态：一种清晰的身体表达，揭示角色的社会关系和态度。它融合动作与含义，如行为的快照。

Direct Address: Actors speak directly to the audience, breaking the fourth wall. This reminds spectators they are watching a play, not reality.

直接向观众说话：演员直接对着观众讲话，打破第四堵墙。这提醒观众他们是在看戏，而非现实。

Episodic Structure: The play is made up of loosely connected scenes, often with jumps in time and place, rather than a linear progressive plot. Think montage.

片段式结构：戏剧由松散连接的场景组成，常跳跃时间和地点，而非线性推进的情节。联想蒙太奇。

Placards: Signs or projections displaying information, commentary, or scene titles. They narrate or contradict the onstage action, disrupting illusion.

标语牌：展示信息、评论或场次标题的牌子或投影。它们叙述或反衬舞台上的行动，打破幻觉。

---

7. Dramatic Structure and Script Elements | 戏剧结构与剧本要素

Exposition: The opening section providing background information about setting, characters, and prior events. It sets the scene for what follows.

展示部：开场部分，提供关于背景、角色和先前事件的背景信息，为后续情节铺垫。

Inciting Incident: The event that disrupts the balance and sets the main conflict in motion. It’s the spark that ignites the story.

激励事件：打破平衡并启动主要冲突的事件。它是点燃故事的星火。

Rising Action: A series of complications and obstacles building suspense and tension towards the climax. Each unit raises the stakes.

上升行动：一系列使悬念和张力逐步增强的复杂因素和障碍，朝高潮推进。每单位提高风险。

Climax: The turning point of highest tension, where the major conflict reaches its peak. The protagonist faces their biggest challenge.

高潮：张力达到最高的转折点，主要冲突达到顶峰。主人公面对最大挑战。

Falling Action and Dénouement: The events following the climax leading to resolution. The denouement (or resolution) ties up loose ends and restores order.

下降行动与结局：高潮之后导致解决的事件。结局（收场）收束线索，恢复秩序。

Dramatic Tension: The sense of anticipation or anxiety created by the audience’s knowledge of what might happen. Silence, pause, and conflict fuel it.

戏剧张力：观众因知晓可能发生的行动而产生的期待或焦虑感。静默、停顿和冲突助长它。

---

8. Set, Props and Costume Design | 布景、道具与服装设计

Set (Scenery): The physical environment on stage, including flats, platforms, backdrops, and furniture. It establishes location, period, and mood.

布景：舞台上的物质环境，包括景片、平台、背景幕和家具。它确立地点、时代和氛围。

Flats: Lightweight wooden frames covered with canvas or ply

Published by TutorHao | AS 戏剧 Revision Series | aleveler.com

更多咨询请联系16621398022（同微信）