2024-25 Thespys Guide by educationaltheatreassociation

2024-25 Thespys® Guide

Creating Dynamic Student Experiences in Theatre

The International Thespian Society

The International Thespian Society (ITS) is the only theatre honor society for middle and high school students in the United States. Affiliation brings credibility and distinction to students, theatre programs, and schools. It is a visible, positive symbol of the quality of your theatre program.

ITS recognizes, rewards, and encourages student achievement and celebrates the work of students in all aspects of theatre – performance and production. Each student is honored on an international level and gains access to opportunities and resources beyond those of their school.

The International Thespian Excellence Awards

The International Thespian Excellence Awards (Thespys®) program is designed to provide educational feedback for Thespians on their theatrical performances, technical presentations, and other areas of theatrical expertise in order for them to improve their prepared theatrical materials, expand their performance and technical competence, and develop their professional and presentation skills. The program honors high achieving students by advancing them from regional to international levels of adjudication in 21 official categories spanning performance, technical theatre, filmmaking, and writing. Students are adjudicated by theatre educators and professionals on rubrics that reflect national standards in theatre education.

The Thespys are presented by

Thespy Award for Solo Musical Theatre Performance

Malique (Prynce) Sykes | Texas Thespians | Troupe 7382 Edgewood Academy of Fine Arts

Overview & Eligibility

About the Thespy Awards Program

Every year, thousands of students from Thespian troupes around the world participate in the Thespys. They progress from their school auditoriums to chapter qualifying events to the international stage.

Thespians are scored by a panel of adjudicators and earn fair, good, excellent, and superior ratings for their presentations. Those Thespians who earn superior overall ratings at a qualifying event (chapter, regional, or alternate qualifier) are invited to the final round of adjudication at the International Thespian Festival. Thespians who earn superior overall ratings during the final round of adjudication are celebrated for their achievement, and those superior-rated Thespians who earn the highest scores in each category are presented with a Thespy Award.

Eligibility

Any student wishing to participate in the Thespy Awards must meet the following criteria:

• Participants in the final round of adjudication must be inducted Thespians in active, chartered Thespian troupes.

• Participants must be inducted during or have active status in the academic year of submission. (The ITS academic year runs from August 1-July 31.)

• Example 1: A student on track to earn induction in May 2025 may enter a qualifier in November 2024 so long as they are inducted before they are registered for ITF.

• Example 2: A student who graduates early in December 2024 may participate in the final round of competition at ITF in June 2025.

Participation Overview

What does it look like to participate in the Thespy Awards?

What does to participate the Thespy Awards?

Choose a category and select your material. Note: In performance categories, not all material is eligible. Check out the Rights and Licensing page at Thespys.org to make sure your material is approved for the Thespy Awards.

Polish your performance, technical design/presentation, or script.

Enter a regional qualifying event (often held at chapter Thespian festivals/conferences).

• Present your material at your chapter’s event.

• Receive your feedback and rating.

If your presentation is rated at superior quality…

Have your troupe director or primary adult leader register you for the International Thespian Festival (ITF), select the Thespy add-on, and submit the in-person or virtual Thespy adjudication form to enter the nal round of the Thespys.

• Present your material at ITF’s nal round of adjudication.

• Receive your feedback and rating.

If your presentation is rated at superior quality and is also the highest score in the category…

Take home a Thespy Award!

Thespy Award for Solo Acting & Musical Theatre Performance Nicoloe Siegler | Colorado Thespians Troupe 5869 Denver School of the Arts

Because students are assessed on an educational standards-based rubric, there can be multiple Thespians with the same high score in each category, which means that each student is honored with a Thespy Award!

Adjudicators & Feedback

All Thespy adjudicators are required to complete a free, public course online through EdTA’s Learning Center to help standardize scoring and feedback Thespians receive on their Thespy submissions. Prospective adjudicators should complete the course prior to the beginning of their desired adjudication session. All adjudicators at ITF will be required to complete a background check and consent form as part of the event registration. Those interested in adjudicating should visit the adjudication page at Thespys.org for more information.

Troupe directors and chaperones may be required to adjudicate in the final round of adjudication at ITF if more than four (4) of their students are participating in the Thespy program.

Adjudicators should avoid and disclose conflicts of interest that may influence their evaluations. For example, troupe directors and coaches should not adjudicate their own students.

The Thespys are an educational program that celebrates the work of theatre students and offers them the opportunity to learn and grow through positive, constructive feedback. Research tells us that feedback is a vital component of effective learning that promotes student growth. Comments are not an optional add-on to an adjudication; they are the heart of the experience for students. As such, they are required for every Thespy entry. The most valuable comments answer two questions: What am I doing well? How can I improve? Adjudicators are trained to offer comments that will help students grow, but it is important to remember that art is subjective and comments between adjudicators may vary. While measures are taken in trainings to normalize commenting technique, this, too, is a vital part of the learning and growth for theatre students.

Important Dates & Deadlines

Dates

October 2024April 2025

Regional qualifying events at district and chapter conferences/ festivals (Could include regional, district, and chapter-level events. Process varies by chapter. Contact your chapter leadership for details on your chapter’s qualifying process.)

February 5, 2025 ITF registration opens

April 7, 2025

March 31April 13, 2025

Deadline for chapters to submit scores to EdTA*

Submissions accepted for alternate qualifying event**

April 18, 2025 Alternate qualifying event feedback and ratings released

May 7, 2025

May 14, 2025

Deadline to register for ITF and purchase the Thespy add-on

Deadline to submit Thespy adjudication form for in-person or virtual adjudication and for all Playwriting and Short Film participants to submit digital entries.

June 22-27, 2025 ITF (including adjudication, interviews, callbacks, and Thespy Awards Showcase)

8 a.m. June 23, 2025

All in-person Thespys participants’ primary adult leaders must be checked in at ITF registration

* Chapter Thespy Award coordinators must submit their scores from qualifying events within two weeks of their festival or by April 7 (whichever comes first).

** Please see “Alternate Qualifying Event” on pg. 10 for more information on who is eligible to participate in this event.

Chapter & Regional Qualifiers

Start Your Journey Toward a Thespy

The first stop on your road to a Thespy Award is most likely a chapter qualifying event. International Thespian Society chapters conduct official qualifying rounds of adjudication at their own state/ regional Thespian festivals and conferences. Some chapters have a regional round of adjudications prior to the chapterwide event. Consult with your chapter leadership about your chapter’s official policies and dates.

