1. THE BIG BIG DRAMA QUIZ SEE IF YOU CAN REMEMBER THE DEFINITION FOR THE DRAMA TERMS…

2. PART 1: DRAMA FORMS

3. PLAY SCRIPTED OR IMPROVISED
DIALOGUE, WITH CHARACTERS AND A NARRATIVE

4. A DRAMA WHICH IS FUNNY/COMICAL
COMEDY
A DRAMA WHICH IS
FUNNY/COMICAL

5. A DRAMA PRESENTED THROUGH DANCE MOVEMENTS
DANCE DRAMA
A DRAMA PRESENTED THROUGH DANCE MOVEMENTS

6. A DOCUMENTARY STYLE DRAMA WITH RECONSTRUCTION OF EVENTS
DOCU-DRAMA
A DOCUMENTARY STYLE DRAMA WITH RECONSTRUCTION OF EVENTS

7. A PLAY WHERE THE AUDIENCE SUGGEST CHANGES TO EFFECT THE OUTCOMES
FORUM THEATRE
A PLAY WHERE THE AUDIENCE SUGGEST CHANGES TO EFFECT THE OUTCOMES

8. STYLISED MOVEMENT TO CREATE THE ILLUSION OF REALITY
MIME
STYLISED MOVEMENT TO CREATE THE ILLUSION OF REALITY

9. A CHARACTER SPEAKS THEIR THOUGHTS ALOUD
MONOLOGUE
A CHARACTER SPEAKS THEIR THOUGHTS ALOUD

10. MUSICAL
DRAMA INCLUDING SONG

11. CHRISTMAS THEATRICAL ENTERTAINMENT USUALLY BASED ON A FAIRYTALE
PANTOMIME
CHRISTMAS THEATRICAL ENTERTAINMENT USUALLY BASED ON A FAIRYTALE

12. A DRAMA ABOUT UNHAPPY EVENTS AND WITH A SAD ENDING
TRAGEDY
A DRAMA ABOUT UNHAPPY EVENTS AND WITH A SAD ENDING

13. USING THE BODY AS THE SOLE MEANS OF COMMUNICATION
MOVEMENT
USING THE BODY AS THE SOLE MEANS OF COMMUNICATION

14. PART 2: CONVENTIONS

15. A REMARK TO THE AUDIENCE ONLY
ASIDE
A REMARK TO THE AUDIENCE ONLY

16. ACTING OUT AN EVENT IN THE PAST
FLASHBACK
ACTING OUT AN EVENT IN THE PAST

17. ACTING OUT A FUTURE OR IMAGINED EVENT
FLASHFORWARD
ACTING OUT A FUTURE OR IMAGINED EVENT

18. AN ACTION FROZEN IN TIME
FREEZE FRAME
AN ACTION FROZEN IN TIME

19. AN IMAGE, CREATED ON STAGE, HELD WITHOUT MOVEMENT
FROZEN PICTURE
AN IMAGE, CREATED ON STAGE, HELD WITHOUT MOVEMENT

20. STYLISED MOVEMENT WHICH CREATES THE ILLUSION OF REALITY
MIME
STYLISED MOVEMENT WHICH CREATES THE ILLUSION OF REALITY

21. WHEN A CHARACTER SPEAKS THEIR THOUGHT ALOUD
MONOLOGUE
WHEN A CHARACTER SPEAKS THEIR THOUGHT ALOUD

22. USE OF THE BODY AS THE SOLE MEANS OF COMMUNICATION
MOVEMENT
USE OF THE BODY AS THE SOLE MEANS OF COMMUNICATION

23. WHEN PARTS OF THE STORY ARE TOLD BY A NARRATOR
NARRATION
WHEN PARTS OF THE STORY ARE TOLD BY A NARRATOR

24. MOVEMENT PERFORMED AT A SLOWED DOWN SPEED
SLOW MOTION
MOVEMENT PERFORMED AT A SLOWED DOWN SPEED

25. A LENGTHY SPEECH MADE WHEN NO OTHER CHARACTERS ARE ON STAGE
SOLILOQUY
A LENGTHY SPEECH MADE WHEN NO OTHER CHARACTERS ARE ON STAGE

