These Rules are specific to DISTRICT XI Festival. For the STATE rules please see the state website at www.floridathespians.com
At Districts each troupe may bring 3 events per category with the following exceptions:
5 Solo Acting
4 Solo Musicals
4 Senior Scholarships
All troupes have one wildcard that will allow them to add one event to any category with the exception of Solo Acting and Solo Musical.
Students may participate in no more than 3 Performance Individual Events and 2 Technical Individual Events in addition to the One Act Event.
No student may enter an event more than once.
All Thespys have a maximum time limit of five (5) minutes, except for Solo Acting and Technical Events as stated in the rules. If any student or group goes over this time limit, they will be disqualified.
An introduction MUST include ONLY the entrant’s name(s), title/author/composer of selection, troupe number and notice of asterisk material. Do not give name of school or other information. The time begins upon the first word or note of the piece.
The introduction may not be used to establish mood or define character. The introduction is not a performance piece.
If your piece contains material that MAY offend members of your audience, you are REQUIRED to asterisk the piece when you register the Thespy and you are REQUIRED to include in your introduction that your piece contains “material that may possibly offend” and you are REQUIRED to allow a few, brief moments for audience members, should they choose, to leave.
The asterisk must be followed by one or more of the following codes:
L -for adult language; S -for sexual situations;
D -for frank talk of death; SA -for substance abuse;
V -for violence; R -for religious commentary;
P -for works related to prejudice or intolerance.
G -for works containing gun use or violence.
XA- For Sexual Abuse; SU- for Suicide.
The audience will make no noise after a performance — this includes applause.
Dress Code
For all categories (performance and technical), Thespians will present themselves at adjudication or in their submission video as a blank slate, refraining from wearing clothing and/or accessories that distract from the performance or presentation. The goal is to level the playing field and allow the focus to remain on the work, not the aesthetics of the presenting Thespian(s). Thespians should follow these guidelines:
Dress in simple, modest attire suitable for a professional interview or audition, in black or dark colors. Clothing should be appropriate for the situation so as not to limit or restrict movement or affect the performance. For technical categories, Thespians may choose to follow the guideline above or wear the black/dark-colored clothing traditionally worn by technicians.
Acceptable footwear is neutral, not distracting, and may include character shoes and dance shoes (if category appropriate), dress shoes, sneakers, or boots.
Theatrical makeup or costume are not permitted.
Avoid wearing distracting items such a large, dangling jewelry, light-up footwear, or fashionably distressed clothing.
Race, ethnic origin, gender, sexual orientation, body type and/or disability should not influence and adjudicator's evaluation of a Thespian. Thespians are encouraged to choose material that speaks to them as long as all copyright rules are followed. For example, a Thespian my play a role of any gender, regardless of the gender with which the student identifies. However, it is important to note that all copyright rules are to be enforced. The Thespian cannot change pronouns without the express written consent from the publisher. Deaf and hard of hearing Thespians may use a conductor (adult or student) in Musical Theatre Performance and Dance categories to guide tempo.
Props are permissible if they are REQUIRED for the piece.
No sound effect or music is allowed in any acting Thespy unless specified in the text of the scene.
A playwright’s work may NOT be re-constructed for presentation in an Thespy. (ie. you may not splice scenes from various parts of the play to create your own adaptation)
Thespys may not use live accompaniment. All backing tracks must be recorded, have no lyrics or voices, and all playback devices must be provided by the student.
Students receiving a Superior rating at the District level are eligible to perform at the State level. Final selection will be the Troupe Director's decision.
All Thespys presented at State Festival must be the same title and cutting, with the same participants, that received a Superior at District Festival.
There are no prop weapons allowed for Thespys, all weapons must be mimed.
All Participants must be currently enrolled and attending classes at the same school as the troupe presenting the Thespys. Home school students may be included in the troupes if those students reside within the boundaries of that school. Any exceptions must be made to the State Director.
