Trumbauer rules sheets 2004 - Alabama Conference of Theatre

Transcription

WALTER TRUMBAUER Secondary School THEATRE FESTIVAL
Celebrating Excellence in Alabama Theatre Programs!
2011 COMPETITION MANUAL
Table of Contents
Letter from the Executive Director
Schedule/Deadlines
Changes for 2011
General Information
State IE Schedule
Event List
2
3
4
5-6
7
8
One-Act Festival
General Information
Judge Evaluation Form
Musical IEs
16. Playwriting
17. Solo Musical Female Dramatic
18. Solo Musical Female Comedic
19. Solo Musical Male Dramatic
20. Solo Musical Male Comedic
21. Duet Musical Dramatic
22. Duet Musical Comedic
49
51
53
55
57
59
61
9-11
12-13
Technical Category Information
63-65
Studio Theatre Performance
General Information
Judge Evaluation Form
14-15
16-17
Individual Events
General Information
18
Rules and Evaluation Forms
1. Solo Pantomime Female
2. Solo Pantomime Male
3. Duet Pantomime
4. Duet Reader’s Theatre Dramatic
5. Duet Reader’s Theatre Comedic
6. Solo Acting Female Contemp. Dram.
7. Solo Acting Female Contemp. Com.
8. Solo Acting Male Contemp. Dram.
9. Solo Acting Male Contemp. Com.
10. Duet Acting Contemporary Dram.
11. Duet Acting Contemporary Com.
12. Solo Acting Classical Dram.
13. Solo Acting Classical Com.
14. Duet Classical Dramatic
15. Duet Classical Comedic
19
21
23
25
27
29
31
33
35
37
39
41
43
45
47
Technical IEs
23. Scene Design
24. Costume Design
25. Makeup Design
26. Lighting Design
27. Sound Design
Example of Designer’s Approach Stat ement
28. Stage Management
Educational Standards of ACT
Amendments
66-74
75-81
82-91
92-98
99-103
104
105-111
112
113-114
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Online Registration
Every effort has been made to insure accuracy. Corrections or suggestions should be submitted in writing.
The Walter Trumbauer Festival is sponsored in part by a grant from The Alabama State Council on the Arts
rev. 08/09
Alabama Conference of Theatre
Sue Ellen Gerrells, ED
101 Dogwood Trail
Alabaster, AL 35007
Email: [email protected]
Dear Theatre Instructor:
Thank you for entering your students in the 2011 Walter Trumbauer Secondary School Theatre
Festival. This marks our 72st year of recognizing excellence in Alabama's Theatre students. We're very
proud of the work we do and constantly strive to improve. Never hesitate to call me with questions,
suggestions, or just to brag on yourself. ACT wants to honor you, so if you receive special recognition
within your fields, do let us know! We'd love to help you share it with the whole state.
This is your manual for the 2011 Trumbauer Festival and it will hopefully answer most of your
questions about it. Please see the “Changes for 2011” and “Amendments” pages, two new pages in this
year’s manual. Some points to keep in mind for 2011 are:
1. All registration for both district and state will be done online this year. This will be a major
change for all of us so please be patient as we work though this new system. I promise to work
with you throughout the process to minimize any potential problems. There will be a
demonstration of this new system at our Fall Summit meeting on Aug. 27 and your Chairs will
be familiar with the process to help you along the way.
2. With this new system, payments will be handled a bit differently. To finalize your online
registration you need to enter a PO# or Check # then send your District payments directly to me
at the address above and not to your District Chair. You may still pay at the District Festival,
through your Chair, as long as I have a record of your PO# or Check #. Please contact me
directly if this situation presents a problem for you.
3. Also on the subject of payments, the student membership fee has remained unchanged for many
years. For 2011, the Board voted to raise the student fee from $5 to $7. With diminishing grant
monies and rising expenses, the Board felt this step was necessary to help offset expenses.
Finally, if you don't already know him, I would like to introduce you to Gary Weatherly, our
Trumbauer Festival State Chairperson. If you have questions concerning judges’ decisions, rules and
regulations, please contact him at one of the contact points or address listed below. General questions
about scheduling and fees can come to me.
Again, thank you for participating with us, and we hope you enjoy Trumbauer Festival 2011!
Sincerely,
Sue Ellen Gerrells
ACT Executive Director
Gary Weatherly State Chair
Mountain Brook High School
3650 Bethune Drive
Mountain Brook, AL 35223
(205) 937-3259 cell, (205) 414-3872 work
[email protected]
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SCHEDULE AND DEADLINES
 Sept. 15: Trumbauer Online Registration Opens. Judges Forms Available online for
completion. Send district judge registration to your District Chair. Links for registration and judge
registration at www.alabamaconferenceoftheatre.org
 Sept. 15: ACT Scholarship Audition Forms Available for download. Link for Audition form at
www.alabamaconferenceoftheatre.org
 Oct. 15: District Registration Closes Online and Fees Due to ED. Schools may also pay at
District Festival IF the Executive Director has a PO# or Check # in advance.
NO REFUNDS Given Once Registration Confirmed.
 Oct. 20: Executive Director sends Trumbauer District Registration to District Chairs
 District Festivals
D1: Nov 5-6. , Grissom High School
Chair: D. Barton Craft, Bob Jones High
Phone: (256) 722-2547
D4: Nov. 5, Opelika Arts Center
Chair: Revel Gholston, Opelika High
(334) 524-9718
D2: Nov 5. Corner High School
Chair Pat Putman, Corner High
(205) 275-7790
D5: Nov. 5 Baker High School
Chair: Eric Browne
Phone: (256) 656-3054
D3: Nov. 5, Florence High School
Chair: Katie Dalyrmple, Florence High
(256)768-2237 work /(256) 441-4699 cell
D6: Nov. 5, Thompson High School
Chair: Eric St. John, Spain Park High
Phone: (205) 682-7200 work or (205) 8210035 cell




Nov. 8: District Chairs send ALL State Qualifiers names/events/schools to ED via email.
Nov. 13: State Registration opens online.
Nov. 19: State registration closes online. No refunds given after registration confirmed.
Nov. 19: Completed State Judges Forms (available online) due to Eric St. John, Festival
Vice-Chair
 Nov. 22: ACT Scholarship Registration Forms and Fees Due to ED.
 Nov. 22: State Fee Payment Due! Remember Membership Fees are only paid once.
All checks/cash for fees must be received by the date of your first student’s competition,
otherwise the student cannot compete. In case of emergency, notify the ED or Festival Chair IN
WRITING prior to Nov. 22.
 Dec. 1: ACT Scholarship Auditions at University of North Alabama
Chair: Randal
Blades, Jacksonville State University, [email protected]
 Dec. 1: Early registration pick-up at University of North Alabama during Scholarship
Auditions.
 Dec. 2-3: Trumbauer State Festival, University of North Alabama (Chair Gary Weatherly)
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THE WALTER TRUMBAUER THEATRE FESTIVAL MANUAL CHANGES -2011
State Trumbauer Meeting (voted on Dec. 4, 2010)
 A change in maximum time for these events:
o Solo Acting events – 3 minutes
o Duet Acting events – 5 minutes
o Technical events and Playwriting – 5 minutes
o Duet and Solo Musical events – 5 minutes
 A change in Duet Musical Dramatic/Comedic Ballot
o Change the ―Musical Effect‖ in Area B to ―Characterization‖, meaning how well
the students develop each character in presentation.
o Make ―Movement/Dance‖ in Area C under the ―Unity‖ heading, meaning how well
the students collaborate to make the scene a success.
 Playwriting –
o Mandatory submission of superior plays from District by the second Friday after
District to the State Competition for judging.
o Acceptance of administering times to playwriting students to meet with the
Playwriting Judges at State about their plays.
o Change the Playwriting ballot ―Overall Effect‖ to ―Oral Critique‖
 One Act –
o Judges section: to remove the sentence ―Judges are not required to send a play to
state‖
o Acceptance of an Alternate System within each District to assign an alternative
school to perform a one-act in the event a chosen show drops in the district. If a
show drops out, the next highest ranking show in that district may attend State as
long as the show has a Superior rating.
o Acceptance of having the limit of shows based on the percentage submitted at
District Level.
July ACT Board Meeting –
 The Board of Directors for ACT voted to increase the Student Registration fee from $5
per student to $7 per student.
 The Board of Directors voted to have a penalty of $100 per judge for a maximum of $400,
enacted on a school that fails to bring a satisfactory judge for the competition.
August Fall Summit Meeting – (email vote)