26. TABLEAU (CREDIT TERM FOR A FROZEN PICTURE)
AN IMAGE, CREATED ON STAGE, HELD WITHOUT MOVEMENT

27. PART 3: VOICE TERMS

28. WAY OF SPEAKING IN A LOCAL AREA OR COUNTRY
ACCENT
WAY OF SPEAKING IN A LOCAL AREA OR COUNTRY

29. CLEAR PRONUNCIATION OF WORDS
ARTICULATION
CLEAR PRONUNCIATION OF WORDS

30. CLARITY
CLEARNESS OF THE VOICE

31. A CONVERSATION BETWEEN TWO OR MORE CHARACTERS
DIALOGUE
A CONVERSATION BETWEEN TWO OR MORE CHARACTERS

32. THE STRESS ON A WORD OR PHRASE
EMPHASIS
THE STRESS ON A WORD OR PHRASE

33. NATURAL, FLOWING SPEECH
FLUENCY
NATURAL, FLOWING SPEECH

34. RISING AND FALLING OF THE VOICE IN SPEECH
INTONATION
RISING AND FALLING OF THE VOICE IN SPEECH

35. SPEED OF SPEECH OR MOVEMENT
PACE
SPEED OF SPEECH OR MOVEMENT

36. A BREAK IN SPEAKING; A PERIOD OF SILENCE
PAUSE
A BREAK IN SPEAKING; A PERIOD OF SILENCE

37. HOW HIGH OR LOW THE VOICE IS
PITCH
HOW HIGH OR LOW THE VOICE IS

38. REGISTER
APPROPRIATE SPEECH FOR THE PERSON BEING SPOKEN TO, OR FOR THE SITUATION

39. A LOUD WHISPER INTENDED TO BE HEARD BY THE AUDIENCE
STAGE WHISPER
A LOUD WHISPER INTENDED TO BE HEARD BY THE AUDIENCE

40. SPEAKING, MOVING OR PAUSING AT EXACTLY THE RIGHT MOMENT
TIMING
SPEAKING, MOVING OR PAUSING AT EXACTLY THE RIGHT MOMENT

41. CHANGING OF VOICE TO EXPRESS EMOTION
TONE
CHANGING OF VOICE TO EXPRESS EMOTION

42. LOUDNESS OR QUIETNESS OF THE VOICE
VOLUME
LOUDNESS OR QUIETNESS OF THE VOICE

43. PART 4 SET DESIGN TERMS

44. CANVAS CLOTH WHICH COVERS THE BACK OF THE STAGE, CAN BE PAINTED
BACK CLOTH
CANVAS CLOTH WHICH COVERS THE BACK OF THE STAGE, CAN BE PAINTED

45. BAR
HORIZONTALLY FLOWN ROD (USUALLY METAL) FROM WHICH SCENERY, LIGHTING AND OTHER EQUIPMENT IS SUSPENDED

46. AREA OF SCENIC CANVAS HANGING VERTICALLY
CLOTH
AREA OF SCENIC CANVAS HANGING VERTICALLY

47. THE BACK WALL OF THE STAGE WHICH CAN BE PAINTED OR LIT
CYCLORAMA
THE BACK WALL OF THE STAGE WHICH CAN BE PAINTED OR LIT

48. THE AREA OF THE STAGE CLOSEST TO THE AUDIENCE
DOWNSTAGE
THE AREA OF THE STAGE CLOSEST TO THE AUDIENCE

49. A PLACE ON THE SET THROUGH WHICH THE ACTOR MAY APPEAR ON STAGE
ENTRANCE
A PLACE ON THE SET THROUGH WHICH THE ACTOR MAY APPEAR ON STAGE

50. A PLACE ON THE SET THROUGH WHICH THE ACTOR MAY LEAVE THE STAGE
EXIT
A PLACE ON THE SET THROUGH WHICH THE ACTOR MAY LEAVE THE STAGE

51. THE ACTING AREA IS NOT LIT
BLACKOUT
THE ACTING AREA IS NOT LIT

52. THE LIGHTING/SOUND IS FADED OUT SLOWLY
SLOW FADE TO…
THE LIGHTING/SOUND IS FADED OUT SLOWLY

53. THE LIGHTING/SOUND IS FADED OUT QUICKLY
FAST FADE TO…
THE LIGHTING/SOUND IS FADED OUT QUICKLY

54. BLACKOUT IS ACHIEVED INSTANTLY
SNAP TO…
BLACKOUT IS ACHIEVED INSTANTLY

55. TO CHANGE FROM ONE LIGHTING CUE TO ANOTHER WITH NO BLACKOUT IN BETWEEN
CROSSFADE
TO CHANGE FROM ONE LIGHTING CUE TO ANOTHER WITH NO BLACKOUT IN BETWEEN

56. LANTERN GIVING A WIDE SPREAD OF LIGHT
FLOOD
LANTERN GIVING A WIDE SPREAD OF LIGHT

57. FILM PLACED IN FRONT OF THE LANTERN TO CHANGE THE COLOUR OF THE BEAM
GEL
FILM PLACED IN FRONT OF THE LANTERN TO CHANGE THE COLOUR OF THE BEAM

58. SPOTLIGHT
BEAM OF LIGHT CREATED BY A LANTERN FOR A PERSON OR PLACE ON THE ACTING AREA

59. POSITIONING THE LANTERNS TO GET THE DESIRED LIGHTING
FOCUSSING
POSITIONING THE LANTERNS TO GET THE DESIRED LIGHTING

60. POWERFUL PROFILE USED TO FOLLOW ACTORS AROUND THE ACTING AREA
FOLLOW SPOT
POWERFUL PROFILE USED TO FOLLOW ACTORS AROUND THE ACTING AREA