Any performance of a copyrighted work before an audience requires permission, even in an educational setting. Musical must be published and listed on a publishing site. Selections must be published by an approved publisher found at Thespys.org
Costumes
Costume Design
For a Costume Design entry, the Thespian must prepare and present costume designs for a published work written for the theatre. Designs for performances of original work, poetry, fiction, screenplays, television, concerts, or any other medium are not permitted. Only one (1) Thespian may be involved in the design; no collaborations are permitted. Designs for either theoretical or realized productions are acceptable. The Thespian must prepare the following:
Five (5) costume renderings (either five different characters or a single character through five changes).
No more than five (5) costume renderings will be permitted.
No finished costumes are permitted.
Renderings should be at least eight (8) inches tall and must be in full color; large and detailed enough for the adjudicators to easily understand the design choices (whether in person or digitally). Template or traced character forms are permitted. Renderings may be hand-drawn or computer-generated.
Renderings may be presented on a display board or in a portfolio (bound or digital). The board or portfolio page should be clearly and neatly labeled with a title block that contains the following information:
Play or musical title and author(s)/composer(s);
Performance dates and facility in which it took place (if applicable);
Character’s name, act, and scene;
Entrant’s name and troupe number (optional).
Swatches must be included.
A portfolio of support materials (bound or digital) that must include the following:
One-page design statement that includes:
Unifying production design concept;
Theme of the show/recurring motifs.
Research, including:
Summary of given circumstances from the script;
Functionality requirements;
Genre, locale, and setting of the play (or other explanation of the world of the play);
Artistic and practical needs that impact the construction;
Sources of inspiration for design and color palette (if used).
Budgetary requirements or other constraints and considerations.
Preliminary sketches.
Costume plot for the chosen character(s), showing costume changes and indicating when costume changes happen.
A five minute presentation summarizing the work with connections to concept, collaboration, and design decision-making. The Thespian may use digital media during the presentation (the Thespian must provide their own equipment for viewing), or the Thespian may bring photo boards or other visual aids to display along with the costume designs.
The Thespian should address general questions such as:
What are some of your responsibilites in your field?
How did the director's concept influence your work?
How did the style of the play affect your work?
If the production was realized, what challenges did you face in unifying the director's concept across all areas of your work?
The Thespian should also address category-specific topics such as:
Describe your collaborative design process (e.g., with your design team or director).
What role(s) did the other design elements play in designing the costumes for this production?
What challenges did you face due to other design elements of the production?
Do you think your designs helped to support the actor’s/director’s choices?
An optional written essay response to share additional information about the costume design with the adjudicators.
Costume Construction
For a Costume Construction entry, the Thespian must display and discuss one (1) realized costume execution for a character from a published work written for the theatre. Costumes for performances of original works, poetry, fiction, screenplays, television, concerts, or any other medium are not permitted. Only one (1) Thespian may be involved in the construction; no collaborations are permitted. Costumes for either theoretical or realized productions are acceptable. The Thespian must prepare the following:
A fully constructed costume that reflects the Thespian’s capabilities and strengths, using a publicly available or personally designed pattern, for use in a play or musical.
The design for the costume need not be done by the Thespian who constructs it, but it should be original to the production being presented, whether theoretical or realized (i.e., replica garments of Broadway costumes are not acceptable). If non-original material is used, sources must be cited, and receipts of purchased materials (e.g., a pattern) must be included in the presentation of the costume.
The garment should be presented on a hanger, mannequin, or, if an accessory, in a box. The Thespian should not wear the costume during the presentation.
A portfolio of support materials (bound or digital) that must include the following:
Research, including:
Summary of given circumstances from the script;
Functionality requirements;
Genre, locale, and setting of the play (or other explanation of the world of the play);
Artistic and practical needs that impact the construction;
Sources of inspiration for design and color palette (if used).
Pattern used for the costume construction.
If the costume is designed, developed, and constructed from a pattern available for purchase, the pattern manufacturer’s information must be included in the details of the presentation.
Alternatively, a pattern designed by the participant may be used, but must be included in the portfolio.
The costume needs to fit the person or model for which it was built. The costume may be designed to fit the participant.
