University of Northern Colorado's production number, The Rocky Horror Picture Show, Conference 2007.

Colorado Individual Events Online Adjudication Forms

Musical Theatre - Solo	Acting - Monologue	Tech - Costume Design	Tech - Lighting Design
Musical Theatre - Duet	Acting - Duet Scene	Tech - Costume Construction	Tech - Marketing
Musical Theatre - Group	Acting - Group Scene	Tech - Stage Management	Tech - Scenic Design
Short Film	Acting - Mime		Tech - Sound Design

Teachers, Troupe Directors, and Adjudicators - Feel free to use these forms as a practice for the Conference Individual Events. You can save these forms to your computer or print them, but you cannot add them to your online record with Colorado Thespians. These are the officail adjudication forms that Colorado Thespians will begin using at the 2010 conferecne.

2010 Colorado State Thespian Conference Showcase Performance

High School

Thespian

Category

Troupe

Improv Frenzy

Part of being a great improviser is being able to stay calm while in the midst of the flurry and excitement surrounding a performance. Because you are not only acting, you are also writing your entire script as you go, and being able to focus and be in the moment with your fellow cast members is crucial. The Improv Frenzy will test the player’s ability to stay connected and perform fluidly by giving a completely fresh approach to what they currently know about improv.

The Improv Frenzy event will combine students from different schools on teams with people from other schools who have been working on playing the same games. A good improviser knows their stuff and is excited to jump into The Improv Frenzy and play with people they meet for the first time.

How the Improv Frenzy works:

• There is a limit of 25 teams who may participate in this event.
• Each school may submit one team of five students who have been working solidly on the games that will be scored by the Improv Frenzy moderators.
• The frenzy begins when the five players from each school are broken up and placed on a new team of five, consisting of students all from other schools. At the conference, each team will have 30 minutes to meet, warm up and go over the five games they will be playing together.
• Each game will be played in one of five rooms and each of those rooms is assigned a game. An Improv Adjudicator will enter each room to introduce and judge one of the five games the team will be playing. Teams will not know what game is going to be announced by each adjudicator. The adjudicator will simply show up in each room to announce which of the five games they are judging based on what the Improv Frenzy Moderator assigned to that adjudicator.
• The team with the highest accumulative score for the day will be announced Saturday afternoon at the conference’s closing ceremonies, and that team will perform their highest scoring game for the entire audience.

Points are awarded based on:

• Each group’s ability to play together as a cohesive unit. The four games in this event are to be played by all members of the team. Group participation and every individual’s ability participate in a way that helps build something unique, as a team, is essential. This most definitely includes being able to give and take focus in a way that is polite and helps you to share the stage without railroading one another.
• A group’s ability to follow the rules set forth by the Improv Frenzy coordinator. This is especially important, as many games are taught by different names or with slightly different rules. In order to maintain consistency across the board for the Improv Frenzy, it is imperative that all teams learn to play these games by the same rules.
• Being able to give and take focus when in a scene with new people. Since group participation is a high priority in this event, being able to share the stage without running over one another will be
• Ability to play each game within the allotted time limit.
• Playing at the top of their intelligence, i.e., no blue or shock value humor, please… & thank you!

Colorado Thespians is happy to announce our Improv Frenzy Coordinator, is the long-time state conference improv instructor Kerstin Caldwell from Gaining Perspective. All participants of The Improv Frenzy are highly welcomed and encouraged to contact Kerstin with any questions regarding how the Frenzy works or if you would like clarification of game rules. Kerstin can be reached via email at Kerstin or at 720-280-9824.  Improv Frenzy Rules and Events.

 Mountain Vista High School, Rosencrantz, and Denver School of the Arts, Parade. Conference 2007

2010 National and Colorado Individual Events Showcase

The Colorado (CIES) and the National Individual Events Showcase (NIES) is intended to be an educational program that offers Conference and Festival delegates whose troupes do not bring a show to Conference and Festival the opportunity (using the audition approach) to receive constructive feedback on prepared theatrical material and technical designs. The goal for participating students is to find their talent, strengths, and weaknesses and to grow as theatre artists. The auditions culminate in the selection of a performance showcase cast of outstanding entries.