District Playwriting o Entries will be submitted to District Chairs two weeks before District Competition to allow
judges time to read submissions.
o Administering times for Playwriting Judges to meet with student playwrights about their
plays.
Alignment of language of Trumbauer State Rules will apply to District.
Alter language to give the Executive Director the responsibilities of arranging and obtaining
judges for the State One Act Festival. Suggestions for judges may come from District Chairs, the
Vice Chair and Chair of Secondary Division for consideration but if no suggestions are provided,
the Executive Director will recruit judges that will provide unbiased ratings on the One Act
Performances.
Participation recognition will no longer be given at both the District and State. If recognition is
given, it will be at the District and could be in the form of a Certificate.
Note: Past Amendments from recent years can be found on the manual’s last page.
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TRUMBAUER ON THE WEB. The rules, deadlines, judges’ forms and other downloadable
information on the 2011 Trumbauer Festival are also available online at
www.alabamaconferenceoftheatre.org
GENERAL INFORMATION
*DIVISIONS: The Festival is open to grades 9 - 12. Competition events shall be divided into two
categories according to each student's past participation in the Festival.
*NOVICE: Students who have not previously participated in the Festival. Student may enter
Novice category for only one year. In Duo Events BOTH participating students must be first year
Festival participants to be classified as Novice. If a Novice performs a Duo Event with a Varsity
participant, they must register as Varsity FOR THAT ENTRY ONLY. They may still enter as a
Novice in a separate entry, either in a Solo Event or a Duo Event with another Novice. EXCEPTION:
Varsity performance students are allowed to enter the Design Events as a Novice if it is their first time
to compete in the Design Events. Conversely, Varsity design students are allowed to enter the
Performance Events as a Novice if it is their first time to compete in the Performance Events.
*VARSITY: Students who have previously participated in the Festival. In the event of a
Varsity student's participation in a Duo Event, competition in that event must be judged in the Varsity
category, even if student's partner or fellow cast members qualify as Novice.
DISTRICT Registration for the Trumbauer Festival at the District Level must be made through the
new On-line Registration. (Each school is assigned a unique username and password which will be sent
to the sponsor by the Executive Director.) You MUST SUBMIT your registration forms by the
determined deadline date. PLEASE do not be late with your information, as competition lists for each
district are generated and sent for District Competition days after registration closes. Please request
information on the District host school's staging requirements if you wish to enter our One-Act Play
Festival. Links to the online registration and instruction for registering are found at
www.alabamaconferenceoftheatre.org.
ALL DISTRICT ONLINE REGISTRATION FORMS MUST INCLUDE THE FOLLOWING IN
ORDER TO BE SUBMITTED:
1.
2.
3.
4.
Update sponsor information, school info, principal info, and superintendant info.
Listing of student names, gender, and email address in school Registration tab.
Listing of student name in each Individual event;
If participating in Studio Theatre Performance or One-Act Play Festival, entering show information
requested;
a. Uploading Cast List and Permission notice.
b. Complete checklist of require duties of participating school.
5. Judge Provision Information Form (ON-LINE FORM AT WEBSITE).
*DISTRICT QUESTIONS: If you have questions concerning rules or procedures of the District
Trumbauer Festivals, contact your District Chairperson.
Questions or problems may also be directed to the State Trumbauer Chairperson, Gary Weatherly,
[email protected]
5
*REGISTRATION FOR STATE FINALS: After District Competition, District Chairs will send
District results to the Executive Director and Secondary Chair. Afterwards the school registration will be
re-set by the Executive Director to allow Registration for the State Competition. You MUST UPDATE
THE ONLINE REGISTRATION BY CHECKING THE STUDENTS THAT WILL ATTEND THE
STATE FESTIVAL AND SUBMITTING THE STATE REGISTRATION BY NOVEMBER 19TH.
Staging requirements for the State Finals host school will be provided to those sending registration for the
One-Act Play Festival. NOTE: Set must fit in a 10X10 area adjacent to the stage, conforming to SETC
rules.
ALL STATE REGISTRATION FORMS MUST INCLUDE:
1. Checking students that will be competing at State Competition;
2. If Studio Theatre Performance or One-Act Play was passed to go to State, checking acceptance
in participating at the State Competition.
3. Filling out one JUDGE PROVISION INFORMATION FORM per 25 individual events
entered. (See Judges Rules Below).
*FEES:
 ACT requires that every student AND adult who participates in an ACT program be a member of
ACT. Students (including cast and crew in ensemble and one-act plays, as well as student guests)
pay a membership fee of $7. Non-Students, such as faculty that are not organizational delegates
and chaperones, pay a $25 membership fee. These fees are paid ONCE annually, even if you
participate in more than one ACT event that year. If these additional teacher/chaperones are paid
at district, they are NOT paid again at state. Only those adults/students who did not attend district
will be asked to pay individual memberships at state.
 Your school pays an Organizational Membership Fee of $60, which covers one teacher as the
organizational delegate. This one-time fee is paid at DISTRICT only, unless other arrangements
have been made in writing with the Festival Chair or ED.
 The One-Act Play Festival Fee is $100 per festival
 The Studio Theatre Performance Fee is $25 per festival
 Fees for the Individual events are $10 per person per event.
INDIVIDUAL EVENTS, ENSEMBLE PERFORMANCE AND ONE-ACT COMPETITION FEES
MUST BE PAID AT BOTH THE DISTRICT AND STATE LEVELS.
 Send ALL fees for District Festival to Executive Director by Oct. 15 or, at the very latest, on the
date of your District Festival.
 Send ALL fees for State Festival to the Executive Director by Nov. 22. FEES NOT RECEIVED
BY ACT AT THE START OF YOUR STUDENTS’ FIRST EVENT WILL RESULT IN
DISQUALIFICATION FROM THE FESTIVAL. SORRY, NO REFUNDS WILL BE GIVEN
ON ANY TRUMBAUER FESTIVAL EVENT AFTER REGISTRATION IS CONFIRMED.
*JUDGES:
We are proud of the rapid growth of our Festival. However, as more events are added, more judges are
needed. Each school will be required to provide judges for District AND State Festival according to
the number of individual events (IEs) entered in the competition.
1-25 IEs  1 judge
76-100 IEs  4 judges
and so on…
A penalty fee of $100 per judge will be enacted on a school that fails to provide the satisfactory
judges needed for the Festival.
*ACT SCHOLARSHIP SCREENING AUDITIONS. To better serve your students, the Alabama
Conference of Theatre has moved their scholarship screening auditions to State Trumbauer. These
auditions will be held on Thursday, December 1, 2011 at North Alabama University.
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*STATE TRUMBAUER WILL BE HELD AT NORTH ALABAMA UNIVERSITY, December 2
and 3, 2011. Trophies and certificates will be awarded on Saturday after 6 p.m.
The State One-act Play Festival will be held both Friday, December 2 and Saturday, Dec. 3, 2011.
The following STATE IE's will be held on Friday, December 2: (13 events)
6. Solo Acting-Female-Contemporary Dramatic
7. Solo Acting-Female-Contemporary Comedic
10. Duet Acting-Contemporary Dramatic
11. Duet Acting-Contemporary Comedic
16. Playwriting
23. Scene Design
24. Costume Design
25. Make-up Design
26. Lighting Design
27. Sound Design
The Studio Theatre Performance Competition will compete Friday.
The following STATE IE's will be held on Saturday, December 3: (15 events)
1. Solo Pantomime-Female
2. Solo Pantomime-Male
3. Duet Pantomime
8. Solo Acting-Male-Contemporary Dramatic
9. Solo Acting-Male-Contemporary Comedic
12. Solo Acting-Classical Dramatic
13. Solo Acting-Classical Comedic
14. Duet Acting-Classical Dramatic
15. Duet Acting-Classical Comedic
17. Solo Musical-Female—Dramatic
18. Solo Musical-Female—Comedic
19. Solo Musical-Male—Dramatic
20. Solo Musical-Male—Comedic
21. Duet Musical—Dramatic
22. Duet Musical—Comedic
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Walter Trumbuaer
Theatre Festival Events
One-Act Play Festival
Studio Theatre Performance Competition
Individual Events (IEs)
Acting IEs
1. Solo Pantomime Female
2. Solo Pantomime Male
3. Duet Pantomime
6. Solo Acting Female Contemp. Dram.
7. Solo Acting Female Contemp. Com.
8. Solo Acting Male Contemp. Dramatic
9. Solo Acting Male Contemp. Comedic
10. Duet Acting Contemporary Dramatic
11. Duet Acting Contemporary Comedic
12. Solo Acting Classical Dramatic
13. Solo Acting Classical Comedic
14. Duet Acting Classical Dramatic
15. Duet Acting Classical Comedic
16. Playwriting
Musical IEs
17. Solo Musical Female Dramatic
18. Solo Musical Female Comedic
19. Solo Musical Male Dramatic
20. Solo Musical Male Comedic
21. Duet Musical Dramatic
22. Duet Musical Comedic
Technical IEs
23. Scene Design
24. Costume Design
25. Makeup Design
26. Lighting Design
27. Sound Design
8
ONE-ACT PLAY FESTIVAL
GENERAL INFORMATION
DIVISIONS: The competition is open to grades 9-12, and shall be divided as follows:
NOVICE: A production entry in which most cast members are first year Festival participants or
in which the director is a first year participant. NO NOVICE ONE-ACT WILL PERFORM AT THE
STATE FESTIVAL. Their participation at the District level is meant to encourage their involvement and
to build experience and confidence in beginning or developing theatre programs. Judges will adjudicate
Novice play entries for instruction purposes only. All comments must be ADDITIONAL criticism.
VARSITY: Any production that wants to be considered for the State Finals, regardless of the
experience of either the students or the director. Any director may enter their one-act play in the Varsity
division.
*PROOF OF PRODUCTION RIGHTS. You must upload a copy of your Royalty Agreement and/or
Permission to Cut for any published lay presented at the District and State levels. In addition, you
must comply on your online registration by checking for licensing waivers for one act plays or studio
theatre performance. We must have this information with your registration before your show can be
performed for competition. The Trumbauer Festival accepts student-written work. If a play is student
written, a signed statement from the teacher must be attached to a typed copy of the work indicating it
is the product of that particular student.
ENTRY FEES: $100 PER PLAY AT BOTH DISTRICT AND STATE LEVEL. When registering at the
District level, your school also pays an Organizational Membership Fee of $60, which covers one teacher
as organizational delegate. Every student that participates in Trumbauer (including cast and crews of oneact plays) must pay a Student Membership Fee of $7. Non-Students, such as faculty that are not
organizational delegates, pay a $25 membership fee. Membership fees are only paid once annually.
SELECTION OF PLAYS: Any one-act play (published, original, or student written), or any cutting from
a longer play or musical will be accepted. If a cutting is used, it should fulfill all qualifications for a good
one-act play, including plot, characterization, theme, climax, and resolution. A SCHOOL MAY NOT
ENTER THE SAME PLAY WITHIN A FIVE YEAR TIME PERIOD. If piece is student written a
signed statement from the teacher must be attached to a typed copy of the work indicating it is the product
of that particular student. The selection of plays should include the following characteristics:
1. Suitable for high school cast, school and its community.
2. In good taste with regard to language and subject matter.
3. An example of good literature.
4. Emphasis on direction, characterization, and simplicity of production.
It is the participating school's responsibility to know limitations of Host's Stage and production
capabilities
TIME LIMIT: Each participating school shall be allowed a total of 45 minutes for set-up, performance
and strike. When no set-up or strike is involved, performance time may be up to 45 minutes. Any school
breaking this rule will be eliminated from consideration for a Superior rating or otherwise receiving an
invitation to enter the State Finals. There is no minimum playing time requirement.
SET REQUIREMENT AT STATE ONLY: The set must fit in a 10’x10’ area adjacent to the stage.
9
ONE-ACTS…CONTINUED
JUDGING:
*A panel of FIVE judges will rate each play according to the following criteria:
1. Choice of Play - 15%
2. Acting - 55%
3. Direction - 30%
*Judges for the State One Act Festival will be arranged by the Executive Director. Suggestions for judges
may come from District Chairs, the Vice Chair of Secondary Division and the Chair of the Secondary
Division for consideration but if no suggestions are provided, the Executive Director will recruit in state
and out of state judges qualified to provide unbiased ratings on the One Act Performances participating in
the 2011 Festival
*All adjudication of One-Act Play Entries at both the District and State levels will be in the form of
written critiques. No oral adjudication will be allowed.
*Judges will not confer with one another at any time during the Festival concerning the One-Act play
entries. At the conclusion of the One-Act Play Festival, each judge will independently rank all plays at
1st, 2nd, or 3rd, etc. until all plays are ranked. This list will then be given to the ACT Executive Director,
who will mathematically compute the final rankings. If there are any ties for 1st, 2nd, or 3rd, the
Executive Director will ask the judges to independently rank only those schools involved in the tie. (Ex:
School A and School B are tied for 2nd. The judges then rerank A and B only. The top ranked school
from this action will then be 2nd, and the next ranked school would be 3rd. First place would not be
affected by this tie-breaker.) (In the absence of the Executive Director, the Vice Chair of the Secondary
Division will take on this responsibility.)
*Ratings of Superior, Excellent and Good shall be assigned to all entries. Ratings are also affected by the
participating school's ability to load in and out without interfering with the performance in progress, or
disrupting the Festival schedule.
*LIMIT OF ONE-ACTS GOING TO STATE FESTIVAL. Each District will have a percentage of
plays that may be sent to State based upon the total number of plays entered in that District. This limit
may not be exceeded. The plays sent to State must have Superior ratings. The SAME PLAY that is
selected by the judges at District must be presented at the State Finals.
*Each judge will compile their own list of outstanding performances in the form of an All-Star Cast. This
list will be created without the judges conferring with one another. At the District level, both Varsity and
Novice Division actors in the One-ACT are eligible for this honor. Each member of the All-Star Cast will
ceive a small plaque.
*Each judge will independently rank their top three choices for each of the following categories: Best
Actor, Best Actress, Best Supporting Actor and Best Supporting Actress. Choral roles are not eligible for
these awards. This list will then be given to the Executive Director who will mathematically compute the
winners in each category. If there are any ties, the Executive Director will give the judges a ballot of the
10
ONE-ACTS…CONTINUED
top two names in any category where a tie exists. The judges will then note for one of the two names
given. (In the absence of the Executive Director, the Vice Chair of the Secondary Division will take on
this responsibility.)
*AWARDS:
Trophies will be given for Best Ensemble, Best Costumes, Best Scenery and Best Technical Production.
Trophies are awarded to Best Actor, Best Actress, Best Supporting Actor and Best Supporting Actress,
and plaques are awarded to members of the All Star Cast.
State Finals: All of the top three plays will be given a trophy awarding them with the following title:
BEST OF SHOW. The plays that place first and second can be further awarded by being representatives
of the State of Alabama to the Southeastern Theatre Conference Secondary School Festival. (This is
optional at the judges’ discretion, but it carries with it an allotment of $800 per advancing production as
support funds by the state organization, ACT.)
*BASIC LIGHTING: Basic lighting will be provided for each entry. A description of light cues should
be provided in a MARKED SCRIPT and delivered to the Stage Manager upon arrival at the competition
site. Requests should be reasonable and minimal, and cleared with Host School prior to the day of the
Festival. General lighting isolation is provided in seven acting areas (DR, UR, DC, UC, DL, UL and C).
Warm and cool washes, but no specials (except by follow spot), will be provided.
*BASIC SOUND: No individual sound amplification will be provided. Host school may or may not
provide general sound amplification.
*PROPERTIES: All sets and properties must be provided by the participating school (entry).
*DRESSING ROOMS: Facilities for dressing and making up will be available. Directions to these
facilities will be given to each participating Director upon arrival. Each school will have access to these
facilities ONLY DURING the preceding 45 minutes of performance. Such preparation must in no way
interfere with the other performances in progress.
*ORDER OF PERFORMANCE: All Novice entries will be presented before any Varsity entries. A
participating school may request an approximate time slot on the Registration Form, however, final
decision on order of performances within categories rests with the District and State Chairpersons.
*INDIVIDUAL ELIGIBILITY: Each cast member MUST BE ENROLLED IN THE SCHOOL in
whose play he/she is participating. Directors must be faculty members or students of the participating
school system. All performers—actors and musicians—must be students of the participating school.
Adults are only allowed backstage to assist with technical elements. Any violation of these rules will
automatically disqualify the school's entry.
*COURTESY REQUIREMENT: Any participant who distracts judges or competitors by unnecessary
noise or movement during another performance may be disqualified at the judge's discretion.
*SETC FEE REQUIREMENTS: All Varsity Division entries vie for the chance to represent Alabama at
the Southeastern Theatre Conference Secondary School Festival March 7-10, 2012, Chattanooga, TN. It
is important that you know the fee structure for SETC, should your entry be chosen at the Trumbauer
State Finals. For a current fee schedule, please contact the SETC Office at 336/272-3645; Fax: 336/2728810; or email: [email protected]. Remember, ACT will provide $800 towards touring costs for the winning
entries, but all other fees must be covered by the school.
11
ONE-ACT PLAY FESTIVAL
JUDGE'S EVALUATION FORM
ALL entries must be suitable for high school students, their school, and community with regards to
subject matter (play selection). Violation of this rule is grounds for disqualification.
SCHOOL _______________________________________________________________
TITLE OF PLAY _________________________________________________________
AUTHOR _____________________________ DIRECTOR ________________________
JUDGES NAME (legible) _____________________________________________________
Rating System: S-Superior
E-Excellent
G-Good.
(Circle N/A if the question does not apply.)
SELECTION (10 POINTS POSSIBLE)
CIRCLE ONE
Was the script within the emotional capabilities of this cast?
S E G N/A
Does the script have either a strong entertainment and/or educational value?
S E G N/A
Does this selection highlight the company’s talents?
S E G N/A
TOTAL POINTS THIS SECTION (10 POINTS POSSIBLE) ______
INTERPRETATION (10 POINTS POSSIBLE)
Is the director’s interpretation consistent and well thought through?
S E G N/A
Does the director’s concept seem to be the playwright’s intent?
S E G N/A
Did the cast perform to the perceived director’s concept?
S E G N/A
If a musical, are the singers interpreting the songs or just singing the notes?
S E G N/A
TEMPO/RHYTHM (10 POINTS POSSIBLE)
Did the play run smoothly?
S E G N/A
Did the tempo/pace assist the mood of the play?
S E G N/A
Was the tempo/rhythm in keeping with the playwright’s intent?
S E G N/A
Did the actors pick up lines/cues?
S E G N/A
Were the non-speaking moments effective in the tempo/rhythm of the play?
S E G N/A
Was there good energy on stage?
S E G N/A
BLOCKING/COMPOSITION (10 POINTS POSSIBLE)
Was the blocking interesting?
S E G N/A
Was the stage used effectively?
S E G N/A
Were attractive pictures created on stage?
S E G N/A
Were different levels used?
S E G N/A
Was the blocking natural and comfortable?
S E G N/A
CHARACTERIZATION (15 POINTS POSSIBLE)
Were the characters believable?
S E G N/A
Was there depth in the development of each character?
S E G N/A
Were the characters consistent?
S E G N/A
Were the actors committed to their characters?
S E G N/A
Were the actors playing objectives rather than emotions?
S E G N/A
12
ONE-ACT CONTINUED…
ENSEMBLE (15 POINTS POSSIBLE)
Did the ensemble exhibit team work and interaction?
Was the ensemble able to avoid any Star performances?
Was the ensemble used to its full potential?
S E G N/A
S E G N/A
S E G N/A
TECHNICAL (10 POINTS POSSIBLE)
Do the technical aspects of production work to support the director’s concept?
Do all technical aspects of the production work together?
Did the lighting enhance the overall appearance of the production?
Was the scenery, if any, attractive and engaging to look at?
Were the set pieces relevant to the story?
Did the set support the concept and the period of the play?
Were the costumes consistent in their design for the entire cast?
Did the sound/music support the mood and concept of the play?
S E G N/A
S E G N/A
S E G N/A
S E G N/A
S E G N/A
S E G N/A
S E G N/A
S E G N/A
OVERALL EFFECT OF THE PRODUCTION (20 POINTS POSSIBLE)
Did all aspects of the production, technical, and performance, work
together to present a cohesive show?
S E G N/A
TOTAL SCORE OF ALL CATEGORIES (100 pts possible):_____________
Rating This Ballot (check One)
SUPERIOR 80-100
EXCELLENT 60-79
GOOD 59-below
Or: DISQUALIFIED FOR: _________________________________________________
Disqualification must be approved by Trumbauer Officials.
TIME (45 minute limit): __________
(TO BE PROVIDED BY STAGE MANAGER - A PERFORMANCE WHICH EXCEEDS THE TIME
LIMIT MAY NOT ADVANCE TO STATE LEVEL OR REGIONAL COMPETITION.)
JUDGE'S NAME (Legible) _____________________________
13
STUDIO THEATRE PERFORMANCE COMPETITION
I. DESCRIPTION OF CATEGORY: The Studio Theatre Category has been developed to highlight and
feature pure performance (acting, directing, and writing). There is to be little emphasis placed on the
technical production values of the piece unless they detract from the actual performance.
Studio Theatre will be divided into two categories: Novice and Varsity. A Novice Studio is
defined as a show in which no cast members have ever competed in the Studio or One-Act Categories
prior to this performance year. In Studio Theatre, the experience of the director is not relevant.
II. PROOF OF PRODUCTION RIGHTS. You must SUBMIT a copy of your Royalty Agreement
and/or Permission to Cut for any published play presented at the District and State levels. We must
have this information in our office before your show can be performed for competition. The
Trumbauer Festival accepts student-written work. If a play is student written, a signed statement from
the teacher must be attached to a typed copy of the work indicating it is the product of that particular
student.
III. SELECTION OF MATERIAL: Any one-act play (published or original) or any cutting from a longer
play or musical will be accepted with permission from the author or the publishing company to allow the
cutting. Additionally, any form of presentation is acceptable (puppet shows, dance, etc.) as long as there
is no film or video. If any published materials are used, the school must provide written permission from
the publisher that they have obtained rights to perform the piece. If piece is student written a signed
statement from the teacher must be attached to a typed copy of the work indicating it is the product of that
particular student.
IV. ENTRY FEES: $25 PER PLAY AT BOTH DISTRICT AND STATE LEVEL. When registering at
the District level, your school also pays an Organizational Membership Fee of $60, which covers one
teacher as organizational delegate. Every student that participates in Trumbauer (including cast and crews
of Ensemble Performance plays) must pay a Student Membership Fee of $7. Non-Students, such as
faculty that are not organizational delegates, pay a $25 membership fee. Membership fees are only paid
once annually.
V. TIME LIMIT: Each participating school shall be allowed a total of 30 minutes for set-up,
performance and strike. Any school breaking this rule will be eliminated from consideration for a
Superior rating or otherwise receiving an invitation to enter the State Finals. There is no minimum
playing time requirement.
VI. PERFORMANCE RULES:
1. No school may enter both this category and the One-Act Play category.
2. Costuming will be at the school’s discretion.
3. Three cubes (2-18" and 1-24"), 2 chairs, and 1 table will be provided for use by all participants.
These items will be weight bearing.
4. No free standing set pieces will be allowed. Only props brought in by the performing school will
be permitted. For piece to be considered a prop, it must be manipulated or wielded by a performer
and not simply held in place (which would render it free standing.) Individual props must be able
to be carried by one person and fit through a standard sized single door.
5. A sound track is allowed and a sound system may be used if it exists in the facility or is provided
by the Host Venue or ACT. No additional sound equipment may be brought in.
6. Lighting will be provided by the host venue or by ACT. Lights can be used for lights up and
lights down only, with the exception of warming light for any set-up and/or tear down. No
additional lighting equipment may be brought in, with the exception of a hand-held prop such as a
flashlight
14
7. The production must be designed to travel easily and fit into a wide variety of spaces as
space may be limited.
8. A stage manager/timer will be provided, but no additional technical people will be provided. You
must provide your own crew.
9. Student directing is allowed.
10. All adjudication of Studio Theatre Performances at both the District and State levels will be in the
form of written critiques. No oral adjudication will be allowed.
11. Studios will run on a 45 minute schedule so that there will be 15 minutes between shows for
necessary changes and judge breaks.
STUDIO THEATRE PERFORMANCE AWARDS:
*AWARDS:
 Trophies will be awarded for 3 BEST OF SHOW Performances in both the Novice and Varsity
categories, provided the school/production receives a superior ranking.
o Additional trophies (from the combined Novice and Varsity Divisions) will be awarded
for:
 Best Actor and Best Actress
 Best Supporting Actor and Best Supporting Actress
 Best Ensemble
 All Star Cast winners will receive a plaque.
State Finals: All of the top three plays will be given a trophy awarding them with the following title:
BEST OF SHOW.
VII. INDIVIDUAL ELIGIBILITY: Each cast member MUST BE ENROLLED IN THE SCHOOL
whose play he/she is participating in. Directors must be faculty members or students of the participating
school. Any violation of these rules will automatically disqualify the school’s entry.
VIII. JUDGES: A panel of three judges will rate each play based upon the information listed on the
judge’s sheets.
15
STUDIO THEATRE PERFORMANCE COMPETITION
JUDGE'S EVALUATION FORM
ALL entries must be suitable for high school students; their school and community with regards to subject
matter (play selection). Violation of this rule is grounds for disqualification.
SCHOOL _______________________________________________________________
TITLE OF PLAY _________________________________________________________
AUTHOR _____________________________ DIRECTOR ________________________
JUDGES NAME (legible) _____________________________________________________
Rating System: S-Superior
E-Excellent
G-Good.
(Circle N/A if the question does not apply.)
SELECTION (10 POINTS POSSIBLE)
CIRCLE ONE
Was the script within the emotional capabilities of this cast?
S E G N/A
Does the script have either a strong entertainment and/or educational value?
S E G N/A
Does this selection highlight the company’s talents?
S E G N/A
INTERPRETATION (10 POINTS POSSIBLE)
Is the director’s interpretation consistent and well thought through?
S E G N/A
Does the director’s concept capture the playwright’s intent?
S E G N/A
Did the cast understand the director’s concept?
S E G N/A
If a musical, are the singers interpreting the songs or just singing the notes?
S E G N/A
TEMPO/RHYTHM (15 POINTS POSSIBLE)
Did the play run smoothly?
S E G N/A
Did the tempo/pace assist the mood of the play?
S E G N/A
Was the tempo/rhythm in keeping with the playwright’s intent?
S E G N/A
Did the actors pick up lines/cues?
S E G N/A
Were the non-speaking moments effective in the tempo/rhythm of the play?
S E G N/A
Was there good energy on stage?
S E G N/A
BLOCKING/COMPOSITION (15 POINTS POSSIBLE)
Was the blocking interesting?
S E G N/A
Was the stage used effectively?
S E G N/A
Were attractive pictures created on stage?
S E G N/A
Were different levels used?
S E G N/A
Was the blocking natural and comfortable?
S E G N/A
CHARACTERIZATION (25 POINTS POSSIBLE)
Were the characters believable?
S E G N/A
Was there depth in the development of each character?
S E G N/A
Were the characters consistent?
S E G N/A
Were the actors committed to their characters?
S E G N/A
Were the actors playing objectives rather than emotions?
S E G N/A
16
STUDIO THEATRE BALLOT CONTINUED…
ENSEMBLE (15 POINTS POSSIBLE)
Did the cast exhibit team work and interaction?
Was the cast functioning together to reach the director’s goal?
Was the ensemble/cast used to its full potential?
S E G N/A
S E G N/A
S E G N/A
OVERALL EFFECT OF THE PRODUCTION (10 POINTS POSSIBLE)
Did all aspects of the production and performance work together
to present a cohesive show?
S E G N/A
TOTAL SCORE OF ALL CATEGORIES (100 pts possible):_____________
SUPERIOR 80-100
EXCELLENT 60-79
GOOD 59-below
TIME (30 minute limit): __________
(TO BE PROVIDED BY STAGE MANAGER - A PERFORMANCE WHICH EXCEEDS THE TIME
LIMIT MAY NOT ADVANCE TO STATE LEVEL.)
JUDGE'S NAME (Legible): ____________________________________________________
17
INDIVIDUAL EVENTS COMPETITION
GENERAL INFORMATION
*FOUR STUDENTS FROM EACH SCHOOL MAY BE ENTERED IN EACH INDIVIDUAL EVENT.
(FOUR for NOVICE AND FOUR for VARSITY)
*A STUDENT MAY ONLY ENTER ONE or TWO INDIVIDUAL EVENTS.
For example, a student may enter 1. Solo Pantomime Female and 14. Duet Acting Classical Dramatic, but
a student may NOT enter Solo Pantomime Female twice. PARTICIPATION IN ENSEMBLE
PERFORMANCE OR ONE-ACT PLAY COMPETITION DOES NOT AFFECT DOUBLE ENTRY.)
*CHOICE OF MATERIAL: All entries should be suitable for high school students and their
community with regard to language and subject matter. Entry forms must be signed by the principal of
each participating school indicating that the teacher will abide by the above rule. Violation of this rule is
grounds for disqualification. It is strongly suggested that no material come from comedy or blackout skits
(such as Monty Python or Saturday Night Live skits.) Students and sponsors are encouraged to make
selections from more fully developed dramatic sources. Student written work is accepted. If a play or
individual event piece is student written a signed statement from the teacher must be attached to a typed
copy of the work indicating it is the product of that particular student.
*STUDENTS MAY NOT CHANGE THEIR SELECTIONS BETWEEN DISTRICT AND STATE
COMPETITIONS. VIOLATION OF THIS RULE IS GROUNDS FOR DISQUALIFICATION.
*TIME LIMITATIONS: Time limits vary for the individual events. Failure to comply will result in
automatic disqualification from a Superior rating. NOTE: THERE IS NO MINIMUM TIME LIMIT,
BUT SPONSORS ARE RECOMMENDED TO HELP STUDENTS SELECT A PIECE THAT IS NOT
TOO SHORT. TIME LIMITS DO NOT INCLUDE INTRODUCTION. Students may not start their
performances over unless both judges agree that there is a legitimate distraction in the room. In the event
that a student starts over without legitimate cause, they are allowed to continue, but the stopwatch will
continue to run.
*ENTRY FEES: $10 PER STUDENT PER INDIVIDUAL EVENT. For Example: Students registering
for the Duet Acting Competition pay $10 each, or $20 total for that event. Individual Events fees are paid
at both the District and State levels.
*JUDGING: There will be two judges for each individual event. Ballots listing criteria for judging are
attached. Ratings of 40-50 points = Superior; 30-39 points = Excellent; Under 29 points =Good.
All entries who meet all requirements must receive a Superior rating at the District level to be invited to
compete in the state finals. NO entry with an Excellent or Good rating may be passed on to State, even
with a recommendation from the judges.
*AWARDS:
District and State Competitions: Each student who receives a Superior or Excellent rating will receive a
medal indicating the rating that he/she received.
State Finals: Students with 1st, 2nd and 3rd Place ratings according to point scale in each event will
receive trophies. Novice and Varsity categories will be considered separate events. For example, 1st,
2nd, and 3rd place trophies will be awarded for Solo Pantomime Female—Novice, AND 1st, 2nd, and 3rd
place trophies will be awarded for Solo Pantomime Female—Varsity.
There will be no ties for trophies. Each student who receives a Superior or Excellent rating will receive a
medal indicating the rating that he/she received.
*ORDER OF PERFORMANCE: All Novice entrants will compete before any Varsity entrants. In
larger events, Novice entries are held in a separate room.
18
1. SOLO PANTOMIME – FEMALE
EVENT REQUIREMENTS AND SAMPLE BALLOT
1. *FOUR STUDENTS FROM EACH SCHOOL MAY BE ENTERED IN EACH CATEGORY
(NOVICE/VARSITY) OF THIS EVENT. For example, you may enter FOUR Novice Students in this
event, and FOUR Varsity students. STUDENTS ARE LIMITED TO PARTICIPATION IN TWO
INDIVIDUAL EVENTS.
2. Performed by one female contestant.
3. The performer creates a story using her body and pantomime. No dialogue, lip synching, or audible
sounds by the performer are allowed.
4. Musical accompaniment or taped sound effects are optional, but no lyrics are allowed on the
accompaniment. If accompaniment is desired, the contestant must provide his own CD or tape. No live
accompaniment is allowed.
5. One straight back chair is permitted and will be provided by the host school.
6. No properties, costumes, or stage make-up are permitted.
7. Selections used by the contestant prior to this academic year are not permitted.
8. TIME LIMIT: 3 minutes. (Does not include introduction.)
9. ALL entries must be suitable for high school students, their school, and community with regards to
subject matter. Violation of this rule is grounds for disqualification.
19
1. SOLO PANTOMIME - FEMALE BALLOT
NAME: ________________________________________________________________
SCHOOL ____________________________________ SPONSOR: _____________________
PLAY: __________________________________ CATEGORY (Novice/Varsity): ______________
1.
CHARACTERIZATION
Was the character(s) created believable and consistent?
2.
MOVEMENT
1 2 3 4 5 6 7 8 9 10
Was the movement suitable to the scene? Did the performer
use the space effectively? Did the performer pay attention to the detail of her movement?
3.
PHYSICALITY
Did the performer possess good body control; expressive
Motions; clarity of body movement?
1 2 3 4 5 6 7 8 9 10
4.
MATERIAL
Was there a clear story line? Was there a logical sequence
with a clear beginning, middle, and end?
1 2 3 4 5 6 7 8 9 10
5.
ORIGINALITY AND CREATIVITY
Was the piece original and creative?
6.
GENERAL EFFECTIVENESS
1 2 3 4 5 6 7 8 9 10
Did the performance hold the audience's attention and entertain them?
If music was used, was it appropriate and helpful in telling the story?
TIME: (3 MIN LIMIT) ____________
SUPERIOR 40-50
1 2 3 4 5
1 2 3 4 5
TOTAL POINTS (50 POSSIBLE) _______________
EXCELLENT 30-39
GOOD 29
(YOU MAY GIVE NO SCORE LOWER THAN 29 FOR ANY REASON.)
SCHOOL REPRESENTING: _________________________________________________
PLEASE PLACE ADDITIONAL COMMENTS ON BACK
20
2. SOLO PANTOMIME – MALE
INDIVIDUAL EVENTS.
2. Performed by one male contestant.
3. The performer creates a story using his body and pantomime. No dialogue, lip synching, or audible
sounds by the performer are allowed.
accompaniment. If accompaniment is desired, the contestant must provide her own CD or tape. No live
5. One straight back chair is permitted and will be provided by the host school.
21
2. SOLO PANTOMIME - MALE BALLOT
NAME: __________________________________________________________
SCHOOL ____________________________________ SPONSOR: _____________________
1.
CHARACTERIZATION
2.
MOVEMENT
1 2 3 4 5 6 7 8 9 10
Was the movement suitable to the scene? Did the performer
use the space effectively? Did the performer pay attention to the detail of his movement?
3.
PHYSICALITY
Did the performer posses good body control; expressive
Motions; clarity of body movement?
1 2 3 4 5 6 7 8 9 10
4.
MATERIAL
Was there a clear story line? Was there a logical sequence
with a clear beginning, middle, and end?
1 2 3 4 5 6 7 8 9 10
5.
ORIGINALITY AND CREATIVITY
Was the piece original and creative?
6.
1 2 3 4 5 6 7 8 9 10
Did the performance hold the audience's attention and entertain them?
If music was used, was it appropriate and helpful in telling the story?
TIME: (3 MIN LIMIT) ____________
SUPERIOR 40-50
1 2 3 4 5
1 2 3 4 5
EXCELLENT 30-39
GOOD 29
22
3. DUET PANTOMIME
1. *FOUR PAIRS OF STUDENTS FROM EACH SCHOOL MAY BE ENTERED IN EACH
CATEGORY (NOVICE/VARSITY) OF THIS EVENT. For example, you may enter FOUR Novice pairs
in this event, and FOUR Varsity pairs. If one member of the pair is a Varsity student, the pair MUST be
entered as Varsity. STUDENTS ARE LIMITED TO PARTICIPATION IN TWO INDIVIDUAL
EVENTS.
2. Performed by two contestants. Each duet participant must be actively involved in the scene.
3. The performers create a story using their bodies and pantomime. No dialogue, lip synching, or audible
sounds by the performers are allowed.
accompaniment. If accompaniment is desired, the contestants must provide their own CD or tape. No live
5. Two straight back chairs are permitted and will be provided by the host school.
7. Selections used by the contestants prior to this academic year are not permitted.
23
3. DUET PANTOMIME BALLOT
SCHOOL ____________________________________ SPONSOR: _____________________
PERFORMER’S NAME: _____________________________________________________
I. PANTOMIME:
1.
CHARACTERIZATION
1 2 3 4 5
2.
MOVEMENT
1 2 3 4 5
Was the movement suitable to the scene? Did the performer use the
space effectively? Did the performer pay attention to the detail of his movement?
3.
PHYSICALITY
1 2 3 4 5
Did the performer possess good body control; expressive motions: clarity
of body movement?
PERFORMER’S NAME: __________________________________________________
II. PANTOMIME:
1.
CHARACTERIZATION
1 2 3 4 5
2.
MOVEMENT
1 2 3 4 5
Was the movement suitable to the scene? Did the performer use the
space effectively? Did the performer pay attention to the detail of his movement?
3.
PHYSICALITY
1 2 3 4 5
Did the performer possess good body control; expressive motions: clarity
of body movement?
III. ENSEMBLE
1.
MATERIAL
1 2 3 4 5
Was there a clear story line? Was there a logical sequence with
a clear beginning, middle, and end? Was the piece original and creative?
2.
ACTORS INTERACTION, SUPPORT, CONNECTION
1 2 3 4 5 6 7 8 9 10
3.
1 2 3 4 5
Did the performance hold the audience's attention and entertain
them? If music was used, was it appropriate and helpful in telling the story?
TIME: (5 MIN LIMIT) ____________
SUPERIOR 40-50
EXCELLENT 30-39
GOOD 29
24
4. DUET READER’S THEATRE-DRAMATIC
CATEGORY (NOVICE/VARSITY) OF THIS EVENT. For example, you may enter FOUR
Novice pairs in this event, and FOUR Varsity pairs. If one member of the pair is a Varsity
student, the pair MUST be entered as Varsity. STUDENTS ARE LIMITED TO
PARTICIPATION IN TWO INDIVIDUAL EVENTS.
2. Performed by two students.
3. Selections must be cuttings from a play, teleplay or literature. Compilations from more than one
selection are permitted providing they contain a unified theme. Although much literature contains
both comedic and dramatic elements, the central tone and theme of the piece must be dramatic.
4. During the introduction, one of the students must state the author(s) and source of the cutting(s).
5. Selections used by either of the contestants prior to this academic year are not permitted.
6. Two chairs, two baskets (standard laundry size) and two music stands will be provided by the host
school. Students must use the chairs but may elect to not use the baskets and/or music stands.
7. A school may not enter a cutting from its one-act play entry.
8. Use of hand props, and costume pieces (hats, scarves, shawls) is permitted.
9. Students must perform in the traditional reader’s theatre style--students must not interact with
each other.
10. Students may use up to two baskets in which they can store their props and/or costume pieces.
These baskets may sit on the floor next to the actor and all props/costume pieces must fit inside
the basket.
11. Students must remain seated for the duration of the performance. They may stand for the
introduction if they wish.
12. TIME LIMIT: 5 minutes (does NOT include introduction)
13. ALL entries must be suitable for high school students, their school, and community regards to
language and subject matter. Violation of this rule is grounds for disqualification.
25
4. DUET READER’S THEATRE-DRAMATIC BALLOT
All entries must be suitable for high school students, their school, and community with regards to
SCHOOL ___________________________ SPONSOR __________________________
SELECTION ___________________________________________
NOVICE/VARSITY
PERFORMER’S NAME _____________________________________________________
a. ACTING
i. CHARACTERIZATION
1 2 3 4 5
Did the performer understand and evoke the character? Was the character
believable?
ii. MOVEMENT & PHYSICAL EXPRESSION
1 2 3 4 5
Was movement natural, suitable to the character(s), motivated, and clearly
executed? Were gestures, expressions and posture appropriate?
iii. VOCAL EXPRESSION & INTERPRETATION
1 2 3 4 5
Was the performer in control of words, phrases and ideas? Was the rate,
pitch, diction and vocal variety suitable for the character(s)?
PERFORMER’S NAME ______________________________________________________
a. ACTING
i. CHARACTERIZATION
1 2 3 4 5
1 2 3 4 5
1 2 3 4 5
ENSEMBLE
a. SELECTION
1 2 3 4 5
Was it appropriate to the contestants? Was the scene developed into a climax? Was the
cutting logical?
b. COMMUNICATION OF MATERIAL
1 2 3 4 5
Demonstrated insight into author’s intent according to correctness of mood, meaning,
approach, and attitude. Performers work to toward ensemble interpretation.
c. UNITY, RHYTHM, PACING
1 2 3 4 5
Were dramatic elements enhanced through timing, pauses, rhythm and pacing?
d. GENERAL EFFECTIVENESS
1 2 3 4 5
TIME (5 minute limit) _________
SUPERIOR 40-50
TOTAL POINTS (50 possible) ____________
EXCELLENT 30-39
GOOD 29
26
5. DUET READER’S THEATRE-COMEDIC
CATEGORY (NOVICE/VARSITY) OF THIS EVENT. For example, you may enter FOUR
Novice pairs in this event, and FOUR Varsity pairs. If one member of the pair is a Varsity
student, the pair MUST be entered as Varsity. STUDENTS ARE LIMITED TO
PARTICIPATION IN TWO INDIVIDUAL EVENTS.
2. Performed by two students.
3. Selections must be selections from a play, teleplay or literature. Compilations from more than
one selection are permitted providing they contain a unified theme. Although much literature
contains both comedic and dramatic elements, the central tone and theme of the piece must be
humorous.
4. During the introduction, one of the students must state the author(s) and source of the cutting(s).
5. Selections used by either of the contestants prior to this academic year are not permitted.
6. Two chairs, two baskets (standard laundry size) and two music stands will be provided by the host
school. Students must use the chairs but may elect to not use the baskets and/or music stands.
8. Use of hand props, and costume pieces (hats, scarves, shawls) is permitted.
9. Students may use up to two baskets in which they can store their props and/or costume pieces.
These baskets may sit on the floor next to the actor and all props/costume pieces must fit inside
the basket.
10. Students must remain seated for the duration of the performance. They may stand for the
introduction if they wish.
11. TIME LIMIT: 5 minutes (does NOT include introduction)
12. ALL entries must be suitable for high school students, their school, and community regards to
27
5. DUET READER’S THEATRE-COMEDIC BALLOT
All entries must be suitable for high school students, their school, and community with regards to
SCHOOL ___________________________ SPONSOR __________________________
SELECTION ___________________________________________
NOVICE/VARSITY
PERFORMER’S NAME _____________________________________________________
b. ACTING
i. CHARACTERIZATION
1 2 3 4 5
Did the performer understand and evoke the character? Was the character
believable? Is humor demonstrated?
1 2 3 4 5
Was movement natural, suitable to the character(s), motivated, and clearly
executed? Were gestures, expressions and posture appropriate?
1 2 3 4 5
Was the performer in control of words, phrases and ideas? Was the rate,
pitch, diction and vocal variety suitable for the character(s)?
PERFORMER’S NAME ______________________________________________________
b. ACTING
j. CHARACTERIZATION
1 2 3 4 5
1 2 3 4 5
1 2 3 4 5
ENSEMBLE
a. SELECTION
1 2 3 4 5
Was it appropriate to the contestants? Was the scene developed into a climax? Was the
cutting logical?
b. COMMUNICATION OF MATERIAL
1 2 3 4 5
Demonstrated insight into author’s intent according to correctness of mood, meaning,
approach, and attitude. Performers work toward ensemble interpretation.
c. EFFECTIVE USE OF HUMOR
1 2 3 4 5
Was humor enhanced through timing, pauses, rhythm and pacing?
d. GENERAL EFFECTIVENESS
1 2 3 4 5
TIME (5 minute limit) _________
SUPERIOR 40-50
TOTAL POINTS (50 possible) ____________
EXCELLENT 30-39
GOOD 29
28
6. SOLO ACTING - FEMALE - CONTEMPORARY DRAMATIC
INDIVIDUAL EVENTS.
2. Performed by one female contestant, portraying one character.
3. SELECTION: Selections must come from a play, screenplay, teleplay or monologue that was written
after 1900. The cutting should be memorized. Although many monologues contain elements which are
both comedic and dramatic, the central theme or tone of the piece should be of a serious nature. During
the introduction the contestant must name the author and source from which the cutting was made. If
piece is student written a signed statement from the teacher must be attached to a typed copy of the work
indicating it is the product of that particular student.
4. No properties, costumes or stage make-up are permitted. Only one straight back chair is permitted,
and will be provided by the host school. Performance should be blocked for movement.
29
6. SOLO ACTING - FEMALE - CONTEMPORARY DRAMATIC BALLOT
NAME ________________________________________________________________
SCHOOL ____________________________________ SPONSOR: _____________________
1. CHARACTERIZATION
Was the character believable and consistent?
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
2. MOVEMENT AND BODILY EXPRESSION
Was all movement natural, suitable to the character, motivated,
and clearly executed?
1 2 3 4 5 6 7 8 9 10
3. VOCAL EXPRESSION AND INTERPRETATION
1 2 3 4 5 6 7 8 9 10
Was the performer in control of words, phrases and ideas? Were rate,
pitch, and vocal variety suitable for the character?
Was the diction crisp?
4. SELECTION OF SCENE
Is it within the abilities or range of the contestant? Was the scene
developed into a climax? Was the cutting logical? Did the introduction
give selection and author and did it provide any necessary explanation?
1
2
3
4
5
5. BLOCKING
Was movement intelligently motivated? Was visual interest created?
1
2
3
4
5
6. RHYTHM, PACING
1
2
3
4
5
TIME: (3 MIN LIMIT) ____________
SUPERIOR 40-50
EXCELLENT 30-39
GOOD 29
30
7. SOLO ACTING - FEMALE - CONTEMPORARY COMEDIC
INDIVIDUAL EVENTS.
2. Performed by one female contestant, portraying one character.
both comedic and dramatic, the central theme or tone of the piece should be of a humorous nature.
During the introduction the contestant must name the author and source from which the cutting was made.
If piece is student written a signed statement from the teacher must be attached to a typed copy of the
work indicating it is the product of that particular student.
31
7. SOLO ACTING - FEMALE - CONTEMPORARY COMEDIC BALLOT
NAME __________________________________________________________________
SCHOOL ____________________________________ SPONSOR: _____________________
1. CHARACTERIZATION
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
1 2 3 4 5 6 7 8 9 10
1 2 3 4 5 6 7 8 9 10
pitch, and vocal variety suitable for the character?
1 2 3 4 5
Does the selection have literary merit? Is it within the abilities or range of the contestant? Was
the scene developed into a climax? Was the
cutting logical? Did the introduction give selection and author and did it provide
any necessary explanation?
5. BLOCKING
1
2
3
4
5
6. EFFECTIVENESS OF HUMOR
Was humor enhanced by rhythm, timing, pacing, etc.?
1
2
3
4
5
TIME: (3 MIN LIMIT) ____________
SUPERIOR 40-50
EXCELLENT 30-39
GOOD 29
32
8. SOLO ACTING - MALE - CONTEMPORARY DRAMATIC
INDIVIDUAL EVENTS.
2. Performed by one male contestant, portraying one character.
both comedic and dramatic, the central theme or tone of the piece should be of a serious nature. During
the introduction the contestant must name the author and source from which the cutting was made. If
piece is student written a signed statement from the teacher must be attached to a typed copy of the work
indicating it is the product of that particular student.
33
8. SOLO ACTING - MALE - CONTEMPORARY DRAMATIC BALLOT
NAME ____________________________________________________________
SCHOOL ____________________________________ SPONSOR: _____________________
1.
CHARACTERIZATION
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
2.
MOVEMENT AND BODILY EXPRESSION
1 2 3 4 5 6 7 8 9 10
3.
VOCAL EXPRESSION AND INTERPRETATION
Was the performer in control of words, phrases and ideas? Were
rate, pitch, and vocal variety suitable for the character? Was
the diction crisp?
1 2 3 4 5 6 7 8 9 10
4.
SELECTION OF SCENE
1 2 3 4
Is it within the abilities or range of the contestant? Was the
scene developed into a climax? Was the cutting logical? Did the
introduction give selection and author and did it provide any necessary explanation?
5
5.
BLOCKING
1
2
3
4
5
6.
1
2
3
4
5
RHYTHM, PACING
TIME: (3 MIN LIMIT) ____________
SUPERIOR 40-50
EXCELLENT 30-39
GOOD 29
34
9. SOLO ACTING - MALE - CONTEMPORARY COMEDIC
INDIVIDUAL EVENTS.
2. Performed by one male contestant, portraying one character.
both comedic and dramatic, the central theme or tone of the piece should be of a humorous nature.
During the introduction the contestant must name the author and source from which the cutting was made.
If piece is student written a signed statement from the teacher must be attached to a typed copy of the
work indicating it is the product of that particular student.
35
9. SOLO ACTING - MALE - CONTEMPORARY COMEDIC BALLOT
NAME ____________________________________________________________
SCHOOL ____________________________________ SPONSOR: _____________________
1. CHARACTERIZATION
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
1 2 3 4 5 6 7 8 9 10
1 2 3 4 5 6 7 8 9 10
pitch, and vocal variety suitable for the character? Was the diction crisp?
Is it within the abilities or range of the contestant? Was the scene
developed into a climax? Was the cutting logical? Did the introduction
give selection and author and did it provide any necessary explanation?
1
2
3
4 5
5. BLOCKING
1
2
3
4 5
Was humor enhanced by rhythm, timing, pacing. etc.?
1
2
3
4 5
TIME: (3 MIN LIMIT) ____________
SUPERIOR 40-50
EXCELLENT 30-39
GOOD 29
36
10. DUET ACTING - CONTEMPORARY DRAMATIC
EVENTS.
2. Performed by two contestants, portraying two characters.
3. Selection must come from a play, screenplay or teleplay that was written after 1900. Selection should
be as equally balanced between the two characters as possible. The cutting should be memorized.
Although many scenes contain elements which are both comedic and dramatic, the central theme or tone
of the piece should be of a serious nature. During the introduction one of the contestants must name the
author and source from which the cutting was made. If piece is student written a signed statement from
the teacher must be attached to a typed copy of the work indicating it is the product of that particular
student.
4. No properties, costumes or stage make-up are permitted. Only two straight back chairs are permitted,
37
10. DUET ACTING - CONTEMPORARY DRAMATIC BALLOT
SCHOOL ____________________________________ SPONSOR: _____________________
A. PERFORMER'S NAME __________________________________________
I. ACTING
1. CHARACTERIZATION
1 2 3 4 5
Did the performer understand and evoke the character? Was the character believable?
1 2 3 4 5
Was all movement natural, suitable to the character, motivated, and clearly executed?
1 2 3 4 5
Was the performer in control of words, phrases and ideas? Were rate, pitch, diction and vocal
variety suitable for the character? Was the diction appropriate to character?
B. PERFORMER'S NAME __________________________________________
I. ACTING
1.
CHARACTERIZATION
1 2 3 4 5
2.
1 2 3 4 5
3.
1 2 3 4 5
III. ENSEMBLE
1. SELECTION
1 2 3 4 5
Was it appropriate to the contestants? Was the scene developed into a climax? Was the cutting
logical? Did the introduction give title and author and did it provide any necessary explanation?
2. ACTORS' INTERACTION, SUPPORT, CONNECTION
1 2 3 4 5
Performers worked to treat ensemble interpretation.
3.
BLOCKING
1 2 3 4 5
4.
UNITY, RHYTHM, PACING
1 2 3 4 5
TIME: (5 MIN LIMIT) ____________
SUPERIOR 40-50
EXCELLENT 30-39
GOOD 29
38
11. DUET ACTING - CONTEMPORARY COMEDIC
EVENTS.
3. . Selection must come from a play, screenplay or teleplay that was written after 1900. Selection should
be as equally balanced between the two characters as possible. The cutting should be memorized.
Although many scenes contain elements which are both comedic and dramatic, the central theme or tone
of the piece should be of a humorous nature. During the introduction one of the contestants must name
the author and source from which the cutting was made. If piece is student written a signed statement
from the teacher must be attached to a typed copy of the work indicating it is the product of that particular
student.
39
11. DUET ACTING - CONTEMPORARY COMEDIC BALLOT
SCHOOL ____________________________________ SPONSOR: _____________________
I. ACTING
1. CHARACTERIZATION
1 2 3 4 5
1 2 3 4 5
1 2 3 4 5
Was the performer in control of words, phrases and ideas?
Were rate, pitch, diction and vocal variety suitable for the character? Was the diction appropriate
to character?
B. PERFORMER'S NAME ________________________________
I. ACTING
1. CHARACTERIZATION
1 2 3 4 5
2.
1 2 3 4 5
3.
1 2 3 4 5
III. ENSEMBLE
1. SELECTION
1 2 3 4 5
1 2 3 4 5
3.
1 2 3 4 5
BLOCKING
TIME: (5 MIN LIMIT) ____________
SUPERIOR 40-50
1 2 3 4 5
EXCELLENT 30-39
GOOD 29
40
12. SOLO ACTING - CLASSICAL DRAMATIC
INDIVIDUAL EVENTS.
2. Performed by one contestant, portraying one character.
3. SELECTION: Selections must come from a play that was written prior to 1900. The cutting should
be memorized. Although many monologues contain elements which are both comedic and dramatic, the
central theme or tone of the piece should be of a serious nature. During the introduction the contestant
must name the author and source from which the cutting was made.
41
12. SOLO ACTING - CLASSICAL DRAMATIC BALLOT
NAME ____________________________________________________________
SCHOOL ____________________________________ SPONSOR: _____________________
1.
CHARACTERIZATION
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
2.
1 2 3 4 5 6 7 8 9 10
3.
Was the performer in control of words, phrases and ideas? Were
rate, pitch, and vocal variety suitable for the character? Was
the diction crisp?
1 2 3 4 5 6 7 8 9 10
4.
SELECTION OF SCENE
1 2 3 4
Is it within the abilities or range of the contestant? Was the
scene developed into a climax? Was the cutting logical? Did the
introduction give selection and author and did it provide any necessary explanation?
5
5.
BLOCKING
1
2
3
4
5
6.
1
2
3
4
5
RHYTHM, PACING
TIME: (3 MIN LIMIT) ____________
SUPERIOR 40-50
EXCELLENT 30-39
GOOD 29
42
13. SOLO ACTING - CLASSICAL COMEDIC
INDIVIDUAL EVENTS.
2. Performed by one contestant, portraying one character.
3. SELECTION: Selections must come from a play that was written prior to 1900. The cutting should
be memorized. Although many monologues contain elements which are both comedic and dramatic, the
central theme or tone of the piece should be of a humorous nature. During the introduction the contestant
must name the author and source from which the cutting was made.
43
13. SOLO ACTING - CLASSICAL COMEDIC BALLOT
NAME __________________________________________________________________
SCHOOL ____________________________________ SPONSOR: _____________________
1. CHARACTERIZATION
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
1 2 3 4 5 6 7 8 9 10
Were rate, pitch, and vocal variety suitable for the character?
1 2 3 4 5 6 7 8 9 10
1 2 3 4 5
Does the selection have literary merit?
Is it within the abilities or range of the contestant? Was the scene developed into a climax?
Was the cutting logical?
Did the introduction give selection and author and did it provide any necessary explanation?
5. BLOCKING
Was movement intelligently motivated?
Was visual interest created?
1 2 3 4 5
1 2 3 4 5
TIME: (3 MIN LIMIT) ____________
SUPERIOR 40-50
EXCELLENT 30-39
GOOD 29
SCHOOL REPRESENTING: __________________________________________________
44
14. DUET ACTING - CLASSICAL DRAMATIC
EVENTS.
3. Selection must come from a play that was written prior to 1900. Selection should be as equally
balanced between the two characters as possible. The cutting should be memorized. Although many
scenes contain elements which are both comedic and dramatic, the central theme or tone of the piece
should be of a serious nature. During the introduction one of the contestants must name the author and
source from which the cutting was made.
45
14. DUET ACTING - CLASSICAL DRAMATIC BALLOT
SCHOOL ____________________________________ SPONSOR: _____________________
I. ACTING
1. CHARACTERIZATION
1 2 3 4 5
1 2 3 4 5
1 2 3 4 5
Was the performer in control of words, phrases and ideas? Were rate, pitch, diction and vocal
variety suitable for the character? Was the diction appropriate to character?
B. PERFORMER'S NAME __________________________________________
I. ACTING
1.
CHARACTERIZATION
1 2 3 4 5
2.
1 2 3 4 5
3.
1 2 3 4 5
III. ENSEMBLE
1. SELECTION
1 2 3 4 5
1 2 3 4 5
3.
BLOCKING
1 2 3 4 5
4.
UNITY, RHYTHM, PACING
1 2 3 4 5
TIME: (5 MINUTE LIMIT) _______TOTAL POINTS (50 POSSIBLE)___________________Rating This Ballot (check One)
SUPERIOR 40-50
EXCELLENT 30-39
GOOD 29
46
15. DUET ACTING - CLASSICAL COMEDIC
EVENTS.
3. Selection must come from a play that was written prior to 1900. Selection should be as equally
balanced between the two characters as possible. The cutting should be memorized. Although many
scenes contain elements which are both comedic and dramatic, the central theme or tone of the piece
should be of a humorous nature. During the introduction one of the contestants must name the author
and source from which the cutting was made.
47
15. DUET ACTING - CLASSICAL COMEDIC BALLOT
language and subject matter. Violation of this rule is grounds for disqualification
SCHOOL ____________________________________ SPONSOR: _____________________
I. ACTING
1. CHARACTERIZATION
1 2 3 4 5
Did the performer understand and evoke the character?
Was the character believable?
1 2 3 4 5
1 2 3 4 5
Were rate, pitch, diction and vocal variety suitable for the character? Was the diction appropriate
to character?
B. PERFORMER'S NAME ________________________________
I. ACTING
1.
CHARACTERIZATION
1 2 3 4 5
2.
1 2 3 4 5
3.
1 2 3 4 5
III. ENSEMBLE
1. SELECTION
1 2 3 4 5
1 2 3 4 5
3. BLOCKING
1 2 3 4 5
1 2 3 4 5
TIME: (5 MIN LIMIT) ____________
SUPERIOR 40-50
EXCELLENT 30-39
GOOD 29
48
16. Playwriting
Event Requirements
1. Four students from each school may be entered in this event. Novice and Varsity are separate
categories. For example, you may enter four Novice students in this event and four Varsity
students. STUDENTS ARE LIMITED TO PARTICIPATION IN TWO INDIVIDUAL EVENTS.
1. Play may be about any subject, however, plays chosen for a “reading” at the State Festival are
subject to editing for length and appropriate conduct.
2. Play must be an original straight play; no adaptations, musicals or plays containing copyrighted
music or song lyrics will be accepted.
3. Plays should have a running time of 30 minutes or less (approximately 30 typed pages in standard
playwriting format).
4. Play submission must be typed, with numbered pages in standard playwriting format. Student
must print the play and secure in a three ring binder. Two hard copies of the play should be
submitted when attending State.
5. Standard Playwriting Format:
Play should be typed using 12 point Times New Roman font with 1” margins all around.
Playwright’s name and Play Title should be the header on the right side of the paper and
the page number should be on the right side of the footer. The title page should list the
title, student’s name and high school represented. Following the title page should be a page
listing the characters in the play. The play itself should be no more than 30 typed pages
approximately. The character’s name should be centered with the dialogue underneath.
Stage directions should be in italics.
6. A panel of two judges will rate each script based on the story, character development. Ratings of
50-40 points=Superior; 39-30 points=Excellent; 29 and under=Good. All entries receiving a
Superior rating will be invited to compete in the State Finals. Since Superior work is expected at
State, 1st, 2nd and 3rd places in the Novice and Varsity Categories will be awarded on merit, not on
the number of entries in each category.
7. Judges will read plays prior to attending District and State Competition. Students will be
scheduled to meet with judges to talk about their plays as part of the competition.
8. TIME LIMIT FOR ORAL CRITIQUE: 5 MINUTES.
9. All entries must be suitable for high school students, their school, and their community with
regards to subject matter (play selection). Violation of this rule is grounds for disqualification.
10. The winner at the State level will receive a reading of the work prior to the awards ceremony.
Student may have a team of actors on standby to read their play OR actors can be provided for the
reading. Time permitting.
11. Deadline: Playwriting entries must be sent electronically to the District Chair two weeks before
event. Playwriting entries for State must be sent electronically to the Secondary Chair by the
second Friday after the District Competition.
49
16. Playwriting
Competition Ballot
All entries must be suitable for high school students, their school and their community with regards to
Student’s Name___________________________________________________________
School_____________________________________ Sponsor______________________
Title of Play_______________________________________Category_______________
Script
1. Characters
Development of characters? Characters further the plot?
Are they suitable to the play? Creative?
1 2 3 4 5 6 7 8 9 10
2. Dialogue
Suitable to the play? Creative? Enhances the play?
Is the dialogue meaningful? Does it further the plot?
1 2 3 4 5 6 7 8 9 10
3. Plot
Is it clear what the main character wants or needs in the
story? Does the main character face conflict, leading to a
resolution?
1 2 3 4 5 6 7 8 9 10
4. Climax and Ending
Does the story reach a climatic point where the main
character either gets what they want or they do not?
Is the ending satisfying to the reader?
1
Story
Presentation and Oral Critique
5. Oral Critique
Student explains the elements of his/her play, elaboration of
choices and the writing process.
6. Presentation
Does the presentation of the play meet the required
standards?
TIME LIMIT Oral Critique: 5 MINUTES________
2
3
4
5
1 2 3 4 5 6 7 8 9 10
1
2
3
4
5
Total Points (50 possible)______________
Judge’s Name (Legible)____________________________________
School Representing_______________________________________
This Ballot’s Rating (check one)
 SUPERIOR (40-50 points)
 EXCELLENT (30-39 points)
 GOOD (29) --No scores under 29 are allowed
 DISQUALIFIED for___________________________________________________
DISQUALIFICATION MUST BE APPROVED BY TRUMBAUER OFFICIALS
PLEASE PLACE ADDITIONAL COMMENTS ON BACK OF PAPER
50
17. SOLO MUSICAL – FEMALE - DRAMATIC
INDIVIDUAL EVENTS.
2. Performed by one female contestant. Selection must come from a musical play, revue, or a musical
movie. If piece is student written a signed statement from the teacher must be attached to a copy of the
work indicating it is the product of that particular student
3. Song choice for Dramatic category includes slower tempo ballads.
4. Introduction of show, writer, character and setting precedes the dialogue, if any, and song. Because of
the nature of modern musical theatre, dialogue does not have to be included in the piece. It is imperative,
however, that the contestant "act" the piece. This is more than a vocal competition.
5. Bring a cassette tape or CD for music and a sound operator. The tape or CD must be music only. No
vocals are allowed on the accompaniment. THE CONTESTANT IS ALLOWED TO HAVE THEIR
OWN SOUND OPERATOR. A piano and accompanist may not be used.
6. NO costumes, properties or stage make-up is allowed; however, dance shoes such as taps are
acceptable, and the performers must be permitted to use a surface that allows them to perform the dance
part of their performance if necessary.
7. One straight back chair and a tape/CD player will be provided. ALL CONTESTANTS MUST BRING
A CASSETTE TAPE OR CD! AN ACCOMPANIST WILL NOT BE PERMITTED!
8. TIME LIMIT: 5 minutes (Includes dialogue, if any, but does not include introduction.) Example:
Adelaide's dialogue before she sings "Adelaide's Lament" in Guys and Dolls. Or, in the case of a show
like Evita, no dialogue would precede the song.
51
17. SOLO MUSICAL – FEMALE – DRAMATIC BALLOT
NAME _____________________________________________________________
SCHOOL ____________________________________ SPONSOR: _____________________
SELECTION: _____________________________ CATEGORY (Novice/Varsity): ______________
1. TONE
Was the tone free and well-focused, unforced, but not breathy?
Were vowels rounded and open?
1
2
3
4 5
1 2 3 4 5
Was the vocalist expressive in phrasing and dynamics?
Was the vocal style appropriate? Did the character come through the music, as well as the dialogue?
3. DICTION
Were the words understandable?
Were the consonants crisp?
Were the vowels well formed?
1 2 3 4 5 6 7 8 9 10
4. TECHNIQUE
Were the notes and rhythms accurate?
Was the tempo suitable?
Was breathing correct and supported?
Was the pitch accurate, meaning neither flat nor sharp?
1
2
3
4 5
5.
CHARACTERIZATION
1 2 3 4 5 6 7 8 9 10
Was there a sense of vitality to the performance?
Did the vocalist show artistry through body movement, facial expression, and total performance?
Was a character developed? Did the performer use the song to create a believable character?
Did the vocalist play the song in the moment?
6.
MOVEMENT/DANCE
1 2 3 4 5 6 7 8 9 10
Was the movement appropriate to the number? Was the movement consistent with the style of the
number? Was the dance, if any, executed well? Did the dance, if any, enhance the number?
7. APPROPRIATENESS OF SELECTION AND SCENE
1 2 3
Was the selection within the vocal range and capability of the performer?
TIME: (5 MINUTE LIMIT) _______
SUPERIOR 40-50
4 5
TOTAL POINTS (50 POSSIBLE)_________
EXCELLENT 30-39
GOOD 29
52
18. SOLO MUSICAL – FEMALE - COMEDIC
INDIVIDUAL EVENTS.
3. Song choice for Comedic category includes up tempo songs.
Adelaide's dialogue before she sings "Adelaide's Lament" in Guys and Dolls. Or, in the case of a show
like Evita, no dialogue would precede the song.
53
18. SOLO MUSICAL – FEMALE – COMEDIC BALLOT
NAME _____________________________________________________________
SCHOOL ____________________________________ SPONSOR: _____________________
1. TONE
1
2
3
4 5
1 2 3 4 5
Was the vocal style appropriate? Did the character come through the music, as well as the dialogue?
3. DICTION
1 2 3 4 5 6 7 8 9 10
4. TECHNIQUE
Were the notes and rhythms accurate?
Was the tempo suitable?
Was breathing correct and supported?
1
2
3
4 5
5.
CHARACTERIZATION
1 2 3 4 5 6 7 8 9 10
Was there a sense of vitality to the performance?
Did the vocalist show artistry through body movement, facial expression, and total performance? Was a
character developed? Did the performer use the song to create a believable character? Did the vocalist
play the song in the moment?
6.
MOVEMENT/DANCE
1 2 3 4 5 6 7 8 9 10
1 2 3
TIME: (5 MINUTE LIMIT) _______
SUPERIOR 40-50
4 5
TOTAL POINTS (50 POSSIBLE)_________
EXCELLENT 30-39
GOOD 29
54
19. SOLO MUSICAL – MALE - DRAMATIC
INDIVIDUAL EVENTS.
3. Song choice for Dramatic category includes slower tempo ballads.
Tevye's dialogue before he sings "If I were a Rich Man" in Fiddler On The Roof. Or, in the case of a
show like Evita, no dialogue would precede the song.
55
19. SOLO MUSICAL - MALE – DRAMATIC BALLOT
NAME _____________________________________________________________
SCHOOL ____________________________________ SPONSOR: _____________________
1. TONE
1
2
3
4 5
1
Was the vocal style appropriate?
Did the character come through the music, as well as the dialogue?
2
3
4 5
3. DICTION
1 2 3 4 5 6 7 8 9 10
4. TECHNIQUE
1 2 3 4 5
Were the notes and rhythms accurate? Was the tempo suitable? Was breathing correct and supported?
5.
CHARACTERIZATION
1 2 3 4 5 6 7 8 9 10
Was there a sense of vitality to the performance? Did the vocalist show artistry through body movement,
facial expression, and total performance? Was a character developed? Did the performer use the song to
create a believable character? Did the vocalist play the song in the moment?
6.
MOVEMENT/DANCE
1 2 3 4 5 6 7 8 9 10
1 2 3
TIME: (5 MIN LIMIT) ____________
SUPERIOR 40-50
4 5
EXCELLENT 30-39
GOOD 29
56
20. SOLO MUSICAL – MALE - COMEDIC
INDIVIDUAL EVENTS.
3. Song choice for Comedic category includes up tempo songs.
Tevye's dialogue before he sings "If I were a Rich Man" in Fiddler On The Roof. Or, in the case of a
show like Evita, no dialogue would precede the song.
57
20. SOLO MUSICAL - MALE – COMEDIC BALLOT
NAME _____________________________________________________________
SCHOOL ____________________________________ SPONSOR: _____________________
1. TONE
1
2
3
4 5
1
Was the vocal style appropriate?
2
3
4 5
3. DICTION
1 2 3 4 5 6 7 8 9 10
4. TECHNIQUE
1 2 3 4 5
Were the notes and rhythms accurate? Was the tempo suitable? Was breathing correct and supported?
5.
CHARACTERIZATION
1 2 3 4 5 6 7 8 9 10
6.
MOVEMENT/DANCE
1 2 3 4 5 6 7 8 9 10
1 2 3
TIME: (5 MIN LIMIT) ____________
SUPERIOR 40-50
4 5
EXCELLENT 30-39
GOOD 29
58
21. DUET MUSICAL - DRAMATIC
EVENTS.
2. Performed by two contestants. Selection must come from a musical play, revue, or a musical movie.
If piece is student written a signed statement from the teacher must be attached to a copy of the work
indicating it is the product of that particular student
however, that the contestants "act" the piece. This is more than a vocal competition.
6. Two straight back chairs and a tape/CD player will be provided. ALL CONTESTANTS MUST
BRING A CASSETTE TAPE OR CD! AN ACCOMPANIST WILL NOT BE PERMITTED!
7. TIME LIMIT: 5 minutes (Includes dialogue, if any, but does not include introduction.)
59
21. DUET MUSICAL – DRAMATIC BALLOT
SCHOOL ____________________________________ SPONSOR: _____________________
A. PERFORMER'S NAME _________________________________________________
1.
TONE
1 2 3 4
2.
1 2 3 4
Was the vocalist expressive in phrasing and dynamics? Was the vocal style appropriate?
3.
DICTION
1 2 3
Were the words understandable? Were the consonants crisp? Were the vowels well formed?
4.
TECHNIQUE
1 2 3
Were the notes and rhythms accurate? Was the tempo suitable?
Was breathing correct and supported? Was the pitch accurate, meaning neither flat nor sharp?
5.
CHARACTERIZATION
1 2 3 4
B. PERFORMER'S NAME ___________________________________________
1. TONE
1 2 3
2.
1 2 3
3.
DICTION
1 2 3
4.
TECHNIQUE
1 2 3
5. CHARACTERIZATION
1 2 3
4
4
4
C. ENSEMBLE
1 2 3 4
Was the selection within the vocal range and capability of the performers?
2. UNITY
1 2 3 4 5
Did the singers exhibit chemistry in working together? Was there a feeling of ensemble?
Did they exhibit good vocal blend?
3. MOVEMENT/DANCE
1 2 3 4 5
TIME: (5 MINUTE LIMIT) _______ TOTAL POINTS (50 POSSIBLE)_______________
SUPERIOR 40-50
EXCELLENT 30-39
GOOD 29
60
22. DUET MUSICAL - COMEDIC
EVENTS.
2. Performed by two contestants. Selection must come from a musical play, revue, or a musical movie.
If piece is student written a signed statement from the teacher must be attached to a copy of the work
indicating it is the product of that particular student
however, that the contestants "act" the piece. This is more than a vocal competition.
6. Two straight back chairs and a tape/CD player will be provided. ALL CONTESTANTS MUST
BRING A CASSETTE TAPE OR CD! AN ACCOMPANIST WILL NOT BE PERMITTED!
7. TIME LIMIT: 5 minutes (Includes dialogue, if any, but does not include introduction.)
61
22. DUET MUSICAL – COMEDIC BALLOT
SCHOOL ____________________________________ SPONSOR: _____________________
A. PERFORMER'S NAME _________________________________________________
1.
TONE
1 2 3 4
2.
1 2 3 4
Was the vocalist expressive in phrasing and dynamics? Was the vocal style appropriate?
3.
DICTION
1 2 3
Were the words understandable? Were the consonants crisp? Were the vowels well formed?
4.
TECHNIQUE
1 2 3
Were the notes and rhythms accurate? Was the tempo suitable?
Was breathing correct and supported? Was the pitch accurate, meaning neither flat nor sharp?
5.
CHARACTERIZATION
1 2 3 4
B. PERFORMER'S NAME ___________________________________________
1.
TONE
1 2 3
2.
1 2 3
3.
DICTION
1 2 3
4.
TECHNIQUE
1 2 3
5. CHARACTERIZATION
1 2 3
4
4
4
C. ENSEMBLE
1 2 3 4
Was the selection within the vocal range and capability of the performers?
2. UNITY
1 2 3 4 5
Did the singers exhibit chemistry in working together? Was there a feeling of ensemble?
Did they exhibit good vocal blend?
3. MOVEMENT/DANCE
1 2 3 4 5
TIME: (5 MINUTE LIMIT) _______ TOTAL POINTS (50 POSSIBLE)_______________
SUPERIOR 40-50
EXCELLENT 30-39
GOOD 29
62
MANUAL
OF
TECHNICAL
THEATRE
EVENTS
FOR
TRUMBAUER
ALABAMA CONFERENCE OF THEATRE
63
INDEX










