Scoring

Qualifying for the National Individual Events

Registering for National Individual Events

Arriving

Critics’ Choice Showcase

Critics’ Choice Callbacks

Audience

Rules for all performance events

Technical rules (excluding short film)

Performance rights for National Individual Events

Play Publishers

Performance Individual Events

Technical Individual Events

Acting

Musical Theatre

Costume Construction

Costume Design

Lighting Design

Scenic Design

Props

Short Film

Sound Design

Stage Management

Theatre Marketing

Monologue

Duo Acting

Group Acting

Solo Musical Theatre

Duet Musical Theatre

Group Musical Theatre

Musical Theatre Dance

Individual Events

Monologues (one monologue or two contrasting)

3 minutes

One Act (Full Length)

70 Minutes

Duet and Group Acting

5 minutes

One Act (35 Minutes Slot)

35 Minutes

Solo, Duet and Group Musical Theatre

5 minutes

Other Events

Short Film

5 minutes

Improv Showcase

15 Minutes

Technical Theatre Events

5 Minutes

w/ 2 minute Q&A

Scholarship Auditions

2 Minutes

• Broadway Play Publishing Inc

• Dramatic Publishing

• Dramatists Play Service

• Music Theatre International

• Playscripts, Inc.

• Rodgers & Hammerstein Theatricals

• Samuel French, Inc.

• Smith and Kraus

• Tams-Witmark

• The Musical Company

• Theatrefolk

• Theatrical Rights Worldwide

• YouthPLAYS

• Any public domain play written prior to 1923

• Beauty IS a Beast - ISBN-13: 978-1511495967

• Big Nose - ISBN-13: 978-1542471077

• Death of an Insurance Salesman - ISBN-13: 978-1518665547

• Ebony Scrooge - ISBN-13: 978-1537655239

• Flowers in the Desert - ISBN-13: 978-1530169085

• Holka Polka! - ISBN-13: 978-1502445490

• Operation Redneck - ISBN-13: 978-1540824349

• Somebody Famous - ISBN-13: 978-1539753483

• Superhero Support Group - ISBN-13: 978-1540471772

• My William Shatner Man Crush - ISBN-13: 978-1505910155

Acting

Material should be chosen from scripts written and published for stage. The use of material written for film, television, poetry, the internet or other broadcasting mediums is not permitted.

In Acting Events, the skills measured are:

• Use of transitions into and out of character
• Ability to create a believable character
• Communication of objective, tactics, and relationships
• Use of focus and concentration
• Integration of voice, body, movement, and staging

In a performance individual event, the entrant must follow these guidelines;

• Begin with an introduction (slating). The introduction must include only:

• The entrant’s name(s)
• Title of selection(s)
• Name of the playwright(s)
• Troupe number (optional)
• Personal pronouns (optional)

• Appropriate material:

• Prior to the event, validate the material using the guidelines for acceptable and unacceptable material

• Entrants will present themselves as a blank slate, refraining from clothing or accessories that distract from the character. Follow strict limits on clothing and props:

• Props (including hand-held props), costumes, or theatrical makeup are not allowed
• For duo acting, two chairs may be safely used
• For group acting, one table and up to six chairs may be safely used
• Clothing should be appropriate to the situation and allow easy movement
• Entrants should refrain from wearing anything that might distract the adjudicators

Acting – Monologues

Acting – Duo/Group Scene

• Remain within strict time limits:

• After the introduction (slating), time begins with the first word or acting action (if it precedes the first word)
• Monologues are not to exceed three minutes (even if two are presented)

• Appropriate material:

• Prepare one or two selections
• If two monologues;

• monologues should represent contrasting pieces (may be different in period, style, or mood)
• Each selection should be approximately 60 to 90 seconds

• Each selection should reflect an important moment in the play

• Acting - Monologue, limits on clothing and props:

• One chair may be safely used

• Remain within strict time limits:

• After the introduction (slating), time begins with the first word or acting action (if it precedes the first word)
• Duo/group scenes are not to exceed five minutes

• Appropriate material:

• Each participant must be actively involved in the scene

• Acting - Duo/Group Scene, limits on clothing and props:

• For duo acting, two chairs may be safely used
• For group acting, up to six chairs may be safely used

A duo is defined as a performance for two players. A group scene is defined as a performance for three to 16 players. In each case, every participant must be actively involved in the scene chosen for performance.

