prosceniumthe most commontype of stage, astage with a walland curtainseperating theactors from theaudiencemirroringcopying themovement orexpressionof someoneelse exactlyarticu-lationthe clarity,pronunciation,or distinctionof yourspeechcallbacka secondaudition,usually usedby directors tocast lead rolesoff-bookbeingmemorizedenough to sayyour lineswithout using ascriptclassicala word for anyplay writtenbefore thepresent century.opposite ofcontemporarysoliloquya speech in whichan actor speaksthe inner thoughtsof their characteraloud, usuallyalone on stagehousearea of atheater thatthe audiencesits inscenesa smallersection orpotion ofa playstagerightan actor'sright whenfacing theaudienceamphi-theaterstyle of theaterwith a roundstage and noroof,surrounded bytiered seatingcharacter-izationhow an actor usestheir body, voice,and thoughts todevelop or portraya characterapronarea of thestage thatjets out infront of thecurtainblackouta lightingcue whereall stagelights areturned offprojectionyour voice'sability to beheard clearlyfrom farawayfourthwallan invisiblewall thatseperates anactor fromthe audiencetheater-in-the-roundtype of stagethat sits in themiddle of anaudience,surrounded onall sidesthrusttype of stagethat extendsinto theaudience withseats on threesidescontrastdynamic use ofopposites.movement/stillness,quiet/loudstagepresencethe energy,commitment,and presencean actorappears tohave on stageadlibto improvlines thatare not fromthe scriptimprovspontaneous useof movement andspeech to createcharacters andscenes without ascript. acting donewithout a scriptpantomimeacting without theuse of props orset, pretending touse invisible propor set piecesupstagearea of astagefarthestaway fromthe audienceironya discrepancy ordifference betweenwhat is said andwhat is meant.there are multipledifferent typessceneryall the elementsand set piecesused tocommunicateenvironment ina showblockingwhere andhow thedirector wouldlike you tomove on stagemotivationthe reason for acharacter'sbehaviors. whythey are doingwhat they'redoingdownstagearea of astage closestto theaudienceupstagingto draw theaudience's attentionaway from anotheractor, or to standupstage of anotheractor - forcing themto turn their backs onthe audienceexpositionwhen a characterexplains to theaudience whatthe play is aboutor what willhappenunderstudyan actor who isable to play amajor role incase theoriginal actorcannotconflictan internal orexternal strugglebetween forcesthat createstension in a playhandpropsprops thatare carriedon stageby an actorcontemporaryword for any playthat was writtenin present day, orafter 1980.opposite ofclassicalpersonalpropsprops thatare kept onan actor'sperson, i.e. intheir pocketacta majordivision, or'chapters" of aplay. There areusually twoblackboxtype of stage thatuses a flat floor onthe same level asthe audience, theentire space isusually paintedblackasidelines spoken bya character tothe audience,which the othercharacters can'thearstagebusinessactions orbehaviors actosmay do on stageto look busy orinvolved in ascenecuethe signal foran actor tosay theirnext line ordo an actionstageleftan actor'sleft whenfacing theaudiencecoldreadhaving toread from ascript withoutanypreparationmonologuea longerspeechmade byone actordialoguespoken linesbetween twoor morepeoplesightlineswhat anaudience will beable to see fromtheir seats, bothonstage andbackstagechorus/ensemblea group ofactors that worktogether to fillthe stage, oftenwithout linescenterstagearea of thestage inthe centeror middleprosceniumthe most commontype of stage, astage with a walland curtainseperating theactors from theaudiencemirroringcopying themovement orexpressionof someoneelse exactlyarticu-lationthe clarity,pronunciation,or distinctionof yourspeechcallbacka secondaudition,usually usedby directors tocast lead rolesoff-bookbeingmemorizedenough to sayyour lineswithout using ascriptclassicala word for anyplay writtenbefore thepresent century.opposite ofcontemporarysoliloquya speech in whichan actor speaksthe inner thoughtsof their characteraloud, usuallyalone on stagehousearea of atheater thatthe audiencesits inscenesa smallersection orpotion ofa playstagerightan actor'sright whenfacing theaudienceamphi-theaterstyle of theaterwith a roundstage and noroof,surrounded bytiered seatingcharacter-izationhow an actor usestheir body, voice,and thoughts todevelop or portraya characterapronarea of thestage thatjets out infront of thecurtainblackouta lightingcue whereall stagelights areturned offprojectionyour voice'sability to beheard clearlyfrom farawayfourthwallan invisiblewall thatseperates anactor fromthe audiencetheater-in-the-roundtype of stagethat sits in themiddle of anaudience,surrounded onall sidesthrusttype of stagethat extendsinto theaudience withseats on threesidescontrastdynamic use ofopposites.movement/stillness,quiet/loudstagepresencethe energy,commitment,and presencean actorappears tohave on stageadlibto improvlines thatare not fromthe scriptimprovspontaneous useof movement andspeech to createcharacters andscenes without ascript. acting donewithout a scriptpantomimeacting without theuse of props orset, pretending touse invisible propor set piecesupstagearea of astagefarthestaway fromthe audienceironya discrepancy ordifference betweenwhat is said andwhat is meant.there are multipledifferent typessceneryall the elementsand set piecesused tocommunicateenvironment ina showblockingwhere andhow thedirector wouldlike you tomove on stagemotivationthe reason for acharacter'sbehaviors. whythey are doingwhat they'redoingdownstagearea of astage closestto theaudienceupstagingto draw theaudience's attentionaway from anotheractor, or to standupstage of anotheractor - forcing themto turn their backs onthe audienceexpositionwhen a characterexplains to theaudience whatthe play is aboutor what willhappenunderstudyan actor who isable to play amajor role incase theoriginal actorcannotconflictan internal orexternal strugglebetween forcesthat createstension in a playhandpropsprops thatare carriedon stageby an actorcontemporaryword for any playthat was writtenin present day, orafter 1980.opposite ofclassicalpersonalpropsprops thatare kept onan actor'sperson, i.e. intheir pocketacta majordivision, or'chapters" of aplay. There areusually twoblackboxtype of stage thatuses a flat floor onthe same level asthe audience, theentire space isusually paintedblackasidelines spoken bya character tothe audience,which the othercharacters can'thearstagebusinessactions orbehaviors actosmay do on stageto look busy orinvolved in ascenecuethe signal foran actor tosay theirnext line ordo an actionstageleftan actor'sleft whenfacing theaudiencecoldreadhaving toread from ascript withoutanypreparationmonologuea longerspeechmade byone actordialoguespoken linesbetween twoor morepeoplesightlineswhat anaudience will beable to see fromtheir seats, bothonstage andbackstagechorus/ensemblea group ofactors that worktogether to fillthe stage, oftenwithout linescenterstagearea of thestage inthe centeror middle

