CHORUS/ENSEMBLEA GROUP OFACTORS THATWORKTOGETHER TOFILL THE STAGE,OFTEN WITHOUTLINESSTAGEBUSINESSACTIONS ORBEHAVIORSACTORS MAY DOON STAGE TOLOOK BUSY ORINVOLVED IN ASCENEBLOCKINGWHERE ANDHOW THEDIRECTORWOULD LIKEYOU TO MOVEON STAGEPROJECTIONYOUR VOICE'SABILITY TO BEHEARDCLEARLYFROM FARAWAYPERSONALPROPSPROPS THATARE KEPT ONAN ACTOR''SPERSON, I.E.IN THEIRPOCKETDOWNSTAGEAREA OFTHE STAGECLOSESTTO THEAUDIENCESCENEA SMALLERSECTIONORPORTIONOF A PLAYMONOLOGUEA LONGERSPEECHMADE BYONEACTORSTAGELEFTAN ACTOR'SLEFT WHENFACING THEAUDIENCEOFF-BOOKBEINGMEMORIZEDENOUGH TO SAYYOUR LINESWITHOUT USINGA SCRIPTDIALOGUESPOKENLINESBETWEENTWO ORMOREPEOPLECONFLICTAN INTERNAL OREXTERNALSTRUGGLEBETWEEN FORCESTHAT CREATESTENSION IN A PLAYUPSTAGEAREA OF THESTAGEFARTHESTAWAY FROMTHEAUDIENCECOLDREADHAVING TOREAD FROM ASCRIPTWITHOUT ANYPREPARATIONHANDPROPSPROPS THATARECARRIED ONSTAGE BYAN ACTORCALLBACKA SECONDAUDITION,USUALLY USEDBY DIRECTORSTO CAST LEADROLESIMPROVSPONTANEOUS USEOF MOVEMENT ANDSPEECH TO CREATECHARACTERS ANDSCENES WITHOUT ASCRIPT - ACTINGDONE WITHOUT ASCRIPTPANTOMIMEACTING WITHOUTTHE USE OFPROPS OR SET,PRETENDING TOUSE INVISIBLEPROP OR SETPIECESBLACKOUTA LIGHTINGCUE WHEREALL STAGELIGHTS ARETURNED OFFMOTIVATIONTHE REASONFOR ACHARACTER'SBEHAVIORS,WHY THEY AREDOING WHATTHEY DOASIDELINES SPOKEN BYA CHARACTER TOTHE AUDIENCE,WHICH THEOTHERCHARACTERSCANT HEARSTAGERIGHTAN ACTOR'SRIGHTWHENFACING THEAUDIENCECUETHE SIGNALFOR AN ACTORTO SAY THEIRNEXT LINE ORDO AN ACTIONCONTEMPORARYWORD FOR ANYPLAY THAT WASWRITTEN INPRESENT DAY, ORAFTER THE 1800S,OPPOSITE OFCLASSICALSIGHTLINESWHAT ANAUDIENCE WILLBE ABLE TO SEEFROM THEIRSEATS, BOTHONSTAGE ANDBACKSTAGECHARACTER-IZATIONHOW AN ACTORUSES THEIRBODY, VOICE,AND THOUGHTSTO DEVELOP ORPORTRAY ACHARACTERCLASSICALA WORD FOR ANYPLAY WRITTENBEFORE THEPRESENTCENTURY,OPPOSITE OFCONTEMPORARYACTA MAJORDIVISION, ORCHAPTERSOF A PLAY.THERE AREUSUALLY TWOEXPOSITIONWHEN ACHARACTEREXPLAINS TO THEAUDIENCE WHATTHE PLAY IS ABOUTOR WHAT WILLHAPPEN/ISHAPPENINGCENTERSTAGEAREA INTHECENTER ORMIDDLE OFTHE STAGECHORUS/ENSEMBLEA GROUP OFACTORS THATWORKTOGETHER TOFILL THE STAGE,OFTEN WITHOUTLINESSTAGEBUSINESSACTIONS ORBEHAVIORSACTORS MAY DOON STAGE TOLOOK BUSY ORINVOLVED IN ASCENEBLOCKINGWHERE ANDHOW THEDIRECTORWOULD LIKEYOU TO MOVEON STAGEPROJECTIONYOUR VOICE'SABILITY TO BEHEARDCLEARLYFROM FARAWAYPERSONALPROPSPROPS THATARE KEPT ONAN ACTOR''SPERSON, I.E.IN THEIRPOCKETDOWNSTAGEAREA OFTHE STAGECLOSESTTO THEAUDIENCESCENEA SMALLERSECTIONORPORTIONOF A PLAYMONOLOGUEA LONGERSPEECHMADE BYONEACTORSTAGELEFTAN ACTOR'SLEFT WHENFACING THEAUDIENCEOFF-BOOKBEINGMEMORIZEDENOUGH TO SAYYOUR LINESWITHOUT USINGA SCRIPTDIALOGUESPOKENLINESBETWEENTWO ORMOREPEOPLECONFLICTAN INTERNAL OREXTERNALSTRUGGLEBETWEEN FORCESTHAT CREATESTENSION IN A PLAYUPSTAGEAREA OF THESTAGEFARTHESTAWAY FROMTHEAUDIENCECOLDREADHAVING TOREAD FROM ASCRIPTWITHOUT ANYPREPARATIONHANDPROPSPROPS THATARECARRIED ONSTAGE BYAN ACTORCALLBACKA SECONDAUDITION,USUALLY USEDBY DIRECTORSTO CAST LEADROLESIMPROVSPONTANEOUS USEOF MOVEMENT ANDSPEECH TO CREATECHARACTERS ANDSCENES WITHOUT ASCRIPT - ACTINGDONE WITHOUT ASCRIPTPANTOMIMEACTING WITHOUTTHE USE OFPROPS OR SET,PRETENDING TOUSE INVISIBLEPROP OR SETPIECESBLACKOUTA LIGHTINGCUE WHEREALL STAGELIGHTS ARETURNED OFFMOTIVATIONTHE REASONFOR ACHARACTER'SBEHAVIORS,WHY THEY AREDOING WHATTHEY DOASIDELINES SPOKEN BYA CHARACTER TOTHE AUDIENCE,WHICH THEOTHERCHARACTERSCANT HEARSTAGERIGHTAN ACTOR'SRIGHTWHENFACING THEAUDIENCECUETHE SIGNALFOR AN ACTORTO SAY THEIRNEXT LINE ORDO AN ACTIONCONTEMPORARYWORD FOR ANYPLAY THAT WASWRITTEN INPRESENT DAY, ORAFTER THE 1800S,OPPOSITE OFCLASSICALSIGHTLINESWHAT ANAUDIENCE WILLBE ABLE TO SEEFROM THEIRSEATS, BOTHONSTAGE ANDBACKSTAGECHARACTER-IZATIONHOW AN ACTORUSES THEIRBODY, VOICE,AND THOUGHTSTO DEVELOP ORPORTRAY ACHARACTERCLASSICALA WORD FOR ANYPLAY WRITTENBEFORE THEPRESENTCENTURY,OPPOSITE OFCONTEMPORARYACTA MAJORDIVISION, ORCHAPTERSOF A PLAY.THERE AREUSUALLY TWOEXPOSITIONWHEN ACHARACTEREXPLAINS TO THEAUDIENCE WHATTHE PLAY IS ABOUTOR WHAT WILLHAPPEN/ISHAPPENINGCENTERSTAGEAREA INTHECENTER ORMIDDLE OFTHE STAGE

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