📚 IGCSE WJEC Drama: Quick Terminology Memorisation Guide | IGCSE WJEC 戏剧：词汇术语速记指南
Building a secure drama vocabulary is not just about passing a written examination; it is about giving yourself the precise language to describe, analyse and evaluate practical work. This guide groups essential WJEC IGCSE Drama terms into memorable categories so you can revise actively and use the right word at the right moment in devised work, scripted performance and written responses.
建立扎实的戏剧词汇不仅是为了通过笔试，更是为了让自己拥有精确的语言来描述、分析和评价实践作品。本指南将 WJEC IGCSE 戏剧的核心术语按主题归类，帮助你主动复习，并在创编、剧本表演和书面答题中准确使用。
1. Core Performance Terms | 核心表演术语
Characterisation means the choices an actor makes to build a role: voice, movement, gesture, facial expression, use of space and relationship with other characters. Effective characterisation always connects the outer behaviour to the inner motivation so the audience believes in the role.
角色塑造指演员为构建角色所做的选择：声音、动作、手势、面部表情、空间运用以及与其他角色的关系。有效的角色塑造总是将外部行为与内在动机联系起来，使观众相信这个角色。
Given circumstances are the facts in the world of the play, such as time, place, social background, relationships and immediate situation. Stanislavski used this term to remind actors that every decision on stage should respond to the specific conditions the character is living through.
规定情境指剧本世界中的事实，例如时间、地点、社会背景、人际关系和当前处境。斯坦尼斯拉夫斯基用这一术语提醒演员：舞台上的每一个决定都应回应角色正在经历的特定条件。
An objective is what a character wants in a scene, while a super-objective is the character’s overall desire across the whole play. Strong actors turn abstract emotions into active objectives by asking: What do I want the other character to do, feel or understand right now?
任务目标是角色在一场戏中想要得到的东西，而最高任务是角色在全剧中贯穿始终的总体欲望。优秀演员通过提问“我此刻想让另一个角色做什么、感受到什么或明白什么”，把抽象情绪转化为积极的任务目标。
Status refers to the perceived power or importance of a character in a scene. Status can be shown through posture, eye contact, voice, stillness, use of height and proximity, and it can shift quickly when a line or action changes the balance of power.
地位指角色在场景中被感知的权力或重要性。地位可以通过姿态、眼神接触、声音、静止、高度和距离的运用来表现，并且当一句台词或一个动作改变权力平衡时，它可以迅速变化。
2. Vocal Terminology | 声音术语
Pitch is how high or low the voice sounds. Changing pitch helps an actor show age, emotion, tension or social status. A sudden rise in pitch can suggest panic or excitement, while a lowered pitch often signals control, gravity or threat.
音高指声音听起来的高低。改变音高有助于演员表现年龄、情绪、紧张感或社会地位。音高突然升高可能暗示惊慌或兴奋，而音高降低往往表示控制、严肃或威胁。
Pace is the speed at which a line is delivered. Varying pace prevents a performance from becoming monotonous and can reveal a character’s emotional state: rapid speech may indicate anxiety, excitement or urgency, while slow speech may suggest caution, exhaustion or authority.
语速指台词表达的速度。变化语速可以避免表演单调，并能揭示角色的情绪状态：快速说话可能表示焦虑、兴奋或紧迫，而缓慢说话可能暗示谨慎、疲惫或权威。
Projection is not simply shouting; it is the controlled use of breath and resonance to fill a performance space so the audience can hear clearly. Projection allows an actor to be audible without damaging the voice or losing the nuance of a line.
声音投射不是简单的大喊，而是通过控制呼吸和共鸣来充满表演空间，使观众能够清晰听见。声音投射让演员在听得清楚的同时，不损伤嗓音，也不丢失台词的细微含义。
Intonation is the rise and fall pattern of the voice. It adds meaning beyond the literal words, so the same line can become sarcastic, sincere, questioning or threatening depending on how the actor shapes the melody of the sentence.
语调是声音上升和下降的模式。它能在字面意义之外增加含义，因此同一句台词根据演员塑造句子旋律的方式，可以变得讽刺、真诚、疑问或具有威胁性。
3. Physical and Movement Terms | 肢体与动作术语
Body language is the non-verbal communication of the whole body, including posture, stance, gesture and orientation. Examiners look for purposeful body language that reveals subtext, relationship and emotion rather than random or decorative movement.
肢体语言是整个身体的非语言交流，包括姿势、站立方式、手势和朝向。考官希望看到有目的的肢体语言，它揭示潜台词、关系和情感，而不是随意或装饰性的动作。
Gesture is a movement of a part of the body, especially the hands or head, that communicates meaning. A gesture can be realistic, such as pointing, or stylised, such as a repeated motif in physical theatre that represents an idea.