61. LANTERN GIVING A SOFT EDGED BEAM OF LIGHT
FRESNEL SPOT
LANTERN GIVING A SOFT EDGED BEAM OF LIGHT

62. THE QUICK WAY TO WRITE ‘LIGHTING EFFECTS’
LFX
THE QUICK WAY TO WRITE ‘LIGHTING EFFECTS’

63. CONTROL BOARD FOR THE LIGHTING
LIGHTING DESK
CONTROL BOARD FOR THE LIGHTING

64. LANTERN GIVING A HARD EDGED BEAM OF LIGHT
PROFILE SPOT
LANTERN GIVING A HARD EDGED BEAM OF LIGHT

65. THE WHOLE ACTING AREA IS EVENLY LIT
WASH
THE WHOLE ACTING AREA IS EVENLY LIT

66. BARNDOORS
ADJUSTABLE METAL FLAPS ATTACHED TO THE FRONT OF A FRESNEL SPOTLIGHT USED FOR SHAPING THE BEAM OF LIGHT

67. CLAMP USED TO SECURE THE LANTERN TO A LIGHTING BAR OR STAND
G-CLAMP
CLAMP USED TO SECURE THE LANTERN TO A LIGHTING BAR OR STAND

68. GOBO
THIN METAL PLATE CUT OUT IN A PATTERN AND PLACED IN A LANTERN TO PROJECT PATTERN OR SHAPE ONTO THE ACTING AREA

69. PYROTECHNICS
STAGE FIREWORKS

70. USED TO ATTACH A LANTERN TO THE LIGHTING BAR FOR SAFETY
SAFETY CHAIN
USED TO ATTACH A LANTERN TO THE LIGHTING BAR FOR SAFETY

71. SPECIAL EFFECTS
USED TO CREATE A MOOD OR ATMOSPHERE ON STAGE E.G. STROBE LIGHT, MIRROR BALL, SMOKE MACHINE

72. PART 4 – MOVEMENT TERMS

73. MESSAGES GIVEN BY THE POSITION OR MOVEMENT OF THE BODY
BODY LANGUAGE
MESSAGES GIVEN BY THE POSITION OR MOVEMENT OF THE BODY

74. LOOK ON THE FACE WHICH SHOWS EMOTION
FACIAL EXPRESSION
LOOK ON THE FACE WHICH SHOWS EMOTION

75. USE OF THE BODY AS A MEANS OF COMMUNICATION
MOVEMENT
USE OF THE BODY AS A MEANS OF COMMUNICATION

76. SPEED OF SPEECH OR MOVEMENT
PACE
SPEED OF SPEECH OR MOVEMENT

77. POSITION OF THE BODY- HOW IT IS HELD
POSTURE
POSITION OF THE BODY-
HOW IT IS HELD

78. MOVEMENTS WHICH FOLLOW A PATTERN OR BEAT
RHYTHM
MOVEMENTS WHICH FOLLOW A PATTERN OR BEAT

79. ATTITUDE OR POSITION OF THE BODY
STANCE
ATTITUDE OR POSITION OF THE BODY

80. HERE ARE ALL THE VOCAB TERMS FROM A-Z! HOW MANY DO YOU KNOW?
PART 5 – A-Z QUIZ
HERE ARE ALL THE VOCAB TERMS FROM A-Z!
HOW MANY DO YOU KNOW?

81. WAY OF SPEAKING USED IN A LOCAL AREA OR COUNTRY
ACCENT
WAY OF SPEAKING USED IN A LOCAL AREA OR COUNTRY

82. CLEAR PRONUNCIATION OF WORDS
ARTICULATION
CLEAR PRONUNCIATION OF WORDS

83. A REMARK TO THE AUDIENCE ONLY
ASIDE
A REMARK TO THE AUDIENCE ONLY

84. THE PEOPLE WATCHING THE DRAMA
AUDIENCE
THE PEOPLE WATCHING THE DRAMA

85. THE AREA FOR THE AUDIENCE, GENERALLY FILLED WITH SEATS
AUDITORIUM
THE AREA FOR THE AUDIENCE, GENERALLY FILLED WITH SEATS

86. AUDIENCE SEATED ON TWO SIDES OF THE ACTING AREA
AVENUE
AUDIENCE SEATED ON TWO SIDES OF THE ACTING AREA

87. CANVAS CLOTH WHICH COVERS THE BACK OF THE STAGE: CAN BE PAINTED
BACKCLOTH
CANVAS CLOTH WHICH COVERS THE BACK OF THE STAGE: CAN BE PAINTED