Itemized expense sheet with accompanying receipts for all materials used to construct the costume, such as fabric, thread, buttons, zippers, and trim.
The total spent on all items used in the construction of the costume may not exceed $100 (USD), exclusive of the cost of the pattern (if purchased).
It is understood that there may be an occasional instance where the total value of the materials used exceeds $100, but donated materials have been used. If using donated materials, the value must be determined, documented, and noted on the expense sheet.
If showcasing millinery work, the budget limit is $50 (if submitting both a garment and millinery item, the total limit would be $150). If using donated materials, the value must be determined and included in the expense sheet.
Costume production photo series that focuses on the process of building the costume item (laying out the pattern, cutting the fabric, draping the fabric, etc.).
Include process photos used to document and reflect on the construction of the garment (i.e., not photos of the participant at a sewing machine).
Photos must depict the garment at various stages of construction and should illustrate such skills (e.g., sleeve alignment, zipper placement and insertion, seam finishes, etc.).
Include photos of the costume on the person or model for which it was built.
A five minute presentation summarizing the work with connections to concept, collaboration, and design decision-making. The Thespian may use digital media during the presentation (the Thespian must provide their own equipment for viewing), or the Thespian may bring photo boards or other visual aids to display along with the costume.
The Thespian should address general questions such as:
What are some of your responsibilites in your field?
How did the director's concept influence your work?
How did the style of the play affect your work?
If the production was realized, what challenges did you face in unifying the director's concept across all areas of your work?
The Thespian should address category-specific topics such as:
What significant challenges did you face while constructing this costume?
Were you also responsible for designing the costume, and if so, why did you choose this fabric/color/embellishment for the character?
If you did something differently than what the pattern suggested, why?
If the show was realized, did you have issues with fitting the actors or with the costume tearing during a performance and how did you fix it?
An optional written essay response to share additional information about the costume with the adjudicators.
Acting Performance
Solo Acting
In a Solo Acting performance, the Thespian should prepare two (2) contrasting monologues from published works written for the theatre (play or musical) that do not exceed three (3) minutes in combined length. Thespians must also adhere to the following:
Review the Rights & Licensing page to ensure that the chosen material is eligible to be performed for Thespys adjudication.
"Contrasting" means that the selections should be different in period, style, mood, etc.
The combining of multiple characters' lines to create a single monologue is not allowed. Monologues should be composed of only one character's lines.
Three (3) chairs may be safely used during the performance. No other scenic elements or furniture are allowed. "Safely" means that items may be used in a safe manner but should not be used a props (e.g., pushed over, lifted, etc.). Sitting on, laying across, and/or standing upon a chair is usually acceptable so long as safety is the priority (i.e., if a chair has wheels, it would not be considered safe to stand upon). Thespians should take this into consideration when rehearsing their entry in case adjustments to blocking are needed in the adjudication room.
Duet and Group Acting
In a Duet or Group Acting performance, Thespians should prepare a non-musical scene from a published work written for the theatre (play or musical) that does not exceed five (5) minutes in length. Thespians must also adhere to the following:
A duet is defined by the International Thespian Excellence Awards as a performance for two (2) players. A group scene is defined as a performance for three to sixteen (3-16) players. In each case, every participant must be actively involved in the scene chosen for performance.
Review the Rights & Licensing page to ensure that the chosen material is eligible to be performed for Thespys adjudication.
In the Duet Acting category, two (2) chairs and one (1) table may be safely used during the performance. In the Group Acting category, up to eight (8) chairs and one (1) table may be safely used during the performance. No other scenic elements or furniture are allowed. "Safely" means that items may be used in a safe manner but should not be used a props (e.g., pushed over, lifted, etc.). Sitting on, laying across, and/or standing upon a chair is usually acceptable so long as safety is the priority (i.e., if a chair has wheels, it would not be considered safe to stand upon). Thespians may not stand on a table. Thespians should take this into consideration when rehearsing their entry in case adjustments to blocking are needed in the adjudication room.
