STAGELEFTAN ACTOR'SLEFT WHENFACING THEAUDIENCEBLOCKINGWHERE ANDHOW THEDIRECTORWOULD LIKEYOU TO MOVEON STAGEBLACKOUTA LIGHTINGCUE WHEREALL STAGELIGHTS ARETURNED OFFHANDPROPSPROPS THATARECARRIED ONSTAGE BYAN ACTORSTAGERIGHTAN ACTOR'SRIGHTWHENFACING THEAUDIENCEDOWNSTAGEAREA OFTHE STAGECLOSESTTO THEAUDIENCESIGHTLINESWHAT ANAUDIENCE WILLBE ABLE TO SEEFROM THEIRSEATS, BOTHONSTAGE ANDBACKSTAGECENTERSTAGEAREA INTHECENTER ORMIDDLE OFTHE STAGECLASSICALA WORD FOR ANYPLAY WRITTENBEFORE THEPRESENTCENTURY,OPPOSITE OFCONTEMPORARYOFF-BOOKBEINGMEMORIZEDENOUGH TO SAYYOUR LINESWITHOUT USINGA SCRIPTCUETHE SIGNALFOR AN ACTORTO SAY THEIRNEXT LINE ORDO AN ACTIONPERSONALPROPSPROPS THATARE KEPT ONAN ACTOR''SPERSON, I.E.IN THEIRPOCKETDIALOGUESPOKENLINESBETWEENTWO ORMOREPEOPLEPANTOMIMEACTING WITHOUTTHE USE OFPROPS OR SET,PRETENDING TOUSE INVISIBLEPROP OR SETPIECESACTA MAJORDIVISION, ORCHAPTERSOF A PLAY.THERE AREUSUALLY TWOASIDELINES SPOKEN BYA CHARACTER TOTHE AUDIENCE,WHICH THEOTHERCHARACTERSCANT HEARCONTEMPORARYWORD FOR ANYPLAY THAT WASWRITTEN INPRESENT DAY, ORAFTER THE 1800S,OPPOSITE OFCLASSICALUPSTAGEAREA OF THESTAGEFARTHESTAWAY FROMTHEAUDIENCECONFLICTAN INTERNAL OREXTERNALSTRUGGLEBETWEEN FORCESTHAT CREATESTENSION IN A PLAYSTAGEBUSINESSACTIONS ORBEHAVIORSACTORS MAY DOON STAGE TOLOOK BUSY ORINVOLVED IN ASCENEPROJECTIONYOUR VOICE'SABILITY TO BEHEARDCLEARLYFROM FARAWAYCHARACTER-IZATIONHOW AN ACTORUSES THEIRBODY, VOICE,AND THOUGHTSTO DEVELOP ORPORTRAY ACHARACTERMOTIVATIONTHE REASONFOR ACHARACTER'SBEHAVIORS,WHY THEY AREDOING WHATTHEY DOCALLBACKA SECONDAUDITION,USUALLY USEDBY DIRECTORSTO CAST LEADROLESIMPROVSPONTANEOUS USEOF MOVEMENT ANDSPEECH TO CREATECHARACTERS ANDSCENES WITHOUT ASCRIPT - ACTINGDONE WITHOUT ASCRIPTSCENEA SMALLERSECTIONORPORTIONOF A PLAYEXPOSITIONWHEN ACHARACTEREXPLAINS TO THEAUDIENCE WHATTHE PLAY IS ABOUTOR WHAT WILLHAPPEN/ISHAPPENINGMONOLOGUEA LONGERSPEECHMADE BYONEACTORCOLDREADHAVING TOREAD FROM ASCRIPTWITHOUT ANYPREPARATIONCHORUS/ENSEMBLEA GROUP OFACTORS THATWORKTOGETHER TOFILL THE STAGE,OFTEN WITHOUTLINESSTAGELEFTAN ACTOR'SLEFT WHENFACING THEAUDIENCEBLOCKINGWHERE ANDHOW THEDIRECTORWOULD LIKEYOU TO MOVEON STAGEBLACKOUTA LIGHTINGCUE WHEREALL STAGELIGHTS ARETURNED OFFHANDPROPSPROPS THATARECARRIED ONSTAGE BYAN ACTORSTAGERIGHTAN ACTOR'SRIGHTWHENFACING THEAUDIENCEDOWNSTAGEAREA OFTHE STAGECLOSESTTO THEAUDIENCESIGHTLINESWHAT ANAUDIENCE WILLBE ABLE TO SEEFROM THEIRSEATS, BOTHONSTAGE ANDBACKSTAGECENTERSTAGEAREA INTHECENTER ORMIDDLE OFTHE STAGECLASSICALA WORD FOR ANYPLAY WRITTENBEFORE THEPRESENTCENTURY,OPPOSITE OFCONTEMPORARYOFF-BOOKBEINGMEMORIZEDENOUGH TO SAYYOUR LINESWITHOUT USINGA SCRIPTCUETHE SIGNALFOR AN ACTORTO SAY THEIRNEXT LINE ORDO AN ACTIONPERSONALPROPSPROPS THATARE KEPT ONAN ACTOR''SPERSON, I.E.IN THEIRPOCKETDIALOGUESPOKENLINESBETWEENTWO ORMOREPEOPLEPANTOMIMEACTING WITHOUTTHE USE OFPROPS OR SET,PRETENDING TOUSE INVISIBLEPROP OR SETPIECESACTA MAJORDIVISION, ORCHAPTERSOF A PLAY.THERE AREUSUALLY TWOASIDELINES SPOKEN BYA CHARACTER TOTHE AUDIENCE,WHICH THEOTHERCHARACTERSCANT HEARCONTEMPORARYWORD FOR ANYPLAY THAT WASWRITTEN INPRESENT DAY, ORAFTER THE 1800S,OPPOSITE OFCLASSICALUPSTAGEAREA OF THESTAGEFARTHESTAWAY FROMTHEAUDIENCECONFLICTAN INTERNAL OREXTERNALSTRUGGLEBETWEEN FORCESTHAT CREATESTENSION IN A PLAYSTAGEBUSINESSACTIONS ORBEHAVIORSACTORS MAY DOON STAGE TOLOOK BUSY ORINVOLVED IN ASCENEPROJECTIONYOUR VOICE'SABILITY TO BEHEARDCLEARLYFROM FARAWAYCHARACTER-IZATIONHOW AN ACTORUSES THEIRBODY, VOICE,AND THOUGHTSTO DEVELOP ORPORTRAY ACHARACTERMOTIVATIONTHE REASONFOR ACHARACTER'SBEHAVIORS,WHY THEY AREDOING WHATTHEY DOCALLBACKA SECONDAUDITION,USUALLY USEDBY DIRECTORSTO CAST LEADROLESIMPROVSPONTANEOUS USEOF MOVEMENT ANDSPEECH TO CREATECHARACTERS ANDSCENES WITHOUT ASCRIPT - ACTINGDONE WITHOUT ASCRIPTSCENEA SMALLERSECTIONORPORTIONOF A PLAYEXPOSITIONWHEN ACHARACTEREXPLAINS TO THEAUDIENCE WHATTHE PLAY IS ABOUTOR WHAT WILLHAPPEN/ISHAPPENINGMONOLOGUEA LONGERSPEECHMADE BYONEACTORCOLDREADHAVING TOREAD FROM ASCRIPTWITHOUT ANYPREPARATIONCHORUS/ENSEMBLEA GROUP OFACTORS THATWORKTOGETHER TOFILL THE STAGE,OFTEN WITHOUTLINES

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