手势是身体某一部分尤其是手或头的动作，用来传达意义。手势可以是写实的，如指路，也可以是风格化的，如肢体剧场中反复出现并代表某种概念的动作母题。
Proxemics is the study of how characters use space and distance between one another on stage. Moving closer can increase intimacy or threat; moving away can signal fear, rejection or loss of power. Blocking decisions often depend on proxemic relationships.
空间关系学是研究角色如何在舞台上使用空间和彼此距离的术语。靠近可以增加亲密感或威胁感；远离可以表示恐惧、拒绝或失去权力。舞台调度决策往往取决于空间关系。
Facial expression is one of the quickest ways to show emotion, but it must be controlled and sustained. A slight change in the eyes, mouth or brow can reveal what a character really thinks, especially when it contradicts the spoken line.
面部表情是表现情绪最快的方式之一，但必须受到控制并保持稳定。眼睛、嘴巴或眉毛的细微变化可以揭示角色的真实想法，尤其是当它与说出的台词相矛盾时。
4. Stage Directions and Areas | 舞台方位与区域
Stage directions are the instructions in a script that tell actors where and how to move. In English-speaking theatre, ‘stage left’ and ‘stage right’ are from the actor’s perspective when facing the audience, while ‘upstage’ is away from the audience and ‘downstage’ is toward the audience.
舞台指示是剧本中告诉演员在哪里以及如何移动的说明。在英语戏剧中，’stage left’ 和 ‘stage right’ 是演员面对观众时的左右，而 ‘upstage’ 是远离观众的方向，’downstage’ 是朝向观众的方向。
Centre stage is the strongest position because it draws the audience’s focus. Placing an actor downstage centre often gives that character power or importance, while moving a character upstage can reduce focus and suggest isolation or withdrawal.
舞台中央是最有力的位置，因为它吸引观众的注意力。将演员安排在舞台前部中央通常会赋予该角色权力或重要性，而将角色移到舞台后部则会减少关注，可能暗示孤立或退缩。
Blocking is the planned movement and positioning of actors on stage. It is usually decided by the director in rehearsal and recorded in the prompt book. Clear blocking ensures that sightlines are good, focus is controlled and the story is told visually.
舞台调度是演员在舞台上经过设计的移动和定位。它通常由导演在排练中决定并记录在提示本中。清晰的舞台调度能确保视线良好、焦点可控，并通过视觉讲述故事。
Common stage configurations include end-on, thrust, traverse, in-the-round and promenade. Each configuration changes the audience’s relationship with the action, so actors and designers must adapt projection, blocking and set to suit the space.
常见的舞台形式包括镜框式、伸出式、横向式、圆形舞台和流动式。每种形式都会改变观众与表演的关系，因此演员和设计师必须调整声音投射、调度和布景以适应空间。
5. Rehearsal and Devising Terms | 排练与创编术语
A stimulus is the starting point for devised work, such as a poem, photograph, news story, piece of music or object. Good devising teams return to the stimulus throughout the process to make sure their choices still connect to the original idea.
刺激物是创编作品的起点，例如一首诗、一张照片、一则新闻、一段音乐或一件物品。优秀的创编团队会在整个过程中反复回到刺激物，以确保他们的选择始终与原始想法相关。
Devising is the process of creating original performance material collaboratively, without starting from a fixed script. It usually involves research, improvisation, selection, structuring, refining and polishing material into a finished piece.
创编是在没有固定剧本的情况下，通过合作创造原创表演材料的过程。它通常包括调研、即兴创作、筛选、结构搭建、修改和打磨，最终形成完整的作品。
Hot-seating is a rehearsal technique in which an actor answers questions in role while other performers or the director ask questions. It deepens understanding of a character’s background, attitudes and relationships.
坐针毡是一种排练技巧，演员以角色身份回答问题，其他演员或导演提问。它能加深对角色背景、态度和关系的理解。
Thought-tracking is a technique in which the action is paused and a character speaks their inner thoughts aloud. It reveals subtext and can help actors understand the difference between what a character says and what they actually feel.
思维追踪是一种技巧，在动作暂停时角色大声说出内心想法。它揭示潜台词，并帮助演员理解角色所说的话与真实感受之间的区别。
6. Script and Structure Terms | 剧本与结构术语
Subtext is the underlying meaning beneath the spoken words. A line such as ‘I am fine’ can carry subtext of anger, sadness, fear or dismissal depending on delivery, timing and physical action.