Musical Performance
In a Musical Theatre Performance, the Thespian(s) must present one (1) musical selection from a published score written for musical theatre that does not exceed five (5) minutes in length. The adjudicators will consider how well the piece is acted as well as how well it is sung. Thespians must also adhere to the following:
Thespians may present solo, duet, or group performances. A Solo Musical Theatre Performance is defined by the International Thespian Excellence Awards as a piece from a musical theatre score that includes vocal music written for an individual. A Duet Musical Theatre Performance is defined as a piece from a musical theatre score that includes vocal music written for two (2) players. A Group Musical Theatre Performance is defined as a piece from a musical theatre score that includes vocal music written for three to sixteen (3-16) players. In each case, every participant must be actively involved in the song chosen for the performance.
Review the Rights & Licensing page to ensure that the chosen material is eligible to be performed for Thespys adjudication.
All musical theatre performances must be accompanied by pre-recorded, non-vocal musical accompaniment. Tracks may not include background vocals. A capella performances are not permitted unless the selection was specifically written to be performed as such in the musical.
The combining of multiple characters' lyrics to create a solo performance is not allowed.
The performance may contain dialogue if included in the libretto, however, it should primarily be a "sung and not spoken" selection.
In a Solo Musical Theatre Performance, three (3) chairs may be safely used. In a Duet Musical Theatre Performance, two (2) chairs one (1) table may be safely used. In a Group Musical Theatre Performance, up to sixteen (16) chairs and one (1) table may be safely used. No other scenic elements or furniture are allowed. "Safely" means that items may be used in a safe manner but should not be used as props (e.g., pushed over, lifted, etc.). Sitting on, laying across, and/or standing upon a chair is usually acceptable so long as safety is the priority (i.e., if a chair has wheels, it would not be considered safe to stand upon). Thespians may not stand on a table. Thespians should take this into consideration when rehearsing their entry in case adjustements to blocking/choreography are needed in the adjudication room.
Makeup Design
For a Makeup Design entry, the Thespian must prepare and present makeup design renderings for a published work written for the theatre. Designs for performances of original work, poetry, fiction, screenplays, television, concerts, or any other medium are not permitted. For the purposes of Thespy adjudications, teeth and hair are considered part of the makeup design and should be included in the materials outlined below. Only one (1) Thespian may be involved in the design; no collaborations are permitted. Designs for either theoretical or realized productions are acceptable. The Thespian must prepare the following:
Five (5) makeup renderings (either five different characters or a single character through five looks).
No more than five (5) makeup renderings will be permitted.
Renderings should be at least eight (8) inches tall and must be in full color; large and detailed enough for the adjudicators to easily understand the design choices (whether in person or digitally).
Renderings may be presented on a display board or in a portfolio (bound or digital). The board or portfolio page should be clearly and neatly labeled with a title block that contains the following information:
Play or musical title and author(s)/composer(s);
Performance dates and facility in which it took place (if applicable);
Character’s name, act, and scene;
Entrant’s name and troupe number (optional).
A portfolio of support materials (bound or digital) that must include the following:
One-page design statement that includes:
Unifying production design concept;
Theme of the show/recurring motifs.
Research, including:
Summary of given circumstances from the script;
Functionality requirements;
Genre, locale, and setting of the play (or other explanation of the world of the play);
Artistic and practical needs that impact the construction;
Sources of inspiration for design and color palette (if used).
Budgetary requirements or other constraints and considerations.
Sources of inspiration for design and color palette (if used).
Techniques used within the design.
Preliminary sketches.
Makeup plot showing who wears what makeup when.
A five (5) minute presentation summarizing the work with connections to concept, collaboration, and design decision-making. The Thespian may use digital media during the presentation (the Thespian must provide their own equipment for viewing), or the Thespian may bring photo boards or other visual aids to display along with the makeup design renderings.
The Thespian should address general questions such as:
What are some of your responsibilites in your field?
How did the director's concept influence your work?
How did the style of the play affect your work?
If the production was realized, what challenges did you face in unifying the director's concept across all areas of your work?
The Thespian should also address category-specific topics such as:
What research did you do to arrive at the final makeup look?
How do you apply this makeup or style the hair this way?