What Are the Technical Theatre Events?
What is USITT?
Stage Management
Your Process for Designing a Show
Scene Design
Costume Design
Makeup Design
Lighting Design
Sound Design
Educational Standards of the Alabama Conference of Theatre
What Are the Technical Theatre Events?
The Trumbauer Festival doesn’t just cover acting categories. There are several technical events in which
students may participate. But what is technical theatre? Simply put, if it isn’t acting, it is technical
theatre. Even though they are not truly technical events, we are adding both Playwriting and Stage
Management with the technical events for the Trumbauer Festival. Stage Management will begin in Here
is a list of the Technical Theatre Events: Playwriting, Stage Management, Scene Design, Costume
Design, Makeup Design, Lighting Design, Sound Design.
What Is USITT?
The United States Institute for Theatre Technology (USITT) is an organization specifically for theatre
technicians and in their words, “is the association of design, production, and technology professionals in
the performing arts and entertainment industry.” You will see USITT mentioned in several of the Design
Individual Events. The reason for that is because the standards set and agreed upon by USITT are
followed throughout the technical theatre industry. If you are interested in finding out more about USITT,
go to their website at www.usitt.org.
64
Your Process for Designing A Show
The first step in designing a show is of course, reading the script. But where do you go from there? Don’t expect a
design idea to just pop into your head! While inspiration does happen, a lot of the time a designer’s imagination
needs a little coaxing. Just like actors, designers need to work at developing their own Method for fostering their
creativity. We are developing your approach or “take” on a show and it is important that your artistic view be
expressed in your design. Here are some steps which will help you, but remember, you are the one who must find
the ways to unlock your creativity.
 Read the show. While you might not go with your first impressions, they are still really valuable in creating
your designs. From this point on the show must stew in your subconscious and ferment in your creativity! Be
ready to sketch ideas at a moment’s notice as inspiration will strike anywhere while doing anything.
 Research on the show. The best source is the internet. Use searches for the playwright and the title of the
show. Also, run image searches for designs of the show as some of the most stimulating ideas will come from
observing other people’s designs, but no matter what DO NOT COPY ANOTHER DESIGNER’S WORK. You
can go to a library or book store and do research; nothing beats a large coffee table book with glossy color
photos. Studying historical eras and movements in art will definitely help you develop as an artist. It is also
helpful to observe architecture, interiors, or walk through museums or view films. Art is all around you and
that means inspiration is as well.
 Read the show again. Every designer must know the show backwards and forwards, just like the director.
When reading it this time, your are not trying to experience it for the first time, but instead approaching it
analytically. You will want to have your sketchbook next to you as read. You will need to draw ideas and take
notes for each scene. What kind of notes will you take? Well, the designer needs to be aware of several things
when designing a show, so here’s what to look for.
o Scenic Breakdown: list every scene in the show, including important events, items, characters, etc.
that make up that scene
o Character List: you will need to briefly describe them as well
o Prop List: sometimes this is in the back of the script, but you need to create your own list as well.
Set dressing needs to be included in this.
o Lighting Moments: what are the particular moments that need emphasis with light or color for
mood, not to mention all of the blackouts, fades, etc.
o Costuming/Make Up Needs: What season/time period is it, do certain characters need to where
certain things, color needs, how many people will need hats, fake beards, masks, etc.
o Scenic Necessities: note the need of beds, benches, chairs and tables. Do entrances need to be
made through doors or pantomimed? Realistic interior versus abstract; detailed versus minimal.
o Special Effects: sword fight? Fires? Gun shots? Trap door? Everyone takes note of these and
works to create the most believable effect.
 Begin sketching. Putting pencil to paper is the only way to develop the design. You do not have to be a great
artist! Only you will need to understand your sketches. Let them be rough and small (thumbnail sketches) as
you brainstorm ideas for your design. When drawing, it is sometimes helpful to go to a place that will inspire
you or that makes you feel comfortable.
 Take your sketches and compare them now to your notes. What will work and what won’t work? Are there
special needs? Are there costume quick changes or fast set changes that will influence your design? How will
the show flow with your design? Will the set design be conducive to the acting? Will the costuming strengthen
the characters or hinder the actor’s movements.
 Assemble your ideas into a complete concept for the show…this is the Designer’s Approach or your
―take‖ on the show! Take all of your ideas and create a fluid look. Make sure things aren’t out of place (don’t
mix time periods or styles unless that is what you are striving for). There should be a definite style or look to
the show—your style! This will be some of your final sketches.
 Create a presentation for the director. For Trumbauer, it is for the judges not a director. A set designer will
create a white model, color model, a color rendering (a detailed, final drawing). A costume designer will have
renderings and swatches of fabric. A sound designer will have sample music and a lighting designer will have
gel choices and lighting angles. Check out the Trumbauer rules for the various areas of design; these will help
you develop your final product. Remember that the judges will disqualify you for not following the rules, no
matter how good your design is.
65
23. Scene Design
Event Requirements
Objectives
Each Designer will create
 A ground plan
 A rendering, a model or a computer model/rendering of a set design
 A Designer’s Approach paper
 A presentation for the adjudication of the design
General Rules
2. All work must be the original work of the student. Only one student may work on the design. NO
COLLABORATION IS PERMITTED.
4. No design previously entered by the student in a competition prior to this academic year may be
entered again.
5. Students will create a scene design for a play, musical or opera.
Ground Plan
6. Students will produce a ground plan of their set design.
7. The ground plan of the set design must
a. be drawn in either ¼”=1” scale or ½”=1” scale
b. show an understanding of normally accepted drafting conventions and symbols as set forth
by the United States Institute for Theatre Technology (USITT). For a free download of the
drafting conventions go to
http://www.usitt.org/bookstore/downloads/Graphic.Standards.1992.pdf and also visit
www.usitt.org for more information.
8. The title of the show, the student’s name and the student’s school should appear on the ground
plan.
66
23. Scene Design
Event Requirements (continued)
Set Design
1. Students will produce a set design.
2. The set design can be presented as a color rendering(s) or scale model or computer model of a
scene design for a play, musical or opera. A maximum of six renderings for a multi-set show may be
entered. However, the number of sets required for the production is not a criterion for judging.
a. Renderings must be
i. mounted individually on rigid backing for ease of display and handling.
ii. no smaller than 13”x19”. That allows for a 11”x17” sheet of paper to be mounted
on a rigid backing with a one inch boarder of the backing on each side of the paper.
Renderings should be no larger than 19”x24”. That allows for a 17”x22” sheet of
paper to be mounted on a rigid backing with a one inch boarder of the backing on
each side of the paper. The individually mounted drawings can be placed on a
display board but they must be able to be taken off for closer inspection by the
judges.
iii. colored to represent the appearance for the finished setting
iv. labeled by Act and/or Scene if there are multiple renderings for different scenes
b. Models must be
i. painted to represent the appearance for the finished setting
ii. constructed at either ¼”=1” scale or ½”=1” scale
iii. no larger than 22”x35” on its base
c. Computer Models/Renderings must be
i. printed off and treated the same way as renderings in section 10a.
ii. on a computer (brought by the student) to
1. show the judges various views of the design, even a “virtual tour” if
possible
2. show the student’s proficiency with the program, ensuring that a design was
not simply copied from the internet and printed off.
3. The title of the show, the student’s name and the student’s school should appear on the design.
4. All scene designs must be for the student’s high school’s performance facility.
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23. Scene Design
Designer’s Approach
5. Students must write a brief paper, called the Designer’s Approach.
a. Location descriptions, specific scenic needs, and script references should be included in the
Designer’s Approach paper.
b. A pre-made form has been included on the page titled Designer’s Approach Guidelines.
This should be used to help the student in writing the paper and may not be used in place
of the paper.
c. An example of a Designer’s Approach paper can be seen in the section for Sound Design
6. A signed statement from the instructor stating that all of the student’s work is original and that of
the student must be included. A pre-made form has been included on the Designer’s Approach
Guidelines if teachers wish to use it as well as to show their student’s work during the design
process.
Presentation
7. Students must give a presentation of their design. Presentations cannot exceed 5 minutes (judges
have the right to take more time interviewing if it is needed). Time will start as soon as judges ask
the student to begin the presentation. Students should be prepared to answer questions from the
judges. Pictures from a realized show (an actual show that the design was used in) are allowed.
Students should leave their presentations for the judges to examine after the interviews are
complete.
8. If the scene design is a realized design (has actually been created), pictures of that design are
permitted in the student’s presentation. For scene designs that have not been realized (called paper
projects) it is possible to take pictures of a model with lighting on it. These are permitted in the
student’s presentation to demonstrate the desired looks. Pictures are not required.
9. A panel of two judges will rate each design based on the set design, ground plan, the designer’s
approach and the interview. Ratings of 50-40 points=Superior; 39-30 points=Excellent; 29 and
under=Good. All entries receiving a Superior rating will be invited to compete in the State Finals.
Since Superior work is expected at State, 1st, 2nd and 3rd places in the Novice and Varsity
Categories at State will be awarded on merit, not on the number of entries in each category.
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23. Scene Design
Competition Ballot
All entries must be suitable for high school students, their school, and their community with regards to
Student’s Name___________________________________________________________
School_____________________________________ Sponsor______________________
Visual Critique
1. Artistic Ability
1 2 3 4 5 6 7 8 9 10
Realistic scale? Good proportion? Color scheme appropriate? Texture?
Realistic rendering/model? Good craftsmanship?
2. Design Concept
1 2 3 4 5 6 7 8 9 10
Suitable to play? Creative? Enhances the show? Does the design
support the action of the show? Is the design practical? Does the design
take into consideration the demands of the rest of the show?
3. Presentation of Material
1
Presentation organized? Clean/neat? Does the ground plan follow
traditional standards? If digital, can all information be seen without
difficulty? If a model, are the materials used appropriate? If a
rendering, does it show enough dimension?
2
3
4
5
4. Ground Plan
1 2 3 4 5 6 7 8 9 10
Drawing is either in ¼” or ½” scale; student shows an understanding
of accepted USITT drafting conventions and symbols; drawing
is neat, clean and easy to read
Written Critique and Interview
5. Explanation of Design
Student explains the elements of his/her design, why and how
things were done in the design; elaboration of design concepts,
choices and the design process; explanation of materials used
1 2 3 4 5 6 7 8 9 10
6. General Technical Knowledge
1 2 3 4
Can the concepts of the designs be achieved? Are the drawings sufficient
enough to allow a technician to build the design accurately? Understanding
of the materials used to build the design? Are they appropriate?
5
69
23. Scene
Design
Sponsor’s Approval and Designer’s Approach Guidelines
Student’s Name___________________________________________________________
School_____________________________________ Sponsor______________________
All entries must be suitable for high school students, their school, and community with regards to subject matter (play
selection). No design entry previously used by the student prior to this academic year may be entered again. All work must be
the student’s original work only. Violation of these rules are grounds for disqualification. By signing on the line, the school’s
sponsor has given his/her approval for this design entry into competition with the understanding of these special requirements
and consequences.
Sponsor’s Signature_________________________________________
Here is a worksheet formatted like a check list to help all students when writing their Designer’s Approach. Fill in the blanks. When you are
done working on a sentence, check its box. Once all boxes are checked, start writing your paper! Please note that this format is a guideline;
you can add more to this to better explain your project.
Your Name__________________________
Your School_________________________
Your IE_____________________________
Category (Novice or Varsity)______________
Event Designer’s Approach for Name of Show Here
1st Paragraph—Introduction
 Introductory Remarks_________________________________________________________________
 Show title, writer(s), composers, etc.____________________________________________________
 Designer’s Approach (Thesis Statement): What is your take on the show and how do you plan to execute
it._____________________________________________________________________
2nd Paragraph—Brief Synopsis of Play
 Topic Sentence______________________________________________________________________
 Brief Explanation of Plot (listing important characters and other essential information)
__________________________________________________________________________________
 Additional Info. Like Awards, Cultural Effects of Show, Famous Performances/Performers/Directors
______________________________________________________________________________________
3rd Paragraph—How Elements of Your Design Will Effect the Show
 Topic Sentence______________________________________________________________________
 Supporting Fact 1 & Explanation________________________________________________________
 Conclusion Sentence_________________________________________________________________
4th Paragraph—How Elements of Your Design Will Be Executed
 Topic Sentence______________________________________________________________________
5th Paragraph—Conclusion
 Topic Sentence—Expression of Your Opinions About How Well the Show Works With Your
Design____________________________________________________________________________
 Restatement of 3rd Paragraph’s Topic Sentence as Support of Opinion __________________________
 Restatement of 4th Paragraph’s Topic Sentence as Support of Opinion___________________________
 Any Further Opinions About Design of Show______________________________________________
 Concluding Sentence/Restatement of Thesis Statement______________________________________
For an example of a Designer’s Approach, please see the written example in
the section of the rules for Sound Design.
70
Checklist for 23. Scene Design
 Scenic Design is for a play, musical or opera
 Ground plan of the set design
o be drawn in either ¼”=1” scale or ½”=1” scale
o show an understanding of normally accepted drafting conventions and symbols.
 Set design
o can be presented as a color rendering(s) or scale model or computer model
o A maximum of six renderings for a multi-set show may be entered.