Choose a Thespy category or categories in which you’d like to participate and work toward presenting it at your chapter qualifying event. Thespians may prepare one entry per category. (See “Official Rules vs. Chapter Rules” below, as some chapters may allow multiple entries in one category.) In addition to the rules featured in this document, be sure to review the adjudication rubric (see pgs. 20-75 for your category) so you know what the adjudicators are looking for and review any category-specific rules that apply to your presentation.

Once you’re familiar with your category’s rules, select material that you want to work on. Choose a play or musical to design a technical presentation around or a monologue, scene, or song to present in performance. Check the Rights and Licensing page to make sure performance pieces are approved for Thespy adjudication. The Playwriting and Short Film categories require completely original work, so dive in and begin to create your art!

Then, rehearse your performance or technical presentation with your teachers, friends, parents, or anyone who will listen to you! Preparation is key to refining your theatrical skills.

The International Thespian Society hosts an alternate qualifier for students whose chapters do not host a qualifying event. (See Alternate Qualifier on pg. 10.)

your chapter

Official Rules vs. Chapter Rules

While chapter or state/regional officials have the prerogative to amend the official rules, amendments should be undertaken only with careful consideration of the various outcomes that may result from such amendments. For example, in order for a performance entry to be eligible for the final round of competition at ITF, the student must obtain permission as indicated on the Rights and Licensing page at Thespys.org. If a Thespian earns an superior overall rating at a qualifying event with a performance piece that does not meet the criteria set forth in the official rules, they may not choose an alternate performance piece and continue on to the final round of adjudication. In such a case, the student would be deemed ineligible to present their Thespy performance in the final round of adjudication due to the chapter’s variance from the official Thespy rules. Such decisions lie with the chapter; EdTA cannot vary from the official rules as set forth in this document.

Troupe directors should check with their assigned chapter or regional officials in the event that there exists some region-specific variance to the official rules and guidelines. This could include the chapter director and/or chapter/regional Thespy Awards coordinator.

Individuals bearing complaints about chapter and regional qualifiers are encouraged to register their concerns with Thespys officials of the relevant chapter and regional qualifiers. Decisions of chapter and regional Thespys officials are final.

Responsibilities of Chapters

• Provide qualifying event details to EdTA by October 4, 2024

• Publicize. Communicate with troupe directors in the chapter about the qualifier.

• Share the official rules in this document and any local modifications with troupe directors.

• Recruit and train adjudicators and volunteers using free trainings provided in EdTA’s Learning Center.

• Assign at least two (2) adjudicators to each entry.

• Provide a platform on which adjudicators may score entries and share feedback with Thespians (and troupe directors). Chapters can either use OpenWater, the preferred platform for Thespy adjudication, or select their own platform to use.

• If chapters do not use OpenWater, chapter or regional Thespy Award coordinators must complete the Overall Superior Submission Form within two weeks of their chapter festival or by April 4, 2025, whichever comes first. If scoring is conducted through OpenWater, an additional form does not need to be submitted.

• Chapter or regional Thespy Award coordinators are responsible for communicating student scores to troupe directors and passing along information about how to register and participate in the final round of adjudication at ITF, including the following:

• Digital invitations on behalf of International Thespian Festival

• Link to this official guide

• Instructions on how to register and participate at ITF

Alternate Qualifying Event

March

31-April 13, 2025

Who Can Participate in the Alternate Qualifying Event?

The primary way to qualify for the final round of adjudication at the International Thespian Festival is through a chapter qualifying event (often held during chapter festivals/conferences). EdTA will hold an alternate qualifying event to help ensure that all Thespians have the opportunity to participate in the Thespys program. To participate in the alternate qualifying event, Thespians must meet at least one of these criteria:

• The Thespian’s assigned chapter does not conduct a qualifying event.

• The Thespian does not have an assigned chapter based on their school’s mailing address.

• The Thespian’s chapter director gives written permission to EdTA for the Thespian to participate. All permissions should be sent to thespys@schooltheatre.org

How to Enter the Alternate Qualifying Event

1 2

Submit the Adjudication Form Digital and Entry Materials.

Carefully review the rules and requirements in this document for each category to avoid disqualification. Entries will be accepted from March 31-April 13, 2025.

Scores will be released

April 18, 2025.

Thespians who earn superior overall ratings advance to the final round of the Thespy Awards. Visit the Alternate Qualifying Event page at Thespys.org for more information.

Final Round Of Adjudication

At the International Thespian Festival

Thespians who earn superior overall ratings in an approved Thespy category at a qualifying event are invited to the final round of the Thespy Awards, held during the International Thespian Festival (ITF) each year in June.

To participate in the Thespys in person, qualified Thespians must be registered for ITF, purchase the Thespy Add-On, have submitted a Thespy adjudication form, and their primary adult leader must be checked in on campus at Indiana University Bloomington no later than 8 a.m. June 23, 2025. Failure to arrive and be checked in by this time may result in disqualification. Visit itf.schooltheatre.org for more information about registering students for ITF and the Thespy Awards.

Students unable to attend ITF in person can register for virtual adjudication and submit digital entries to be adjudicated in the final round. Students must be registered by a troupe director (or by an adult guardian/primary adult leader if a student’s troupe is not planning on attending ITF). Note: By submitting a performance or technical Thespy video for virtual adjudication, you grant EdTA permission to use it for promotional purposes, including but not limited to Thespys and ITF promotional use.

Thespians may submit entries for any approved Thespy category for which they earned an overall superior rating at their chapter, regional, or alternate qualifying event (eligibility guidelines must be met). However, Thespians may move to the final round of adjudication with one entry per category (if their chapter allows for more than one entry per category, the Thespian must choose only one qualified entry to advance forward with). When advancing to the final round, Thespians must present the same work they qualified with at the chapter, regional, or alternate qualifier, though refinements can (and should) be made to the presentation or performance to incorporate feedback given in earlier rounds of adjudication.

On rare occasions, schools working together may want to submit an entry featuring students from two (2) or more troupes. The primary adult leader attending ITF with the students must fill out the multiple troupe Thespy request form by April 13, 2025 to be considered. Approval from EdTA must be given before the troupe director submits the Thespy application for ITF.