Were you responsible for applying the makeup or teaching the actors how to apply it on themselves? If the latter, what challenges did you encounter while teaching the actors how to apply the look?
Optional written essay response to share additional information about the makeup design with the adjudicators.
Theatre Marketing
For a Theatre Marketing entry, the Thespian must prepare a marketing campaign for a production of a published work written for the theatre. Designs for performances of original work, poetry, fiction, screenplays, television, concerts, or any other medium are not permitted. Only one (1) Thespian may be involved in the design. No collaborations are permitted. Designs for either theoretical or realized productions are acceptable, though it is strongly recommended that the Thespian was responsible for the actual publicity in a realized production. The Thespian must prepare the following:
A portfolio of materials (bound or digital) that methodically works through the marketing process and that must include the following:
One-page design statement that includes:
Unifying production design concept;
Theme of the show/recurring motifs;
Target markets outside of the school audience, noting any publicity restrictions from the licensing agency.
Research, including:
Summary of given circumstances from the script;
Functionality requirements of the marketing elements;
Genre, locale, and setting of the play (or other explanation of the world of the play);
Artistic and practical needs that impact the design;
Sources of inspiration for design and color palette (if used).
A brief summary of their role and responsibilities during the production (including self and/or team’s responsibilities).
Production dates, number of performances, and cost of admission (if realized).
A copy of the marketing budget for the publicity campaign and justification of expenses. (Note: work will be adjudicated on creativity and quality of the materials; not necessarily on how much money was in the budget.)
Details of the design concept’s development, including examples of collaboration with the production team.
Final creative assets (such as posters, tickets, promotional handouts, social media templates, etc.) demonstrating branding, promotional efforts, various modifications based on specs/usage, and student’s ability to adapt to the constraints of the licensing agent (i.e., billing requirements, licensed logo usage – if applicable, etc.). If non-original material is used, sources must be cited, and receipts of purchased materials (when applicable) must be included in the presentation of the assets.
Distribution schedule and locations.
A press release.
Outcomes for realized productions, including budget/cost analysis (income vs. money spent) noting any free services rendered such as copies, printing, vendor donations, etc. and assigning a cost value to those donated elements. (Note: Income may not directly affect the marketing budget, but analysis work that presents the marketing costs in relation to the full production budget and revenue should be done.)
A five (5) minute presentation summarizing the work with connections to concept, collaboration, and design decision-making. The Thespian may use digital media during the presentation (the Thespian must provide their own equipment for viewing), or the Thespian may bring photo boards or other visual aids to display along with the portfolio.
The Thespian should address general questions such as:
What are some of your responsibilites in your field?
How did the director's concept influence your work?
How did the style of the play affect your work?
If the production was realized, what challenges did you face in unifying the director's concept across all areas of your work?
The Thespian should address category-specific topics such as:
How effective do you feel your marketing was in bringing an audience to the show?
How did you engage with the media (television, newspaper, social media, etc.)?
Optional written essay response to share additional information about the theatre marketing process with the adjudicators.
Pantomime
One (1) to eight (eight) Thespians may participate
Props are not allowed.
Lip synching and/or audible sounds by the performer(s) are not allowed.
There can be no lyrics or human vocal sounds in the musical accompaniment.
Only one chair per performer may be used. The room will be stocked with 8 chairs.
The use of musical accompaniment or recorded sound effects is optional
Playwriting
For a Playwriting entry, the Thespian must write and submit an original short play. The plays must be the original work of a single Thespian writer. Collaborative works or adaptations are not permitted, nor are plays that include music, lyrics, or dialogue written by anyone other than the submitting writer. Only one (1) play may be submitted per student. The Thespian must prepare the following:
A short play (typeset using 12-point font) on any subject with a running/reading time of 30 minutes or less. Authors are encouraged to write authentic stories as examined through their own unique lens and explore themes to which they deeply relate through various aspects of their characters. Authors should tell the story they want to tell in their own individual manner. The play should follow this format.
The cover page should include the title of the play, the student’s name and email address, school name, troupe number, and the troupe director’s name and email address.
