AS WJEC Drama: Key Terminology Rapid Recall Guide | AS WJEC 戏剧：核心术语速记指南

📚 AS WJEC Drama: Key Terminology Rapid Recall Guide | AS WJEC 戏剧：核心术语速记指南

Mastering the specialist vocabulary of drama is essential for both practical exploration and written examination in the WJEC AS specification. This guide breaks down the key terms every student needs to use confidently — from staging forms and acting techniques to design elements and influential practitioners. Use it for quick revision, classroom reference, or script annotation.

掌握戏剧的专业词汇对于 WJEC AS 课程中的实践探索和书面考试都至关重要。本指南分解了每位学生都需要自信运用的核心术语——从舞台形式和表演技巧到设计元素和有影响力的实践者。可用于快速复习、课堂参考或剧本批注。

1. Stage Spaces and Configurations | 舞台空间与布局

The physical relationship between performers and audience is defined by stage configuration. A proscenium arch frames the action like a picture, creating a distinct ‘fourth wall’. Thrust stages project into the audience, surrounded on three sides, while traverse staging places the audience on two opposite sides, often intensifying confrontation. In-the-round puts performers at the centre with spectators all around, demanding 360‑degree awareness. Promenade involves the audience moving through the performance space, making the experience immersive. WJEC candidates should be able to identify these configurations from ground plans and analyse how they affect actor-audience dynamics and sightlines.

表演者与观众之间的物理关系由舞台布局决定。镜框式舞台如同画框般框定动作，形成清晰的“第四面墙”。伸出式舞台突入观众席，三面被观众包围，而长廊式舞台则将观众置于相对两侧，常强化对峙感。圆形舞台将表演者置于中心，观众环绕四周，要求全方位的表演意识。流动式演出则让观众在表演空间中移动，使体验更加沉浸。WJEC 考生应能从平面图中识别这些布局，并分析它们如何影响演员与观众的互动关系及视线。

2. Acting Techniques and Delivery | 表演技巧与台词表达

Beyond simply learning lines, actors use a range of vocal and physical skills. Projection is not shouting but using breath support to fill the space clearly. Articulation refers to the crispness of consonants, while inflection is the rise and fall of pitch that conveys subtext. Pace, pause, and rhythm shape the emotional journey. Physically, gesture, posture, and gait build character, and facial expression must be sustained rather than fleeting. Blocking (the planned movement) must appear motivated. In the WJEC exam, describing an actor’s use of a specific technique demands precise terminology and an explanation of the intended effect on the audience.

除了简单记台词，演员还需运用一系列声音与身体技巧。声音投射并非喊叫，而是利用气息支撑清晰地传遍全场。吐字归音指辅音的清晰度，而语调变化是传达潜台词的音高起伏。节奏、停顿和律动塑造着情感历程。身体方面，手势、体态和步态构建角色，面部表情必须持续而非一闪而过。舞台调度（计划好的动作）必须看起来有动机。在 WJEC 考试中，描述演员对某项技巧的运用需要准确的术语，并解释对观众产生的预期效果。

3. Directorial Concepts and Blocking | 导演理念与舞台调度

The director shapes the entire production through an overarching concept or vision. Blocking refers to the choreography of actors’ movements on stage, often recorded in a prompt book. Stage directions such as upstage, downstage, stage left, and stage right are given from the actor’s perspective facing the audience. Levels and proxemics (spatial relationships between characters) communicate power and intimacy. A cross-fade in movement or lighting can indicate a shift in time or mood. Directors also use subtext mapping to ensure each moment carries hidden meaning. WJEC expects candidates to suggest directorial intentions and justify staging choices with reference to the text and audience impact.

导演通过一个统领性的理念或构想塑造整部制作。舞台调度指演员在舞台上动作的编排，通常记录在提词本中。舞台方位如上舞台、下舞台、舞台左、舞台右，是从演员面对观众的角度给出的。高低层次和空间关系（角色间的距离）传达权力与亲密度。动作或灯光的交叉淡入淡出可以表示时间或情绪的转换。导演还会使用潜台词图谱确保每个瞬间都有隐含意义。WJEC 期望考生能提出导演意图，并依据文本及对观众的影响来论证舞台选择。

4. Design Elements: Set and Props | 设计元素：布景与道具

The set is far more than a backdrop; it establishes period, location, and atmosphere. Box sets create realistic interiors with three walls, while minimalist designs rely on a few symbolic items to suggest place. Flats, rostra, and trucks (moving platforms) form the physical vocabulary. Sightlines must be checked so all audience members see key action. Props (properties) are items handled by actors — from a letter to a weapon — and can be practical (functional) or purely decorative. Design decisions like colour palette, texture, and scale are never neutral; they reflect directorial concept. In your WJEC portfolio, justify how the set supports the play’s themes and the performers’ needs.

