coldreadhaving toread from ascript withoutanypreparationprojectionyour voice'sability to beheard clearlyfrom farawayfourthwallan invisiblewall thatseperates anactor fromthe audiencepantomimeacting without theuse of props orset, pretending touse invisible propor set piecescenterstagearea of thestage inthe centeror middlearticu-lationthe clarity,pronunciation,or distinctionof yourspeechcontrastdynamic use ofopposites.movement/stillness,quiet/loudchorus/ensemblea group ofactors that worktogether to fillthe stage, oftenwithout linesmotivationthe reason for acharacter'sbehaviors. whythey are doingwhat they'redoingimprovspontaneous useof movement andspeech to createcharacters andscenes without ascript. acting donewithout a scriptmirroringcopying themovement orexpressionof someoneelse exactlycharacter-izationhow an actor usestheir body, voice,and thoughts todevelop or portraya charactersceneryall the elementsand set piecesused tocommunicateenvironment ina showsightlineswhat anaudience will beable to see fromtheir seats, bothonstage andbackstageblackouta lightingcue whereall stagelights areturned offacta majordivision, or'chapters" of aplay. There areusually twodialoguespoken linesbetween twoor morepeoplemonologuea longerspeechmade byone actorclassicala word for anyplay writtenbefore thepresent century.opposite ofcontemporarythrusttype of stagethat extendsinto theaudience withseats on threesidesprosceniumthe most commontype of stage, astage with a walland curtainseperating theactors from theaudienceamphi-theaterstyle of theaterwith a roundstage and noroof,surrounded bytiered seatingblackboxtype of stage thatuses a flat floor onthe same level asthe audience, theentire space isusually paintedblackexpositionwhen a characterexplains to theaudience whatthe play is aboutor what willhappenscenesa smallersection orpotion ofa playsoliloquya speech in whichan actor speaksthe inner thoughtsof their characteraloud, usuallyalone on stagestagerightan actor'sright whenfacing theaudienceironya discrepancy ordifference betweenwhat is said andwhat is meant.there are multipledifferent typescontemporaryword for any playthat was writtenin present day, orafter 1980.opposite ofclassicalstagebusinessactions orbehaviors actosmay do on stageto look busy orinvolved in ascenetheater-in-the-roundtype of stagethat sits in themiddle of anaudience,surrounded onall sidescallbacka secondaudition,usually usedby directors tocast lead rolesoff-bookbeingmemorizedenough to sayyour lineswithout using ascriptapronarea of thestage thatjets out infront of thecurtaincuethe signal foran actor tosay theirnext line ordo an actionblockingwhere andhow thedirector wouldlike you tomove on stageupstagingto draw theaudience's attentionaway from anotheractor, or to standupstage of anotheractor - forcing themto turn their backs onthe audiencestageleftan actor'sleft whenfacing theaudienceadlibto improvlines thatare not fromthe scriptconflictan internal orexternal strugglebetween forcesthat createstension in a playstagepresencethe energy,commitment,and presencean actorappears tohave on stagepersonalpropsprops thatare kept onan actor'sperson, i.e. intheir pocketupstagearea of astagefarthestaway fromthe audiencedownstagearea of astage closestto theaudiencehousearea of atheater thatthe audiencesits inhandpropsprops thatare carriedon stageby an actorasidelines spoken bya character tothe audience,which the othercharacters can'thearunderstudyan actor who isable to play amajor role incase theoriginal actorcannotcoldreadhaving toread from ascript withoutanypreparationprojectionyour voice'sability to beheard clearlyfrom farawayfourthwallan invisiblewall thatseperates anactor fromthe audiencepantomimeacting without theuse of props orset, pretending touse invisible propor set piecescenterstagearea of thestage inthe centeror middlearticu-lationthe clarity,pronunciation,or distinctionof yourspeechcontrastdynamic use ofopposites.movement/stillness,quiet/loudchorus/ensemblea group ofactors that worktogether to fillthe stage, oftenwithout linesmotivationthe reason for acharacter'sbehaviors. whythey are doingwhat they'redoingimprovspontaneous useof movement andspeech to createcharacters andscenes without ascript. acting donewithout a scriptmirroringcopying themovement orexpressionof someoneelse exactlycharacter-izationhow an actor usestheir body, voice,and thoughts todevelop or portraya charactersceneryall the elementsand set piecesused tocommunicateenvironment ina showsightlineswhat anaudience will beable to see fromtheir seats, bothonstage andbackstageblackouta lightingcue whereall stagelights areturned offacta majordivision, or'chapters" of aplay. There areusually twodialoguespoken linesbetween twoor morepeoplemonologuea longerspeechmade byone actorclassicala word for anyplay writtenbefore thepresent century.opposite ofcontemporarythrusttype of stagethat extendsinto theaudience withseats on threesidesprosceniumthe most commontype of stage, astage with a walland curtainseperating theactors from theaudienceamphi-theaterstyle of theaterwith a roundstage and noroof,surrounded bytiered seatingblackboxtype of stage thatuses a flat floor onthe same level asthe audience, theentire space isusually paintedblackexpositionwhen a characterexplains to theaudience whatthe play is aboutor what willhappenscenesa smallersection orpotion ofa playsoliloquya speech in whichan actor speaksthe inner thoughtsof their characteraloud, usuallyalone on stagestagerightan actor'sright whenfacing theaudienceironya discrepancy ordifference betweenwhat is said andwhat is meant.there are multipledifferent typescontemporaryword for any playthat was writtenin present day, orafter 1980.opposite ofclassicalstagebusinessactions orbehaviors actosmay do on stageto look busy orinvolved in ascenetheater-in-the-roundtype of stagethat sits in themiddle of anaudience,surrounded onall sidescallbacka secondaudition,usually usedby directors tocast lead rolesoff-bookbeingmemorizedenough to sayyour lineswithout using ascriptapronarea of thestage thatjets out infront of thecurtaincuethe signal foran actor tosay theirnext line ordo an actionblockingwhere andhow thedirector wouldlike you tomove on stageupstagingto draw theaudience's attentionaway from anotheractor, or to standupstage of anotheractor - forcing themto turn their backs onthe audiencestageleftan actor'sleft whenfacing theaudienceadlibto improvlines thatare not fromthe scriptconflictan internal orexternal strugglebetween forcesthat createstension in a playstagepresencethe energy,commitment,and presencean actorappears tohave on stagepersonalpropsprops thatare kept onan actor'sperson, i.e. intheir pocketupstagearea of astagefarthestaway fromthe audiencedownstagearea of astage closestto theaudiencehousearea of atheater thatthe audiencesits inhandpropsprops thatare carriedon stageby an actorasidelines spoken bya character tothe audience,which the othercharacters can'thearunderstudyan actor who isable to play amajor role incase theoriginal actorcannot

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