On a separate page, a synopsis of the play and character list (including the name and a brief description of each character that speaks or appears onstage) should be featured. Characters that are spoken about but who do not appear onstage should not be included in the character list.
Playwriting will be adjudicated virtually. Scripts will be submitted 2 weeks before the festival so that judges may have time to read and rate them.
Judges will be at the festival to discuss scripts with the playwrites if they wish. Playwrites should bring a copy of their scripts and may recieve feedback from the judges that will be additional to what was on their rating sheets. This is not mandatory and will not affect the rating the script was given on the virtual adjudication.
Musical Theatre-Dance
In a Musical Theatre Dance performance, the
Thespian(s) must present one (1) selection from a
published score written for a musical theatre scene
with a focus on dance performance that does not
exceed five (5) minutes in length. The adjudicators
will consider how well the piece is danced as well as
how well it is acted.
Review the Rights & Licensing page to ensure that the chosen material is eligible to be performed for Thespys adjudication.
Thespians may present solo, duet, or group performances.
All dance performances must be accompanied by a pre-recorded musical track.
Acceptable tracks include selections from a cast album or recorded piano accompaniment that follows the score.
This is a dance-focused category. Singing, dialogue, and lip-synching are not allowed, except to include brief moments of vocalization, if required to perform the piece.
The following number of chairs and tables may be safely used in Musical Theatre Dance adjudications:
Solo: One (1) chair
Duet: Two (2) chairs
Group: Up to six (6) chairs and one (1) table
No other scenic elements, furniture, or props are allowed.
Scene Design
For a Scenic Design entry, the Thespian must prepare a scenic design for a published work written for the theatre. Designs for performances of original work, poetry, fiction, screenplays, television, concerts, or any other medium are not permitted. Only one (1) Thespian may be involved in the design; no collaborations are permitted. Designs for either theoretical or realized productions are acceptable. The Thespian must prepare the following:
Scale model (physical or digital) of a scenic design that represents up to three (3) unique scenes/locations in the play. No more than three (3) scenes/locations are permitted.
At least one (1) human figure must be included in the model to show proportion and scale.
The model may be generated through multiple physical or digital media, such as SketchUp, Vectorworks, or 3-D printers.
The model should be clearly and neatly labeled with a title block that contains the following information:
Play or musical title and author(s)/composer(s);
Performance dates and facility in which it took place (if the production was not realized, indicate the performance space the set was designed for);
Scale;
Entrant’s name, troupe number (optional).
A portfolio of support materials (bound or digital) that must include the following:
One-page design statement that includes:
Unifying production design concept;
Theme of the show/recurring motifs.
Research, including:
Summary of given circumstances from the script;
Functionality requirements;
Genre, locale, and setting of the play (or other explanation of the world of the play);
Artistic and practical needs that impact the construction;
Sources of inspiration for design and color palette (if used).
Budgetary requirements or other constraints and considerations.
Corresponding scale ground plan(s) that include:
Fixed/static scenic element;
Indication of audience arrangement/location and backstage areas;
Title block(s) including the same information as presented in the model.
A five (5) minute presentation summarizing the work with connections to concept, collaboration, and design decision-making. The Thespian may use digital media during the presentation (the Thespian must provide their own equipment for viewing), or the Thespian may bring photo boards or other visual aids to display along with the scenic design.
The Thespian should address general questions such as:
What are some of your responsibilites in your field?
How did the director's concept influence your work?
How did the style of the play affect your work?
If the production was realized, what challenges did you face in unifying the director's concept across all areas of your work?
The Thespian should also address category-specific topics such as:
What role(s) did the other design elements play in the scenic design for this production?
Given the space you designed for, what considerations were given for entrances and exits (for actors as well as other scenic elements)?
Safety is a huge concern for scenic designers. How did you consider the actors' safety in your designs?
An optional written essay response to share additional information about the scenic design with the adjudicators.
Student Choreography
The Choreographer may not dance in the piece.
Music must be a full cast recording, not a backing track. Dancers are not permitted to sing.