Basics Vocab - Call List

(Print) Use this randomly generated list as your call list when playing the game. There is no need to say the BINGO column name. Place some kind of mark (like an X, a checkmark, a dot, tally mark, etc) on each cell as you announce it, to keep track. You can also cut out each item, place them in a bag and pull words from the bag.


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  1. the most common type of stage, a stage with a wall and curtain seperating the actors from the audience
    proscenium
  2. copying the movement or expression of someone else exactly
    mirroring
  3. the clarity, pronunciation, or distinction of your speech
    articu-lation
  4. a second audition, usually used by directors to cast lead roles
    callback
  5. being memorized enough to say your lines without using a script
    off-book
  6. a word for any play written before the present century. opposite of contemporary
    classical
  7. a speech in which an actor speaks the inner thoughts of their character aloud, usually alone on stage
    soliloquy
  8. area of a theater that the audience sits in
    house
  9. a smaller section or potion of a play
    scenes
  10. an actor's right when facing the audience
    stage right
  11. style of theater with a round stage and no roof, surrounded by tiered seating
    amphi- theater
  12. how an actor uses their body, voice, and thoughts to develop or portray a character
    character-ization
  13. area of the stage that jets out in front of the curtain
    apron
  14. a lighting cue where all stage lights are turned off
    black out
  15. your voice's ability to be heard clearly from far away
    projection
  16. an invisible wall that seperates an actor from the audience
    fourth wall
  17. type of stage that sits in the middle of an audience, surrounded on all sides
    theater- in-the- round
  18. type of stage that extends into the audience with seats on three sides
    thrust
  19. dynamic use of opposites. movement/stillness, quiet/loud
    contrast
  20. the energy, commitment, and presence an actor appears to have on stage
    stage presence
  21. to improv lines that are not from the script
    adlib
  22. spontaneous use of movement and speech to create characters and scenes without a script. acting done without a script
    improv
  23. acting without the use of props or set, pretending to use invisible prop or set pieces
    pantomime
  24. area of a stage farthest away from the audience
    up stage
  25. a discrepancy or difference between what is said and what is meant. there are multiple different types
    irony
  26. all the elements and set pieces used to communicate environment in a show
    scenery
  27. where and how the director would like you to move on stage
    blocking
  28. the reason for a character's behaviors. why they are doing what they're doing
    motivation
  29. area of a stage closest to the audience
    down stage
  30. to draw the audience's attention away from another actor, or to stand upstage of another actor - forcing them to turn their backs on the audience
    upstaging
  31. when a character explains to the audience what the play is about or what will happen
    exposition
  32. an actor who is able to play a major role in case the original actor cannot
    understudy
  33. an internal or external struggle between forces that creates tension in a play
    conflict
  34. props that are carried on stage by an actor
    hand props
  35. word for any play that was written in present day, or after 1980. opposite of classical
    contemporary
  36. props that are kept on an actor's person, i.e. in their pocket
    personal props
  37. a major division, or 'chapters" of a play. There are usually two
    act
  38. type of stage that uses a flat floor on the same level as the audience, the entire space is usually painted black
    black box
  39. lines spoken by a character to the audience, which the other characters can't hear
    aside
  40. actions or behaviors actos may do on stage to look busy or involved in a scene
    stage business
  41. the signal for an actor to say their next line or do an action
    cue
  42. an actor's left when facing the audience
    stage left
  43. having to read from a script without any preparation
    cold read
  44. a longer speech made by one actor
    monologue
  45. spoken lines between two or more people
    dialogue
  46. what an audience will be able to see from their seats, both onstage and backstage
    sight lines
  47. a group of actors that work together to fill the stage, often without lines
    chorus/ ensemble
  48. area of the stage in the center or middle
    center stage