Musical Theatre

In a musical theatre performance, the entrants must present a musical selection from a published script written for musical theatre. The adjudicators will consider how well the piece is acted, not only how well it is sung. The selection may contain dialogue; however, this is primarily a “sung and not spoken” selection.

The use of material written for film, television, the internet or other broadcasting mediums is not permitted.

In Musical Theatre Events, the skills measured are:

• Use of transitions into and out of character
• Ability to create a believable character
• Communication of objective, tactics, and relationships through dialogue and music
• Use of focus and concentration
• Vocal skill and technique
• Use of dance and/or movement
• Integration of voice, body, movement, and staging

In a Musical Theatre Performance the entrant must follow these guidelines;

• Begin with an introduction (slating). The introduction (slating) must include only:

• The entrant’s name(s)
• Title of selection
• Name of the composer and lyricist
• Troupe number (optional)
• Preferred Pronouns (optional)

• Remain within strict time limits:

• After the introduction (slating), time begins with the first word or acting action (if it precedes the first word)
• Musical theatre performances are not to exceed five minutes

• Appropriate material:

• Prior to the event, validate the material using the guidelines for acceptable and unacceptable material
• Songs from a musical that have been used in a musical (regardless of its previous publication as a classical or popular song – e.g., Forever Plaid, Mamma Mia, etc.).
• It must be publically available for sale in a vocal selection or musical score.
• The following are unacceptable material sources for musical Individual Event performances:

• A cappella songs, unless originally written to be performed a cappella in the script.
• Songs from films.
• Songs from television.
• Popular songs not used in a published work for the theatre.
• Classical songs not used in a published work for the theatre.
• Tracks with any background vocals.

• The following are unacceptable resources for musical Individual event performances:

• Use of set pieces, props, or costumes, including the use of hair, non-prescription glasses, earrings, or other personal items.
• Songs from a musical that have been adapted  for the theatre (regardless of its previous publication as a classical or popular song, cannot use original version- must use the version from a musical – e.g., Forever Plaid, Mamma Mia, etc.).

• Follow strict limits on musical accompaniment:

• Performers MUST use pre-recorded, non-vocal musical accompaniment; no live music is permitted.
• Accompanists are not permitted
• A cappella performances are not permitted (unless it was written that way in the original production)
• Amplification will be provided to allow participants to play music via 1/8-inch (aux) audio connection cable.
• Accompaniment must be downloaded directly to a device, and may not rely on streaming or internet connectivity.  
• CD players will no longer be provided; however, participants may bring their own CD player, speaker, or other amplification device.

• Entrants will present themselves as a blank slate, refraining from clothing or accessories that distract from the character. Follow strict limits on clothing and props:

• Props (including hand-held props), costumes, or theatrical makeup are not allowed
• Clothing should be professional yet allow easy movement for the actors to accommodate the action of the performance
• Entrants should refrain from wearing anything that might distract the adjudicators

Musical Theatre – Solo

Musical Theatre – Duet/Group

Solo Performance limits on clothing and props:

 o 1 chair may be safely used

Duet/Group Performance limits on clothing and props:

o Duet musical theatre, 2 chairs may be safely used

o Group musical theatre, up to 6 chairs may be safely used

A musical theatre duet is defined as a musical performance for two players.

A musical theatre group scene is defined as a musical performance for 3 to 16 players. In each case, every participant must be actively involved in the scene chosen for performance.