 Renderings must be
o mounted individually on rigid backing for ease of display and handling.
o no smaller than 13”x19”
o no larger than 19”x24”
o The individually mounted drawings can be placed on a display board but they
must be able to be taken off for closer inspection by the judges.
o colored to represent the appearance for the finished setting
o labeled by Act and/or Scene if there are multiple renderings for different scenes
 Models must be
o painted to represent the appearance for the finished setting
o constructed at either ¼”=1” scale or ½”=1” scale
o no larger than 22”x35” on its base
 Computer Models/Renderings must be
o printed off and treated the same way as renderings
o on a computer (brought by the student) to
1. show the judges various views of the design, even a “virtual tour” if
possible
2. show the student’s proficiency with the program, ensuring that a design was
not simply copied from the internet and printed off.
The title of the show, the student’s name and the student’s school should appear on the set design
and the ground plan.
All scene designs must be for the student’s high school’s performance place.
All work must be the original work of the student.
Only one student may work on the design. NO COLLABORATION IS PERMITTED.
Students must write a brief paper, called the Designer’s Approach.
A signed statement from the instructor stating that all of the student’s work is original and that of
the student
All entries must be suitable for high school students, their school, and their community with
No design previously entered by the student in a competition prior to this academic year may be
entered again.
71
Above is a model for Man of La Mancha designed by Anne Mundell.
Below is a rendering of a scene from Gypsy designed by Dex Edwards.
The pictures are from Scene Design and Stage Lighting by W. Oren Parker, R. Craig Wolf and Dick Block
72
Above: Computer Generated Renderings
Below: Example of Drafting Symbols. These symbols are not necessarily up to date with USITT standards and students should
follow the USITT standards only.
The pictures are from Scene Design and Stage Lighting by W. Oren Parker, R. Craig Wolf and Dick Block
73
Above: An example of a ground plan for Night of the Iguana
74
24. Costume Design
Event Requirements
Objectives
 Costume renderings
General Rules
entered again.
5. Students will create a costume design for a play, musical or opera.
Renderings
6. Students will create 6 to 8 color renderings for their costume design.
7. Each rendering (called a plate) of the costume design will follow these parameters
a. Each plate will be mounted individually on rigid backing for ease of display and handling.
The individually mounted plates can be placed on a display board but they must be able to
be taken off for closer inspection by the judges.
b. Each plate will be no smaller than 10” x 13”. That allows for a 8-1/2” x 11” sheet of paper
to be mounted on a rigid backing with a one inch border of the backing on each side of the
paper. Plates will be no larger than 13”x19”. That allows for a 11”x17” sheet of paper to
be mounted on a rigid backing with a one inch boarder of the backing on each side of the
paper.
c. Although the actual size of the characters may differ, the proportion and scale should be
consistent from rendering to rendering and each rendering should clearly display the
costume
d. Swatches of the material used for the costumes must be attached to each plate
e. On the lower right-hand corner of each rendering, the following should appear
i. Name of play
ii. Name of character
iii. Act and Scene number
iv. Name of the student
8. Students will create 1 additional color rendering for accessories (such as shoes, coats, etc.) for one
of the costume renderings.
a. Follow the same rules above for the other color renderings
b. The scale of the accessories will be larger than the other renderings as the accessories page
offers more of a “close up” to special pieces of the design.
75
a. Character descriptions and script references should be included in the Designer’s Approach
paper.
of the paper.
process.
Presentation
11. Students must give a presentation of their design.
12. Presentations cannot exceed 5 minutes (judges have the right to take more time interviewing if it is
needed). Time will start as soon as judges ask the student to begin the presentation. Students
should be prepared to answer questions from the judges. Students should leave their presentations
for the judges to examine after the interviews are complete.
13. If the costume design is a realized design (has actually been created), pictures of that design are
permitted in the student’s presentation. For costume designs that have not been realized (called
paper projects) research images of desired effects are permitted in the student’s presentation to
demonstrate the desired looks. Pictures are not required.
14. Students may bring in costumes or costume pieces for the show. Having or not having costume
pieces does not count for or against student.
15. A panel of two judges will rate each design based on the design, the designer’s approach and the
interview. Ratings of 50-40 points=Superior; 39-30 points=Excellent; 29 and under=Good. All
entries receiving a Superior rating will be invited to compete in the State Finals. Since Superior
work is expected at State, 1st, 2nd and 3rd places in the Novice and Varsity Categories will be
awarded on merit, not on the number of entries in each category.
76
24. Costume Design
Competition Ballot
Student’s Name___________________________________________________________
School_____________________________________ Sponsor______________________
Visual Critique
1. Artistic Ability
1 2 3 4 5 6 7 8 9 10
Realistic scale? Good proportion? Color scheme appropriate? Texture?
Realistic rendering that is not too cartoon-like?
2. Design Concept
1 2 3 4 5 6 7 8 9 10
Suitable to play? Creative? Enhances the show? Do the different
renderings work together?
1 2 3 4 5 6 7 8 9 10
Presentation organized? Clean/neat? Plates make sense? All necessary
swatches are present? Swatches match the colors in renderings
1 2 3 4 5 6 7 8 9 10
1 2 3 4 5 6 7 8 9 10
enough to allow a technician to build the design accurately? Materials
used to build costumes are appropriate?
77
24. Costume Design
Student’s Name___________________________________________________________
School_____________________________________ Sponsor______________________
All entries must be suitable for high school students, their school, and community with regards to subject matter (play
and consequences.
Your Name__________________________
Your School_________________________
Your IE_____________________________
it._____________________________________________________________________
 Topic Sentence______________________________________________________________________
__________________________________________________________________________________
______________________________________________________________________________________
 Topic Sentence______________________________________________________________________
 Topic Sentence______________________________________________________________________
Design____________________________________________________________________________
78
Checklist for 24. Costume Design











