CHORUS/ENSEMBLEA GROUP OFACTORS THATWORKTOGETHER TOFILL THE STAGE,OFTEN WITHOUTLINESEXPOSITIONWHEN ACHARACTEREXPLAINS TO THEAUDIENCE WHATTHE PLAY IS ABOUTOR WHAT WILLHAPPEN/ISHAPPENINGMOTIVATIONTHE REASONFOR ACHARACTER'SBEHAVIORS,WHY THEY AREDOING WHATTHEY DOSTAGERIGHTAN ACTOR'SRIGHTWHENFACING THEAUDIENCECENTERSTAGEAREA INTHECENTER ORMIDDLE OFTHE STAGECHARACTER-IZATIONHOW AN ACTORUSES THEIRBODY, VOICE,AND THOUGHTSTO DEVELOP ORPORTRAY ACHARACTERASIDELINES SPOKEN BYA CHARACTER TOTHE AUDIENCE,WHICH THEOTHERCHARACTERSCANT HEARACTA MAJORDIVISION, ORCHAPTERSOF A PLAY.THERE AREUSUALLY TWOSIGHTLINESWHAT ANAUDIENCE WILLBE ABLE TO SEEFROM THEIRSEATS, BOTHONSTAGE ANDBACKSTAGESTAGELEFTAN ACTOR'SLEFT WHENFACING THEAUDIENCECLASSICALA WORD FOR ANYPLAY WRITTENBEFORE THEPRESENTCENTURY,OPPOSITE OFCONTEMPORARYDOWNSTAGEAREA OFTHE STAGECLOSESTTO THEAUDIENCEUPSTAGEAREA OF THESTAGEFARTHESTAWAY FROMTHEAUDIENCEDIALOGUESPOKENLINESBETWEENTWO ORMOREPEOPLECONTEMPORARYWORD FOR ANYPLAY THAT WASWRITTEN INPRESENT DAY, ORAFTER THE 1800S,OPPOSITE OFCLASSICALPROJECTIONYOUR VOICE'SABILITY TO BEHEARDCLEARLYFROM FARAWAYSCENEA SMALLERSECTIONORPORTIONOF A PLAYCONFLICTAN INTERNAL OREXTERNALSTRUGGLEBETWEEN FORCESTHAT CREATESTENSION IN A PLAYBLOCKINGWHERE ANDHOW THEDIRECTORWOULD LIKEYOU TO MOVEON STAGECUETHE SIGNALFOR AN ACTORTO SAY THEIRNEXT LINE ORDO AN ACTIONSTAGEBUSINESSACTIONS ORBEHAVIORSACTORS MAY DOON STAGE TOLOOK BUSY ORINVOLVED IN ASCENEPERSONALPROPSPROPS THATARE KEPT ONAN ACTOR''SPERSON, I.E.IN THEIRPOCKETMONOLOGUEA LONGERSPEECHMADE BYONEACTORCOLDREADHAVING TOREAD FROM ASCRIPTWITHOUT ANYPREPARATIONOFF-BOOKBEINGMEMORIZEDENOUGH TO SAYYOUR LINESWITHOUT USINGA SCRIPTPANTOMIMEACTING WITHOUTTHE USE OFPROPS OR SET,PRETENDING TOUSE INVISIBLEPROP OR SETPIECESHANDPROPSPROPS THATARECARRIED ONSTAGE BYAN ACTORCALLBACKA SECONDAUDITION,USUALLY USEDBY DIRECTORSTO CAST LEADROLESIMPROVSPONTANEOUS USEOF MOVEMENT ANDSPEECH TO CREATECHARACTERS ANDSCENES WITHOUT ASCRIPT - ACTINGDONE WITHOUT ASCRIPTBLACKOUTA LIGHTINGCUE WHEREALL STAGELIGHTS ARETURNED OFFCHORUS/ENSEMBLEA GROUP OFACTORS THATWORKTOGETHER TOFILL THE STAGE,OFTEN WITHOUTLINESEXPOSITIONWHEN ACHARACTEREXPLAINS TO THEAUDIENCE WHATTHE PLAY IS ABOUTOR WHAT WILLHAPPEN/ISHAPPENINGMOTIVATIONTHE REASONFOR ACHARACTER'SBEHAVIORS,WHY THEY AREDOING WHATTHEY DOSTAGERIGHTAN ACTOR'SRIGHTWHENFACING THEAUDIENCECENTERSTAGEAREA INTHECENTER ORMIDDLE OFTHE STAGECHARACTER-IZATIONHOW AN ACTORUSES THEIRBODY, VOICE,AND THOUGHTSTO DEVELOP ORPORTRAY ACHARACTERASIDELINES SPOKEN BYA CHARACTER TOTHE AUDIENCE,WHICH THEOTHERCHARACTERSCANT HEARACTA MAJORDIVISION, ORCHAPTERSOF A PLAY.THERE AREUSUALLY TWOSIGHTLINESWHAT ANAUDIENCE WILLBE ABLE TO SEEFROM THEIRSEATS, BOTHONSTAGE ANDBACKSTAGESTAGELEFTAN ACTOR'SLEFT WHENFACING THEAUDIENCECLASSICALA WORD FOR ANYPLAY WRITTENBEFORE THEPRESENTCENTURY,OPPOSITE OFCONTEMPORARYDOWNSTAGEAREA OFTHE STAGECLOSESTTO THEAUDIENCEUPSTAGEAREA OF THESTAGEFARTHESTAWAY FROMTHEAUDIENCEDIALOGUESPOKENLINESBETWEENTWO ORMOREPEOPLECONTEMPORARYWORD FOR ANYPLAY THAT WASWRITTEN INPRESENT DAY, ORAFTER THE 1800S,OPPOSITE OFCLASSICALPROJECTIONYOUR VOICE'SABILITY TO BEHEARDCLEARLYFROM FARAWAYSCENEA SMALLERSECTIONORPORTIONOF A PLAYCONFLICTAN INTERNAL OREXTERNALSTRUGGLEBETWEEN FORCESTHAT CREATESTENSION IN A PLAYBLOCKINGWHERE ANDHOW THEDIRECTORWOULD LIKEYOU TO MOVEON STAGECUETHE SIGNALFOR AN ACTORTO SAY THEIRNEXT LINE ORDO AN ACTIONSTAGEBUSINESSACTIONS ORBEHAVIORSACTORS MAY DOON STAGE TOLOOK BUSY ORINVOLVED IN ASCENEPERSONALPROPSPROPS THATARE KEPT ONAN ACTOR''SPERSON, I.E.IN THEIRPOCKETMONOLOGUEA LONGERSPEECHMADE BYONEACTORCOLDREADHAVING TOREAD FROM ASCRIPTWITHOUT ANYPREPARATIONOFF-BOOKBEINGMEMORIZEDENOUGH TO SAYYOUR LINESWITHOUT USINGA SCRIPTPANTOMIMEACTING WITHOUTTHE USE OFPROPS OR SET,PRETENDING TOUSE INVISIBLEPROP OR SETPIECESHANDPROPSPROPS THATARECARRIED ONSTAGE BYAN ACTORCALLBACKA SECONDAUDITION,USUALLY USEDBY DIRECTORSTO CAST LEADROLESIMPROVSPONTANEOUS USEOF MOVEMENT ANDSPEECH TO CREATECHARACTERS ANDSCENES WITHOUT ASCRIPT - ACTINGDONE WITHOUT ASCRIPTBLACKOUTA LIGHTINGCUE WHEREALL STAGELIGHTS ARETURNED OFF

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