Musical Theatre: Dance

What Does a Musical Theatre Dance Thespy Entry Involve?

• Present one (1) selection from a published musical theatre score
• Focus on dance performance
• Performance must not exceed five (5) minutes
• Adjudicators evaluate:

• Technique
• Storytelling through choreography

Number of Performers

Thespians may enter in the following categories:

• Solo: One (1) performer
• Duet: Two (2) performers
• Ensemble: Three (3) to sixteen (16) performers

All participants must be actively engaged in the performance.

Scenic Elements Allowed

Furniture permitted during adjudication:

• Solo: One (1) chair
• Duet: Two (2) chairs
• Ensemble: Up to six (6) chairs and one (1) table

No other scenic elements, furniture, or props are allowed.

Additional Requirements

• No singing, dialogue, or lip-synching allowed
• This is a dance-focused category

Acceptable Material

• Use the Approved Material webpage to confirm eligibility
• The title of the show must appear on the approved list
• No other approval methods are accepted

Musical Track Requirements

• Must use a pre-recorded musical track
• Accepted formats: MP3, M4A, WAV, AIFF
• Track may include:

• Vocal performances (e.g., Broadway cast recording)
• Instrumental-only versions

• Track should be downloaded onto a playback device
• Avoid streaming to prevent connectivity issues or ads
• A sound system with Bluetooth and AUX will be provided
• Thespians may bring their own speaker for reliability

Skills Measured by Adjudicators

• Characterization: Emotional and physical believability; clear choices and relationships
• Expression: Use of physicality to communicate character and story
• Dance Expression & Technique: Confidence, control, spatial awareness, and emotional storytelling
• Execution: Focus, commitment, and integration of performance elements to tell a clear story

Colorado Technical Events

The entrant must prepare and present:

• A 3-5 minute presentation summarizing the work with connections to concept, collaboration, and design decision-making
• Present live to adjudicators at conference OR in a video presented to adjudicators at ThesCon
• Arrive at their scheduled IE time and location

Costume Construction

In Costume Construction, the skills measured are:

• An understanding of the role of costume construction
• Sewing and construction skills
• The ability to present and clearly explain the process of constructing the costume
• Attention to detail

The entrant must prepare and present::

• A fully constructed costume that reflects the entrant’s capabilities and strengths, constructed entirely by the entrant.

• A costume production collage that focuses on the process of building the costume item (laying out the pattern, cutting the fabric, draping the fabric, etc.).

• Process photos must depict the garment at various stages of construction - not the participant at a sewing machine.

• If the garment is physically presented on a hanger, mannequin form or, if an accessory, in a box. The entrant should NOT wear the costume to the individual event session.

Costume Design

In Costume Design, the skills measured are:

• An understanding of costume design

• An understanding of the artistic and practical constraints that impact design

• An understanding of the relationship of costume design to a unifying concept

• The ability to carry out research into style, period, locale, and genre of the show

• The ability to present and clearly explain design choices

• Attention to detail

The entrant must prepare and present:

• Five character renderings, either five different characters or a single character through five changes.

o More than five character renderings will not be accepted

o No finished costumes are permitted

o Renderings should be large enough for all the judges to see at one time.

• Template or trace characters are permitted.

• Swatches should be included in your digital presentation.

• Artifacts should include a complete set of the following materials:

o A design statement

o Complete research

o Theme of the show

o Design unifying concept

o Script requirements

o Budgetary requirements or other constraints or considerations

o Sources of inspiration for design and color palette (if used)

o Preliminary sketches

o Costume plot (showing who wears what when)

Lighting Design

In Lighting Design, the skills measured are:

• An understanding of the roles and responsibilities of a lighting designer and the technology/equipment to implement and support the design

• The ability to present and clearly explain design choices

• An understanding of the artistic and practical constraints that impact lighting design

• An understanding of the relationship of lighting design to a unifying concept

• The ability to carry out research into style, period, locale, and genre of the show

The entrant must prepare and present:

• The presentation should include:

o Light plot digitally displayed in your presentation. The location and identification data of every luminaire, accessory, and specialty unit should be represented on the light plot, along with the following information as appropriate:

• Artifacts should include a complete set of the following materials:

o A design statement summarizing:

▪ Research done on recurring themes/motifs, given circumstances of the show, writer(s), and previous productions (These could include notes, articles, sketches, photographs, colors, etc.)