Design is from a play, musical or opera
Six to eight renderings (plates)
All costume renderings are in color
Each plate is mounted individually
o Is on some sort of rigid backing for ease of handling
o Each plate will be no smaller than 10” x 13”. That allows for a 8-1/2” x 11” sheet of paper
paper.
o Although the actual size of the characters may differ, the proportion and scale should be
consistent from rendering to rendering and each rendering should clearly display the
costume
o Swatches of the material used for the costumes attached to each plate
Students will create 1 additional color rendering for accessories (such as shoes, coats, etc.) for one of
the costume renderings.
On the lower right-hand corner of each rendering, the following should appear
o Name of play
o Name of character
o Act and Scene number
o Name of the student
Students must write a paper called the Designer’s Approach.
A signed statement from the instructor stating that all of the student’s work is original and that of the
student
Need help in drawing a figure? On the next page is an excerpt from Drawing the Head and Figure by
renowned illustrator Jack Hamm. Hamm focused his drawings with proportions, insisting that a person’s
figure could be related to the size of their head. Note that an average man is 8 of his own heads high. A
woman is 7 ½ of her own heads tall.
79
80
Here are four examples of Costume Renderings, pictures taken from Costume Design Techniques of Modern Masters by Lynn
Pecktal
81
25. Makeup Design
Event Requirements
Objectives
 Makeup renderings
 Step-by-step directions for each rendering
General Rules
entered again.
5. Students will create a makeup design for a play, musical or opera.
Makeup Renderings
6. Students will create 6 to 8 color renderings for their makeup design.
7. For the purposes of this competition, all renderings must be from the front view of the face, or
mostly from the front. Profile renderings are not necessary.
8. Each rendering (called a plate) of the makeup design will follow these parameters
a. Each plate will be mounted individually on rigid backing for ease of display and handling.
The individually mounted plates can be placed on a display board but they must be able to
be taken off for closer inspection by the judges.
b. Each plate will be no smaller than 10” x 13”. That allows for a 8-1/2” x 11” sheet of paper
paper.
c. Although the actual size of the faces of the characters may differ, the proportion and scale
should be consistent from rendering to rendering and each rendering should clearly display
the makeup design.
82
25. Makeup Design
d. For the purpose of the competition, teeth and hair are considered makeup. Appliances such
as fake noses, wounds, scars and even partial masks that are blended with the makeup on
the face are considered part of the makeup design. Also included are body paint effects
and tattoos.
e. On the lower right-hand corner of each rendering, the following should appear
i. Name of play
ii. Name of character
iii. Name of the student
iv. Name of the student’s school
9. Designs must be drawn, even if they are traced to give you a start. Do not color over a photo or
over a photocopy from the suggested makeup worksheet. Instead, draw your design yourself or
trace a photo of an actor onto your paper that you are using for the design, and continue working
from there. This is about your artwork, not about what someone else prepared to help you.
Step-By-Step Directions
10. Each rendering must have typed step-by-step directions. This is an explanation of how to apply
the makeup design in a how-to manner, as if it was to be used by a makeup artist while applying
the design to an actor.
a. Keep the step-by-step direction explanation brief but complete. There is no page limit.
Remember that the artist would have to create the design from the rendering and the
explanation.
b. Although not necessary, it is a good idea to include a brief description of the character, as
well as script references where possible, to back up your design choices. In addition to the
renderings, this gives the technician who is applying the design a better understanding for
the look of the character.
c. Although not necessary, students may wish to actually apply the makeup on someone and
take pictures of the application process. This method is perfectly acceptable as along as
there is still the typed explanation. Pictures can be used as a supplement, not a substitute.
83
25. Makeup Design
a. Character descriptions and script references should be included in the Designer’s Approach
paper.
of the paper.
process.
Presentation
complete.
14. If the makeup design is a realized design (has actually been created for a show), pictures of that
design are permitted in the student’s presentation. For makeup designs that have not been realized
(called paper projects) research images of desired looks and effects are permitted in the student’s
presentation. Pictures are not required.
84
25. Makeup Design
Competition Ballot
Student’s Name___________________________________________________________
School_____________________________________ Sponsor______________________
Visual Critique
1. Artistic Ability
1 2 3 4 5 6 7 8 9 10
Good proportion? Color scheme appropriate? Texture? Shading and
highlight appropriate? Realistic rendering that is not too cartoon-like?
2. Design Concept
1 2 3 4 5 6 7 8 9 10
Suitable to play? Creative? Enhances the show? Do the different
renderings work together?
1 2 3 4 5 6 7 8 9 10
Presentation organized? Clean/neat? Do the written instructions for
applying the makeup make sense?
1 2 3 4 5 6 7 8 9 10
1 2 3 4 5 6 7 8 9 10
enough to allow a technician to apply the design accurately? Quality makeup
chosen? Can special effects be achieved? Would the design last under show
conditions?
85
25. Makeup Design
Student’s Name___________________________________________________________
School_____________________________________ Sponsor______________________
All entries must be suitable for high school students, their school, and their community with regards to subject matter (play
and consequences.
Your Name__________________________
Your School_________________________
Your IE_____________________________
it._____________________________________________________________________
Topic Sentence______________________________________________________________________
__________________________________________________________________________________
______________________________________________________________________________________
 Topic Sentence______________________________________________________________________
 Topic Sentence______________________________________________________________________
Design____________________________________________________________________________
86
Checklist for 25. Makeup Design