Adjudication & Feedback

Adjudication will take place in person for any Thespian registered to attend ITF on campus at IU Bloomington and digitally for any Thespian registered for virtual Thespy adjudication. Some categories may require that materials be submitted digitally in advance of ITF, like Playwriting and Short Film. Read your category’s specific rules carefully.

Each entry will be reviewed by a panel of adjudicators. Adjudications in the final round take place in closed sessions. Video/audio recording are not allowed. Scores and feedback will be released to the person who originally created the Thespy adjudication form following the ITF registration process. That person will be notified via email when scores are released for viewing.

While the rules and guidelines for digital submissions are largely the same as in-person adjudication for each category, Thespians are encouraged to recognize and prepare for the inherent differences in presenting their categories digitally. Thespians should optimize their submissions for the online format to receive the best feedback and scores. Video submissions must be filmed specifically for Thespy adjudication –production videos of full performances or rehearsals are not allowed, and official program rules still apply. (See “Official Program Rules” on pgs. 16-19 and check out best practices for filming video submissions on the FAQ page at Thespys.org.)

Substitution Policy

Only inducted Thespians who earned superior overall ratings at chapter, regional, or alternate qualifying events are eligible to participate in the final round of adjudication at ITF. Substitutions are not permitted in any solo, duet, or technical category.

Qualified entries from the Group Musical Theatre Performance, Group Musical Theatre Dance, and Group Acting categories may enter the final round of adjudication at ITF with fewer performers (if appropriate for the material) or with substitutions if some of the original students are unable to participate in person. This is not intended to allow completely different groups to perform at different levels of adjudication; please contact thespys@schooltheatre.org if a group needs to substitute more than two students. Substitutions will be considered on a case-by-case basis.

How to Participate at ITF

Thespians may participate in any approved Thespys category in which they earn a superior overall rating at a qualifying event. However, Thespians may move to the final round of adjudication with one entry per category (if their chapter allows for more than one

IMPORTANT!

entry per category, the Thespian must choose only one qualified entry to advance forward with). Troupe directors (or adult guardians/primary adult leaders) must complete the following steps for all qualifying students they are bringing to ITF.

Students will not be scheduled for adjudication unless the Thespy adjudication form is completed by May 14, 2025.

Register Qualified Thespians for The International Thespian Festival.

Primary adult leaders must arrive on campus at IU Bloomington check in at registration no later than 8 a.m. on June 23, 2025. 1 2 3 4 5

Register and select the $50 Thespys add-on no later than May 7, 2025. Fees and parental consent must be submitted at the time of registration.

Complete Thespy Adjudication Form.

Complete one Thespy adjudication form for each entry (solo, duet, or group) to be adjudicated no later than May 14, 2025.

Confirm Performance Eligibility.

Visit the Rights and Licensing page for information on how to ensure permission has been granted for your performance piece. Failure to comply with the rights and licensing procedures may result in disqualification.

Submit Materials.

Students registered for virtual adjudication and all students submitting in Playwriting or Short Film categories must submit digital in advance of ITF, by May 14 2025.

Show Up!

Thespy Awards Showcase Performance Aliya Levin | Colorado Thespians Troupe 5869 | Denver School of the Arts

Recognition Highlights from the Adjudications at ITF

The Thespy Awards are presented during the International Thespian Festival. Attendees gather to celebrate Thespians’ hard work and give special praise to those who earned superior ratings and those who achieved the highest scores in each category – the Thespy Award winners. As part of the entertainment,

selected high-scoring performances, technical designs, and plays and films may be showcased.

High scoring Thespians may be invited to callbacks, interviews, and/or other opportunities for recognition during the week of ITF. Details will be shared online in advance of ITF.

Thespy Award for Group Acting | Raven Washington, Khalijah Williams, Calen Johnson, and Brianna Emilien Texas Thespians | Troupe 8365 | Benjamin O. Davis Jr. Sr. High School

Awards Presentation

Superior-rated students and Thespy Award winners will receive pins and/or medals that recognize their outstanding achievement. During the awards presentation, superior-rated Thespians are celebrated, and the top-scoring superior-rated student(s) in each category are recognized with a Thespy Award. High scorers may also be featured in press releases, online, or in other EdTA programs as opportunities arise.

Scholarship Opportunities

Qualified Thespy finalists are eligible to apply for Thespy-related scholarships. For the most up-do-date information about scholarships, visit foundation.schooltheatre.org.

Grace Kelly College Scholarship Recipients

Official Program Rules

Important Information You Need to Know

The following rules are overarching and apply to all Thespy categories. Additional category-specific rules can be found following this section and at Thespys.org. It is imperative that participants read and understand all rules in order to be successfully adjudicated at any Thespy Awards event. Failure to follow any of the guidelines in this document may result in disqualification.

Ideally, the following rules are the same at your chapter qualifying event. However, be sure to check with your chapter Thespy official or chapter director to determine the rules for your chapter or regional qualifying event.

1 Approved Material & Performance Rights

All participants must follow the official policies agreed upon by EdTA the licensing agencies listed on the Rights and Licensing page. Obtaining the rights to produce a title at your school as part of its theatrical season does not automatically grant students from that school permission to use selections from that title in Thespy adjudication. Be sure to follow these guidelines:

Musical Theatre Performance & Dance Categories

The performance of a song from a published musical score is considered fair use in Thespy adjudication so long as the licensing agency who holds the performance rights to the musical approves of its use. Visit the Rights and Licensing page for the most up-to-date information on confirming performance eligibility. Songs that are not from a published musical (e.g., songs from a musical film; pop songs that do not appear in a published musical) are not allowed for Thespy adjudication.

Acting Categories

The performance of a monologue or scene from a published work written for the theatre (play or musical) is considered fair use so long as the licensing agency who holds the performance rights to the play approves of its use. Visit the Rights & Licensing page for the most up-to-date information on confirming performance eligibility. Monologues that are not from a published play (e.g., from a monologue book or collection; poetry; works of fiction) are not allowed for Thespy adjudication.

Technical Categories

Technical presentations of theoretical or realized production elements and designs for published plays and musicals are not subject to approval from licensing agencies and therefore considered fair use for Thespy adjudication. Thespians must prepare technical presentations for published plays or musicals; designs and presentations for original works or for non-theatrical works (e.g., poetry, works of fiction, screenplays, television, concerts, or any other medium) are not permitted. In their presentation, Thespian should address questions such as:

• What are some of your responsibilities in your field?