88. NON-ACTING AREA BEHIND THE STAGE
BACKSTAGE
NON-ACTING AREA BEHIND THE STAGE

89. KEEPING AN EVEN DISTRIBUTION OF WEIGHT
BALANCE
KEEPING AN EVEN DISTRIBUTION OF WEIGHT

90. BARNDOORS
ADJUSTABLE METAL FLAPS ATTACHED TO THE FRONT OF A FRESNEL SPOTLIGHT USED FOR SHAPING THE BEAM OF LIGHT

91. THE ACTING AREA IS NOT LIT
BLACKOUT
THE ACTING AREA IS NOT LIT

92. DECIDING WHERE AND WHEN THE ACTORS WILL MOVE ON STAGE
BLOCKING
DECIDING WHERE AND WHEN THE ACTORS WILL MOVE ON STAGE

93. MESSAGES GIVEN BY THE POSITION OR MOVEMENT OF THE BODY
BODY LANGUAGE
MESSAGES GIVEN BY THE POSITION OR MOVEMENT OF THE BODY

94. THE CENTRE AREA OF THE STAGE
CENTRE STAGE (CS)
THE CENTRE AREA OF THE STAGE

95. CENTRE STAGE LEFT (CSL)
THE LEFT HAND CENTRE SIDE OF THE ACTING AREA AS THE ACTOR FACES THE AUDIENCE

96. CENTRE STAGE RIGHT (CSR)
THE RIGHT HAND SIDE OF THE ACTING AREA AS THE ACTOR FACES THE AUDIENCE

97. SPECIFIC PERSON IN THE DRAMA
CHARACTER
SPECIFIC PERSON IN THE DRAMA

98. THE PROCESS OF FULLY DEVELOPING A CHARACTER
CHARACTERISATION
THE PROCESS OF FULLY DEVELOPING A CHARACTER

99. CLARITY
CLEARNESS OF THE VOICE

100. A DRAMA WHICH IS FUNNY/COMICAL
COMEDY
A DRAMA WHICH IS FUNNY/COMICAL

101. ALTERNATIVE WAYS OF PRESENTING THE DRAMA
CONVENTIONS
ALTERNATIVE WAYS OF PRESENTING THE DRAMA

102. CLOTHES WORN BY ACTORS FOR THEIR CHARACTER
COSTUME
CLOTHES WORN BY ACTORS FOR THEIR CHARACTER

103. CREATING
THE PROCESS OF DEVELOPING A DRAMAS CONTENT AND ROLES THROUGH PRACTICAL EXPLORATION, EXPERIMENTATION AND PROBLEM SOLVING

104. CROSSFADE
TO CHANGE FORM ON LIGHTING CUE OR SOUND CUE WITH NO BLACKOUT IN BETWEEN

105. CUE
A SIGNAL FOR AN ACTOR TO DO OR SAY SOMETHING, OR FOR A LIGHTING OR SOUND CUE TO BEGIN OR END

106. THE BACK WALL OF THE STAGE WHICH CAN BE PAINTED OR LIT
CYCLORAMA
THE BACK WALL OF THE STAGE WHICH CAN BE PAINTED OR LIT

107. A DRAMA PRESENTED THROUGH DANCE MOVES
DANCE DRAMA
A DRAMA PRESENTED THROUGH DANCE MOVES

108. A CONVERSATION BETWEEN TWO OR MORE CHARACTERS
DIALOGUE
A CONVERSATION BETWEEN TWO OR MORE CHARACTERS

109. A DOCUMENTARY STYLE DRAMA, INCLUDING RECONSTRUCTIONS OF EVENTS
DOCU-DRAMA
A DOCUMENTARY STYLE DRAMA, INCLUDING RECONSTRUCTIONS OF EVENTS

110. DOWN STAGE CENTRE (DSC)
THE MIDDLE PART OF THE STAGE NEAREST THE AUDIENCE

111. DOWN STAGE LEFT (DSL)
THE PART OF THE STAGE NEAREST THE AUDIENCE ON THE LEFT AS THE ACTOR FACES THE AUDIENCE

112. DOWN STAGE RIGHT (DSR)
THE PART OF THE STAGE NEAREST THE AUDIENCE ON THE RIGHT AS THE ACTOR FACES THE AUDIENCE

113. DRAMATIC IRONY
ACTIONS OR REMARKS WHOSE SIGNIFICANCE IS NOT REALISED BY ALL OF THE CHARACTERS

114. FINAL REHEARSAL OF A DRAMA WITH ALL OF THE THEATRE ARTS
DRESS REHEARSAL
FINAL REHEARSAL OF A DRAMA WITH ALL OF THE THEATRE ARTS