Design is from a play, musical or opera
6 to 8 renderings (plates)
All makeup renderings are in color
Each plate is mounted individually
o Is on some sort of rigid backing for ease of handling
o Each plate will be no smaller than 10” x 13”. That allows for a 8-1/2” x 11” sheet of paper
paper.
o Although the actual size of the faces of the characters may differ, the proportion and scale
should be consistent from rendering to rendering and each rendering should clearly display
the makeup design
o On the lower right-hand corner of each rendering, the following should appear
1. Name of play
2. Name of character
3. Name of the student
4. Name of the student’s school
Designs must be drawn, even if they are traced to give you a start.
Each rendering must have a typed explanation of how to apply the makeup design step by step.
Students must write a paper called the Designer’s Approach.
A signed statement from the instructor stating that all of the student’s work is original and that of the
student
87
88
25. Makeup Design
Step-by-Step Directions
The following is only an EXAMPLE of how to create the Step-by-Step Directions. The student would insert
pictures of the process on the left and type the application directions on the right.
Step 1:
Place
Picture
Here
Step 2:
Step 3:
Place
Picture
Here
Step 4:
Step 5:
Place
Picture
Here
Step 6:
Step 7:
Place
Picture
Here
Step 8:
89
Example of tracing a photograph to create a makeup rendering. Taken from Stage Makeup by Richard Corson and James
Glavan
90
Example of a makeup rendering and a picture of the final product, taken from Stage Makeup by Laura Thudium
91
26. Lighting Design
Event Requirements
Objectives
 A light plot
 A cue sheet
General Rules
2.
3.
4.
5.
All work must be the original work of the student. Only one student may work on the design. NO
All entries must be suitable for high school students, their school, and their community with
No design previously entered by the student in a competition prior to this academic year may be
entered again.
Students will create a lighting design for a play, musical or opera.
Light Plot
6. Students must produce a light plot .
7. The light plot must
a. be drawn in ¼”=1’ scale or ½”=1’ scale
b. be drawn showing an understanding of United States Institute for Theatre Technology
(USITT) symbols for lighting design. For an example of the standards set forth by USITT,
visit the lighting standards website at http://www.usitt.org/bookstore/downloads/RP2%20%202006.pdf . For further information concerning USITT, go to www.usitt.org.
c. include sets/scenery for the show. Students may use original sets/scenery or those
suggested in the script.
d. The title block of the light plot must include
i. Name of play
ii. Name of the student
iii. Name of the student’s school
8. The student must use the circuit diagram for his/her own school’s performance facility. For
purposes of their design, students can bring in new circuits, dimmer packs, etc. Students must have
an understanding of and be able to explain the extra equipment.
9. The use of practicals may be included in this design. Practicals are props/set pieces that look like
they are controlled by the actors but are actually controlled at the light board. Examples would be
lamps, wall sconces, hanging light fixtures, Christmas tree lights, etc.
10. Students are not limited in the kind of equipment used in their design. The use of intelligent lights,
gel scrollers, fog machines, hazers, etc. may be included in the design. However, students must
understand the equipment in their design and be able to explain how they want it used. For the
purposes of this competition, students should not incorporate equipment that they are not familiar
with in their design.
92
26. Lighting Design
Cue Sheet
11. Students must produce a cue sheet.
12. The cue sheet must
a. include all cues for the show
b. include proper descriptions of each cue
c. include the following information on each page
i. Name of play
ii. Name of the student
iii. Name of the student’s school
13. For help with how to create a light cue sheet, look at the example at the end of the Lighting Design
section. It is from the Backstage Forms book by Paul Carter.
a. A pre-made form has been included on the page titled Designer’s Approach Guidelines.
This should be used to help the student in writing the paper and may not be used in place of
the paper.
b. An example of a Designer’s Approach paper can be seen in the section for Sound Design
process.
Presentation
complete.
18. If the lighting design is a realized design (has actually been created), pictures of that design are
permitted in the student’s presentation. For lighting designs that have not been realized (called
paper projects) research images of desired effects are permitted in the student’s presentation to
demonstrate the desired looks. Pictures are not required.
93
26. Lighting Design
Competition Ballot
Student’s Name___________________________________________________________
School_____________________________________ Sponsor______________________
Visual Critique
1. Artistic Ability
1 2 3 4 5
Color scheme appropriate? Color pallet of the different gels effective?
Good use of texture with patterns? Good use of specials, practicals, etc.?
If intelligent lighting used, does it enhance or take away from the show?
2. Design Concept
1 2 3 4 5 6 7 8 9 10
Suitable to the play? Creative? Enhances the show? Are the lighting
instruments used well individually and in combination with other instruments?
Is the combination of gels/patterns/instruments used effectively?
Cue Sheet(s) and Light Plot
1 2 3 4 5
Presentation effectively demonstrates what is going to be done;
Clean/neat? Understanding of USITT symbols? Details of gel colors,
patterns, instruments, etc. are explained? Understanding of the choices
of lighting instruments
4. Cue Sheet(s)
1 2 3 4 5 6 7 8 9 10
Organized? Neat/clean? Easily find all necessary information?
Cues make sense in their placement and timing in the show;
Cues add artistically to the show
5. Light Plot
1 2 3 4 5 6 7 8 9 10
Drawing is in ¼” or ½” scale; student shows an understanding of USITT
drafting conventions and symbols; drawing is neat, clean and easy to read
1 2 3 4
1 2 3 4
enough to allow a technician to build the design accurately?
5
5
DISQUALIFICATION MUST BE APPROVED BY TRUMBAUER OFFICIAL
94
26. Lighting Design
Student’s Name___________________________________________________________
School_____________________________________ Sponsor______________________
and consequences.
Your Name__________________________
Your School_________________________
Your IE_____________________________
it._____________________________________________________________________
 Topic Sentence______________________________________________________________________
__________________________________________________________________________________
______________________________________________________________________________________
 Topic Sentence______________________________________________________________________
 Topic Sentence______________________________________________________________________
Design____________________________________________________________________________
95
Checklist for 26. Lighting Design
 Design is from a play, musical or opera
 Light plot
o is in ¼” or ½” scale
o be drawn showing an understanding of United States Institute for Theatre Technology
(USITT) symbols for lighting design.
o include sets/scenery for the show. Students may use original sets/scenery or those
suggested in the script.
o The title block of the light plot must include
 Name of play
 Name of the student
 Name of the student’s school
o The student must use the circuit diagram for his/her own school’s performance facility.
 Cue sheet
o include all cues for the show
o include proper descriptions of each cue
o include the following information on each page
 Name of play
 Name of the student
 Name of the student’s school
 A presentation about the lighting design including
o Gels, types of instruments, patterns/gobos, etc
o Reasoning behind design choices
 All work must be the original work of the student.
 Only one student may work on the design. NO COLLABORATION IS PERMITTED.
 Students must write a paper called the Designer’s Approach.
 All entries must be suitable for high school students, their school, and their community with regards to
 A signed statement from the instructor stating that all of the student’s work is original and that of the
student
96
EXAMPLE OF CUE SHEET FOR LIGHTING DESIGN
FROM BACKSTAGE FORMS
97
Above: Example of a light plot for Cabaret, taken from Designing With Light by J. Michael Gillette
98
27. Sound Design
Event Requirements
Objectives
 A sound plot
 A cue sheet
General Rules
entered again.
5. Students will create a sound design for a play, musical or opera.
Sound Design
6. Students must produce a sound design .
7. The sound design for the show will include all sound cues according to the script. It may also
include
a. Sound effects
b. Ambient sound or underscoring music within scenes
c. Pre-show music/intermission music/post-show music
d. Vocal reinforcement (microphone usage)
e. Performance music (original or actual music from the show)
8. Students will record sound on any medium: CD, tape, iPod, computer, etc.
9. It is assumed that the designer has LEGALLY obtained all music and effects in his/her design.
Cue Sheet
A Cue Sheet should be produced; it should include sound cues (in order and numbered), levels,
mixing, duration of cues, track #s, script references and/or any other necessary organizational
information for the proper running of a show. A marked script may also be included if
desired, but NOT in place of a cue sheet.
10. For help with how to create a sound cue sheet, look at the example at the end of the Sound Design
section. It is from the Backstage Forms book by Paul Carter.
99
a. A pre-made form has been included on the page titled Designer’s Approach Guidelines.
of the paper.
b. An example of a Designer’s Approach paper can be seen at the end of this section for
Sound Design
process.
Presentation
judges. Students should leave their presentations for the judges to examine after the interviews are
complete.
14. NO SOUND EQUIPMENT WILL BE PROVIDED. THE CONTESTANT MUST PROVIDE
ALL EQUIPMENT. Please make sure that the judges can easily hear your work with speakers,
not headphones.
100
27. Sound Design
Competition Ballot
It is assumed that the student has obeyed all copyright rules for this design.
Student’s Name___________________________________________________________
School_____________________________________ Sponsor______________________
Audio Critique
1. Artistic Ability
1 2 3 4 5
Mood & style of music appropriate to show? When and how
sound is used is effective for show?
2. Design Concept
1 2 3 4 5
Suitable to play? Creative? Enhances the show? Cues
are well-placed for show’s needs? Choices of music in
the design concept are effective
Visual Critique
1 2 3 4 5
Presentation organized? Clean/neat?
Paperwork in order? Understandable?
4. Cue Sheet
1 2 3 4
Cue #s, cue lines, tracks, duration of cues
1 2 3 4 5
things were done in the design; elaboration of design concept,
choices and design process; explanation of speaker/microphone
placement and usage
1 2 3 4
Understand the use of sound equipment for the show, the placement
of speakers, microphones,
6 7 8 9 10
6 7 8 9 10
6 7 8 9 10
5
6 7 8 9 10
5
101
27. Sound Design
Student’s Name___________________________________________________________
School_____________________________________ Sponsor______________________
and consequences.
Your Name__________________________
Your School_________________________
Your IE_____________________________
it._____________________________________________________________________
 Topic Sentence______________________________________________________________________
__________________________________________________________________________________
______________________________________________________________________________________
 Topic Sentence______________________________________________________________________
 Topic Sentence______________________________________________________________________
Design____________________________________________________________________________
102
EXAMPLE OF A SOUND CUE SHEET
FROM THE BOOK BACKSTAGE FORMS
103
*EXAMPLE*EXAMPLE*EXAMPLE*EXAMPLE*EXAMPLE*EXAMPLE*
John Doe
Alabama High School
Sound Design
Varsity
Sound Designer’s Approach for A Streetcar Named Desire
After World War II, the United States was looking to escape from all cares and concerns. Tennessee
Williams, one of Americas’ most-celebrated playwrights, had other ideas. He wanted American Theater to explore
realism like it had never done before. Williams created a story from the gritty, steamy streets of New Orleans
called A Streetcar Named Desire. First produced on Broadway in 1947, this instant classic ushered in a new sense
of Realism for the American Theater. The realism in Tennessee Williams’ A Streetcar Named Desire was
punctuated with a myriad of specifically-styled sound effects and ambient music to create a flavor of New Orleans.
The use of modern sound editing will allow Williams’ layered sounds to recreate for the audience the essence of
New Orleans.
Blanche DuBois arrives in a seedy apartment in New Orleans to visit her sister, Stella Kowalski. Stella’s
husband, Stanley Kowalski, is as gruff and straight-forward as Blanche is fragile and putting on airs of pretense.
The plot unfolds with domestic violence and anger as opposites Stanley and Blanche can’t help but pick at each
other. Eventually, Stanley is too violent, Blanche’s secrets and fictitious world are shattered with Stella caught
between the husband and sister that she loves. So great are the social and domestic transgressions in this play that
the audience is left to ponder if there is any going back to “normal.” Because of this, Williams intended realism on
the stage must be heightened so that the audience will wonder if it is possible to go back to their “normal” after the
play.
Williams’ use of specific sound effects and ambient music set the mood for the entire show. Digital editing
will be used to create many layers of sounds for these moods. In Cue 5 for example, you can hear a streetcar
passing in the distance, children playing a little closer, car horns and other city sounds occasionally pop up.
Williams specifically calls for many different kinds of cat noises. Through logs of recorded material available for
purchase online, these cat noises came to life. To punctuate the difference various cat wails, shrieks, moans and
cries were layered into each cue to make them as individual as possible. This effect will create an entire pack of
neighborhood cats in the seedy alleys surrounding the Kowalski home. To add final flavor of New Orleans, Jazz
music from the before 1947 are layered in the show as ambient noise. The Varsoviana is a song mentioned
specifically, so a recording of the song from a folk artist in 1940 was purchased for play in the show. These effects
will add the gritty feel that Williams is looking to thrust upon the audience.
Because layering of the sound effects and ambient music is so crucial, the use of digital sound editing
software like ACID and SoundForge should be used. Many of the cues will have anywhere from 3 to 10 layers of
sound on them; the only way for the cues to have a rich, environmental feel is to create them on the computer.
Once a cue has been layered, volume control over each layer can be exerted, as well as other effects (like echoes,
tempo changes, etc.) One example of the use of the volume control is in Cue 8 as a trolley is passing near the
Kowalski home; the trolley gets louder as it nears and gets softer as the trolley passes the house, creating a Doppler
effect. Once all of the cues are recorded and stored, they can be placed in order and ready for playback by creating
a playlist on an iPod for primary playback and then burning them to a CD for additional backup. The iPod and CD
are user-friendly versions for rehearsal purposes. It is important to note that with the proper connections to the
sound board, the software on the computer also allows for easy playback during a show, creating another backup.
This show will have many expertly created sound cues with multiple playback options.
Technology will play a key role in the sound design. The demand for realistic sound cues and convincing
ambient music is required not only of Tennessee Williams but also of the modern audience if they are to suspend
their disbelief. Attention to detail for authentic sounding effects and traditional music from that time period will
provide a basis for the design. With the layering possibilities and the effects offered on digital editing software,
creation of these cues on the computer will result in rich, vibrant effects with a multitude of variations. Modern
audiences will be transported back in time to the grimy streets of New Orleans intended by Williams.
*EXAMPLE*EXAMPLE*EXAMPLE*EXAMPLE*EXAMPLE*EXAMPLE*
104
Event Requirements
Objectives
Each Stage Manager will create
 A Prompt Book including:
o Blocking Notes
o Scene Breakdowns
o Daily Reports
o Schedules
o Contact Sheets
o Lists of cast, crew, and production staff and their responsibilities/ roles
o A ground plan of the set
o Preliminary lists for props, lighting, sound, set, etc. (ADD INFO)
o A presentation for the adjudication of the production
 Representative photos of the production
 List of all cues, props and costumes
 Copy of ground plan
 Any other additional material that you think will help the respondents best understand how you
work. Remember the mark of a good book is one that any other stage manger can use to call the
show
General Rules
COLLABORATION IS PERMITTED. Assistant Stage Manager work will not be able to
substitute as Stage Manager work.
3. Prompt book MUST be from an actual/realistic performance.
entered again.
6. Students will create a prompt book for a play, musical or opera.
7. All prompt books must be for the student’s high school’s performance where the student was
either a Stage Manager or Assistant Stage Manager. CAST MEMBER SCRIPTS ARE NOT
ELIGIBLE.
105
Event Requirements (continued…)
Prompt Book
8. Students will produce a Prompt Book for a performance.
9. The prompt book must
c. Include clear and precise blocking notes taken from rehearsals
d. Scene breakdown’s including character, actor, act, scene, page number
e. Daily reports taken from rehearsals. Information should include date, time (start and end),
what was accomplished during the rehearsal, distribution list, and notes to each technical
crew/shop (props, sets, lights/sound, costumes, makeup/hair, music/choreography,
management, director notes, attendance record)
f. Schedules of rehearsals and work days for the production. (Can be director’s copy if
necessary)
g. Contact sheets with information of cast members, crews, production staff, etc. (DO NOT
USE ACTUAL PHONE NUMBERS OR ADDRESSES)
h. Cast/Crew/Staff lists of production
i. Preliminary lists for props, lighting, sound, set, etc. to give to each shop in the beginning of
the process
j. A ground plan of the set used for blocking/choreography notes
k. List of master cues lists of sound, lighting, and media.
l. props used and what side of the stage their placement is, and any changes of props between
scenes
m. costume list including character/actor names and costume pieces, and and Scene and Act in
which they are used
10. The title of the show, the student’s name and the student’s school should appear on the front of
prompt book.
Presentation
11. Students will produce a presentation on a tri-folding display board:
a. Production pictures from the actual stage presentation of the show. These may include
process pictures taken throughout the production.
b. A visual list of cues
c. Copy of ground plan
d. The title of the show, the student’s name and the student’s school should appear on the
presentation.
12. Presentation should:
a. show the judges various views of the production process
b. show the student’s was an element in an actual performance
106
Event Requirements (continued…)
Process Approach
13. Students must write a brief paper, called the Process Approach.
a. This paper will be about the process used throughout the production, likes/dislikes,
problems, and an all-around basic look at how well the production ran.
of the paper.
process.
Presentation
complete.
16. A panel of two judges will rate each stage manager based on the prompt book, visual presentation,
the process approach and the interview. Ratings of 50-40 points=Superior; 39-30
points=Excellent; 29 and under=Good. All entries receiving a Superior rating will be invited to
compete in the State Finals. Since Superior work is expected at State, 1st, 2nd and 3rd places in the
Novice and Varsity Categories at State will be awarded on merit, not on the number of entries in
each category.
107
Competition Ballot
Student’s Name___________________________________________________________
School_____________________________________ Sponsor______________________
Visual Critique
1. Basic Information
Actual production? Good organization? Thorough information?
1 2
3 4 5
2. Blocking
2 4 6 8 10
Suitable for interpretation? Understandable? Clearly stated? If shorthand, is used
Are there a key to symbols? Does the book take into consideration the
demands of the show/performers/crew/production?
7. Cue Lists
Clean/neat? Light? Media? Sound? Is material well labeled?
1 2 3 4 10
8. Organization
2 4 6 8 10
Is all information organized and clean? Easily understood?
Is the information typed and in a format that is easily comprehensible?
9. Explanation of Process
2 4 6 8 10
Visual, verbal, and written process approaches are useful in explaining how and why things are
done in the process, explanation of materials used.
1 2 3 4 5
Can the concepts of the prompt book be achieved? Are the notes sufficient
enough to allow a stage manager to manage the show accurately? Are they appropriate?
108
Student’s Name___________________________________________________________
School_____________________________________ Sponsor______________________
and consequences.
Here is a worksheet formatted like a check list to help all students when writing their Process Approach. Fill in the blanks. When you are
Your Name__________________________
Your School_________________________
Your IE_____________________________
Event Process Approach for Name of Show Here
 Process Approach (Thesis Statement): What is your take on the show __________________________
 Topic Sentence______________________________________________________________________
__________________________________________________________________________________
______________________________________________________________________________________
3rd Paragraph—How Elements of Your Management Will Effect the Show
 Topic Sentence______________________________________________________________________
4th Paragraph—How Elements of Your Management Will Be Executed
 Topic Sentence______________________________________________________________________
 Topic Sentence—Expression of Your Opinions About How Well the Show Works With Your Management
approach________________________________________________________________
109
Checklist for 28. Stage Management
MANDATORY: WITHOUT EACH ITEM, STUDENT WILL BE DISQUALIFIED
 Prompt book is for an actual produced play, musical or opera
 Prompt Book includes:
o Blocking notes that are clearly written
o Scene breakdown’s including
 character,
 actor,
 act,
 scene,
 page number
o Daily Rehearsal Reports including following information:
 date
 time (start and end)
 what was accomplished during the rehearsal
 distribution list
 notes to each technical crew/shop (props, sets, lights/sound, costumes,
makeup/hair, music/choreography, management, director notes, attendance record)
o Schedules for
 rehearsals,
 performances, and
 work days for technical production crews.
o Contact Sheets that do NOT include actual cast/crew/production member’s real address or
phone number.
o Lists of cast/crew/production staff and their responsibilities.
o Ground plan of set
o Preliminary lists for
 Props,
 lighting,
 sound,
 set,
o Master Cue Lists
 Presentation
o Representative photos of the production
o List of master cues lists,
o props used and what side of the stage their placement is and any changes between scenes
o costume list including character/actor names and costume and Scene and Act they are used
in
o Copy of ground plan
o The title of the show, the student’s name and the student’s school should appear on the
presentation.
 Organization
o Information is clearly organized and easily understood.
o All sections should be labeled by titles.
o Remember that a mark of a good book is one that any other stage manager can use to call
the show.
 The title of the show, the student’s name and the student’s school should appear on the front of
prompt book and presentation.
 All prompt books must be for the student’s high school’s performance place.
110