• How did the director’s concept influence your designs?

• How did the style of the play affect your designs?

• If the production was realized, what challenges did you face in unifying the director’s concept across all areas of your work?

• If you had more time or resources, what would you change?

• What would you be willing to compromise in your design if you had to?

• What was your inspiration and how did you research it?

The Use of Artificial Intelligence (AI)

As AI continues to evolve and become a regular part of creative processes, it is recommended that educational programs put in place policies and procedures as needed to ensure the responsible, ethical, and transparent use of AI generative tools.

Educators, coaches, advisors, and directors should work to balance the opportunities of generative AI with the need for preservation of the student’s original voice. While further exploration of AI’s role in the performing arts can offer exciting new possibilities, it is essential for all involved to remain mindful of the boundaries and responsibilities that come with this powerful technology.

In Thespy adjudications, AI may be used as a collaborative or starting tool as long as the processes and tools are clearly declared in the presentation of the work. AI-generated images, video, and audio must avoid the use of copyrighted material. The final creative products and the processes by which the participants arrived at those products should be completed by the participants themselves, with all choices justified if questioned by the adjudicators in the Q&A portion of the presentation.

2 Slating

For all categories except Playwriting and Short Film, Thespians must begin their presentation with an introduction known as a slate. The slate is not part of the performance or presentation, but simply an informative introduction to the piece. This is an opportunity for students to be themselves and address the adjudicators in a comfortable, polite, and brief manner. The slate should include the following information:

• The Thespian’s name (or names, for duet and group categories)

• Troupe number

• Title of selection being performed or work being showcased (e.g., “Don’t Rain on My Parade” from Funny Girl for a Solo Musical Theatre Performance entry or Belle’s ballgown from Beauty and the Beast for a Costume Construction entry)

• Name of the playwright(s) and/or composer(s)

A slate might sound like this:

“Hello. My name is John Smith from Troupe 561 and I’ll be performing ‘Oh, What a Beautiful Mornin’’ from Oklahoma! by Richard Rodgers and Oscar Hammerstein II.”

Or this:

“Hi. My name is Jennifer Johnson representing Troupe 1101, and I’m going to share my lighting design for A Midsummer Night’s Dream by William Shakespeare.”

Scripts and films developed for the Playwriting and Short Film categories should speak for themselves. Adjudicators receive these materials in advance so they can review the work fully and score it appropriately. Therefore, no slate is necessary.

Time Limits

After the slate, time begins with the first word, musical note, or acting beat (if it precedes the first word or note) of the presentation. At the end of the time limit, the room monitor will raise their hand. At this point, the Thespian must stop or risk being disqualified. After ten (10) seconds, the room monitor will say, “Time.” After twenty (20) seconds, the room monitor will say, “Stop.” Any Thespian who exceeds the time limits below may be disqualified. (See Disqualification, pg. 19.)

Category Time Limit

Solo Acting 3 minutes

Duet and Group Acting 5 minutes

Musical Theatre Performance and Dance (solo, duet, and group) 5 minutes

Short Film 5 minutes + 1 minute for credits

All Technical Categories

5-8 minutes + 4 minutes optional Q&A with adjudicators

4 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. 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, costumes, and props are not permitted.

• Avoid wearing distracting items such as large, dangling jewelry, light-up footwear, or fashionably distressed clothing.

Note: If selected for a Thespy Awards Showcase, Thespians are permitted to dress in alternate attire. Performers are not restricted to the dress code required for adjudication in a showcase setting. Performers may consult with the director/producers of the showcase if any questions about apparel arise.

Diversity, Equity, Inclusion & Accessibility

Race, ethnic origin, gender, sexual orientation, body type, and/or disability should not influence an 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 may 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 in the script without the express written consent from the rights holder.

Deaf and hard of hearing Thespians may use a conductor (adult or student) in Musical Theatre Performance and Dance categories to guide tempo. View a revised rubric for this instance.

If a Thespian has a question or concern about the adjudication process as it relates to DEIA, or if a participant attending the final round of adjudication at ITF requires an accommodation, please email thespys@schooltheatre.org.

Disqualification

The International Thespian Excellence Awards program is meant to challenge, inspire, and educate Thespians. As noted throughout this document, there are very clear rules to ensure equity among all participants. Violations of these rules can lead to disqualification at any level of adjudication. Disqualifications in the final round of adjudication will be ruled on by a member of the EdTA staff and require unanimous recommendation from the adjudication panel and the EdTA staff member.

Direct all appeals, questions, and requests for clarification to thespys@schooltheatre.org. Please include all relevant details including the name of the student, their school’s name, their troupe number, the location of the adjudication, and detailed information about the issue that led to disqualification.

Thespy Award for Group Musical Theatre Performance Skyler Captain, Jackson Limberis, and Fisher Cooley Louisiana Thespians | Troupe 11520 | Calcasieu Theatrical Arts

Category-Specific Rules & Rubrics

Additional Important Rules for Thespys Categories

Acting (Solo, Duet & Group)

What to Prepare: Solo Acting

In a Solo Acting performance, the Thespian must 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.

*Note: If your chapter event does not require two (2) contrasting monologues, it is not an official qualifying event for this category. Check with your chapter director about entering the Alternate Qualifying Event in order to be able to continue to the final round of adjudication. (See Alternate Qualifying Event, pg. 10.)

Acceptable Material

Review the Rights and Licensing page to ensure that the chosen material is eligible to be performed for Thespys adjudication. Purchasing a playscript or libretto does not secure the rights to perform the work.

“Contrasting” means that the selections may be different in period, style, mood, etc.

The combining of multiple characters’ lines to create a monologue is not allowed. Monologues should be composed of only one character’s lines.

Scenic Elements

One (1) chair may be safely used during the performance. No other scenic elements, furniture, or props 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 should take this into consideration when rehearsing their entry in case adjustments to blocking are needed.

What to Prepare: Duet & Group Acting

In a Duet or Group Acting performance, the 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.

Number of Performers

Thespians may present duet or group performances.

• Duet: Two (2) performers.

• Group: Three to sixteen (3-16) performers.

In each case, every participant must be actively involved in the scene chosen for performance.