The submitted prompt book must include, but is not limited to:
Thematic statement of the dance.
Character summary: include relationships with each other and their surroundings, using the characters in the required number
Floor plan for the dance: provide a complete ground plan to a scale as you would stage it in full performance for the dance.
Only (1) one student may be the choreographer. NO COLLABORATION.
Student choreographer MUST choose performers who are participating in at least one other event at the district level.
Be prepared to answer questions bases on the performance of the dance.
Maximum of 16 dancers.
Time limit: five (5) minutes for the required uninterrupted performance. The remainder of the time is designated for justification and questions. The event shall not exceed ten (10) minutes.
One (1) chair per character in the chosen dance. One table provided.
Student Directed Scene
The submitted prompt book must include, but is not limited to:
Thematic statement of the play.
Character summary: include relationships with each other and their surroundings, using the characters in the required scene.
Plot summary of the play.
Floorplan for the scene: provide a complete groundplan to a scale as you would stage it in full performance for that scene in the act that it occurs as it would be presented in the final production.
Copy of the designated scene with blocking notes and technical cues on the copy.
Only (1) one student may be the director. NO COLLABORATION.
Student directors MUST choose performers who are participating in at least one other event at the district level.
Student Directors may not perform in the scene.
Be prepared to answer the following conceptual questions, for example: The playwright’s choice of title, tempo for this scene, use of line, shape, texture, color, and/or music to reflect mood and style.
Time limit: five (5) minutes for the required uninterrupted performance. The remainder of the time is designated for justification and questions. The event shall not exceed ten(10) minutes.
A bibliography is required documenting all resources used.
One (1) chair per character in the designated scene provided. One table provided.
Improvisation (Not a State Eligible Event)
Two performers will receive a prompt from the judges’ table immediately following the student's introduction which ends with their troupe number.
Time will start once the prompts are in the actors’ hands.
The students have up to 5 minutes from the time they get the prompt to the end of their performance.
Any material that is not audience appropriate (i.e. language and adult content) is not allowed.
The Time Keeper’s hand will go up at 4:45 as a visual warning for time.
The scene ends when ‘time’ is called by the Time Keeper or when the actors call ‘scene.’
Student should be actively registered in at least one other festival event.
Only Seniors are permitted to apply.
Each troupe may send 4 students to the scholarship auditions (5 if using wildcard).
It is the responsibility of the student to complete the audition application correctly and to get the correct endorsements. Incomplete or improperly completed applications will be disqualified, so follow directions carefully. The applications MUST be completed and signed by a guidance counselor at the school.
Student must bring completed application, current headshot, and resume to the audition.
Students must have a minimum of a 3.0 GPA or 1170 on the SAT or 26 on the ACT at the time of application.
Audition Rules
ACTING auditions have ONE MINUTE to perform a monologue.
MUSICAL THEATRE auditions will have a maximum of 90 seconds to perform both a solo followed by a monologue. The musical selection must come before the monologue.
DESIGN,TECHNICAL/MANAGEMENT candidates will be allocated a minimum table display space of 24"x36". Students should prepare a one minute presentation of their work. You should bring your portfolio, which should include a variety of fine art and/or theatre art work. The portfolio might consist of some of the following: drawings of any subject, any medium; examples of work in color; drafting; prints; 3-D projects of any type; actual theatrical design work, realized or not; figure drawings; costume designs; lighting plots; etc. Stage Managers will bring prompt books and supporting material. The portfolio is required whether your interests are in scene design, lighting, or costuming. You should also be prepared in a question and answer period to discuss past experiences and your professional goals.
REGARDLESS OF THE TYPE OF AUDITION, NO AUDITION WILL EXCEED TWO MINUTES.
Time starts with your name and troupe number in your introduction. All performance pieces should be fully memorized.
A table will be provided if needed to display portfolio materials.
All accompaniment must be recorded and a playback device supplied by the student.
Due to poor sight lines, avoid sitting, kneeling, lying on the floor as part of your business. Keep choreography simple. Remember that you may not have an ideal dance surface.