Only one student may work on the project. NO COLLABORATION IS PERMITTED.
Students must write a brief paper, called the Process Approach.
A signed statement from the instructor stating that all of the student’s work is original and that of
the student
 All entries must be suitable for high school students, their school, and their community with
 No prompt book previously entered by the student in a competition prior to this academic year
may be entered again.
111
Educational Standards of ACT
The Alabama Conference of Theater (ACT) provides a unique opportunity for high school theater
students in the state of Alabama to compete against each other. By meeting other students, seeing their
work and talent and even showcasing their own abilities, students in Alabama have a unique opportunity
for education through competition. With this wonderful learning experience comes some very important
issues.
The Alabama Conference of Theater (ACT) and the hosting competition site only provide an
opportunity for education through competition and does not endorse statements, ideas or actions of the
competitors. All work must be suitable for that school’s community standards. All student behavior and
conduct must also abide by the school’s community standards as well as local laws.
It is up to students and teachers to exercise their proper judgment concerning copyright and the
purchasing of rights, royalties, products, etc. ACT is not responsible for any work or action that violates
copyright laws. It is the policy of the Alabama Conference of Theatre for each theatre group to supply
written proof upon registration that rights have been obtained for performances of works for the One-Act
Play Festival and the Studio Theatre Performances. To help participants in this understanding, the
following excerpt concerning copyright was taken from www.copyright.com.
Fair use is primarily intended to allow the use of copyright-protected works for commentary, parody,
news reporting, research and education. However, fair use is not an exception to copyright compliance so
much as it is a “legal defense.” That is, if you use a copyright-protected work and the copyright owner
claims copyright infringement, you may be able to assert a defense of fair use, which you would then have
to prove. Whether a certain reproduction or other use of a copyright-protected work is considered fair
use is not specifically set out in the Copyright Act. As such, you must determine, based upon the factors in
the Copyright Act, whether that particular act may be considered fair use.
Fair use considers:
1. The purpose and character of the use, including whether such use is of a commercial nature or is
for nonprofit, educational purposes.
2. The nature of the copyrighted work.
3. The amount and substantiality of the portion used in relation to the copyright protected work as a
whole.
4. The effect of the use on the potential market for or value of the copyright-protected work.
ACT ASKS ALL OF ITS PARTICIPANTS TO CAREFULLY REVIEW YOUR COMMUNITIES’
STANDARDS AND ALL COPYRIGHT LAWS RELATING TO YOUR WORK.
112
HOME SCHOOL AMENDMENTS
(Remember, this will affect less than 1% of the students at Trumbauer. One of the wonderful opportunities we have
before us is finding a way to incorporate more home school students. For this year, we must focus on what was
voted in. Believe it or not, the State Laws actually help clarify our amendments.)
The intent of these amendments will allow home school students to participate in the Trumbauer Festival in a fair
and organized manner.



