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. COMEDY A DRAMA WHICH IS FUNNY/COMICAL

5. DANCE DRAMA A DRAMA PRESENTED THROUGH DANCE MOVEMENTS

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

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

8. MIME STYLISED MOVEMENT TO CREATE THE ILLUSION OF REALITY

9. MONOLOGUE A CHARACTER SPEAKS THEIR THOUGHTS ALOUD

10. MUSICAL DRAMA INCLUDING SONG

11. PANTOMIME CHRISTMAS THEATRICAL ENTERTAINMENT USUALLY BASED ON A FAIRYTALE

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

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

14. PART 2: CONVENTIONS

15. ASIDE A REMARK TO THE AUDIENCE ONLY

16. FLASHBACK ACTING OUT AN EVENT IN THE PAST

17. FLASHFORWARD ACTING OUT A FUTURE OR IMAGINED EVENT

18. FREEZE FRAME AN ACTION FROZEN IN TIME

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

20. MIME STYLISED MOVEMENT WHICH CREATES THE ILLUSION OF REALITY

21. MONOLOGUE WHEN A CHARACTER SPEAKS THEIR THOUGHT ALOUD

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

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

24. SLOW MOTION MOVEMENT PERFORMED AT A SLOWED DOWN SPEED

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

29. ARTICULATION CLEAR PRONUNCIATION OF WORDS

30. CLARITY CLEARNESS OF THE VOICE

31. DIALOGUE A CONVERSATION BETWEEN TWO OR MORE CHARACTERS

32. EMPHASIS THE STRESS ON A WORD OR PHRASE

33. FLUENCY NATURAL, FLOWING SPEECH

34. INTONATION RISING AND FALLING OF THE VOICE IN SPEECH

35. PACE SPEED OF SPEECH OR MOVEMENT

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

37. PITCH HOW HIGH OR LOW THE VOICE IS

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

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

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

41. TONE CHANGING OF VOICE TO EXPRESS EMOTION

42. VOLUME LOUDNESS OR QUIETNESS OF THE VOICE

43. PART 4 SET DESIGN TERMS

44. 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. CLOTH AREA OF SCENIC CANVAS HANGING VERTICALLY

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

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

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

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

51. BLACKOUT THE ACTING AREA IS NOT LIT

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

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

54. SNAP TO… BLACKOUT IS ACHIEVED INSTANTLY

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

56. FLOOD LANTERN GIVING A WIDE SPREAD OF LIGHT

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

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

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

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

63. LIGHTING DESK CONTROL BOARD FOR THE LIGHTING

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

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

74. FACIAL EXPRESSION LOOK ON THE FACE WHICH SHOWS EMOTION

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

76. PACE SPEED OF SPEECH OR MOVEMENT

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

78. RHYTHM MOVEMENTS WHICH FOLLOW A PATTERN OR BEAT

79. STANCE ATTITUDE OR POSITION OF THE BODY

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

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

82. ARTICULATION CLEAR PRONUNCIATION OF WORDS

83. ASIDE A REMARK TO THE AUDIENCE ONLY

84. AUDIENCE THE PEOPLE WATCHING THE DRAMA

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

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

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

88. BACKSTAGE NON-ACTING AREA BEHIND THE STAGE

89. 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. BLACKOUT THE ACTING AREA IS NOT LIT

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

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

94. 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. CHARACTER SPECIFIC PERSON IN THE DRAMA

98. CHARACTERISATION THE PROCESS OF FULLY DEVELOPING A CHARACTER

99. CLARITY CLEARNESS OF THE VOICE

100. COMEDY A DRAMA WHICH IS FUNNY/COMICAL

101. CONVENTIONS ALTERNATIVE WAYS OF PRESENTING THE DRAMA

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

107. DANCE DRAMA A DRAMA PRESENTED THROUGH DANCE MOVES

108. DIALOGUE A CONVERSATION BETWEEN TWO OR MORE CHARACTERS

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

115. EMPHASIS THE STRESS ON A WORD OR PHRASE

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

117. ENTER TO COME ON STAGE

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

119. EXIT LEAVE THE ACTING AREA

120. FACIAL EXPRESSION LOOK ON THE FACE WHICH SHOWS EMOTION

121. FLASHBACK ACTING OUT AN EVENT IN THE PAST

122. FLASHFORWARD ACTING OUT OF A FUTURE OR IMAGINED EVENT

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

124. DOOR FLAT FRAMES INTO WHICH A DOOR IS BUILT

125. 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. FLOOD LANTERN GIVING A WIDE SPREAD OF LIGHT

128. FLUENCY NATURAL, FLOWING SPEECH

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

130. FOCUSSING POSITIONING THE LANTERNS TO GET THE DESIRED LIGHTING

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

132. FORM THE OVERALL STYLE OF THE DRAMA

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

134. FREEZE FRAME THE ACTION IS FROZEN IN TIME

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

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

141. 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. HOT-SEATING QUESTIONING A CHARACTER IN ROLE

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

146. KEY EXPLANATION OF THE SYMBOLS ON A GROUND PLAN

147. MAKE-UP WORN BY ACTORS FOR THEIR CHARACTER

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

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

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

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

152. MONOLOGUE A CHARACTER SPEAKS THEIR THOUGHTS ALOUD

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

154. MUSICAL DRAMA WHICH INCLUDES SONG AND/OR MUSIC

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

156. PACE SPEED OF SPEECH OR MOVEMENT

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

158. PAUSE A BREAK IN SPEAKING; PERIOD OF SILENCE

159. 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. PITCH HOW HIGH OR LOW THE VOICE IS

162. PLAY ANOTHER WORD FOR DRAMA

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

172. PROSCENIUM ARCH STAGE WITHIN AN ENCLOSING ARCH

173. PYROTECHNICS STAGE FIREWORKS

174. 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. REHEARSAL PRACTICE OR PREPARATION OF A DRAMA

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

178. REVOLVING STAGE STAGE WHICH TURNS IN A CIRCLE

179. RHYTHM MOVEMENTS WHICH FOLLOW A PATTERN OR BEAT

180. ROLE PART PLAYED BY AN ACTOR/ ATTITUDE ADOPTED

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

182. ROSTRA BLOCKS OR PLATFORMS USED TO CREATE LEVELS

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

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

185. 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. SCRIPT THE WRITTEN WORDS OF A DRAMA

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

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

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

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

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

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

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

200. STANCE ATTITUDE OR POSITION OF THE BODY

201. STATUS IMPORTANCE RELATIVE TO OTHERS

202. STEREOTYPE AN EXAGGERATED PORTRAYAL OF A TYPE OF PERSON

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

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

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

206. TABLEAU A STAGE PICTURE, HELD WITHOUT MOVEMENT

207. TABS CURTAINS

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

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

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

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

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

216. TONE CHANGE IN THE VOICE TO EXPRESS EMOTION

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

218. TRAPDOOR DOOR IN THE FLOOR

219. TREADS STAIRS

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

221. 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. VENUE PLACE WHERE THE DRAMA IS PRESENTED

225. VOICE-OVER RECORDED SPEECH PLAYED DURING THE DRAMA

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

227. VOLUME LOUDNESS OR QUIETNESS OF THE VOICE

228. 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