handpropsprops thatare carriedon stageby an actorfourthwallan invisiblewall thatseperates anactor fromthe audiencestagerightan actor'sright whenfacing theaudiencestagebusinessactions orbehaviors actosmay do on stageto look busy orinvolved in asceneblockingwhere andhow thedirector wouldlike you tomove on stageupstagingto draw theaudience's attentionaway from anotheractor, or to standupstage of anotheractor - forcing themto turn their backs onthe audiencecallbacka secondaudition,usually usedby directors tocast lead rolespersonalpropsprops thatare kept onan actor'sperson, i.e. intheir pocketcontrastdynamic use ofopposites.movement/stillness,quiet/loudironya discrepancy ordifference betweenwhat is said andwhat is meant.there are multipledifferent typescontemporaryword for any playthat was writtenin present day, orafter 1980.opposite ofclassicaltheater-in-the-roundtype of stagethat sits in themiddle of anaudience,surrounded onall sidesupstagearea of astagefarthestaway fromthe audienceadlibto improvlines thatare not fromthe scriptprojectionyour voice'sability to beheard clearlyfrom farawayapronarea of thestage thatjets out infront of thecurtainstageleftan actor'sleft whenfacing theaudienceprosceniumthe most commontype of stage, astage with a walland curtainseperating theactors from theaudienceconflictan internal orexternal strugglebetween forcesthat createstension in a playexpositionwhen a characterexplains to theaudience whatthe play is aboutor what willhappenarticu-lationthe clarity,pronunciation,or distinctionof yourspeechmonologuea longerspeechmade byone actorblackboxtype of stage thatuses a flat floor onthe same level asthe audience, theentire space isusually paintedblacksoliloquya speech in whichan actor speaksthe inner thoughtsof their characteraloud, usuallyalone on stagesceneryall the elementsand set piecesused tocommunicateenvironment ina showcuethe signal foran actor tosay theirnext line ordo an actionclassicala word for anyplay writtenbefore thepresent century.opposite ofcontemporarycoldreadhaving toread from ascript withoutanypreparationblackouta lightingcue whereall stagelights areturned offacta majordivision, or'chapters" of aplay. There areusually twoamphi-theaterstyle of theaterwith a roundstage and noroof,surrounded bytiered seatingdialoguespoken linesbetween twoor morepeoplemirroringcopying themovement orexpressionof someoneelse exactlystagepresencethe energy,commitment,and presencean actorappears tohave on stagecharacter-izationhow an actor usestheir body, voice,and thoughts todevelop or portraya characterdownstagearea of astage closestto theaudienceoff-bookbeingmemorizedenough to sayyour lineswithout using ascriptimprovspontaneous useof movement andspeech to createcharacters andscenes without ascript. acting donewithout a scriptpantomimeacting without theuse of props orset, pretending touse invisible propor set pieceshousearea of atheater thatthe audiencesits inunderstudyan actor who isable to play amajor role incase theoriginal actorcannotasidelines spoken bya character tothe audience,which the othercharacters can'thearchorus/ensemblea group ofactors that worktogether to fillthe stage, oftenwithout linesthrusttype of stagethat extendsinto theaudience withseats on threesidessightlineswhat anaudience will beable to see fromtheir seats, bothonstage andbackstagescenesa smallersection orpotion ofa playmotivationthe reason for acharacter'sbehaviors. whythey are doingwhat they'redoingcenterstagearea of thestage inthe centeror middlehandpropsprops thatare carriedon stageby an actorfourthwallan invisiblewall thatseperates anactor fromthe audiencestagerightan actor'sright whenfacing theaudiencestagebusinessactions orbehaviors actosmay do on stageto look busy orinvolved in asceneblockingwhere andhow thedirector wouldlike you tomove on stageupstagingto draw theaudience's attentionaway from anotheractor, or to standupstage of anotheractor - forcing themto turn their backs onthe audiencecallbacka secondaudition,usually usedby directors tocast lead rolespersonalpropsprops thatare kept onan actor'sperson, i.e. intheir pocketcontrastdynamic use ofopposites.movement/stillness,quiet/loudironya discrepancy ordifference betweenwhat is said andwhat is meant.there are multipledifferent typescontemporaryword for any playthat was writtenin present day, orafter 1980.opposite ofclassicaltheater-in-the-roundtype of stagethat sits in themiddle of anaudience,surrounded onall sidesupstagearea of astagefarthestaway fromthe audienceadlibto improvlines thatare not fromthe scriptprojectionyour voice'sability to beheard clearlyfrom farawayapronarea of thestage thatjets out infront of thecurtainstageleftan actor'sleft whenfacing theaudienceprosceniumthe most commontype of stage, astage with a walland curtainseperating theactors from theaudienceconflictan internal orexternal strugglebetween forcesthat createstension in a playexpositionwhen a characterexplains to theaudience whatthe play is aboutor what willhappenarticu-lationthe clarity,pronunciation,or distinctionof yourspeechmonologuea longerspeechmade byone actorblackboxtype of stage thatuses a flat floor onthe same level asthe audience, theentire space isusually paintedblacksoliloquya speech in whichan actor speaksthe inner thoughtsof their characteraloud, usuallyalone on stagesceneryall the elementsand set piecesused tocommunicateenvironment ina showcuethe signal foran actor tosay theirnext line ordo an actionclassicala word for anyplay writtenbefore thepresent century.opposite ofcontemporarycoldreadhaving toread from ascript withoutanypreparationblackouta lightingcue