115. THE STRESS ON A WORD OR PHRASE
EMPHASIS
THE STRESS ON A WORD OR PHRASE

116. AUDIENCE SEATED AT ON END – ACTING AREA AT THE OTHER
END ON
AUDIENCE SEATED AT ON END –
ACTING AREA AT THE OTHER

117. ENTER
TO COME ON STAGE

118. TO JUDGE THE STRENGTHS AND WEAKNESSES OF THE DRAMA
EVALUATE
TO JUDGE THE STRENGTHS AND WEAKNESSES OF THE DRAMA

119. EXIT
LEAVE THE ACTING AREA

120. LOOK ON THE FACE WHICH SHOWS EMOTION
FACIAL EXPRESSION
LOOK ON THE FACE WHICH SHOWS EMOTION

121. ACTING OUT AN EVENT IN THE PAST
FLASHBACK
ACTING OUT AN EVENT IN THE PAST

122. ACTING OUT OF A FUTURE OR IMAGINED EVENT
FLASHFORWARD
ACTING OUT OF A FUTURE OR IMAGINED EVENT

123. FLATS
WOODEN FRAMES, JOINED TOGETHER AND COVERED WITH CANVAS, WHICH CAN BE PAINTED

124. FRAMES INTO WHICH A DOOR IS BUILT
DOOR FLAT
FRAMES INTO WHICH A DOOR IS BUILT

125. FRAMES INTO WHICH A WINDOW IS BUILT
WINDOW FLAT
FRAMES INTO WHICH A WINDOW IS BUILT

126. FLIES
AREA ABOVE THE STAGE FROM WHERE THE SCENERY/ACTORS ARE FLOWN IN ON PULLYS

127. LANTERN GIVING A WIDE SPREAD OF LIGHT
FLOOD
LANTERN GIVING A WIDE SPREAD OF LIGHT

128. NATURAL, FLOWING SPEECH
FLUENCY
NATURAL, FLOWING SPEECH

129. KEY MOMENT, SCENE, CHARACTER, RELATIONSHIP OR EVENT IN A DRAMA
FOCUS
KEY MOMENT, SCENE, CHARACTER, RELATIONSHIP OR EVENT IN A DRAMA

130. POSITIONING THE LANTERNS TO GET THE DESIRED LIGHTING
FOCUSSING
POSITIONING THE LANTERNS TO GET THE DESIRED LIGHTING

131. POWERFUL PROFILE USED TO FOLLOW ACTORS AROUND THE ACTING AREA
FOLLOW SPOT
POWERFUL PROFILE USED TO FOLLOW ACTORS AROUND THE ACTING AREA

132. THE OVERALL STYLE OF THE DRAMA
FORM
THE OVERALL STYLE OF THE DRAMA

133. FORUM THEATRE
THE AUDIENCE SUGGESTS CHANGES TO THE DRAMA IN ORDER TO AFFECT THE OUTCOME

134. THE ACTION IS FROZEN IN TIME
FREEZE FRAME
THE ACTION IS FROZEN IN TIME

135. LANTERN GIVING A SOFT EDGED BEAM OF LIGHT
FRESNEL SPOT
LANTERN GIVING A SOFT EDGED BEAM OF LIGHT

136. FRONT OF HOUSE (FOH)
ANY JOB IN THE THEATRE WHICH INVOLVES DEALING WITH THE AUDIENCE (E.G. BOX OFFICE, REFRESHMENTS)

137. FOUNDATION WORD FOR TABLEAU. A STAGE PICTURE, HELD WITHOUT MOVEMENT
FROZEN PICTURE
FOUNDATION WORD FOR TABLEAU. A STAGE PICTURE, HELD WITHOUT MOVEMENT

138. GAUZE
SEE THROUGH MATERIAL WHICH CANNOT BE SEEN THROUGH WHEN LIT FROM THE FRONT, BUT CAN BE SEEN THROUGH WHEN LIT FROM BEHIND

139. CLAMP USED TO SECURE LANTERN TO LIGHTING BAR OR STAND
G-CLAMP
CLAMP USED TO SECURE LANTERN TO LIGHTING BAR OR STAND

140. FILM PLACED IN FRONT OF A LANTERN TO CHANGE THE COLOUR OF THE BEAM
GEL
FILM PLACED IN FRONT OF A LANTERN TO CHANGE THE COLOUR OF THE BEAM

141. MOVEMENT OF THE HAND OR ARM WHICH COMMUNICATES A MEANING OR AN EMOTION
GESTURE
MOVEMENT OF THE HAND OR ARM WHICH COMMUNICATES A MEANING OR AN EMOTION

142. GOBO
THIN METAL PLATE CUT OUT IN A PATTERN AND PLACED IN A LANTERN TO PROJECT A PATERN OR SHAPE INTO THE ACTING AREA

143. GROUND PLAN
BIRD’S EYE VIEW OF THE SET SHOWING WHAT IS ON THE SET, ENTRANCES/EXITS AND THE POSITIONING OF THE AUDIENCE

