stagerightan actor'sright whenfacing theaudiencechorus/ensemblea group ofactors that worktogether to fillthe stage, oftenwithout linespantomimeacting without theuse of props orset, pretending touse invisible propor set piecessceneryall the elementsand set piecesused tocommunicateenvironment ina showprojectionyour voice'sability to beheard clearlyfrom farawaycontrastdynamic use ofopposites.movement/stillness,quiet/loudpersonalpropsprops thatare kept onan actor'sperson, i.e. intheir pocketdialoguespoken linesbetween twoor morepeoplestagebusinessactions orbehaviors actosmay do on stageto look busy orinvolved in ascenethrusttype of stagethat extendsinto theaudience withseats on threesidesconflictan internal orexternal strugglebetween forcesthat createstension in a playcenterstagearea of thestage inthe centeror middlestagepresencethe energy,commitment,and presencean actorappears tohave on stagefourthwallan invisiblewall thatseperates anactor fromthe audienceblackboxtype of stage thatuses a flat floor onthe same level asthe audience, theentire space isusually paintedblackunderstudyan actor who isable to play amajor role incase theoriginal actorcannotupstagearea of astagefarthestaway fromthe audiencehousearea of atheater thatthe audiencesits incoldreadhaving toread from ascript withoutanypreparationscenesa smallersection orpotion ofa playsoliloquya speech in whichan actor speaksthe inner thoughtsof their characteraloud, usuallyalone on stageoff-bookbeingmemorizedenough to sayyour lineswithout using ascripthandpropsprops thatare carriedon stageby an actormonologuea longerspeechmade byone actordownstagearea of astage closestto theaudiencesightlineswhat anaudience will beable to see fromtheir seats, bothonstage andbackstageexpositionwhen a characterexplains to theaudience whatthe play is aboutor what willhappenironya discrepancy ordifference betweenwhat is said andwhat is meant.there are multipledifferent typesamphi-theaterstyle of theaterwith a roundstage and noroof,surrounded bytiered seatingarticu-lationthe clarity,pronunciation,or distinctionof yourspeechmotivationthe reason for acharacter'sbehaviors. whythey are doingwhat they'redoingprosceniumthe most commontype of stage, astage with a walland curtainseperating theactors from theaudiencestageleftan actor'sleft whenfacing theaudiencecuethe signal foran actor tosay theirnext line ordo an actioncontemporaryword for any playthat was writtenin present day, orafter 1980.opposite ofclassicalblackouta lightingcue whereall stagelights areturned offcharacter-izationhow an actor usestheir body, voice,and thoughts todevelop or portraya charactercallbacka secondaudition,usually usedby directors tocast lead rolesacta majordivision, or'chapters" of aplay. There areusually twoimprovspontaneous useof movement andspeech to createcharacters andscenes without ascript. acting donewithout a scriptblockingwhere andhow thedirector wouldlike you tomove on stageclassicala word for anyplay writtenbefore thepresent century.opposite ofcontemporaryadlibto improvlines thatare not fromthe scriptapronarea of thestage thatjets out infront of thecurtainasidelines spoken bya character tothe audience,which the othercharacters can'thearmirroringcopying themovement orexpressionof someoneelse exactlyupstagingto draw theaudience's attentionaway from anotheractor, or to standupstage of anotheractor - forcing themto turn their backs onthe audiencetheater-in-the-roundtype of stagethat sits in themiddle of anaudience,surrounded onall sidesstagerightan actor'sright whenfacing theaudiencechorus/ensemblea group ofactors that worktogether to fillthe stage, oftenwithout linespantomimeacting without theuse of props orset, pretending touse invisible propor set piecessceneryall the elementsand set piecesused tocommunicateenvironment ina showprojectionyour voice'sability to beheard clearlyfrom farawaycontrastdynamic use ofopposites.movement/stillness,quiet/loudpersonalpropsprops thatare kept onan actor'sperson, i.e. intheir pocketdialoguespoken linesbetween twoor morepeoplestagebusinessactions orbehaviors actosmay do on stageto look busy orinvolved in ascenethrusttype of stagethat extendsinto theaudience withseats on threesidesconflictan internal orexternal strugglebetween forcesthat createstension in a playcenterstagearea of thestage inthe centeror middlestagepresencethe energy,commitment,and presencean actorappears tohave on stagefourthwallan invisiblewall thatseperates anactor fromthe audienceblackboxtype of stage thatuses a flat floor onthe same level asthe audience, theentire space isusually paintedblackunderstudyan actor who isable to play amajor role incase theoriginal actorcannotupstagearea of astagefarthestaway fromthe audiencehousearea of atheater thatthe audiencesits incoldreadhaving toread from ascript withoutanypreparationscenesa smallersection orpotion ofa playsoliloquya speech in whichan actor speaksthe inner thoughtsof their characteraloud, usuallyalone on stageoff-bookbeingmemorizedenough to sayyour lineswithout using ascripthandpropsprops thatare carriedon stageby an actormonologuea longerspeechmade byone actordownstagearea of astage closestto theaudiencesightlineswhat anaudience will beable to see fromtheir seats, bothonstage andbackstageexpositionwhen a characterexplains to theaudience whatthe play is aboutor what willhappenironya discrepancy ordifference betweenwhat is said andwhat is meant.there are multipledifferent typesamphi-theaterstyle of theaterwith a roundstage and noroof,surrounded bytiered seatingarticu-lationthe clarity,pronunciation,or distinctionof yourspeechmotivationthe reason for acharacter'sbehaviors. whythey are doingwhat they'redoingprosceniumthe most commontype of stage, astage with a walland curtainseperating theactors from theaudiencestageleftan actor'sleft whenfacing theaudiencecuethe signal foran actor tosay theirnext line ordo an actioncontemporaryword for any playthat was writtenin present day, orafter 1980.opposite ofclassicalblackouta lightingcue whereall stagelights areturned offcharacter-izationhow an actor usestheir body, voice,and thoughts todevelop or portraya charactercallbacka secondaudition,usually usedby directors tocast lead rolesacta majordivision, or'chapters" of aplay. There areusually twoimprovspontaneous useof movement andspeech to createcharacters andscenes without ascript. acting donewithout a scriptblockingwhere andhow thedirector wouldlike you tomove on stageclassicala word for anyplay writtenbefore thepresent century.opposite ofcontemporaryadlibto improvlines thatare not fromthe scriptapronarea of thestage thatjets out infront of thecurtainasidelines spoken bya character tothe audience,which the othercharacters can'thearmirroringcopying themovement orexpressionof someoneelse exactlyupstagingto draw theaudience's attentionaway from anotheractor, or to standupstage of anotheractor - forcing themto turn their backs onthe audiencetheater-in-the-roundtype of stagethat sits in themiddle of anaudience,surrounded onall sides

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