Acceptable Material

Scenic Elements

The following number of chairs and tables may be safely used in Acting adjudications:

• Duet: Two (2) chairs

• Group: Up to six (6) chairs and one (1) table.

No other scenic elements, furniture, or props 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 adjustments to blocking are needed.

Skills Measured: All Acting Categories

In all acting categories, the skills measured by the adjudicators during the performance 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

Thespy Awards Showcase Performance Trevor Axelrod and Matthew Arradaza California Thespians | Troupe 909 | Palo Alto High School

Acting Rubric

Solo Duet Group

Students:

Selection:

For internal use only

School:

Troupe:

Acting Transitions

Slating that includes articulation of name and selection, transition into and between characters, final moment, and transition out of character into exit.

Comment:

Clear articulation of name and selection; intuitive transition into and between characters, distinctive final moment and transition out of character into exit.

Clear articulation of name and selection; recognizable transition into and between characters, final moment and into exit.

Moderately clear articulation of name and selection; transition into and between characters and/ or final moment may or may not be present

Unclear articulation of name and selection; transitions into and between characters and/ or final moment are not evident

Characterization

Emotional and physical believability and commitment to character; choices or tactic towards an objective that create a relationship with real or implied partner(s).

Comment: Voice

Projection, articulation, intonation, and other chosen vocal techniques that reflect the character’s emotions and subtext.

Character is consistently emotionally and physically believable; committed choices and tactics toward an objective prompt intuitive reaction to real or implied partner(s).

Character is frequently emotionally and physically believable; committed choices and tactics toward an objective prompt identifiable reaction to real or implied partner(s).

Character is infrequently emotionally and physically believable; choices and tactics toward an objective prompt some reactions to real or implied partner(s). Character is rarely emotionally and physically believable; choices, tactics, objectives and a relationship to a real or implied partner(s) are not evident.

Vocal projection is appropriately varied, and dialogue is consistently clearly articulated throughout; use of pitch, tempo, tone, and inflection communicate the character’s emotions and subtext.

Vocal projection is appropriately varied, and dialogue is frequently clearly articulated; use of pitch, tempo, tone, and inflection usually communicate the character’s emotions and subtext.

Vocal projection and clearly articulated dialogue are inconsistent; use of pitch, tempo, tone, and inflection sometimes communicate the character’s emotions and subtext.

Vocal projection and articulated dialogue are limited or absent; use of pitch, tempo, tone, and inflection rarely communicate the character’s emotions and subtext.

Comment:

Movement/Staging

Gestures, facial expressions, movements, and actions that communicate the character’s emotions and subtext.

Comment:

Gestures and facial expressions consistently communicate appropriate character emotions and subtext; blocking is varied, purposeful, and reflects the character’s emotions and subtext.

Gestures and facial expressions communicate appropriate character emotions and subtext; blocking is purposeful and reflects the character’s emotions and subtext.

Gestures and facial expressions sometimes communicate the character’s emotions and subtext; blocking generally reflects the character’s emotions and subtext.

Gestures and facial expressions are limited or absent and rarely communicate the character’s emotions and subtext; blocking usually does not reflect the character’s emotions and subtext.

Execution

Concentration and commitment to moment- to- moment choices; integration of voice, body, and emotions create a believable character/ relationship that tells a story.

Comment:

Concentration and commitment to momentto- moment choices are sustained throughout the performance; integration of voice, body, and emotions create a believable character/ relationship that tells a story.

Judge’s Name (Please Print)

Concentration and commitment to moment- to-moment choices are sustained throughout most of the performance; integration of voice, body, and emotions create a frequently believable character/ relationship that tells a story.

Concentration, and commitment to moment- to-moment choices are inconsistently sustained; integration of voice, body, emotion choices create a sometimes-believable character/relationship that tells a story.

Concentration and commitment to moment- to-moment choices are limited or absent; voice, body, emotion choices rarely create a believable character/ relationship that tells a story.

Judge’s Signature

Attention Tabulation Room: Please note the following:

Timing Issue: (__________mm__________ss)

Rule Violation: ______________________________________________________________________________________; ______________________________________________________________________________________;

Other Comments: _____________________________________________________________________________________

This rubric should not be considered an assessment of student learning. However, it can serve as a model for designing curriculum-based performance assessments and for this reason, alignment to the National Core Standards has been indicated on this form.

For examples of standards aligned to the Thespys rubrics, see the alignment chart on EdTA’s Learning Center: http://learn.schooltheatre.org/thespys-standards-alignment

To access the full descriptions of the above and all the Core Theatre Standards go to: www.nationalartsstandards.org

Optional aligned state standards: ______________________________________________________________________________________ State standards website: ___________________________________________________________________________________________

Costume Construction

In a Costume Construction adjudication, 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.

In the Adjudication Room

Presentation

The Thespian must prepare a five to eight (5-8)minute presentation showcasing and summarizing their work. The presentation should walk the adjudicators through the process of conceptualization, collaboration, and design decision-making using the specific items listed under “Required Materials” below.

In addition, the Thespian should address the general questions found on pgs. 16-17 as well as categoryspecific topics such as:

• What significant challenges did you face while constructing this costume?

• Were you also responsible for designing the costume? If so, justify the choice of fabrics, colors, and embellishments.

• If you did something differently than the pattern suggested, why?

• If the show was realized, how well did the costume function for the actor? Did you have issues with fitting the actor or with the costume tearing during a performance? How did you fix it?

Required Materials

The following materials must be prepared and used by the Thespian during the adjudication presentation:

A fully constructed costume for use in a play or musical that reflects the Thespian’s capabilities and strengths, using a publicly available or personally designed pattern.

• Construction must be completed by the Thespian and demonstrate skilled use of the appropriate construction method (i.e., hand sewing, machine stitching, building millinery, 3-D modeling, etc.).

• 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. (Replica garments of Broadway costumes are not allowed.) If non-original material is used, sources must be cited and receipts of purchased materials (like a pattern) must be included in the presentation.

• The garment should be presented on a hanger or mannequin. If the item is an accessory, it may be presented in a box. The Thespian should not wear the costume during the presentation.

• The costume must fit the person or model for which it was built. The costume may be designed to fit the participant. If the item did not fit as planned, the Thespian should indicate how this problem was solved during the presentation.

