PROJECTIONYOUR VOICE'SABILITY TO BEHEARDCLEARLYFROM FARAWAYPANTOMIMEACTING WITHOUTTHE USE OFPROPS OR SET,PRETENDING TOUSE INVISIBLEPROP OR SETPIECESSTAGERIGHTAN ACTOR'SRIGHTWHENFACING THEAUDIENCEOFF-BOOKBEINGMEMORIZEDENOUGH TO SAYYOUR LINESWITHOUT USINGA SCRIPTSTAGEBUSINESSACTIONS ORBEHAVIORSACTORS MAY DOON STAGE TOLOOK BUSY ORINVOLVED IN ASCENECONTEMPORARYWORD FOR ANYPLAY THAT WASWRITTEN INPRESENT DAY, ORAFTER THE 1800S,OPPOSITE OFCLASSICALSCENEA SMALLERSECTIONORPORTIONOF A PLAYUPSTAGEAREA OF THESTAGEFARTHESTAWAY FROMTHEAUDIENCEMOTIVATIONTHE REASONFOR ACHARACTER'SBEHAVIORS,WHY THEY AREDOING WHATTHEY DOCENTERSTAGEAREA INTHECENTER ORMIDDLE OFTHE STAGECUETHE SIGNALFOR AN ACTORTO SAY THEIRNEXT LINE ORDO AN ACTIONMONOLOGUEA LONGERSPEECHMADE BYONEACTORIMPROVSPONTANEOUS USEOF MOVEMENT ANDSPEECH TO CREATECHARACTERS ANDSCENES WITHOUT ASCRIPT - ACTINGDONE WITHOUT ASCRIPTSTAGELEFTAN ACTOR'SLEFT WHENFACING THEAUDIENCEHANDPROPSPROPS THATARECARRIED ONSTAGE BYAN ACTORCOLDREADHAVING TOREAD FROM ASCRIPTWITHOUT ANYPREPARATIONDIALOGUESPOKENLINESBETWEENTWO ORMOREPEOPLEPERSONALPROPSPROPS THATARE KEPT ONAN ACTOR''SPERSON, I.E.IN THEIRPOCKETCHARACTER-IZATIONHOW AN ACTORUSES THEIRBODY, VOICE,AND THOUGHTSTO DEVELOP ORPORTRAY ACHARACTERCONFLICTAN INTERNAL OREXTERNALSTRUGGLEBETWEEN FORCESTHAT CREATESTENSION IN A PLAYSIGHTLINESWHAT ANAUDIENCE WILLBE ABLE TO SEEFROM THEIRSEATS, BOTHONSTAGE ANDBACKSTAGECALLBACKA SECONDAUDITION,USUALLY USEDBY DIRECTORSTO CAST LEADROLESBLACKOUTA LIGHTINGCUE WHEREALL STAGELIGHTS ARETURNED OFFASIDELINES SPOKEN BYA CHARACTER TOTHE AUDIENCE,WHICH THEOTHERCHARACTERSCANT HEARACTA MAJORDIVISION, ORCHAPTERSOF A PLAY.THERE AREUSUALLY TWODOWNSTAGEAREA OFTHE STAGECLOSESTTO THEAUDIENCECLASSICALA WORD FOR ANYPLAY WRITTENBEFORE THEPRESENTCENTURY,OPPOSITE OFCONTEMPORARYBLOCKINGWHERE ANDHOW THEDIRECTORWOULD LIKEYOU TO MOVEON STAGECHORUS/ENSEMBLEA GROUP OFACTORS THATWORKTOGETHER TOFILL THE STAGE,OFTEN WITHOUTLINESEXPOSITIONWHEN ACHARACTEREXPLAINS TO THEAUDIENCE WHATTHE PLAY IS ABOUTOR WHAT WILLHAPPEN/ISHAPPENINGPROJECTIONYOUR VOICE'SABILITY TO BEHEARDCLEARLYFROM FARAWAYPANTOMIMEACTING WITHOUTTHE USE OFPROPS OR SET,PRETENDING TOUSE INVISIBLEPROP OR SETPIECESSTAGERIGHTAN