▪ Theme of the show

▪ Unifying design concept

▪ Script requirements

▪ Sources of inspiration

▪ Uses of color

▪ Techniques used within the design

▪ Reflections on the process

▪ Instrument schedule

▪ Magic sheet/cheat sheet

▪ Sample color media used with explanations of choices

▪ Description of three light cues organized by act and scene with a stated purpose for the cue and planned timing of the cue. Include a description of the use of intensity, color, movement, directionality, and/or quality of light to communicate to an audience both meaning and emotions during the scene OR three light renderings that include a description of the use of intensity, color, movement, directionality, and/or quality of light to communicate to an audience both meaning and emotions during the scene.

▪ If the production was realized, photos should be included.

Scenic Design

In Scenic Design, the skills measured are:

• An understanding of the scenic designer’s role and responsibilities

• An understanding of the artistic and practical constraints that impact the scenic design

• An understanding of the relationship of scenic design to a unifying concept

• The ability to carry out research into style, period, locale, and genre of the show

• The ability to present and clearly explain design choices

The entrant must prepare and present:

• The presentation should include:

o A scale model (constructed or digital) showing the design of an entire show (not just a scene) and its relationship to the theatrical space. At least one figure must be included in the rendering or model to show proportion and scale. Model or rendering can be generated through multiple media, such as SketchUp, or Vectorworks.

o Floor plan (physical or digital, drawn to the same scale) for the production that clearly indicates:

▪ Performance space

▪ Backstage space

▪ Audience areas

▪ Sightlines

• Artifacts should include a complete set of the following materials:

o A design statement summarizing:

▪ Theme of the show

▪ Unified design concept

▪ Script requirements

• The following should be presented:

o Complete research

o Sources of inspiration

o Floor plan

o Models or renderings - (optional for Colorado Individual Events, required or National Individual Events)

o Techniques within the design

Sound Design

In Sound Design, the skills measured are:

• An understanding of the roles and responsibilities of a sound designer and the technology/equipment to implement and support the design

• An understanding of the artistic and practical constraints that impact the sound design

• An understanding of the relationship of sound design to a unifying concept

• The ability to carry out research into style, period, locale, and genre of the show

• The ability to present and clearly explain design choices

The entrant must prepare and present:

• The presentation should include:

o Sound system plot indicating:

▪ Speaker plot showing where on the set and in the performance space loudspeakers are placed

▪ The clear relationship of speakers on the plot to speakers on the block diagram

▪ Block diagram showing signal flow through the sound system, following the USITT Sound Graphics Standards (available at www.usitt.org)

▪ Rack diagrams

▪ Microphone schedules

▪ Pit diagrams

▪ Patch assignments

▪ Sound effects, both digital and Foley

▪ Programming of the playback device

▪ Engineering the show in a live microphone setting

▪ Training the actors in the use of microphones

▪ Setting preliminary sound levels and making adjustments during technical rehearsals

o Title block including:

▪ Show title

▪ Facility

▪ Source for drawing

▪ Scale

▪ Entrant name

▪ Date

• An artifact binder (physical or digital) – should include a complete set of the following materials:

▪ A design statement summarizing:

• Theme of the show

• Unified design concept

• Script requirements

o The following may or may not be included in the artifact binder but must be presented:

▪ Sources of inspiration

▪ Techniques used within the design

▪ Representative examples of the sound design to be played on a provided sound system

▪ Description of sound cues organized by:

• Act and scene

• Stated purpose of the cue

• Planned timing of the cue

Stage Management

In Stage Management, the skills measured are:

• An understanding the stage manager’s role and specific responsibilities

• An understanding of the purpose and value of a production book

• The ability to organize stage management ideas, products, and choices that support a realized production.