布景远不止是背景；它确立了时代、地点和氛围。盒式布景用三面墙营造写实的室内，而极简主义设计则依赖少量象征性物品暗示场景。景片、平台和滑动平台构成了实体词汇。视线必须经过检查，确保所有观众都能看到关键动作。道具是演员手持的物品——从信件到武器——可以是实用的（功能性的）或纯装饰性的。色彩搭配、质感和比例等设计决策从来不是中立的；它们反映了导演的理念。在你的 WJEC 作品集中，需论证布景如何支持剧作主题和表演者的需要。

5. Design Elements: Lighting and Sound | 设计元素：灯光与音效

Lighting sculpts mood, time, and focus. A fresnel produces a soft-edged beam for general wash, while a profile spot gives a hard-edged, shuttered light for isolation. Gels (colour filters) alter atmosphere — warm ambers for comfort, cold blues for detachment. Gobos project patterns; a window gobo instantly suggests interior daylight. Blackouts and snap cues punctuate scenes. Sound design includes diegetic sound (originating within the world of the play, like a ringing telephone) and non-diegetic sound (underscore or narration heard only by the audience). Foley and recorded soundscapes build environment. WJEC questions might ask you to analyse a lighting plot or justify sound choices for mood and meaning.

灯光塑造情绪、时间和焦点。聚光菲涅尔灯产生柔和边缘的光束用于整体铺光，而造型聚光灯则提供硬边、可遮蔽的光束用于隔离。滤色片改变氛围——暖琥珀色带来舒适感，冷蓝色传递疏离感。图案片投射图案；窗户图案片能瞬间暗示室内日光。黑场和切光提示分隔场景。音效设计包括剧情内声音（源自剧中世界，如电话铃声）和非剧情内声音（仅观众听到的配乐或旁白）。拟音和录制的音景构建环境。WJEC 题目可能要求你分析一张灯光图，或论证为情绪与意义所做的声音选择。

6. Costume, Make-up and Mask | 服装、化妆与面具

Costume instantly communicates character, status, and era. Key elements are silhouette (skirt shape, shoulder width), fabric (texture and weight), and colour symbolism. A costume plot tracks each character’s changes across the play. Make-up can be straight (natural enhancement under stage light) or character (aging, injury, fantasy). Masks — whether neutral, character, or commedia-style — demand exaggerated physicality because facial expression is hidden. In the WJEC practical exam, you must explain how costume choices support characterisation and thematic development, not just ‘look good’.

服装能即时传达角色、身份和时代。关键要素包括廓形（裙型、肩宽）、面料（质感与重量）和色彩象征。服装单追踪每个角色在全剧中的更换。化妆可以是本色妆（舞台灯光下的自然增强）或性格妆（老化、伤效、奇幻）。面具——无论是中性、角色还是即兴喜剧风格——都需要夸张的肢体动作，因为面部表情被遮掩了。在 WJEC 实践考试中，你必须解释服装选择如何支撑角色塑造和主题发展，而不仅仅是“好看”。

7. Dramatic Structure and Plot Devices | 戏剧结构与情节手法

Understanding how a play is built is fundamental. Most scripts follow some form of Freytag’s pyramid: exposition, rising action, climax, falling action, and denouement (resolution). Catalysts or inciting incidents disrupt the status quo. Foreshadowing plants clues for later events without spoiling. Dramatic irony occurs when the audience knows more than the characters. Other key devices include the soliloquy (character speaks thoughts aloud alone), the aside (direct address to audience while others are present), and the cliffhanger (unresolved ending). WJEC expects you to identify these structures and evaluate their impact on tension and engagement.

理解一个剧本是如何建构的是基础。大多数剧本遵循某种形式的弗雷塔格金字塔：开端、上升动作、高潮、下降动作和结局（解决）。催化事件或激励事件打破现状。伏笔为后续事件埋下线索而不至于剧透。戏剧性反讽发生在观众比角色知道得更多时。其他关键手法包括独白（角色独处时道出内心想法）、旁白（有其他人在场时直接向观众讲话）和悬念（未解决的结尾）。WJEC 期望你能识别这些结构并评估其对紧张感和代入感的影响。

8. Characterisation and Subtext | 角色塑造与潜台词

Character is built from the inside out. Given circumstances (the facts from the text about a character’s life) form the foundation. Objectives (what a character wants in each scene) and super-objectives (the overarching want throughout the play) drive action. Obstacles create conflict. Subtext is the unspoken thought beneath the dialogue — what a character really means. Two actors saying the same line with different subtexts produce entirely different meanings. An inner monologue can be written to explore this. Status can shift moment to moment; high-status characters often use stillness and eye contact, while low-status may fidget. WJEC rewards analysis that probes beyond surface dialogue.

