PERSONALPROPSPROPS THATARE KEPT ONAN ACTOR''SPERSON, I.E.IN THEIRPOCKETPROJECTIONYOUR VOICE'SABILITY TO BEHEARDCLEARLYFROM FARAWAYHANDPROPSPROPS THATARECARRIED ONSTAGE BYAN ACTORSCENEA SMALLERSECTIONORPORTIONOF A PLAYBLOCKINGWHERE ANDHOW THEDIRECTORWOULD LIKEYOU TO MOVEON STAGEBLACKOUTA LIGHTINGCUE WHEREALL STAGELIGHTS ARETURNED OFFMONOLOGUEA LONGERSPEECHMADE BYONEACTORCLASSICALA WORD FOR ANYPLAY WRITTENBEFORE THEPRESENTCENTURY,OPPOSITE OFCONTEMPORARYCHARACTER-IZATIONHOW AN ACTORUSES THEIRBODY, VOICE,AND THOUGHTSTO DEVELOP ORPORTRAY ACHARACTERSTAGELEFTAN ACTOR'SLEFT WHENFACING THEAUDIENCESTAGEBUSINESSACTIONS ORBEHAVIORSACTORS MAY DOON STAGE TOLOOK BUSY ORINVOLVED IN ASCENEUPSTAGEAREA OF THESTAGEFARTHESTAWAY FROMTHEAUDIENCEOFF-BOOKBEINGMEMORIZEDENOUGH TO SAYYOUR LINESWITHOUT USINGA SCRIPTSTAGERIGHTAN ACTOR'SRIGHTWHENFACING THEAUDIENCEPANTOMIMEACTING WITHOUTTHE USE OFPROPS OR SET,PRETENDING TOUSE INVISIBLEPROP OR SETPIECESEXPOSITIONWHEN ACHARACTEREXPLAINS TO THEAUDIENCE WHATTHE PLAY IS ABOUTOR WHAT WILLHAPPEN/ISHAPPENINGASIDELINES SPOKEN BYA CHARACTER TOTHE AUDIENCE,WHICH THEOTHERCHARACTERSCANT HEARCALLBACKA SECONDAUDITION,USUALLY USEDBY DIRECTORSTO CAST LEADROLESCENTERSTAGEAREA INTHECENTER ORMIDDLE OFTHE STAGECHORUS/ENSEMBLEA GROUP OFACTORS THATWORKTOGETHER TOFILL THE STAGE,OFTEN WITHOUTLINESMOTIVATIONTHE REASONFOR ACHARACTER'SBEHAVIORS,WHY THEY AREDOING WHATTHEY DOSIGHTLINESWHAT ANAUDIENCE WILLBE ABLE TO SEEFROM THEIRSEATS, BOTHONSTAGE ANDBACKSTAGEDIALOGUESPOKENLINESBETWEENTWO ORMOREPEOPLECUETHE SIGNALFOR AN ACTORTO SAY THEIRNEXT LINE ORDO AN ACTIONIMPROVSPONTANEOUS USEOF MOVEMENT ANDSPEECH TO CREATECHARACTERS ANDSCENES WITHOUT ASCRIPT - ACTINGDONE WITHOUT ASCRIPTACTA MAJORDIVISION, ORCHAPTERSOF A PLAY.THERE AREUSUALLY TWOCOLDREADHAVING TOREAD FROM ASCRIPTWITHOUT ANYPREPARATIONCONFLICTAN INTERNAL OREXTERNALSTRUGGLEBETWEEN FORCESTHAT CREATESTENSION IN A PLAYCONTEMPORARYWORD FOR ANYPLAY THAT WASWRITTEN INPRESENT DAY, ORAFTER THE 1800S,OPPOSITE OFCLASSICALDOWNSTAGEAREA OFTHE STAGECLOSESTTO THEAUDIENCEPERSONALPROPSPROPS THATARE KEPT ONAN ACTOR''SPERSON, I.E.IN THEIRPOCKETPROJECTIONYOUR VOICE'SABILITY TO BEHEARDCLEARLYFROM FARAWAYHANDPROPSPROPS THATARECARRIED ONSTAGE BYAN ACTORSCENEA