144. QUESTIONING A CHARACTER IN ROLE
HOT-SEATING
QUESTIONING A CHARACTER IN ROLE

145. THE RISING A FALLING OF THE VOICE IN SPEECH
INTONATION
THE RISING A FALLING OF THE VOICE IN SPEECH

146. EXPLANATION OF THE SYMBOLS ON A GROUND PLAN
KEY
EXPLANATION OF THE SYMBOLS ON A GROUND PLAN

147. WORN BY ACTORS FOR THEIR CHARACTER
MAKE-UP
WORN BY ACTORS FOR THEIR CHARACTER

148. MASKING
ONE ACTOR UNINTENTIONALLY PREVENTING ANOTHER FORM BEING SEEN BY THE AUDIENCE

149. COVERING FOR ALL, OR PART OF, THE FACE
MASKS
COVERING FOR ALL, OR PART OF, THE FACE

150. STYLISED FORM OF MOVEMENT WHICH CREATES AN ILLUSION OF REALITY
MIME
STYLISED FORM OF MOVEMENT WHICH CREATES AN ILLUSION OF REALITY

151. CONTROL DESK FOR SOUND EFFECT BEING USED IN THE DRAMA
MIXING DESK
CONTROL DESK FOR SOUND EFFECT BEING USED IN THE DRAMA

152. A CHARACTER SPEAKS THEIR THOUGHTS ALOUD
MONOLOGUE
A CHARACTER SPEAKS THEIR THOUGHTS ALOUD

153. USE OF THE BODY AS A MEANS OF COMMUNICATION
MOVEMENT
USE OF THE BODY AS A MEANS OF COMMUNICATION

154. DRAMA WHICH INCLUDES SONG AND/OR MUSIC
MUSICAL
DRAMA WHICH INCLUDES SONG AND/OR MUSIC

155. PART(S) OF THE DRAMA ARE TOLD AS A STORY BY A NARRATOR
NARRATION
PART(S) OF THE DRAMA ARE TOLD AS A STORY BY A NARRATOR

156. SPEED OF SPEECH OR MOVEMENT
PACE
SPEED OF SPEECH OR MOVEMENT

157. CHRISTMAS THEATRICAL ENTERTAINMENT, USUALLY BASED ON FAIRY TALES
PANTOMIME
CHRISTMAS THEATRICAL ENTERTAINMENT, USUALLY BASED ON FAIRY TALES