Additional support materials presented in a binder or digitally (the Thespian must provide their own equipment for viewing). Any digital presentation must display the work so that the adjudicators can see details during the presentation. These materials must include:

• Research, including:

• Summary of given circumstances from the script that apply to this category

• 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.

Alternatively, a pattern designed by the participant may be used, and must be included in the support materials.

• If any other source other than a commercial pattern or an original creation is used, include credit and cite the source in your presentation. (e.g., YouTube video, re-enactors site, AI generation, costumer’s textbook, etc.). Costume pieces, accessories, or notions that are created rather than sewn, such as 3-D printed accessories, must be detailed.

• 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). If showcasing millinery work, the budget limit is $50. If submitting both a garment and a millinery item, the total limit is $150.

• 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 this is the case, the value of the donated materials must be determined, documented, and noted on the expense sheet.

• Costume production photo series that focuses on the process of building the costume item (laying out the pattern, cutting and draping the fabric, etc.).

• Include process photos used to document and reflect on the construction of the garment itself (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 to fit.

Optional Materials

The Thespian may bring in photo boards or other visual aids to display along with the costume and additional support materials. The Thespian may also provide an optional written response to share additional information about the costume with the adjudicators.

Question & Answer Session

Following the presentation, a 4-minute Q&A session will commence in which the adjudicators may ask any questions about the design and execution process or the additional support materials included.

Skills Measured

The skills measured by the adjudicators during the presentation are:

• Sewing and construction skills, including application of sewing techniques, pattern use, fitting of the final garment to self or another model

• Attention to detail

• Ability to demonstrate an understanding of the artistic, functional, and practical constraints that impact construction 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 costume’s construction

• Ability to document, present, and clearly explain and justify the process of constructing the costume and the costume’s functionality

Costume Construction Rubric

Students:

Selection:

For internal use only

School:

Troupe:

Presentation

Explanation of the executed design, unifying concept, creative decisions, and process.

Comment:

Presentation thoroughly explains the functional and aesthetic role of the constructed garment, unifying concept, and creative process, with compelling examples

Presentation explains the functional and aesthetic role of the constructed garment, unifying concept, and creative process, with appropriate examples

Presentation partially explains the functional and aesthetic role of constructed garment, unifying concept, and creative process, with cursory examples

Presentation fails to explain the functional and aesthetic role of the constructed garment, unifying concept, and/or creative process.

Research

Evidence of research of the given circumstances of the script as well as artistic and practical needs which impact the design.

Comment:

Evidence of extensive research into the character, time, period, mood, style, genre, and functionality.

Evidence of thorough research into the character, time, period, mood, style, genre, and functionality.

Evidence of incomplete research into the character, time, period, mood, style, genre and/or functionality.

Interpretation

Construction choices merge the unifying concept with the maker’s unique vision.

Comment:

Detailing choices powerfully enhance and communicate the mood, style, period, locale, and genre of the script, and bring the character to life

Design Justification

Connecting the construction choices with the needs of the production and artistic and practical considerations.

Comment:

Construction choices are justified by detailed explanations of all budgetary, practical and artistic considerations.

Detailing choices communicate the mood, style, period, locale, and genre of the script and inform the character

Detailing choices somewhat communicate the mood, style, period, locale, and genre of the script and suggest the character.

Little or no evidence of research.

Construction choices are justified by explanations of budgetary, practical, and artistic considerations.

Construction choices are mentioned with some limited explanations of budgetary, practical, and artistic considerations.

Detailing choices fail to communicate the mood, style, period, locale, genre of the script or the character.

Fails to justify construction choices and/or connect to practical and artistic considerations.

Execution

Garment and products presented convey ideas and choices that support the script and unifying concept.

Comment:

Garment construction and production collage demonstrates precision and meticulous attention to detail; expertly reproducing the design.

Judge’s Name (Please Print)

Garment construction and production collage demonstrates skills and attention to detail; accurately reproducing the design.

Garment construction and production collage demonstrates limited skill and attention to detail; and/or partially reproducing the design.

Garment construction and/ or production collage lack detail or are missing and/ or fails to reproduce the design.

Judge’s Signature

Attention Tabulation Room: Please note the following:

Timing Issue: (__________mm__________ss)

Rule Violation: ______________________________________________________________________________________;

Other Comments: _____________________________________________________________________________________

For examples of standards aligned to the Thespys rubrics, see the alignment chart on EdTA’s Learning Center: http://learn.schooltheatre.org/thespys-standards-alignment

To access the full descriptions of the above and all the Core Theatre Standards go to: www.nationalartsstandards.org Optional aligned state standards: ______________________________________________________________________________________ State standards website: ___________________________________________________________________________________________

Costume Design

In a Costume Design adjudication, 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.

In the Adjudication Room

Presentation

The Thespian must prepare a five to eight (5-8)-minute presentation showcasing and summarizing their work. The presentation should walk the adjudicators through the process of conceptualization, collaboration, and design decision-making using the specific items listed under “Required Materials” below. In addition, the Thespian should address the general questions found on pgs. 16-17 as well as categoryspecific topics such as:

• What role(s) did the other design elements play in designing the costumes for this production? Did they present any challenges? If so, how did you overcome them?

• How does your costume relate to and/or support the unifying concept of the production?

• If theoretical, discuss and justify your design budget for these costumes. Is it realistic for a typical high school theatre program? If not, why?

• If realized, justify the cost of the costumes and share how they worked within the overall budget of the production.

Required Materials

The following materials must be prepared and used by the Thespian during the adjudication presentation:

Five (5) costume renderings. No more than five (5) renderings are allowed; no finished costumes are allowed. The renderings can feature five (5) different characters or a single character through five (5) costume changes.

• 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. Template or traced character forms are permitted.

• Renderings may be hand-drawn or computergenerated but must include the tool used in the title block (e.g., hand-sketched colored pencil, watercolor, Procreate, etc.).

• Renderings may be presented on a display board or alongside the additional support materials in a binder or digital format (see #2 on the following page). The board, page, or digital slide should be clearly and neatly labeled with a title block that contains the following information:

• Title of play or musical

• Authors and composers (as applicable)

• Name of performance venue and performance dates (if realized)

• Character’s name and the act(s) and scene(s) in which the costume appears

• Participant’s name and troupe number

• Tool used to create the rendering (e.g. hand-sketched colored pencil, watercolor, Procreate, etc.)