SMALLERSECTIONORPORTIONOF A PLAYBLOCKINGWHERE ANDHOW THEDIRECTORWOULD LIKEYOU TO MOVEON STAGEBLACKOUTA LIGHTINGCUE WHEREALL STAGELIGHTS ARETURNED OFFMONOLOGUEA LONGERSPEECHMADE BYONEACTORCLASSICALA WORD FOR ANYPLAY WRITTENBEFORE THEPRESENTCENTURY,OPPOSITE OFCONTEMPORARYCHARACTER-IZATIONHOW AN ACTORUSES THEIRBODY, VOICE,AND THOUGHTSTO DEVELOP ORPORTRAY ACHARACTERSTAGELEFTAN ACTOR'SLEFT WHENFACING THEAUDIENCESTAGEBUSINESSACTIONS ORBEHAVIORSACTORS MAY DOON STAGE TOLOOK BUSY ORINVOLVED IN ASCENEUPSTAGEAREA OF THESTAGEFARTHESTAWAY FROMTHEAUDIENCEOFF-BOOKBEINGMEMORIZEDENOUGH TO SAYYOUR LINESWITHOUT USINGA SCRIPTSTAGERIGHTAN ACTOR'SRIGHTWHENFACING THEAUDIENCEPANTOMIMEACTING WITHOUTTHE USE OFPROPS OR SET,PRETENDING TOUSE INVISIBLEPROP OR SETPIECESEXPOSITIONWHEN ACHARACTEREXPLAINS TO THEAUDIENCE WHATTHE PLAY IS ABOUTOR WHAT WILLHAPPEN/ISHAPPENINGASIDELINES SPOKEN BYA CHARACTER TOTHE AUDIENCE,WHICH THEOTHERCHARACTERSCANT HEARCALLBACKA SECONDAUDITION,USUALLY USEDBY DIRECTORSTO CAST LEADROLESCENTERSTAGEAREA INTHECENTER ORMIDDLE OFTHE STAGECHORUS/ENSEMBLEA GROUP OFACTORS THATWORKTOGETHER TOFILL THE STAGE,OFTEN WITHOUTLINESMOTIVATIONTHE REASONFOR ACHARACTER'SBEHAVIORS,WHY THEY AREDOING WHATTHEY DOSIGHTLINESWHAT ANAUDIENCE WILLBE ABLE TO SEEFROM THEIRSEATS, BOTHONSTAGE ANDBACKSTAGEDIALOGUESPOKENLINESBETWEENTWO ORMOREPEOPLECUETHE SIGNALFOR AN ACTORTO SAY THEIRNEXT LINE ORDO AN ACTIONIMPROVSPONTANEOUS USEOF MOVEMENT ANDSPEECH TO CREATECHARACTERS ANDSCENES WITHOUT ASCRIPT - ACTINGDONE WITHOUT ASCRIPTACTA MAJORDIVISION, ORCHAPTERSOF A PLAY.THERE AREUSUALLY TWOCOLDREADHAVING TOREAD FROM ASCRIPTWITHOUT ANYPREPARATIONCONFLICTAN INTERNAL OREXTERNALSTRUGGLEBETWEEN FORCESTHAT CREATESTENSION IN A PLAYCONTEMPORARYWORD FOR ANYPLAY THAT WASWRITTEN INPRESENT DAY, ORAFTER THE 1800S,OPPOSITE OFCLASSICALDOWNSTAGEAREA OFTHE STAGECLOSESTTO THEAUDIENCE

Theatre 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 KEPT ON AN ACTOR''S PERSON, I.E. IN THEIR POCKET
    PERSONAL PROPS
  2. YOUR VOICE'S ABILITY TO BE HEARD CLEARLY FROM FAR AWAY
    PROJECTION
  3. PROPS THAT ARE CARRIED ON STAGE BY AN ACTOR
    HAND PROPS
  4. A SMALLER SECTION OR PORTION OF A PLAY
    SCENE
  5. WHERE AND HOW THE DIRECTOR WOULD LIKE YOU TO MOVE ON STAGE