Participants from up to twelve selected performance events will present their selections on main stage. Participants will also be selected from the technical events to participate in the showcase. Outstanding films will be shown during the Showcase. Because the showcase will be cast with representatives of the highest quality performances, not all categories may be represented.

Selected participants from technical events will have their designs prominently displayed in the theatre lobby. Outstanding films will be shown during the CIES & NIES Showcases. The following is a list of eligibility requirements and rules regarding Individual Events.

2011 Festival Guidelines for Individual Events, Colorado follows the National Festival Rules.

Rules

Rules for all performance and design events are as follows:

1. The performance events offered at Colorado State Thespian Conference and the International Thespian Festival are Monologue, Duet Acting, Solo Musical Theatre, Duet Musical Theatre, Group Musical Theatre, Group Acting, and Mime (solo or duet). The technical events offered are Costume Design, Costume Construction, Lighting Design, Publicity Design, Scenic Design, Short Film, Sound Design, and Stage Management. Some national events may not be offered at the Colorado conference due to budgetary restraints, but every attempt is made to offer as many as possible.
2. Each entrant is permitted to participate in only two events.
3. Entrants who qualify for NIES auditions through participation in a chapter Thespian conference must present the same work at both chapter and international levels. Other qualifying entrants are expected to present the works listed on their registration.
4. Substitutions are not allowed; those who qualified at a chapter conference (and who are listed on the registration form) are the only ones who are qualified to perform at Festival; however, in the category of Group Musical and Group Acting, drops will be allowed. No substitutions are permitted in any category.
5. No theatrical makeup is allowed in any event. Costumes are not allowed. Participants should dress as they would for a general audition or interview. The wearing of appropriate footwear is strongly encouraged in all events. In duet and group events, an actor wearing dance wear and coordinated clothing of combinations of black and white or colors is acceptable if, in the opinion of the judges, it does not costume the character in a traditional way (appropriate to the time and place of the piece as written). Care should be taken to avoid replicating a non-traditional costume style associated with the selection.
6. No props are allowed. This includes hand-held props.
7. All performance events are limited to five (5) minutes after the introduction, with the exception of Monologue which is three (3) minutes. All technical presentations will be limited to ten (10) minutes. Any entrant who goes over the time limit will be stopped and then disqualified.
8. The introduction must only include the entrant’s name, troupe number, title of selection(s), and the name of the playwright, composer, or lyricist.
9. For all music events, performers may use pre-recorded, non-vocal musical accompaniment No a Capella is permitted. A CD player will be provided. Performers are encouraged to bring their own CD player.
10. For Mime, a CD player will be provided. Performers are encouraged to bring their own CD player.
11. Evaluation forms are available to NIES participants to help them understand adjudication criteria; the forms can be found on the EdTA web site or by contacting the NIES coordinator at the ITS home office.
12. There will be NO refund of the $15 CIES or $25 NIES fee, regardless of the reason for the cancellation or disqualification.

Specific event rules

Monologue

1. Entrant must present two contrasting selections that may be different in period, style, or mood.
2. Material must be drawn from published scripts written for theatre. Works from other forms such as poetry, fiction, or film are prohibited.
3. Only one character from each play may be used.
4. The performance of both selections combined cannot exceed three (3) minutes. Rule change effective 7/25/10 for the 2011 Festival.
5. The introduction must be for both selections and must only include entrant’s name, troupe number, title of selections, and the names of the playwrights. Time will begin once the entrant speaks after conclusion of the introduction.
6. Props, costumes, or theatrical makeup are not allowed.
7. One chair may be used.