• Swatches must be included for each rendering, attached to the board or presented with the additional support materials.

• Design statement no longer than one (1) page that includes:

• Unifying production design concept

• Theme of the show/recurring motifs

• Research, including:

• Summary of given circumstances from the script that apply to this category

• 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)

• Budgetary requirements or other constraints and considerations.

• Preliminary sketches/first concept drawings to show where the designs started and how they grew.

• Costume plot for the chosen character(s), showing costume changes and indicating when they happen.

Optional Materials

The Thespian may bring in photo boards or other visual aids to display along with the renderings and additional support materials. The Thespian may also provide an optional written response to share additional information about the design with the adjudicators.

Question & Answer Session

Following the presentation, a 4-minute Q&A session will commence in which the adjudicators may ask any questions about the design and execution process or the additional support materials included.

Skills Measured

The skills measured by the adjudicators during the presentation are:

• Ability to demonstrate an understanding of the costume design process

• Ability to demonstrate an understanding of the artistic, functional, and practical constraints that impact design and the relationship to a unifying concept

• Ability to research and understand the connection between style, period, locale, genre, and other historical and cultural influences on design choices

• Ability to document, present, and clearly explain and justify design choices.

Costume Design Rubric

Student(s):

Selection:

Presentation

Explanation of the executed design, unifying concept, creative decisions, and process.

Presentation thoroughly explains the functional and aesthetic role of the executed design and the creative process, demonstrating an in depth understanding of their contribution to the unifying concept.

Comment: Research

Evidence of research of the given circumstances of the script as well as artistic and practical needs which impact the design.

Comment:

Comprehensive and detailed research addresses the artistic and practical needs of the production and illuminates the unifying concept.

Presentation explains the functional and aesthetic role of the executed design, and the creative process, demonstrating an understanding of their contribution to the unifying concept.

For internal use only

School:

Troupe:

Presentation offers a limited explanation of the functional and aesthetic role of the executed design and/or creative process, demonstrating a partial understanding of their contribution to the unifying concept.

Presentation offers little or no explanation of the creative process and/or fails to explain the executed design and their contribution.

Interpretation

Design choices merge the unifying concept with the designer’s unique vision.

Comment:

Design choices powerfully enhance and communicate the mood, style, period, locale, and genre of the play, and demonstrate a unique voice.

Thorough research addresses the artistic and practical needs of the production and aligns with the unifying concept.

Limited research partially addresses the artistic and practical needs of the production and/or inconsistently supports the unifying concept.

Design choices communicate the mood, style, period, locale, and genre of the play and align with the given circumstances.

Design Justification

Connecting the design choices to the artistic and practical needs of the production.

Comment:

Comprehensive explanations justify the design choices, illuminating the connection between the artistic and practical needs of the production.

Appropriate explanations justify the design choices and demonstrate the connection with the artistic and practical needs of the production.

Design choices partially communicate the mood, style, period, locale, and genre of the play and do not distract from the given circumstances.

Research fails to address the artistic and practical needs of the production and/ or lacks alignment with the unifying concept.

Design choices fail to communicate the mood, style, period, locale, and genre of the play; choices may or may not support the given circumstances.

Partial explanations somewhat connect the design choices with the artistic and practical needs of the production.

Limited explanations fail to make the connection between the design choices and the artistic and practical needs of the production.

Execution

Products presented convey ideas and choices that support the script and unifying concept.

Comment: Rating

Detailed products communicate and enhance artistic ideas and choices to provide exceptional support for the script and unifying concept.

Judge’s Name (Please Print)

Products communicate artistic ideas and choices that support the script and unifying concept.

Products partially communicate artistic ideas and choices and/or inconsistently support the script and unifying concept.

Products lack a clear focus and/or fail to support the artistic ideas and choices, script and/or unifying concept.

Judge’s Signature

Attention Tabulation Room: Please note the following:

Timing Issue: (__________mm__________ss)

Rule Violation: ______________________________________________________________________________________;

Other Comments: _____________________________________________________________________________________

For examples of standards aligned to the Thespys rubrics, see the alignment chart on EdTA’s Learning Center: http://learn.schooltheatre.org/thespys-standards-alignment

Lighting Design

In a Lighting Design adjudication, the Thespian must prepare and present lighting 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.

In the Adjudication Room

Presentation

• How did you use lighting design to help tell the story? Give a specific example and explain the thought process that went into generating your design.

• What role(s) did the other design elements play in designing the lighting for this production?

• What was the biggest lighting-specific challenge you had to overcome while working on this design?

• If you could change one part of the design or the process, what would it be and why?

Required Materials

The following materials must be prepared and used by the Thespian during the adjudication presentation:

Light plot indicating all information necessary to ensure a clear understanding of the designer’s intentions and large enough for the adjudicators to see the details.

• The light plot may be printed or digital.

• The scale used for the light plot should be ¼-inch or ½-inch = 1 foot.

• The location and identification of every instrument, accessory, and specialty unit should be represented on the light plot, along with the following information (as applicable): color medium, set and masking, areas, lighting positions with labels, type of instruments, unit numbers, circuits, channels, focus/purpose, gobos/patterns/templates, practicals, specialty instruments (moving lights, foggers, hazers, fans, relays, etc.), instrument key.

• All documentation should be clearly and neatly labeled with a title block that contains the following information:

• Title of play or musical

• Authors and composers (as applicable)

• Name of the performance venue for which the plot was designed and performance dates (if realized)

• Scale

• Participant’s name and troupe number

2

• Design statement no longer than one (1) page that includes:

• Unifying production design concept

• Theme of the show/recurring motifs

• Research, including:

• Summary of given circumstances from the script that apply to this category

• 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)

• Instrument schedule/channel hookup that includes (as needed) channel, position, instrument type, purpose/area, color/gobo, dimmer/address.

• Magic sheet/cheat sheet that includes lighting areas, set pieces, and where each instrument is aimed.

• Representative sample of the script with cues indicated.

• Cue list that includes cue number, time up, follow, look, cue/cue line, and additional notes as needed.

• One of the following two options:

1. If the production was theoretical, three light renderings that include a description of the use of intensity, color, movement, directionality, and/or quality of light to communicate to the adjudicators both meaning and mood during the scene, as appropriate.