潜台词是台词之下隐藏的含义。像 ‘I am fine’ 这样的台词，根据表达方式、时机和肢体动作，可能带有愤怒、悲伤、恐惧或拒绝的潜台词。
A monologue is a long speech delivered by one character, usually with other characters present on stage. A soliloquy is also a speech by one character, but it is spoken alone on stage and is often used to reveal private thoughts directly to the audience.
独白是一个角色发表的长段台词，通常其他角色仍在舞台上。内心独白也是一个角色的台词，但角色独自在舞台上说出，常用来直接向观众揭示私人想法。
A cue is a signal for an actor to speak or move, or for a technical element to happen. Missing a cue can break the rhythm of a scene, so actors and technicians must listen and watch carefully during performance.
提示是演员说话或移动，或技术元素发生的信号。错过提示会破坏场景的节奏，因此演员和技术人员在演出中必须仔细倾听和观察。
Dramatic climax is the moment of highest tension or conflict in a scene or play. The structure of many scripts can be described as exposition, rising action, climax, falling action and resolution.
戏剧高潮是一场戏或整部剧中张力或冲突最强的时刻。许多剧本的结构可以描述为开端、上升行动、高潮、下降行动和结局。
7. Design and Technical Terms | 设计与技术术语
Set design is the creation of the performance environment, including levels, entrances, colours, textures and furniture. A set should support the play’s style and period, and it should leave enough space for the actors to move safely and expressively.
舞台布景设计是表演环境的创造，包括平台层次、出入口、色彩、质感和家具。布景应支持剧本的风格和时代，并应留出足够空间让演员安全且富有表现力地移动。
Lighting states are different lighting looks used during a performance. A lighting designer uses intensity, colour, angle and focus to create mood, indicate time of day, isolate a character or shift the audience’s attention.
灯光状态是演出中使用的不同灯光效果。灯光设计师运用亮度、颜色、角度和焦点来营造情绪、表示一天中的时间、隔离某个角色或转移观众的注意力。
Soundscape is a layered sound environment made from live or recorded sound, often used in devised work to establish atmosphere, location or emotional tone. It can include music, ambient noise, voice and abstract sound effects.
音景是由现场或录制声音构成的分层声音环境，常用于创编作品以建立氛围、地点或情绪基调。它可以包括音乐、环境噪音、人声和抽象音效。
Props are objects handled by actors, while set dressing includes items that decorate the stage but are not used. Costume includes clothing, accessories and sometimes make-up and hair choices that reveal character, period and status.
道具是演员拿在手中使用的物品，而舞台陈设则包括装饰舞台但不被使用的物品。服装包括衣物、配饰，有时还包括妆容和发型选择，用以揭示角色、时代和地位。
8. Directing and Blocking Terms | 导演与调度术语
The director is responsible for the overall artistic vision of a production. They lead rehearsals, interpret the script or stimulus, guide actors, coordinate with designers and ensure that all elements communicate the intended meaning to the audience.
导演负责一部作品的整体艺术构想。他们主导排练，解读剧本或刺激物，指导演员，与设计师协调，并确保所有元素向观众传达预期的意义。
Focus is the point that the audience’s attention is drawn to at any moment. Directors create focus through lighting, blocking, levels, contrast and the position of actors, making sure the audience is looking where the story requires it.
焦点是观众在某一时刻被吸引到的关注点。导演通过灯光、调度、层次、对比和演员位置来制造焦点，确保观众看向故事需要的地方。
Sightlines are the lines of vision from different audience seats to the stage. Directors and designers must consider sightlines so that important action is not blocked by furniture, other actors or the set itself.
视线是从不同观众座位看向舞台的视线范围。导演和设计师必须考虑视线，确保重要动作不被家具、其他演员或布景本身挡住。
Marking the moment is a technique used in physical theatre and devising where a key moment is emphasised through stillness, slow motion, repetition or a change in light and sound. It makes the audience feel that a particular action is significant.
标记时刻是肢体剧场和创编中使用的一种技巧，通过静止、慢动作、重复或灯光与声音的变化来强调关键时刻。它让观众感到某个动作意义重大。
9. Genre, Style and Conventions | 体裁、风格与惯例
Naturalism is a style that tries to recreate everyday life on stage as truthfully as possible. Settings, speech and behaviour aim to be believable, and the fourth wall, an imaginary barrier between stage and audience, is usually maintained.
自然主义是一种尽可能真实地在舞台上再现日常生活的风格。场景、语言和行为力求可信，并且通常保持第四面墙，即舞台与观众之间想象的屏障。
Epic theatre, associated with Brecht, aims to make the audience think critically rather than become emotionally absorbed. It uses techniques such as direct address, placards, song, narration and the alienation effect to remind the audience they are watching a play.
