BLOCKINGWHERE ANDHOW THEDIRECTORWOULD LIKEYOU TO MOVEON STAGESCENEA SMALLERSECTIONORPORTIONOF A PLAYBLACKOUTA LIGHTINGCUE WHEREALL STAGELIGHTS ARETURNED OFFSTAGELEFTAN ACTOR'SLEFT WHENFACING THEAUDIENCESTAGEBUSINESSACTIONS ORBEHAVIORSACTORS MAY DOON STAGE TOLOOK BUSY ORINVOLVED IN ASCENEMOTIVATIONTHE REASONFOR ACHARACTER'SBEHAVIORS,WHY THEY AREDOING WHATTHEY DOCONFLICTAN INTERNAL OREXTERNALSTRUGGLEBETWEEN FORCESTHAT CREATESTENSION IN A PLAYIMPROVSPONTANEOUS USEOF MOVEMENT ANDSPEECH TO CREATECHARACTERS ANDSCENES WITHOUT ASCRIPT - ACTINGDONE WITHOUT ASCRIPTACTA MAJORDIVISION, ORCHAPTERSOF A PLAY.THERE AREUSUALLY TWOASIDELINES SPOKEN BYA CHARACTER TOTHE AUDIENCE,WHICH THEOTHERCHARACTERSCANT HEARCENTERSTAGEAREA INTHECENTER ORMIDDLE OFTHE STAGESTAGERIGHTAN ACTOR'SRIGHTWHENFACING THEAUDIENCEOFF-BOOKBEINGMEMORIZEDENOUGH TO SAYYOUR LINESWITHOUT USINGA SCRIPTUPSTAGEAREA OF THESTAGEFARTHESTAWAY FROMTHEAUDIENCESIGHTLINESWHAT ANAUDIENCE WILLBE ABLE TO SEEFROM THEIRSEATS, BOTHONSTAGE ANDBACKSTAGEPERSONALPROPSPROPS THATARE KEPT ONAN ACTOR''SPERSON, I.E.IN THEIRPOCKETCHARACTER-IZATIONHOW AN ACTORUSES THEIRBODY, VOICE,AND THOUGHTSTO DEVELOP ORPORTRAY ACHARACTERCOLDREADHAVING TOREAD FROM ASCRIPTWITHOUT ANYPREPARATIONCLASSICALA WORD FOR ANYPLAY WRITTENBEFORE THEPRESENTCENTURY,OPPOSITE OFCONTEMPORARYMONOLOGUEA LONGERSPEECHMADE BYONEACTORHANDPROPSPROPS THATARECARRIED ONSTAGE BYAN ACTORCUETHE SIGNALFOR AN ACTORTO SAY THEIRNEXT LINE ORDO AN ACTIONCONTEMPORARYWORD FOR ANYPLAY THAT WASWRITTEN INPRESENT DAY, ORAFTER THE 1800S,OPPOSITE OFCLASSICALDOWNSTAGEAREA OFTHE STAGECLOSESTTO THEAUDIENCECHORUS/ENSEMBLEA GROUP OFACTORS THATWORKTOGETHER TOFILL THE STAGE,OFTEN WITHOUTLINESPROJECTIONYOUR VOICE'SABILITY TO BEHEARDCLEARLYFROM FARAWAYPANTOMIMEACTING WITHOUTTHE USE OFPROPS OR SET,PRETENDING TOUSE INVISIBLEPROP OR SETPIECESDIALOGUESPOKENLINESBETWEENTWO ORMOREPEOPLECALLBACKA SECONDAUDITION,USUALLY USEDBY DIRECTORSTO CAST LEADROLESEXPOSITIONWHEN ACHARACTEREXPLAINS TO THEAUDIENCE WHATTHE PLAY IS ABOUTOR WHAT WILLHAPPEN/ISHAPPENINGBLOCKINGWHERE ANDHOW THEDIRECTORWOULD LIKEYOU TO MOVEON STAGESCENEA SMALLERSECTIONORPORTIONOF A PLAYBLACKOUTA LIGHTINGCUE WHEREALL STAGELIGHTS ARETURNED OFFSTAGELEFTAN ACTOR'SLEFT WHENFACING THEAUDIENCESTAGEBUSINESSACTIONS ORBEHAVIORSACTORS MAY DOON STAGE TOLOOK BUSY ORINVOLVED IN ASCENEMOTIVATIONTHE REASONFOR ACHARACTER'SBEHAVIORS,WHY THEY AREDOING WHATTHEY DOCONFLICTAN INTERNAL OREXTERNALSTRUGGLEBETWEEN FORCESTHAT CREATESTENSION IN A PLAYIMPROVSPONTANEOUS USEOF MOVEMENT ANDSPEECH TO CREATECHARACTERS ANDSCENES WITHOUT ASCRIPT - ACTINGDONE WITHOUT ASCRIPTACTA MAJORDIVISION, ORCHAPTERSOF A PLAY.THERE AREUSUALLY TWOASIDELINES SPOKEN BYA CHARACTER TOTHE AUDIENCE,WHICH THEOTHERCHARACTERSCANT HEARCENTERSTAGEAREA INTHECENTER ORMIDDLE OFTHE STAGESTAGERIGHTAN ACTOR'SRIGHTWHENFACING THEAUDIENCEOFF-BOOKBEINGMEMORIZEDENOUGH TO SAYYOUR LINESWITHOUT USINGA SCRIPTUPSTAGEAREA OF THESTAGEFARTHESTAWAY FROMTHEAUDIENCESIGHTLINESWHAT ANAUDIENCE WILLBE ABLE TO SEEFROM THEIRSEATS, BOTHONSTAGE ANDBACKSTAGEPERSONALPROPSPROPS THATARE KEPT ONAN ACTOR''SPERSON, I.E.IN THEIRPOCKETCHARACTER-IZATIONHOW AN ACTORUSES THEIRBODY, VOICE,AND THOUGHTSTO DEVELOP ORPORTRAY ACHARACTERCOLDREADHAVING TOREAD FROM ASCRIPTWITHOUT ANYPREPARATIONCLASSICALA WORD FOR ANYPLAY WRITTENBEFORE THEPRESENTCENTURY,OPPOSITE OFCONTEMPORARYMONOLOGUEA LONGERSPEECHMADE BYONEACTORHANDPROPSPROPS THATARECARRIED ONSTAGE BYAN ACTORCUETHE SIGNALFOR AN ACTORTO SAY THEIRNEXT LINE ORDO AN ACTIONCONTEMPORARYWORD FOR ANYPLAY THAT WASWRITTEN INPRESENT DAY, ORAFTER THE 1800S,OPPOSITE OFCLASSICALDOWNSTAGEAREA OFTHE STAGECLOSESTTO THEAUDIENCECHORUS/ENSEMBLEA GROUP OFACTORS THATWORKTOGETHER TOFILL THE STAGE,OFTEN WITHOUTLINESPROJECTIONYOUR VOICE'SABILITY TO BEHEARDCLEARLYFROM FARAWAYPANTOMIMEACTING WITHOUTTHE USE OFPROPS OR SET,PRETENDING TOUSE INVISIBLEPROP OR SETPIECESDIALOGUESPOKENLINESBETWEENTWO ORMOREPEOPLECALLBACKA SECONDAUDITION,USUALLY USEDBY DIRECTORSTO CAST LEADROLESEXPOSITIONWHEN ACHARACTEREXPLAINS TO THEAUDIENCE WHATTHE PLAY IS ABOUTOR WHAT WILLHAPPEN/ISHAPPENING

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