Duet Acting

1. Entrants must present one selection.
2. Material must be drawn from published scripts written for theatre. Works from other forms such as poetry, fiction, or film are not permitted.
3. Each participant must be actively involved in the scene.
4. The performance cannot exceed five (5) minutes.
5. The introduction must include only the entrants’ names, troupe number, title of selection, and the name of the playwright. Time will begin once a performer speaks after conclusion of the introduction.
6. Props, theatrical makeup, costumes, or coordinated clothing between performers are not allowed.
7. Two chairs may be used.

Solo Musical Theatre

1. Entrant must present one selection.
2. Material must be drawn from songs from published scripts written for theatre. Works from other forms such as film, poetry, fiction, or popular song lyrics are not permitted. Remember, this is a musical theatre selection. The judges will consider how well the piece is acted and not just how they are sung.
3. The selection may contain dialogue.
4. The performer must use pre-recorded, non-vocal musical accompaniment. No accompanist will be provided. No acapella is permitted. A CD player will be provided. Performers are encouraged to bring their own CD player.
5. The performance cannot exceed five (5) minutes. Time will start once the music begins after conclusion of the introduction.
6. One chair may be used.

Duet Musical Theatre

1. Entrants must present one selection.
2. Material must be drawn from songs from published scripts written for theatre. Works from other forms such as film, poetry, fiction, or popular song lyrics are not permitted. Remember, this is a musical theatre selection. The judges will consider how well the piece is acted and not just how they are sung.
3. The selection may contain dialogue.
4. The performer must use pre-recorded, non-vocal musical accompaniment.  No accompanist will be provided. No a Capella is permitted. A CD player will be provided. Performers are encouraged to bring their own CD player.
5. Each participant must be actively involved in the scene.
6. The performance cannot exceed five (5) minutes. Time will start once the music begins after conclusion of the introduction.
7. Two chairs may be used.

Group Musical Theatre

1. “Group” means three (3) to sixteen (16) performers.
2. Material must be drawn from songs from published scripts written for theatre. Works from other forms such as film, poetry, fiction, or popular song lyrics are not permitted. Remember, this is a musical theatre selection. The judges will consider how well the piece is acted and not just how they are sung.
3. The selection may contain dialogue.
4. The performer must use pre-recorded, non-vocal musical accompaniment.  No accompanist will be provided. No a Capella is permitted. A CD player will be provided. Performers are encouraged to bring their own CD player.
5. Each participant must be actively involved in the scene.
6. The performance cannot exceed five (5) minutes. Time will start once the music begins after conclusion of the introduction.
7. 6 chairs and one table may be used.

Group Acting  

1. Entrants must present one selection, and group means 3 to 16 performers.
2. Material must be drawn from published scripts written for theatre. Works from other forms such as poetry, fiction, or film are not permitted.
3. Each participant must be actively involved in the scene.
4. The performance cannot exceed five (5) minutes.
5. The introduction must include only the entrants’ names, troupe number, title of selection, and the name of the playwright. Time will begin once a performer speaks after conclusion of the introduction.
6. Props, theatrical makeup, costumes, or coordinated clothing between performers are not allowed.
7. Up to six chairs and one table may be used.

Mime

1. Entrant(s) must present one selection.
2. Only solo or duet performances are allowed.
3. No lip-synching or audible vocal sounds by the performer(s) are permitted.
4. Performer(s) MUST use pre-recorded, non-vocal musical accompaniment or non-vocal sound effects. A CD player will be provided. Performer(s) are encouraged to bring their own CD player.
5. If the performance is a duet, both participants must be actively involved in the scene.
6. Performance cannot exceed five (5) minutes. Time will start once a performer moves after conclusion of the introduction.
7. One chair (solo) or two chairs (duet) may be used.