史诗剧场与布莱希特相关，旨在让观众进行批判性思考，而不是完全投入情感。它使用直接对观众说话、标语牌、歌曲、叙述和间离效果等技巧，提醒观众他们正在观看一出戏。
Physical theatre is a style in which movement, gesture and visual imagery are as important as words. Companies such as Frantic Assembly use lifts, contact work, chair duets and ensemble movement to tell stories through the body.
肢体剧场是一种动作、手势和视觉图像与语言同等重要的风格。Frantic Assembly 等剧团使用托举、接触动作、椅子双人舞和集体动作，通过身体讲述故事。
A convention is an accepted technique or device used in performance, such as a tableau, narration, flashback, split scene or slow motion. Knowing conventions helps you choose effective ways to shape meaning in devised work.
惯例是表演中被接受的技巧或手段，例如静态画面、叙述、闪回、分割场景或慢动作。了解惯例能帮助你选择有效的方式来塑造创编作品的意义。
10. Exam Command Words and Analytical Terms | 考试指令词与分析术语
Describe means give a detailed account of what happened or what you did. In written responses, avoid vague comments and instead include precise examples of movement, voice, space or design choices.
描述指详细说明发生了什么或你做了什么。在书面答题中，避免模糊的评论，而要给出动作、声音、空间或设计选择的具体例子。
Explain means give reasons for a choice or effect. For example, do not only state that you used a red light; explain that red lighting suggested danger and increased tension in the confrontation scene.
解释指说明某个选择或效果的原因。例如，不要只说使用了红色灯光，而要解释红色灯光暗示了危险，并在冲突场景中增强了紧张感。
Evaluate means make a judgement about how successful something was. Use evidence from the performance and consider what worked, what did not work and how the piece could be improved.
评价指对某个方面的成功程度作出判断。使用表演中的证据，并考虑哪些有效、哪些无效，以及作品可以如何改进。
Analyse means break down a performance or design into parts and examine how those parts create meaning. A strong analysis links the actor’s use of voice and movement to the audience’s understanding of character and theme.
分析指将表演或设计拆解为各个部分，并考察这些部分如何创造意义。强有力的分析会将演员对声音和动作的运用与观众对角色和主题的理解联系起来。
11. Common Practitioner Vocabulary | 常见实践者词汇
Stanislavski’s system includes terms such as given circumstances, objective, super-objective, tempo-rhythm, emotional memory and the magic if. The magic if asks the actor to imagine: what would I do if I were in this character’s situation?
斯坦尼斯拉夫斯基体系包括规定情境、任务目标、最高任务、速度节奏、情绪记忆和神奇的如果等术语。神奇的如果要求演员想象：如果我处在角色的处境中，我会怎么做？
Brecht’s Verfremdungseffekt, or alienation effect, is designed to prevent the audience from losing itself in the story. Actors may step out of role, comment on actions, or use placards and songs to make familiar events seem strange and open to question.
布莱希特的间离效果旨在防止观众完全沉浸在故事中。演员可以跳出角色、评论行动，或使用标语牌和歌曲，使熟悉的事件显得陌生并值得质疑。
Frantic Assembly’s building blocks include chair duets, round-by-through, lifts and contact improvisation. These techniques build trust, precision and physical confidence, and they can be used to generate material for devised performances.
Frantic Assembly 的基本训练模块包括椅子双人舞、绕-经-穿、托举和接触即兴。这些技巧建立信任、精确性和身体自信，并可用于为创编表演生成素材。
12. Quick Memory Tips | 速记技巧
Group terms by opposites or pairs: upstage and downstage, pitch and pace, naturalism and epic theatre, objective and super-objective. Creating contrasts helps your brain store and quickly retrieve the right word under exam pressure.
将术语按反义或配对分组：舞台后部与舞台前部、音高与语速、自然主义与史诗剧场、任务目标与最高任务。制造对比有助于大脑储存并在考试压力下快速提取正确的词汇。
Use the phrase ‘Vocal, Physical, Spatial, Design’ to check that your written analysis covers more than one aspect of performance. For each key moment, ask what the actor did with voice, body and space, and how design supported it.
使用“声音、身体、空间、设计”这一短语来检查书面分析是否涵盖表演的多个方面。对于每个关键时刻，问一问演员在声音、身体和空间上做了什么，以及设计如何支持了它。
Turn passive revision into active recall: write a term, cover the definition, say it aloud, then check. Better still, use the term in a sentence about your own practical work because applying vocabulary to personal experience makes it stick.
把被动复习变成主动回忆：写出一个术语，盖住定义，大声说出来，然后检查。更好的是，在谈论自己实践作业的句子中使用该术语，因为把词汇应用到个人经历中会记得更牢。
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