2. If the production was realized, a photo series or short video (no longer than 1 minute) that highlights three lighting cues.

Optional Materials

The Thespian may bring in photo boards or other visual aids to display along with the light plot and additional support materials. The Thespian may also provide an optional written response to share additional information about the design with the adjudicators.

Question & Answer Session

Following the presentation, a 4-minute Q&A session will commence in which the adjudicators may ask any questions about the design and execution process or the additional support materials included.

Skills Measured

The skills measured by the adjudicators during the presentation are:

• Ability to demonstrate an understanding of the lighting design process

• Ability to demonstrate an understanding of the artistic and practical constraints that impact design and the relationship to the unifying concept

• Basic understanding of the technology/ equipment needed to implement and support the design

• Ability to research and understand the connection between style, period, locale, genre, and other historical and cultural influences and design choices

• Ability to document, present, and clearly explain and justify design choices

Lighting Design Rubric

Student(s):

Selection:

Presentation

Explanation of the executed design, unifying concept, creative decisions, and process.

Comment: Research

Evidence of research of the given circumstances of the script as well as artistic and practical needs which impact the design.

Comment:

Comprehensive and detailed research addresses the artistic and practical needs of the production and illuminates the unifying concept.

Presentation explains the functional and aesthetic role of the executed design, and the creative process, demonstrating an understanding of their contribution to the unifying concept.

For internal use only

School:

Troupe:

Presentation offers little or no explanation of the creative process and/or fails to explain the executed design and their contribution.

Interpretation

Design choices merge the unifying concept with the designer’s unique vision.

Comment:

Design choices powerfully enhance and communicate the mood, style, period, locale, and genre of the play, and demonstrate a unique voice.

Thorough research addresses the artistic and practical needs of the production and aligns with the unifying concept.

Limited research partially addresses the artistic and practical needs of the production and/or inconsistently supports the unifying concept.

Design choices communicate the mood, style, period, locale, and genre of the play and align with the given circumstances.

Design Justification

Connecting the design choices to the artistic and practical needs of the production.

Comment:

Comprehensive explanations justify the design choices, illuminating the connection between the artistic and practical needs of the production.

Appropriate explanations justify the design choices and demonstrate the connection with the artistic and practical needs of the production.

Design choices partially communicate the mood, style, period, locale, and genre of the play and do not distract from the given circumstances.

Research fails to address the artistic and practical needs of the production and/ or lacks alignment with the unifying concept.

Design choices fail to communicate the mood, style, period, locale, and genre of the play; choices may or may not support the given circumstances.

Partial explanations somewhat connect the design choices with the artistic and practical needs of the production.

Limited explanations fail to make the connection between the design choices and the artistic and practical needs of the production.

Execution

Products presented convey ideas and choices that support the script and unifying concept.

Comment: Rating

Detailed products communicate and enhance artistic ideas and choices to provide exceptional support for the script and unifying concept.

Judge’s Name (Please Print)

Products communicate artistic ideas and choices that support the script and unifying concept.

Products partially communicate artistic ideas and choices and/or inconsistently support the script and unifying concept.

Products lack a clear focus and/or fail to support the artistic ideas and choices, script and/or unifying concept.

Judge’s Signature

Attention Tabulation Room: Please note the following:

Timing Issue: (__________mm__________ss)

Rule Violation: ______________________________________________________________________________________;

Other Comments: _____________________________________________________________________________________

For examples of standards aligned to the Thespys rubrics, see the alignment chart on EdTA’s Learning Center: http://learn.schooltheatre.org/thespys-standards-alignment

Makeup Design

In a Makeup Design adjudication, 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.

In the Adjudication Room

Presentation

In addition, the Thespian should address the general questions found on pgs. 16-17 as well as categoryspecific topics such as:

• What research did you do to arrive at the final makeup look?

• How do you apply the makeup or style the hair to achieve the desired look?

• If the production was realized, were you responsible for applying the makeup or teaching the actors how to apply it on themselves? If the latter, what challenges did you overcome while teaching the actors how to apply the look?

Required Materials

The following materials must be prepared and used by the Thespian during the adjudication presentation:

1

Five (5) makeup renderings. No more than five (5) renderings are allowed; no live makeup applications are allowed (i.e., do not wear the makeup design into the adjudication room). The renderings can feature five (5) different characters or a single character through five (5) looks.

• Renderings may be hand-drawn or computergenerated, but must include the tool used in the title block (e.g., hand-sketched colored pencil, watercolor, Procreate, etc.).

• Renderings may be presented on a display board or alongside the additional support materials in a binder or digital format (see #2 below). The board, page, or digital slide should be clearly and neatly labeled with a title block that contains the following information:

• Title of play or musical

• Authors and composers (as applicable)

• Name of performance venue and performance dates (if realized)

• Character’s name and the act(s) and scene(s) in which the look appears

• Participant’s name and troupe number

• Tool used to create the rendering (e.g. hand-sketched colored pencil, watercolor, Procreate, etc.)

• Design statement no longer than one (1) page that includes:

• Unifying production design concept

• Theme of the show/recurring motifs

• Research, including:

• Summary of given circumstances from the script that apply to this category

• 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)

• Budgetary requirements or other constraints and considerations.

• Preliminary sketches/first concept drawings to show where the designs started and how they grew.

• Application techniques used within the design.

• Makeup plot for the chosen character(s), indicating who wears what makeup when.

• If the design was realized, include a makeup application photo series that focuses on the process of creating one makeup look at various stages of application.

• Highlight specific techniques used to create the overall look.

• Include a photo of the finished makeup look.

Optional Materials

The Thespian may bring in photo boards or other visual aids to display along with the renderings and additional support materials. The Thespian may also

provide an optional written response to share additional information about the design with the adjudicators.

Question & Answer Session

Following the presentation, a 4-minute Q&A session will commence in which the adjudicators may ask any questions about the design and execution process or the additional support materials included.

Skills Measured

The skills measured by the adjudicators during the presentation are:

• Ability to demonstrate an understanding of the makeup design process

• Ability to demonstrate an understanding of the artistic and practical constraints that impact design and the relationship to the unifying concept

• Ability to research and understand the connection between style, period, locale, genre, and other historical and cultural influences and design choices

• Ability to document, present, and clearly explain and justify design choices

Makeup Design Rubric