Costume Design

1. Presentation must be a design for one published play written for the theatre. Designs for performances of poetry, fiction, screenplays, or any other medium are not permitted.
2. The entrant must present five (5) character renderings. These may represent five different characters, or follow a single character though several appropriate changes. No more than five (5) renderings are permitted. No finished costumes are permitted.
3. Each design must be executed in full color on paper of the designer’s choice and mounted on a 10” x 15” or 11” x 17” board, such as illustration board, heavy poster board, or foam core. Board color is at the discretion of the designer. Figures should be 8 to 10” tall. Template or trace characters may be used.
4. The board should be labeled in the following manner: (a) upper left-hand corner: play title and playwright; (b) upper right-hand corner: character’s name, act, and scene; (c) lower right-hand corner: entrant’s name and troupe number. No other information may be written on the board.
5. Only one entrant may be involved in the design. No collaborations are permitted.
6. Notes of clarification on the design may be written on the board. Fabric swatches are encouraged and may be attached.
7. A ½” binder should contain the following materials: (a) a brief statement of the design choices inspired by the script, (b) research materials, (c) preliminary sketches, and (d) other sources of inspiration for design and color palette, if any were used.
8. The entrant must make an oral presentation justifying the designs. Note cards may be used, in addition to the binder.  The entrant must also be prepared to answer questions about the design presented. Questions are not part of the ten-minute allotted presentation time.
9. The introduction must include only the entrant’s name, troupe number, title of play, and playwright.
10. The overall session cannot exceed fifteen (15) minutes, including set up and questions and answers.

Costume Construction

1. Presentation must be of a female character from Private Lives by Noel Coward (circa 1930s). Costume sizes are limited to women’s sizes 8 to 10.
2. There are two categories; the entrant must choose one:
3. Garment patterning and construction
4. Costume craft—millinery patterning and construction
5. The entrant must fully construct the item; the costume/hat must be an entirely original construction by the student.
6. Any patterns may be used, but the cost must be considered within the given budget.
7. The cost of all materials used to construct the costume, such as fabric, thread, buttons, zippers, and trim, may NOT exceed $100. The student must provide an itemized expense sheet and receipts as proof. This sheet must be mounted on the display board as described below.
8. In addition to the costume, each entrant must create a costume research collage. This may include environmental background pictures of the time period in which the play takes place, costume renderings, pattern envelopes, fabric swatches, etc. Include photos of the patterning process and construction.
9. The collage must be presented on a 20" × 30" presentation board.
10. The board should be labeled in the following manner:
11. Upper left-hand corner: Name of show and playwright
12. Upper right-hand corner: Name of character, act, and scene
13. Lower right-hand corner: Entrant’s name and troupe number
14. The costume must be presented on the provided dress form. Do NOT wear the costume to the IE session.
15. The introduction must include only the entrant’s name, troupe number, title of play, and playwright.
16. The oral presentation cannot exceed ten (10) minutes. Time will begin once the entrant speaks after conclusion of the introduction. The overall session will not exceed fifteen (15) minutes.

Theatre Marketing

The following materials are to be presented:

1. Presentation must be a publicity campaign for one published play written for the theatre. Designs for performances of poetry, fiction, screenplays, or any other medium are not permitted. It is strongly recommended that the entrant was actually responsible for a publicity campaign of the selected play.
2. The following materials are to be presented: Poster design or finished poster (11" × 17"), Program design or finished program, Two press releases consisting of an informational article and feature article, A promotional project idea or documentation of a completed promotional project, Information about the budget for the publicity campaign and justification of expenses must be included. Your work will be judged on how you spent the money.
3. Only one entrant may be involved in the design. No collaborations are permitted.

• The entrant must make an oral presentation justifying the designs. Note cards may be used. The entrant must also be prepared to answer questions about the design presented. Questions are not part of the ten (10) minutes of allotted time.
• The introduction must include only the entrant’s name, troupe number, title of play, and playwright.
•  The oral presentation cannot exceed fifteen (15) minutes, including setup and questions and answers.