角色是从内向外构建的。特定情境（文本中关于角色生活的已知事实）构成基础。单元目标（角色在每个场景中想要什么）和最高任务（贯穿全剧的总体愿望）驱动行动。障碍制造冲突。潜台词是对话之下未说出的想法——角色真正的意思。两个演员用不同的潜台词说同一句台词，会产生完全不同的含义。可以撰写内心独白来探索这一点。地位可以时刻变化；高地位角色常使用静止和眼神接触，而低地位角色可能显得局促不安。WJEC 奖励那些能探究表层对话背后含义的分析。

9. Genre and Style (Realism to Epic Theatre) | 类型与风格（现实主义到史诗剧）

Drama can be categorised by genre (tragedy, comedy, tragicomedy, farce, melodrama) and style (conventions that shape presentation). Naturalism aims for a totally lifelike illusion, pioneered by Stanislavski. Realism presents plausible, everyday life, often with social critique. Epic theatre, developed by Brecht, deliberately breaks the illusion with Verfremdungseffekt (alienation effect): direct address, placards, visible lighting, and songs that comment on the action. Theatre of the Absurd (Beckett, Ionesco) uses circular dialogue and meaningless situations to express existential ideas. WJEC requires you to recognise stylistic features and discuss how they shape meaning and audience response.

戏剧可以按类型（悲剧、喜剧、悲喜剧、闹剧、情节剧）和风格（塑造呈现方式的惯例）分类。自然主义追求完全逼真的幻觉，由斯坦尼斯拉夫斯基开创。现实主义呈现可信的日常生活，常带有社会批判。史诗剧，由布莱希特发展，故意用间离效果打破幻觉：直接向观众说话、标语牌、暴露的灯光、评论剧情的歌曲。荒诞派戏剧（贝克特、尤内斯库）使用循环对话和无意义情境表达存在主义思想。WJEC 要求你识别风格特征并讨论它们如何塑造意义与观众反应。

10. Key Theorists and Practitioners | 重要理论家与实践者

Several practitioners appear regularly in WJEC syllabi. Constantin Stanislavski developed a system based on emotional truth, including given circumstances, magic if, emotion memory, and circles of attention. Bertolt Brecht rejected empathy, aiming to make the audience think critically through gestus (a moment revealing social relations) and epic structure. Antonin Artaud sought a Theatre of Cruelty, assaulting the senses to unlock the subconscious. Jerzy Grotowski stripped theatre to its essence in Poor Theatre, focusing on the actor-audience relationship with minimal props. For the AS exam, be able to explain how a practitioner’s methods might be applied to a specific extract.

WJEC 大纲中会频繁出现几位实践者。康斯坦丁·斯坦尼斯拉夫斯基发展了一套基于情感真实的体系，包括特定情境、“假使”、情绪记忆和注意力圈。贝托尔特·布莱希特摒弃共情，旨在通过姿态（揭示社会关系的瞬间）和史诗结构促使观众批判性思考。安托南·阿尔托追求一种残酷戏剧，冲击感官以开启潜意识。耶日·格洛托夫斯基在质朴戏剧中剥去一切冗余，专注于演员与观众的关系，使用最少道具。对于 AS 考试，要能够解释如何将某一实践者的方法应用于具体片段。

11. Audience and Theatrical Space | 观众与剧场空间

The audience is never passive. Reception theory recognises that meaning is created in the meeting between performance and spectator. The choice of venue — a found space, a black-box studio, or a traditional theatre — conditions the entire experience. Site-specific theatre uses location to generate meaning, such as staging a play about shipbuilding in a dockyard. Immersive theatre removes the division between audience and performer, sometimes asking spectators to follow actors or make choices. WJEC assessment often includes explaining how you would configure the performance space for a particular audience effect, so vocabulary like sightlines, intimacy, and ambience matters.

观众从来不是被动的。接受理论承认意义是在演出与观众的相遇中产生的。演出场地的选择——一个现成空间、黑匣子剧场或传统剧院——决定了整个体验。在地性剧场利用地点生成意义，比如在船坞上演关于造船的戏。沉浸式戏剧消除了观众与表演者之间的界限，有时要求观众跟随演员或做出选择。WJEC 评估常包括解释你将如何为特定观众效果配置表演空间，因此视线、亲密度和氛围等词汇至关重要。

12. Rehearsal and Performance Vocabulary | 排练与表演词汇

Precision in rehearsal language saves time and deepens work. Warm-up activities prepare voice and body. Improvisation and hot-seating explore character. Role on the wall is a visual brainstorm of a character’s inner and outer qualities. Marking the moment highlights a key dramatic climax. Run-throughs (staggered or speed-run) build stamina. Technical rehearsals include cue-to-cue (jumping between lighting and sound cues) and the dress rehearsal (full costumes and technical elements). Phrases like ‘finding the spine’ (the character’s driving force) are useful in reflective logs. WJEC exams reward accurate use of this vocabulary when evaluating process.

排练语言的精确性可以节省时间并深化工作。热身活动准备声音和身体。即兴表演和坐针毡探索角色。墙上角色是角色内外品质的视觉化头脑风暴。强调瞬间突出关键的戏剧高潮。联排（分段跑或快速跑）积累耐力。技术排练包括逐点排（在灯光和音效提示间跳转）和彩排（完整服装与技术元素）。诸如“找到主轴”（角色的驱动力）等说法在反思日志中很有用。WJEC 考试奖励在评估过程时对这些词汇的准确运用。

Published by TutorHao | Drama Revision Series | aleveler.com

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