• The ability to present and clearly explain process choices

The entrant must prepare and present:

• The presentation should include:

o Approach the process as if interviewing for a college stage management program or a job

o Discuss a realized production either in their middle or high school program or a community or professional theatre

o Articulate the role of the stage manager/stage management process in the focused production

o Address the collaborative process with cast, crew, director, and production team

o Effectively communicate an understanding of the stage manager’s role as it relates to the focused production

o Show personality and style

o Exhibit consistency, clarity, and organization

• A production book (a binder containing components of the stage management promptbook and paperwork used to perform responsibilities - hard copy or digital) should include but is not limited to:

o Prompt script with blocking and all technical cues, such as lights, sound, deck, etc. This may be broken into two scripts

o Examples of contact sheet, cast list, rehearsal schedule, props list, sound and lighting cue sheets

o A written statement of the director’s artistic concept of the production that includes a discussion of the theme and how the theme was executed

Theatre Marketing

In Theatre Marketing, the skills measured are:

• An understanding the marketing director’s role and specific responsibilities

• An understanding of the purpose and value of research, resources, and personnel needed to communicate a marketing concept to an audience

• The ability to align a marketing campaign components in a distribution strategy that supports a realized production

The entrant must prepare and present:

• The presentation should include:

o A case study that methodically works through the marketing process

o The marketing campaign developed and executed for a published script (play or musical) written for the theatre and presented by the school

▪ Designs for performances of poetry, fiction, screenplays, or any other medium are prohibited

▪ It is strongly recommended that the entrant was responsible for actual publicity

• Entrants should present the components of their marketing campaign (hard copies or digital) including:

o A finished poster

o A finished program

o Two press releases consisting of an informational article and a feature article

o A copy of the marketing budget for the publicity campaign and justification of expenses

o Any work that shows the progression of the creative process, including a brief statement of the design choices inspired by the script, research materials, and other sources of inspiration, if any

o Work will be adjudicated on creativity and results, not necessarily how much money was in the budget and how well the money was spent

• Presentation Considerations:

o Description of the show

o Dates and number of performances

o Description of executing the marketing plan (self and/or team responsibility)

o Creative development

o Collaboration with production team

o Target market (outside of school)

o Research or inspiration to develop the design concept, if any

o How the marketing design concept matches the production design

o The development and creation of the marketing campaign’s design concept

o Reflections on what might be done differently if more time, money, etc., were available

• Execution:

o Describe and demonstrate the components of the marketing campaign (posters, tickets, promotional handouts, social media, etc.)

o Explain how and where the marketing was distributed

o Make clear the consistency in marketing (from the same campaign)

o Identify elements (images, colors, fonts, etc.) changed to fit the media of marketing components.

• Realized Outcomes:

o Indicate budget versus money spent

o Make note of free services (e.g., copies, printing) or vendor donations

o Determine what the actual or comparable service would cost

o Number of tickets sold per performance versus house capacity

o Compare the outcome to a similar show previously produced

Props

In a 2023 pilot, the Props Individual Event measures the following skills:

• Ability to demonstrate an understanding of the props design process;
• Attention to detail;
• Ability to demonstrate an understanding of the artistic, functional, and practical constraints that impact design choices;
• Ability to research and understand the connection between style, period, locale, genre, and other historical and cultural influences and construction choices;
• Ability to budget appropriately for the design
• Ability to document, present, and clearly explain and justify the process of construct prop design and its functionality.

1. The entrant must prepare and present:

• The presentation should include:

• No more than five (5) prop renderings.
• Renderings should be at least eight (8) inches tall
• Renderings 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 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 names of those that utilize the prop;
• Act and scene numbers;
• Entrant’s name and troupe number (optional).