 

Scenic Design

1. Presentation must be a design for one published play written for the theatre. Designs for performances of poetry, fiction, screenplays, or any other medium are not permitted.
2. The entrant must construct an original, three-dimensional model OR a perspective rendering executed to the scale of either ¼" = 1'0" or ½" = 1'0", showing the set and its relationship to the theatrical space. Either model or rendering will be permitted, but not both.
3. At least one figure must be included in the rendering or model to show proportion and scale.
4. The entrant must draw a floor plan to the same scale.
5. All forms of staging are permitted. The set design must clearly define the performance space and audience configuration.
6. The entrant must present a justification of the design. Note cards may be used. The entrant must also be prepared to answer questions about the design presented. Questions are not part of the ten-minute allotted time.
7. Only one entrant may be involved in the design. No collaborations are permitted.
8. A ½” binder is recommended. This binder should contain the following materials: (a) a brief statement of the design choices inspired by the script, (b) research materials, and (c) other sources of inspiration, if any were used.
9. The introduction must include only the entrant’s name, troupe number, title of play, and playwright.
10. The entrant MUST a justification of the design and may use up to ten (10 minutes) for the actual presentation. The overall session cannot exceed fifteen (15) minutes, including set up and questions and answers.

 

Short Film (DVD mailed to the Colorado Thespians, postmarked by November 10th.)

1. Entrant must submit a DVD with an original short film that is no longer than five (5) minutes in length from opening title screen to final credits.
2. Films must be of original content and may be collaborations between students.
3. Music must be original or documented public domain material.
4. Material created by students in this event that is deemed by the judge(s) to be obscene or disruptive may receive lower ratings or in some extreme cases may result in disqualification.

Lighting Design

1. Presentation must be a design for one published play written for the theatre. Designs for performances of poetry, fiction, screenplays, dance and/or any other medium are not permitted.
2. The entrant must present a Light Plot. Acceptable scales are ¼" or ½" =1'0". However, the plot cannot be printed larger than 24" × 36". The single page should include a Unit Key for clarification of all stage fixtures and a Title Block indicating show name, producer, facility, date of production, and drawn by and scale data.
3. Provide a one-page document. Conceptual Visualization. Discuss the director’s point of view of the play and his/her lighting wishes; discuss your visions for light; discuss any major messages in the play that light should enhance; and discuss how the lighting dreams and visions were technically achieved.
4. Provide a one-page document, Angle Color Visualization. Visually show the colors used in the design and the angles you chose for all major components of the design (specials are not required to be noted). Minimum size: 8.5" × 11". Maximum size: 18" × 24". Notes on the document should justify the choices made.
5. Provide a dimmer or channel hookup of only the light plot (not a unit schedule).
6. A section (side view of the stage-showing fixtures) is helpful but not required.
7. Only one entrant may be involved in the design. No collaborations are allowed.
8. The applicant must make an oral presentation justifying the design. Note cards may be used. The applicant must be prepared to answer questions about the design. Questions are not part of the ten (10) minutes of allotted time.
9. The introduction must include ONLY the entrant’s name, troupe number, title of play, and playwright.
10. The oral presentation cannot exceed fifteen (15) minutes, including setup and questions and answers.

Stage Management

1. Entrant must present a production book including but not limited to:
       • Script with blocking and tech cues (i.e., sound, lights, etc.)
       • Schedules: rehearsal and performance
       • Technical Information to include: Scene shift information, Costume plot information, and Prop plot information
2. Entrant has fifteen (15) minutes to present the production book and to address adjudicators’ questions.