whereall stagelights areturned offacta majordivision, or'chapters" of aplay. There areusually twoamphi-theaterstyle of theaterwith a roundstage and noroof,surrounded bytiered seatingdialoguespoken linesbetween twoor morepeoplemirroringcopying themovement orexpressionof someoneelse exactlystagepresencethe energy,commitment,and presencean actorappears tohave on stagecharacter-izationhow an actor usestheir body, voice,and thoughts todevelop or portraya characterdownstagearea of astage closestto theaudienceoff-bookbeingmemorizedenough to sayyour lineswithout using ascriptimprovspontaneous useof movement andspeech to createcharacters andscenes without ascript. acting donewithout a scriptpantomimeacting without theuse of props orset, pretending touse invisible propor set pieceshousearea of atheater thatthe audiencesits inunderstudyan actor who isable to play amajor role incase theoriginal actorcannotasidelines spoken bya character tothe audience,which the othercharacters can'thearchorus/ensemblea group ofactors that worktogether to fillthe stage, oftenwithout linesthrusttype of stagethat extendsinto theaudience withseats on threesidessightlineswhat anaudience will beable to see fromtheir seats, bothonstage andbackstagescenesa smallersection orpotion ofa playmotivationthe reason for acharacter'sbehaviors. whythey are doingwhat they'redoingcenterstagearea 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. props that are carried on stage by an actor
    hand props
  2. an invisible wall that seperates an actor from the audience
    fourth wall
  3. an actor's right when facing the audience
    stage right
  4. actions or behaviors actos may do on stage to look busy or involved in a scene
    stage business
  5. where and how the director would like you to move on stage
    blocking
  6. 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
  7. a second audition, usually used by directors to cast lead roles
    callback
  8. props that are kept on an actor's person, i.e. in their pocket
    personal props
  9. dynamic use of opposites. movement/stillness, quiet/loud
    contrast
  10. a discrepancy or difference between what is said and what is meant. there are multiple different types
    irony
  11. word for any play that was written in present day, or after 1980. opposite of classical
    contemporary
  12. type of stage that sits in the middle of an audience, surrounded on all sides
    theater- in-the- round
  13. area of a stage farthest away from the audience
    up stage
  14. to improv lines that are not from the script
    adlib
  15. your voice's ability to be heard clearly from far away
    projection
  16. area of the stage that jets out in front of the curtain
    apron
  17. an actor's left when facing the audience
    stage left
  18. the most common type of stage, a stage with a wall and curtain seperating the actors from the audience
    proscenium
  19. an internal or external struggle between forces that creates tension in a play
    conflict
  20. when a character explains to the audience what the play is about or what will happen
    exposition
  21. the clarity, pronunciation, or distinction of your speech
    articu-lation
  22. a longer speech made by one actor
    monologue
  23. type of stage that uses a flat floor on the same level as the audience, the entire space is usually painted black
    black box
  24. a speech in which an actor speaks the inner thoughts of their character aloud, usually alone on stage
    soliloquy
  25. all the elements and set pieces used to communicate environment in a show
    scenery
  26. the signal for an actor to say their next line or do an action
    cue
  27. a word for any play written before the present century. opposite of contemporary
    classical
  28. having to read from a script without any preparation
    cold read
  29. a lighting cue where all stage lights are turned off
    black out
  30. a major division, or 'chapters" of a play. There are usually two
    act
  31. style of theater with a round stage and no roof, surrounded by tiered seating
    amphi- theater
  32. spoken lines between two or more people
    dialogue
  33. copying the movement or expression of someone else exactly
    mirroring
  34. the energy, commitment, and presence an actor appears to have on stage
    stage presence
  35. how an actor uses their body, voice, and thoughts to develop or portray a character
    character-ization
  36. area of a stage closest to the audience
    down stage
  37. being memorized enough to say your lines without using a script
    off-book
  38. spontaneous use of movement and speech to create characters and scenes without a script. acting done without a script
    improv
  39. acting without the use of props or set, pretending to use invisible prop or set pieces
    pantomime
  40. area of a theater that the audience sits in
    house
  41. an actor who is able to play a major role in case the original actor cannot
    understudy
  42. lines spoken by a character to the audience, which the other characters can't hear
    aside
  43. a group of actors that work together to fill the stage, often without lines
    chorus/ ensemble
  44. type of stage that extends into the audience with seats on three sides
    thrust
  45. what an audience will be able to see from their seats, both onstage and backstage
    sight lines
  46. a smaller section or potion of a play
    scenes
  47. the reason for a character's behaviors. why they are doing what they're doing
    motivation
  48. area of the stage in the center or middle
    center stage