2) 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 design;        
• Sources of inspiration for design and color palette (if used).
• A master props list that must include the following:
• Act and scene numbers
• Prop pre-set placement
• Character that brings the prop onstage (if applicable) with corresponding line or stage direction.
• Character that takes the prop offstage (if applicable) with corresponding line or stage direction.
• How each prop was sourced (purchased, pulled from stock, constructed, etc.).
• Itemized expense sheet with accompanying receipts for all materials used

The total on all items used in the construction of the prop may not exceed $100 (USD). 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.

Short Film

In Short Film, the skills measured are:

• The ability to create opening and closing titles, credits, and graphics that orient the viewer to the story

• The ability to visually develop a story with dialogue

• Camera, lighting, and sound use

• Editing, including scene length and flow

• The emotional and physical believability of the acting

• The filmmaker’s use of film elements to create a successful product

Films can be no longer than 5 minutes. Films must be of original content and may be a collaboration among entrants.

• Short Film Execution - Entrant must demonstrate:

o Proper use of title cards and credits within the time limit

o Properly executed camera angles and shot variation to enhance the storyline and finished product

o Control over lighting exposures for clarity, storytelling, and a professional finished product

o The ability to capture, record, and manipulate all audio aspects of your production

o Controlled and manufactured editing choices that enhance the overall storytelling

o The ability to complete a storyline that includes a clear arc (beginning, middle, and end)

• Short Film Requirements:

o Music used in short films must be original, in the public domain, and/or properly credited.

▪ If in the public domain or original, proper credit must be listed in the credits.

▪ If it is not in the public domain or original, proper credit must be in the credits AND proof of payment for the rights to the music must be documented and shared with the adjudicators.

o Material deemed by the adjudicator(s) to be obscene or disruptive may receive lower ratings or, in some extreme cases, may result in disqualification

o If the film receives an overall superior rating at the chapter level, it may be uploaded to YouTube for national judging

o Short films must be registered and shared with Colorado Thespians as a web streaming link by November 18th (students still must be registered for conference by the November 10 deadline). Uploaded submissions via cothespians.com/conferences/thescon/ie-submissions/

o Mark your video’s YouTube privacy settings as either Public or Unlisted so the URL may be shared with judges (do not select Private or the judges will be unable to review the film)

• At the Colorado Thespian Conference, film may be:

o Shown in a teaching workshop and will stand alone (i.e., the entrant will not have to make any type of presentation)

o Discussed and openly critiqued by at least one of the judges

Appendix A - National Individual Events Rights and Application Form

If your national individual event (NIEs) performance material is a song from a published musical or covered by a publisher agreement described in these guidelines, you are not required to submit this form. If the material does not qualify for one of those exemptions, submit this completed form (signed by both the troupe director and proper licensing agent) with your event registration. For ITF, all performance permissions are due no later than May 1.

Troupe director of performer(s) School

School address City, State/Province/Country, Zip or Postal Code

School phone School fax

Name(s) of performers

Name of show(s)

Show(s) author(s)

State chapter conference where IE performed City, State where IE performed

Dear Licensing Agent:

I am requesting to use material represented by your company in the above performance. The above named student(s) will be performing in the National Individual Events program as a part of the above named Chapter Conference/Festival and/or the International Thespian Festival (affiliated with the International Thespian Society) in Lincoln, Nebraska, in June, 2019. The total performance time of this selection will not exceed three minutes for monologues or five minutes for scenes.

The selection they would like to perform is a: Scene Monologue

As troupe director of the above student(s), I agree that only the above piece(s) will be performed for adjudication in adherence to the rules of National Individual Events for Chapter Conferences or the International Thespian Festival.

Troupe director’s signature Date

On behalf of , I grant permission for the indicated selection to be performed at the above conference and, if selected, at the International Thespian Festival.

Licensing agent’s signature Date