158. A BREAK IN SPEAKING; PERIOD OF SILENCE
PAUSE
A BREAK IN SPEAKING; PERIOD OF SILENCE

159. PRESENTATION OF THE DRAMA TO AN AUDIENCE
PERFORMANCE
PRESENTATION OF THE DRAMA TO AN AUDIENCE

160. PERSONAL PROP
AN ITEM CARRIED BY OR WORN BY A CHARACTER E.G. GLASSES, HANDBAG, WALLET

161. HOW HIGH OR LOW THE VOICE IS
PITCH
HOW HIGH OR LOW
THE VOICE IS

162. PLAY
ANOTHER WORD FOR DRAMA

163. PERSON WHO HAS WRITTEN THE PLAY
PLAYWRIGHT
PERSON WHO HAS WRITTEN
THE PLAY

164. PLOT
STORYLINE OF THE DRAMA

165. PRESENTING
THE RESULT OF THE CREATING PROCESS, INCLUDING PERFORMANCE AND EVALUATION

166. LANTERN GIVING A HARD EDGED BEAM OF LIGHT
PROFILE SPOT
LANTERN GIVING A HARD EDGED BEAM OF LIGHT

167. PROMENADE
AUDIENCE FOLLOWS THE ACTION ON FOOT, MOVING FROM ONE LOVATION TO ANOTHER

168. TO SUPPLY FORGOTTEN LINES TO AN ACTOR
PROMPT
TO SUPPLY FORGOTTEN LINES TO AN ACTOR

169. PROMPT COPY
MASTER COPY OF THE SCRIPT WITH ALL OF THE MOVES AND TECHNICAL EFFECTS INCLUDED

170. PROMPT SIDE
LEFT HAND SIDE OF THE STAGE WHERE PROMPT AND STAGE MANAGER SIT DURING THE PERFORMANCE

171. SHORT FOR PROPERTIES – OBJECTS USED BY AN ACTOR
PROPS
SHORT FOR PROPERTIES –
OBJECTS USED BY AN ACTOR

172. STAGE WITHIN AN ENCLOSING ARCH
PROSCENIUM ARCH
STAGE WITHIN AN
ENCLOSING ARCH

173. PYROTECHNICS
STAGE FIREWORKS

174. SLOPE OF THE STAGE (TO ALLOW ACTORS TO BE SEEN)
RAKE
SLOPE OF THE STAGE
(TO ALLOW ACTORS TO BE SEEN)

175. REGISTER
APPROPRIATE SPEECH FOR THE PERSON BEING SPOKEN TO, OR FOR THE SITUATION

176. PRACTICE OR PREPARATION OF A DRAMA
REHEARSAL
PRACTICE OR PREPARATION OF A DRAMA

177. REHEARSED IMPROVISATION
DRAMA DEVISED/CREATED WITHOUT A SCRIPT WHICH IS REHEARSED BEFORE PRESENTATION

178. STAGE WHICH TURNS IN A CIRCLE
REVOLVING STAGE
STAGE WHICH TURNS IN A CIRCLE

179. MOVEMENTS WHICH FOLLOW A PATTERN OR BEAT
RHYTHM
MOVEMENTS WHICH FOLLOW A PATTERN OR BEAT

180. PART PLAYED BY AN ACTOR/ ATTITUDE ADOPTED
ROLE
PART PLAYED BY AN ACTOR/
ATTITUDE ADOPTED

181. A MEANS OF EXPLORING ATTITUDES AND BELIEFS
ROLE-PLAY
A MEANS OF EXPLORING ATTITUDES AND BELIEFS

182. BLOCKS OR PLATFORMS USED TO CREATE LEVELS
ROSTRA
BLOCKS OR PLATFORMS USED TO CREATE LEVELS

183. USED TO ATTACH A LANTERN TO THE LIGHTING BAR FOR SAFETY
SAFETY CHAIN
USED TO ATTACH A LANTERN TO THE LIGHTING BAR FOR SAFETY

184. OUTLINE OF THE PLOT OF A DRAMA, INCLUDING CHANGES IN TIME OR PLACE
SCENARIO
OUTLINE OF THE PLOT OF A DRAMA, INCLUDING CHANGES IN TIME OR PLACE

185. SECTION OF THE DRAMA, SET IN ONE PLACE AT ONE TIME
SCENE
SECTION OF THE DRAMA, SET IN ONE PLACE AT ONE TIME

186. SCENERY
RESOURCES USED TO CREATE THE SETTING WHERE A DRAMA TAKES PLACE e.g. BACKCLOTH, ROSTRA, FURNITURE

187. THE WRITTEN WORDS OF A DRAMA
SCRIPT
THE WRITTEN WORDS OF A DRAMA

188. SCENERY USED TO SHOW WHERE A DRAMA TAKES PLACE
SET (1)
SCENERY USED TO SHOW WHERE A DRAMA TAKES PLACE

189. TO PLACE A DRAMA AT A CERTAIN TIME OR PLACE
SET (2)
TO PLACE A DRAMA AT A CERTAIN TIME OR PLACE

190. AN ITEM PLACED ON THE SET, USUALLY PART OF IT
SET PROP
AN ITEM PLACED ON THE SET, USUALLY PART OF IT
e.g. A LAMP, CLOCK, PICTURE

191. WHAT THE AUDIENCE SEES OF THE STAGE FROM WHERE THEY ARE SITTING
SIGHT LINES
WHAT THE AUDIENCE SEES OF THE STAGE FROM WHERE THEY ARE SITTING

192. MOVEMENT PERFORMED AT A SLOWED DOWN SPEED
SLOW MOTION
MOVEMENT PERFORMED AT A SLOWED DOWN SPEED

193. SOLILOQUY
A SINGLE LENGTHY SPEECH, MADE WHEN THERE ARE NO OTHER CHARACTERS ON STAGE

194. SPECIAL EFFECTS USED TO CREATE MOOD AND ATMOSPHERE ON STAGE
e.g. STROBE LIGHT, SMOKE MACHINE

195. SPONTANEOUS IMPROVISATION
DRAMA CREATED ‘ON THE SPOT’ WITHOUT SCRIPT OR PLAN

196. SPOTLIGHT
BEAM OF LIGHT CREATED BY A LANTERN FOR A PERSON OR PLACE ON THE ACTING AREA

197. WRITTEN OR SPOKEN ADVICE ON HOE TO SET THE DRAMA
STAGE DIRECTIONS
WRITTEN OR SPOKEN ADVICE ON HOE TO SET THE DRAMA

198. A LOUD WHISPER INTENDED TO BE HEARD BY THE AUDIENCE
STAGE WHISPER
A LOUD WHISPER INTENDED TO BE HEARD BY THE AUDIENCE

199. THE POSITION OF THE ACTING AREA RELATIVE TO THE AUDIENCE
STAGING
THE POSITION OF THE ACTING AREA RELATIVE TO THE AUDIENCE

200. ATTITUDE OR POSITION OF THE BODY
STANCE
ATTITUDE OR POSITION OF THE BODY

201. IMPORTANCE RELATIVE TO OTHERS
STATUS
IMPORTANCE RELATIVE TO OTHERS

202. AN EXAGGERATED PORTRAYAL OF A TYPE OF PERSON
STEREOTYPE
AN EXAGGERATED PORTRAYAL OF A TYPE OF PERSON

203. ANYTHING WHICH SUGGESTS IDEAS WHICH CAN BE DEVELOPED INTO A DRAMA
STIMULUS
ANYTHING WHICH SUGGESTS IDEAS WHICH CAN BE DEVELOPED INTO A DRAMA