Home school students may form a troupe under the umbrella of a home school network and perform as one
school in IE’s, Ensemble and the One-Act competition.
o A home schooled student will compete under his/her “cover” or “umbrella” school.
o Even if a home schooled student lives outside of their “cover” school’s Trumbauer district, they
must compete in the district that the “cover” school is located in.
o Wherever the official administrative site of the “cover” school is (the physical address) determines
the District in which the “cover” will compete.
Students must compete with the school in which they are enrolled.
o Home schooled students can only compete under their “cover” school because that is the school
that they are getting their diploma from, regardless of any other enrollments.
o Any student who wishes to participate in Trumbauer must do so with the school that they are
enrolled in (the one giving the diploma) and can not compete with another school.
 Example 1, If the student is coming to Trumbauer with another school, that student still has
to register as a representative of his/her school.
 Example 2, Sometimes a school doesn’t have a theatre program, but that still doesn’t
change the fact that he/she represents the school that he/she is getting a diploma from and
he/she can not join up with a different school
Schools may not join together for the purpose of combined participation in the Trumbauer Festival.
o Multiple home school “covers” can not join together.
o A “cover” school can not enter in multiple districts or join with a public or private school.
ADULT PERFORMANCE AMENDMENTS
The intent of these is that adults aren’t doing a live performance during the show—kids are.


Adult and/or non-student musicians are allowed to participate in the One-Act Play competition for the
performance of live accompaniment music.
Adult and/or non-student musicians are only allowed offstage or in the space designated by the One-Act
Play Festival host school.
o The wording and the spirit of the law focuses on adults performing live, on or off stage, during the
One-Act.
o A student playing a CD of adult musicians, in my opinion, is quite different and in no way could
there be a connotation of a live adult performance.
o Nothing is stopping a school from playing a track recorded by professionals and at the same time
having students playing along with their instruments.
o Students can be on stage or in the pit or offstage playing their instruments.
MISCELLANEOUS AMENDMENTS

One-Act Plays that are participating at state must have their set follow the SETC guidelines
which require that the set fit in a 10’X10’ area backstage. There is no height restriction. These
restrictions do NOT apply at District. (Voted on Saturday, December 6, 2008.)

The immediate Past Secondary Chair will serve for a year in an advisory position. This
person does not have a vote on the ACT Board. (Voted on Saturday, December 6, 2008)
113
MISCELLANEOUS AMENDMENTS (CONTINUED)






Use of school codes will be eliminated. Schools will be identified by their names. (Voted on
Saturday, December, 2009)
Readers Theatre: Students must perform in the traditional reader’s theatre style. In traditional
reader’s theatre style, students must not interact with each other. (Voted on Saturday,
December, 2009)
Required number of judges: Each school must bring 1 IE judge per 25 IE entries (originally said
“students.”) (Voted on Saturday, December, 2009)
Duet IEs:
o A student cannot switch roles with their partner between District and State.
o If a student loses a partner, the student can bring in another partner from the same school
to be critiqued at State; however, that performance is not eligible for trophies. (Voted on
Saturday, December, 2009)
Musical Theatre categories: The performing student cannot sing”a capella.” The student must
bring an audio CD for accompaniment to be played in CD players provided by ACT or brought
by the student. (Voted on Saturday, December, 2009)
Ensemble Event’s name has been changed to “Studio Theatre Performance Competition.”
(Voted on Saturday, December, 2009)
114

Trumbauer rules sheets 2004 - Alabama Conference of Theatre

Transcription

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