    BLOCKING
  6. A LIGHTING CUE WHERE ALL STAGE LIGHTS ARE TURNED OFF
    BLACK OUT
  7. A LONGER SPEECH MADE BY ONE ACTOR
    MONOLOGUE
  8. A WORD FOR ANY PLAY WRITTEN BEFORE THE PRESENT CENTURY, OPPOSITE OF CONTEMPORARY
    CLASSICAL
  9. HOW AN ACTOR USES THEIR BODY, VOICE, AND THOUGHTS TO DEVELOP OR PORTRAY A CHARACTER
    CHARACTER-IZATION
  10. AN ACTOR'S LEFT WHEN FACING THE AUDIENCE
    STAGE LEFT
  11. ACTIONS OR BEHAVIORS ACTORS MAY DO ON STAGE TO LOOK BUSY OR INVOLVED IN A SCENE
    STAGE BUSINESS
  12. AREA OF THE STAGE FARTHEST AWAY FROM THE AUDIENCE
    UP STAGE
  13. BEING MEMORIZED ENOUGH TO SAY YOUR LINES WITHOUT USING A SCRIPT
    OFF-BOOK
  14. AN ACTOR'S RIGHT WHEN FACING THE AUDIENCE
    STAGE RIGHT
  15. ACTING WITHOUT THE USE OF PROPS OR SET, PRETENDING TO USE INVISIBLE PROP OR SET PIECES
    PANTOMIME
  16. WHEN A CHARACTER EXPLAINS TO THE AUDIENCE WHAT THE PLAY IS ABOUT OR WHAT WILL HAPPEN/IS HAPPENING
    EXPOSITION
  17. LINES SPOKEN BY A CHARACTER TO THE AUDIENCE, WHICH THE OTHER CHARACTERS CANT HEAR
    ASIDE
  18. A SECOND AUDITION, USUALLY USED BY DIRECTORS TO CAST LEAD ROLES
    CALLBACK
  19. AREA IN THE CENTER OR MIDDLE OF THE STAGE
    CENTER STAGE
  20. A GROUP OF ACTORS THAT WORK TOGETHER TO FILL THE STAGE, OFTEN WITHOUT LINES
    CHORUS/ENSEMBLE
  21. THE REASON FOR A CHARACTER'S BEHAVIORS, WHY THEY ARE DOING WHAT THEY DO
    MOTIVATION
  22. WHAT AN AUDIENCE WILL BE ABLE TO SEE FROM THEIR SEATS, BOTH ONSTAGE AND BACKSTAGE
    SIGHT LINES
  23. SPOKEN LINES BETWEEN TWO OR MORE PEOPLE
    DIALOGUE
  24. THE SIGNAL FOR AN ACTOR TO SAY THEIR NEXT LINE OR DO AN ACTION
    CUE
  25. SPONTANEOUS USE OF MOVEMENT AND SPEECH TO CREATE CHARACTERS AND SCENES WITHOUT A SCRIPT - ACTING DONE WITHOUT A SCRIPT
    IMPROV
  26. A MAJOR DIVISION, OR CHAPTERS OF A PLAY. THERE ARE USUALLY TWO
    ACT
  27. HAVING TO READ FROM A SCRIPT WITHOUT ANY PREPARATION
    COLD READ
  28. AN INTERNAL OR EXTERNAL STRUGGLE BETWEEN FORCES THAT CREATES TENSION IN A PLAY
    CONFLICT
  29. WORD FOR ANY PLAY THAT WAS WRITTEN IN PRESENT DAY, OR AFTER THE 1800S, OPPOSITE OF CLASSICAL
    CONTEMPORARY
  30. AREA OF THE STAGE CLOSEST TO THE AUDIENCE
    DOWN STAGE