204. TO REMOVE ALL THE SET FROM THE ACTING AREA
STRIKE
TO REMOVE ALL THE SET FROM THE ACTING AREA

205. WAY IN WHICH TIME, PLACE AND ACTION ARE SEQUENCED
STRUCTURE
WAY IN WHICH TIME, PLACE AND ACTION ARE SEQUENCED

206. A STAGE PICTURE, HELD WITHOUT MOVEMENT
TABLEAU
A STAGE PICTURE, HELD WITHOUT MOVEMENT

207. TABS
CURTAINS

208. A SPECIFIC GROUP OF PEOPLE AT WHOM A DRAMA IS AIMED
TARGET AUDIENCE
A SPECIFIC GROUP OF PEOPLE AT WHOM A DRAMA IS AIMED

209. TENSION
BUILD UP OF EXCITEMENT

210. THEATRE ARTS
THE COLLECTIVE NAME FOR LIGHTING, SOUND, PROPS, COSTUME, MAKE-UP AND SET

211. AUDIENCE SEATED ON ALL SIDES OF THE ACTING AREA
THEATRE IN THE ROUND
AUDIENCE SEATED ON ALL SIDES OF THE ACTING AREA

212. AN AID TO CHARACTERISATION: THE CHARACTER SPEAKS THEIR THOUGHTS ALOUD
THOUGHT TRACKING
AN AID TO CHARACTERISATION: THE CHARACTER SPEAKS THEIR THOUGHTS ALOUD

213. CHARACTER(S) WALK PAST OTHER CHARACTERS WHO COMMENT ON THEIR SITUATION
THOUGHT TUNNEL
CHARACTER(S) WALK PAST OTHER CHARACTERS WHO COMMENT ON THEIR SITUATION

214. AUDIENCE SEATED ON THREE SIDES OF THE ACTING AREA
THRUST
AUDIENCE SEATED ON THREE SIDES OF THE ACTING AREA

215. SPEAKING, MOVING OR PAUSING AT EXACTLY THE RIGHT MOMENT
TIMING
SPEAKING, MOVING OR PAUSING AT EXACTLY THE RIGHT MOMENT

216. CHANGE IN THE VOICE TO EXPRESS EMOTION
TONE
CHANGE IN THE VOICE TO EXPRESS EMOTION

217. A DRAMA ABOUT UNHAPPY EVENTS AND WITH A SAD ENDING
TRAGEDY
A DRAMA ABOUT UNHAPPY EVENTS AND WITH A SAD ENDING

218. TRAPDOOR
DOOR IN THE FLOOR

219. TREADS
STAIRS

220. PIECE OF SCENERY ON WHEELS FOR EASE OF MOVEMENT
TRUCK
PIECE OF SCENERY ON WHEELS FOR EASE OF MOVEMENT

221. THE MIDDLE PART OF THE STAGE FURTHEST AWAY FROM THE AUDIENCE
UP STAGE CENTRE (USC)
THE MIDDLE PART OF THE STAGE FURTHEST AWAY FROM THE AUDIENCE

222. UP STAGE LEFT (USL)
THE LEFT HAND PART OF THE STAGE, FURTHEST AWAY FROM THE AUDIENCE AS THE ACTOR FACES THE AUDIENCE

223. UP STAGE RIGHT (USR)
THE RIGHT HAND PART OF THE STAGE, FURTHEST AWAY FROM THE AUDIENCE AS THE ACTOR FACES THE AUDIENCE

224. PLACE WHERE THE DRAMA IS PRESENTED
VENUE
PLACE WHERE THE DRAMA IS PRESENTED

225. RECORDED SPEECH PLAYED DURING THE DRAMA
VOICE-OVER
RECORDED SPEECH PLAYED DURING THE DRAMA

226. RECALL OF WORDS SAID BY OTHERS ABOUT A CHARACTER OR SITUATION
VOICES IN THE HEAD
RECALL OF WORDS SAID BY OTHERS ABOUT A CHARACTER OR SITUATION

227. LOUDNESS OR QUIETNESS OF THE VOICE
VOLUME
LOUDNESS OR QUIETNESS OF THE VOICE

228. SIDES OF A THEATRE STAGE
WINGS
SIDES OF A THEATRE STAGE

229. PART 6 – TYPES OF VENUE FOR STAGING A PERFORMANCE

230. AVENUE: AUDIENCE SEATED ON TWO SIDES OF THE ACTING AREA

231. END ON: AUDIENCE SEATED AT ONE END – ACTING AREA AT THE OTHER

232. PROMENADE: AUDIENCE FOLLOWS THE ACTION ON FOOT, MOVING FROM ONE LOCATION TO ANOTHER

233. PROSCENIUM ARCH: STAGE WITHIN AN ENCLOSING ARCH

234. THEATRE IN THE ROUND: AUDIENCE SEATED ON ALL SIDES OF THE ACTING AREA

235. THRUST: AUDIENCE SEATED ON THREE SIDES OF THE ACTING AREA

236. STAGE POSITIONS