Super-Objective - The overarching human need ("The need to find true love and security from a man because it was never felt during my childhood," for example) that is pushing the character through the entire story.
Objective - The most immediate goal or need (what the character is DOING) that will help achieve the super-objective.
Tactic - Ways at which objectives are accomplished. For instance, to win the love of your scene partner (objective), you may need to flirt, cajole, tease, entertain, seduce, etc.
Drive - What propels the character through the scene. Another way of thinking about objective.
Motivation - The WHY behind the drive, objective, or super-objective.
Obstacle - What is hindering the character from achieving his objective. Obstacles are often internal (fear of failure, etc.).
Beat - A unit of the script or scene, determined by the actor, where one tactic starts then ends.
Moment to Moment - To remain fully present, engaged and listening, to create the illusion that what is happening is happening for the first time and is completely spontaneous.
Affective Memory/Emotional Recall - A an emotional preparation technique to reactivate the emotional/psychological experience of a past event you believe is experientially parallel to the emotional/psychological life of a character.
Thought Pause - When the actor uses a pause to get to the next thought/line of dialogue.
Moment Before - What has transpired before the scene being presented. Often, this "moment before energy/knowledge" is essential for the current scene.
Transition - Something that will need to occur in order to get to the next character thought. Sometimes found between beats.
Emphasis Pause - A pause used to emphasize a point.
R.I.P.D. - Rate, Inflection, Pitch, Dynamics - A quick way to spice up any piece of dialogue when things are feeling stale (credit Tom Todoroff).