ACTOR'SRIGHTWHENFACING THEAUDIENCEOFF-BOOKBEINGMEMORIZEDENOUGH TO SAYYOUR LINESWITHOUT USINGA SCRIPTSTAGEBUSINESSACTIONS ORBEHAVIORSACTORS MAY DOON STAGE TOLOOK BUSY ORINVOLVED IN ASCENECONTEMPORARYWORD FOR ANYPLAY THAT WASWRITTEN INPRESENT DAY, ORAFTER THE 1800S,OPPOSITE OFCLASSICALSCENEA SMALLERSECTIONORPORTIONOF A PLAYUPSTAGEAREA OF THESTAGEFARTHESTAWAY FROMTHEAUDIENCEMOTIVATIONTHE REASONFOR ACHARACTER'SBEHAVIORS,WHY THEY AREDOING WHATTHEY DOCENTERSTAGEAREA INTHECENTER ORMIDDLE OFTHE STAGECUETHE SIGNALFOR AN ACTORTO SAY THEIRNEXT LINE ORDO AN ACTIONMONOLOGUEA LONGERSPEECHMADE BYONEACTORIMPROVSPONTANEOUS USEOF MOVEMENT ANDSPEECH TO CREATECHARACTERS ANDSCENES WITHOUT ASCRIPT - ACTINGDONE WITHOUT ASCRIPTSTAGELEFTAN ACTOR'SLEFT WHENFACING THEAUDIENCEHANDPROPSPROPS THATARECARRIED ONSTAGE BYAN ACTORCOLDREADHAVING TOREAD FROM ASCRIPTWITHOUT ANYPREPARATIONDIALOGUESPOKENLINESBETWEENTWO ORMOREPEOPLEPERSONALPROPSPROPS THATARE KEPT ONAN ACTOR''SPERSON, I.E.IN THEIRPOCKETCHARACTER-IZATIONHOW AN ACTORUSES THEIRBODY, VOICE,AND THOUGHTSTO DEVELOP ORPORTRAY ACHARACTERCONFLICTAN INTERNAL OREXTERNALSTRUGGLEBETWEEN FORCESTHAT CREATESTENSION IN A PLAYSIGHTLINESWHAT ANAUDIENCE WILLBE ABLE TO SEEFROM THEIRSEATS, BOTHONSTAGE ANDBACKSTAGECALLBACKA SECONDAUDITION,USUALLY USEDBY DIRECTORSTO CAST LEADROLESBLACKOUTA LIGHTINGCUE WHEREALL STAGELIGHTS ARETURNED OFFASIDELINES SPOKEN BYA CHARACTER TOTHE AUDIENCE,WHICH THEOTHERCHARACTERSCANT HEARACTA MAJORDIVISION, ORCHAPTERSOF A PLAY.THERE AREUSUALLY TWODOWNSTAGEAREA OFTHE STAGECLOSESTTO THEAUDIENCECLASSICALA WORD FOR ANYPLAY WRITTENBEFORE THEPRESENTCENTURY,OPPOSITE OFCONTEMPORARYBLOCKINGWHERE ANDHOW THEDIRECTORWOULD LIKEYOU TO MOVEON STAGECHORUS/ENSEMBLEA GROUP OFACTORS THATWORKTOGETHER TOFILL THE STAGE,OFTEN WITHOUTLINESEXPOSITIONWHEN 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. YOUR VOICE'S ABILITY TO BE HEARD CLEARLY FROM FAR AWAY
    PROJECTION
  2. ACTING WITHOUT THE USE OF PROPS OR SET, PRETENDING TO USE INVISIBLE PROP OR SET PIECES
    PANTOMIME
  3. AN ACTOR'S RIGHT WHEN FACING THE AUDIENCE
    STAGE RIGHT
  4. BEING MEMORIZED ENOUGH TO SAY YOUR LINES WITHOUT USING A SCRIPT
    OFF-BOOK
