CONTEMPORARYWORD FOR ANYPLAY THAT WASWRITTEN INPRESENT DAY, ORAFTER THE 1800S,OPPOSITE OFCLASSICALCLASSICALA WORD FOR ANYPLAY WRITTENBEFORE THEPRESENTCENTURY,OPPOSITE OFCONTEMPORARYDOWNSTAGEAREA OFTHE STAGECLOSESTTO THEAUDIENCEACTA MAJORDIVISION, ORCHAPTERSOF A PLAY.THERE AREUSUALLY TWOSCENEA SMALLERSECTIONORPORTIONOF A PLAYSTAGEBUSINESSACTIONS ORBEHAVIORSACTORS MAY DOON STAGE TOLOOK BUSY ORINVOLVED IN ASCENECALLBACKA SECONDAUDITION,USUALLY USEDBY DIRECTORSTO CAST LEADROLESCHORUS/ENSEMBLEA GROUP OFACTORS THATWORKTOGETHER TOFILL THE STAGE,OFTEN WITHOUTLINESMONOLOGUEA LONGERSPEECHMADE BYONEACTORCUETHE SIGNALFOR AN ACTORTO SAY THEIRNEXT LINE ORDO AN ACTIONPANTOMIMEACTING WITHOUTTHE USE OFPROPS OR SET,PRETENDING TOUSE INVISIBLEPROP OR SETPIECESPERSONALPROPSPROPS THATARE KEPT ONAN ACTOR''SPERSON, I.E.IN THEIRPOCKETCHARACTER-IZATIONHOW AN ACTORUSES THEIRBODY, VOICE,AND THOUGHTSTO DEVELOP ORPORTRAY ACHARACTERCENTERSTAGEAREA INTHECENTER ORMIDDLE OFTHE STAGESTAGELEFTAN ACTOR'SLEFT WHENFACING THEAUDIENCECOLDREADHAVING TOREAD FROM ASCRIPTWITHOUT ANYPREPARATIONBLACKOUTA LIGHTINGCUE WHEREALL STAGELIGHTS ARETURNED OFFBLOCKINGWHERE ANDHOW THEDIRECTORWOULD LIKEYOU TO MOVEON STAGECONFLICTAN INTERNAL OREXTERNALSTRUGGLEBETWEEN FORCESTHAT CREATESTENSION IN A PLAYPROJECTIONYOUR VOICE'SABILITY TO BEHEARDCLEARLYFROM FARAWAYEXPOSITIONWHEN ACHARACTEREXPLAINS TO THEAUDIENCE WHATTHE PLAY IS ABOUTOR WHAT WILLHAPPEN/ISHAPPENINGASIDELINES SPOKEN BYA CHARACTER TOTHE AUDIENCE,WHICH THEOTHERCHARACTERSCANT HEARUPSTAGEAREA OF THESTAGEFARTHESTAWAY FROMTHEAUDIENCEHANDPROPSPROPS THATARECARRIED ONSTAGE BYAN ACTORIMPROVSPONTANEOUS USEOF MOVEMENT ANDSPEECH TO CREATECHARACTERS ANDSCENES WITHOUT ASCRIPT - ACTINGDONE WITHOUT ASCRIPTMOTIVATIONTHE REASONFOR ACHARACTER'SBEHAVIORS,WHY THEY AREDOING WHATTHEY DOOFF-BOOKBEINGMEMORIZEDENOUGH TO SAYYOUR LINESWITHOUT USINGA SCRIPTSTAGERIGHTAN ACTOR'SRIGHTWHENFACING THEAUDIENCEDIALOGUESPOKENLINESBETWEENTWO ORMOREPEOPLESIGHTLINESWHAT ANAUDIENCE WILLBE ABLE TO SEEFROM THEIRSEATS, BOTHONSTAGE ANDBACKSTAGECONTEMPORARYWORD FOR ANYPLAY THAT WASWRITTEN INPRESENT DAY, ORAFTER THE 1800S,OPPOSITE OFCLASSICALCLASSICALA WORD FOR ANYPLAY WRITTENBEFORE THEPRESENTCENTURY,OPPOSITE OFCONTEMPORARYDOWNSTAGEAREA OFTHE STAGECLOSESTTO THEAUDIENCEACTA MAJORDIVISION, ORCHAPTERSOF A PLAY.THERE AREUSUALLY TWOSCENEA SMALLERSECTIONORPORTIONOF A PLAYSTAGEBUSINESSACTIONS ORBEHAVIORSACTORS MAY DOON STAGE TOLOOK BUSY ORINVOLVED IN ASCENECALLBACKA SECONDAUDITION,USUALLY USEDBY DIRECTORSTO CAST LEADROLESCHORUS/ENSEMBLEA GROUP OFACTORS THATWORKTOGETHER TOFILL THE STAGE,OFTEN WITHOUTLINESMONOLOGUEA LONGERSPEECHMADE BYONEACTORCUETHE SIGNALFOR AN ACTORTO SAY THEIRNEXT LINE ORDO AN ACTIONPANTOMIMEACTING WITHOUTTHE USE OFPROPS OR SET,PRETENDING TOUSE INVISIBLEPROP OR SETPIECESPERSONALPROPSPROPS THATARE KEPT ONAN ACTOR''SPERSON, I.E.IN THEIRPOCKETCHARACTER-IZATIONHOW AN ACTORUSES THEIRBODY, VOICE,AND THOUGHTSTO DEVELOP ORPORTRAY ACHARACTERCENTERSTAGEAREA INTHECENTER ORMIDDLE OFTHE STAGESTAGELEFTAN ACTOR'SLEFT WHENFACING THEAUDIENCECOLDREADHAVING TOREAD FROM ASCRIPTWITHOUT ANYPREPARATIONBLACKOUTA LIGHTINGCUE WHEREALL STAGELIGHTS ARETURNED OFFBLOCKINGWHERE ANDHOW THEDIRECTORWOULD LIKEYOU TO MOVEON STAGECONFLICTAN INTERNAL OREXTERNALSTRUGGLEBETWEEN FORCESTHAT CREATESTENSION IN A PLAYPROJECTIONYOUR VOICE'SABILITY TO BEHEARDCLEARLYFROM FARAWAYEXPOSITIONWHEN ACHARACTEREXPLAINS TO THEAUDIENCE WHATTHE PLAY IS ABOUTOR WHAT WILLHAPPEN/ISHAPPENINGASIDELINES SPOKEN BYA CHARACTER TOTHE AUDIENCE,WHICH THEOTHERCHARACTERSCANT HEARUPSTAGEAREA OF THESTAGEFARTHESTAWAY FROMTHEAUDIENCEHANDPROPSPROPS THATARECARRIED ONSTAGE BYAN ACTORIMPROVSPONTANEOUS USEOF MOVEMENT ANDSPEECH TO CREATECHARACTERS ANDSCENES WITHOUT ASCRIPT - ACTINGDONE WITHOUT ASCRIPTMOTIVATIONTHE REASONFOR ACHARACTER'SBEHAVIORS,WHY THEY AREDOING WHATTHEY DOOFF-BOOKBEINGMEMORIZEDENOUGH TO SAYYOUR LINESWITHOUT USINGA SCRIPTSTAGERIGHTAN ACTOR'SRIGHTWHENFACING THEAUDIENCEDIALOGUESPOKENLINESBETWEENTWO ORMOREPEOPLESIGHTLINESWHAT ANAUDIENCE WILLBE ABLE TO SEEFROM THEIRSEATS, BOTHONSTAGE ANDBACKSTAGE

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