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