  5. ACTIONS OR BEHAVIORS ACTORS MAY DO ON STAGE TO LOOK BUSY OR INVOLVED IN A SCENE
    STAGE BUSINESS
  6. WORD FOR ANY PLAY THAT WAS WRITTEN IN PRESENT DAY, OR AFTER THE 1800S, OPPOSITE OF CLASSICAL
    CONTEMPORARY
  7. A SMALLER SECTION OR PORTION OF A PLAY
    SCENE
  8. AREA OF THE STAGE FARTHEST AWAY FROM THE AUDIENCE
    UP STAGE
  9. THE REASON FOR A CHARACTER'S BEHAVIORS, WHY THEY ARE DOING WHAT THEY DO
    MOTIVATION
  10. AREA IN THE CENTER OR MIDDLE OF THE STAGE
    CENTER STAGE
  11. THE SIGNAL FOR AN ACTOR TO SAY THEIR NEXT LINE OR DO AN ACTION
    CUE
  12. A LONGER SPEECH MADE BY ONE ACTOR
    MONOLOGUE
  13. SPONTANEOUS USE OF MOVEMENT AND SPEECH TO CREATE CHARACTERS AND SCENES WITHOUT A SCRIPT - ACTING DONE WITHOUT A SCRIPT
    IMPROV
  14. AN ACTOR'S LEFT WHEN FACING THE AUDIENCE
    STAGE LEFT
  15. PROPS THAT ARE CARRIED ON STAGE BY AN ACTOR
    HAND PROPS
  16. HAVING TO READ FROM A SCRIPT WITHOUT ANY PREPARATION
    COLD READ
  17. SPOKEN LINES BETWEEN TWO OR MORE PEOPLE
    DIALOGUE
  18. PROPS THAT ARE KEPT ON AN ACTOR''S PERSON, I.E. IN THEIR POCKET
    PERSONAL PROPS
  19. HOW AN ACTOR USES THEIR BODY, VOICE, AND THOUGHTS TO DEVELOP OR PORTRAY A CHARACTER
    CHARACTER-IZATION
  20. AN INTERNAL OR EXTERNAL STRUGGLE BETWEEN FORCES THAT CREATES TENSION IN A PLAY
    CONFLICT
  21. WHAT AN AUDIENCE WILL BE ABLE TO SEE FROM THEIR SEATS, BOTH ONSTAGE AND BACKSTAGE
    SIGHT LINES
  22. A SECOND AUDITION, USUALLY USED BY DIRECTORS TO CAST LEAD ROLES
    CALLBACK
  23. A LIGHTING CUE WHERE ALL STAGE LIGHTS ARE TURNED OFF
    BLACK OUT
  24. LINES SPOKEN BY A CHARACTER TO THE AUDIENCE, WHICH THE OTHER CHARACTERS CANT HEAR
    ASIDE
  25. A MAJOR DIVISION, OR CHAPTERS OF A PLAY. THERE ARE USUALLY TWO
    ACT
  26. AREA OF THE STAGE CLOSEST TO THE AUDIENCE
    DOWN STAGE
  27. A WORD FOR ANY PLAY WRITTEN BEFORE THE PRESENT CENTURY, OPPOSITE OF CONTEMPORARY
    CLASSICAL
  28. WHERE AND HOW THE DIRECTOR WOULD LIKE YOU TO MOVE ON STAGE
    BLOCKING
  29. A GROUP OF ACTORS THAT WORK TOGETHER TO FILL THE STAGE, OFTEN WITHOUT LINES
    CHORUS/ENSEMBLE
  30. WHEN A CHARACTER EXPLAINS TO THE AUDIENCE WHAT THE PLAY IS ABOUT OR WHAT WILL HAPPEN/IS HAPPENING
    EXPOSITION