CENTERSTAGEAREA INTHECENTER ORMIDDLE OFTHE STAGESTAGEBUSINESSACTIONS ORBEHAVIORSACTORS MAY DOON STAGE TOLOOK BUSY ORINVOLVED IN ASCENESCENEA SMALLERSECTIONORPORTIONOF A PLAYASIDELINES SPOKEN BYA CHARACTER TOTHE AUDIENCE,WHICH THEOTHERCHARACTERSCANT HEARCONTEMPORARYWORD FOR ANYPLAY THAT WASWRITTEN INPRESENT DAY, ORAFTER THE 1800S,OPPOSITE OFCLASSICALCALLBACKA SECONDAUDITION,USUALLY USEDBY DIRECTORSTO CAST LEADROLESPROJECTIONYOUR VOICE'SABILITY TO BEHEARDCLEARLYFROM FARAWAYPERSONALPROPSPROPS THATARE KEPT ONAN ACTOR''SPERSON, I.E.IN THEIRPOCKETBLACKOUTA LIGHTINGCUE WHEREALL STAGELIGHTS ARETURNED OFFEXPOSITIONWHEN ACHARACTEREXPLAINS TO THEAUDIENCE WHATTHE PLAY IS ABOUTOR WHAT WILLHAPPEN/ISHAPPENINGMOTIVATIONTHE REASONFOR ACHARACTER'SBEHAVIORS,WHY THEY AREDOING WHATTHEY DOCONFLICTAN INTERNAL OREXTERNALSTRUGGLEBETWEEN FORCESTHAT CREATESTENSION IN A PLAYACTA MAJORDIVISION, ORCHAPTERSOF A PLAY.THERE AREUSUALLY TWOPANTOMIMEACTING WITHOUTTHE USE OFPROPS OR SET,PRETENDING TOUSE INVISIBLEPROP OR SETPIECESDOWNSTAGEAREA OFTHE STAGECLOSESTTO THEAUDIENCEBLOCKINGWHERE ANDHOW THEDIRECTORWOULD LIKEYOU TO MOVEON STAGECUETHE SIGNALFOR AN ACTORTO SAY THEIRNEXT LINE ORDO AN ACTIONMONOLOGUEA LONGERSPEECHMADE BYONEACTORSTAGERIGHTAN ACTOR'SRIGHTWHENFACING THEAUDIENCECHORUS/ENSEMBLEA GROUP OFACTORS THATWORKTOGETHER TOFILL THE STAGE,OFTEN WITHOUTLINESUPSTAGEAREA OF THESTAGEFARTHESTAWAY FROMTHEAUDIENCEHANDPROPSPROPS THATARECARRIED ONSTAGE BYAN ACTORCHARACTER-IZATIONHOW AN ACTORUSES THEIRBODY, VOICE,AND THOUGHTSTO DEVELOP ORPORTRAY ACHARACTEROFF-BOOKBEINGMEMORIZEDENOUGH TO SAYYOUR LINESWITHOUT USINGA SCRIPTSIGHTLINESWHAT ANAUDIENCE WILLBE ABLE TO SEEFROM THEIRSEATS, BOTHONSTAGE ANDBACKSTAGECOLDREADHAVING TOREAD FROM ASCRIPTWITHOUT ANYPREPARATIONDIALOGUESPOKENLINESBETWEENTWO ORMOREPEOPLESTAGELEFTAN ACTOR'SLEFT WHENFACING THEAUDIENCEIMPROVSPONTANEOUS USEOF MOVEMENT ANDSPEECH TO CREATECHARACTERS ANDSCENES WITHOUT ASCRIPT - ACTINGDONE WITHOUT ASCRIPTCLASSICALA WORD FOR ANYPLAY WRITTENBEFORE THEPRESENTCENTURY,OPPOSITE OFCONTEMPORARYCENTERSTAGEAREA INTHECENTER ORMIDDLE OFTHE STAGESTAGEBUSINESSACTIONS ORBEHAVIORSACTORS MAY DOON STAGE TOLOOK BUSY ORINVOLVED IN ASCENESCENEA SMALLERSECTIONORPORTIONOF A PLAYASIDELINES SPOKEN BYA CHARACTER TOTHE AUDIENCE,WHICH THEOTHERCHARACTERSCANT HEARCONTEMPORARYWORD FOR ANYPLAY THAT WASWRITTEN INPRESENT DAY, ORAFTER THE 1800S,OPPOSITE OFCLASSICALCALLBACKA SECONDAUDITION,USUALLY USEDBY DIRECTORSTO CAST LEADROLESPROJECTIONYOUR VOICE'SABILITY TO BEHEARDCLEARLYFROM FARAWAYPERSONALPROPSPROPS THATARE KEPT ONAN ACTOR''SPERSON, I.E.IN THEIRPOCKETBLACKOUTA LIGHTINGCUE WHEREALL STAGELIGHTS ARETURNED OFFEXPOSITIONWHEN ACHARACTEREXPLAINS TO THEAUDIENCE WHATTHE PLAY IS ABOUTOR WHAT WILLHAPPEN/ISHAPPENINGMOTIVATIONTHE REASONFOR ACHARACTER'SBEHAVIORS,WHY THEY AREDOING WHATTHEY DOCONFLICTAN INTERNAL OREXTERNALSTRUGGLEBETWEEN FORCESTHAT CREATESTENSION IN A PLAYACTA MAJORDIVISION, ORCHAPTERSOF A PLAY.THERE AREUSUALLY TWOPANTOMIMEACTING WITHOUTTHE USE OFPROPS OR SET,PRETENDING TOUSE INVISIBLEPROP OR SETPIECESDOWNSTAGEAREA OFTHE STAGECLOSESTTO THEAUDIENCEBLOCKINGWHERE ANDHOW THEDIRECTORWOULD LIKEYOU TO MOVEON STAGECUETHE SIGNALFOR AN ACTORTO SAY THEIRNEXT LINE ORDO AN ACTIONMONOLOGUEA LONGERSPEECHMADE BYONEACTORSTAGERIGHTAN ACTOR'SRIGHTWHENFACING THEAUDIENCECHORUS/ENSEMBLEA GROUP OFACTORS THATWORKTOGETHER TOFILL THE STAGE,OFTEN WITHOUTLINESUPSTAGEAREA OF THESTAGEFARTHESTAWAY FROMTHEAUDIENCEHANDPROPSPROPS THATARECARRIED ONSTAGE BYAN ACTORCHARACTER-IZATIONHOW AN ACTORUSES THEIRBODY, VOICE,AND THOUGHTSTO DEVELOP ORPORTRAY ACHARACTEROFF-BOOKBEINGMEMORIZEDENOUGH TO SAYYOUR LINESWITHOUT USINGA SCRIPTSIGHTLINESWHAT ANAUDIENCE WILLBE ABLE TO SEEFROM THEIRSEATS, BOTHONSTAGE ANDBACKSTAGECOLDREADHAVING TOREAD FROM ASCRIPTWITHOUT ANYPREPARATIONDIALOGUESPOKENLINESBETWEENTWO ORMOREPEOPLESTAGELEFTAN ACTOR'SLEFT WHENFACING THEAUDIENCEIMPROVSPONTANEOUS USEOF MOVEMENT ANDSPEECH TO CREATECHARACTERS ANDSCENES WITHOUT ASCRIPT - ACTINGDONE WITHOUT ASCRIPTCLASSICALA WORD FOR ANYPLAY WRITTENBEFORE THEPRESENTCENTURY,OPPOSITE OFCONTEMPORARY

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