Sound Design

1. Presentation must be a design for one published play written for the theatre. Designs for performances of poetry, fiction, screenplays, dance and/or any other medium are not permitted.
2. The entrant must present a Sound System Plot on 2 pages.
   • Page 1 should be the speaker plot indicating where on the set and in the performance space loudspeakers will be placed.  The relationship of speakers on the plot to speakers on the block diagram must be clear.
   • Page 2 should be the block diagram indicating signal flow through the sound system and should attempt to follow the USITT Student Sound Graphics Standards available at: http://usitt.org/commissions/sound/Sound_Comm_Graphics_Project_2008.html.
3. Provide 6 copies of a one page Design Statement: Discuss The director’s point of view of the play and his/her sound wishes, discuss your vision for sound, discuss any major messages in the play that sound should enhance, and discuss technically how the sound was achieved.
4. Provide suitable examples of the sound design on CD to be played on a provided sound system.  Please take good care of your media and bring back-ups to ensure a smooth presentation.  Examples should cover the major goals outlined in the design statement.  You should master your CD so that once the level is set for your first track all of your other examples will be at the ideal volume.  Please consider that the ideal volume should be representative of the sounds used in the show.
5. Plan your presentation so that you can play your examples without talking over them.  The created sound is your product; let it shine.
6. Only one entrant may be involved in the design. No collaborations are allowed.
7. The applicant must make an oral presentation justifying the design. Note cards may be used. The applicant must be prepared to answer questions about the design. Questions are not part of the ten (10) minutes of allotted time.
8. The introduction must include ONLY the entrant’s name, troupe number, title of play, and playwright.
9. The oral presentation cannot exceed ten (10) minutes and the overall session cannot exceed fifteen (15) minutes, including setup and Q&A.

Securing Performance Rights

To find the publisher of a particular play, go to the following web sites:  

http://www.playscripts.com/findaplay/. Then, click on the publisher of your scene and/or monologue for performance rights information.  We have negotiated the following process with several publishers.  Please see the specifics for each.

 

SAMUEL FRENCH Red Light Green Light List

You can consider a Samuel French scene or monologue available for use if it does not appear on the "red light” list and providing that it is not from a play written by one of the following playwrights: 

Woody Allen	Charles Fuller	Ken Ludwig	Willy Russell
Enid Bagnold	John Guare	David Mamet	Peter Shaffer
Amiri Baraka	David Hare	Jane Martin	Claudia Shearer
Philip Barry	Eugene Ionesco	Steve Martin	Sam Shepard
Bertolt Brecht	George S. Kaufman, and collaborators	Peter Nichols	Tom Stoppard
Eduardo DiFillipo	Ira Levin	Eugene O'Neill	Thornton Wilder
Ben Elton	Charles Ludlam	Elmer Rice	Hugh Whitemore
Michael Frayn

If your piece is from a play that you find on the Green Light Plays List, you have permission to perform the piece with no royalty charge. DO NOT CONTACT SAMUEL FRENCH IF A PROPERTY IS ALREADY ON THE GREEN LIGHT LIST!!! It is pre-approved for use and doesn't require anything in writing. NO ROYALTY CHARGE will be assessed for these properties unless the student is selected for the NIES Showcase at the International Thespian Festival. The royalty will then be $15.00 (or $75.00 in the case of Neil Simon properties). This payment must be made at Festival prior to appearing on the stage.

If your play is on the Red Light Plays List, you may NOT perform this piece, and you MUST NOT ask permission to do so. That request has already been made and denied. Please consult these lists carefully and do not call Samuel French with questions regarding availability. If a script is on the Red Light list- DO NOT CONTACT SAMUEL FRENCH TO PLEAD YOUR CASE. Perform another piece.

If you've checked both the RED and GREEN light lists several times and your SAMUEL FRENCH property doesn't fall on either list- THIS MEANS THAT AVAILABILITY STATUS HASN'T YET BEEN DETERMINED AND THE STUDENT NEEDS TO FAX SAMUEL FRENCH FOR PERMISSION – DO NOT CALL or WRITE. The request can be faxed to: Stephen Schreuder, Amateur Leasing, Samuel French, Inc.

212.206.1429 (fax)

DRAMATISTS PLAY SERVICE, INC.  http://www.dramatists.com/

ALL Dramatists Play Service properties are pre-approved for the International Thespian Festival, with no written permission required, for no royalty unless the student is selected for the NIES Showcase.  EXCEPTION – PLAYS WRITTEN BY SAMUEL BECKETT—(These are not available).

BROADWAY PLAY PUBLISHING, INC. http://www.broadwayplaypubl.com/

 All properties are available with no royalty charge.

DRAMATIC PUBLISHING http://www.dramaticpublishing.com/

See Dramatic Publishing Green List for approved materials. If not on list, then it is considered to be red-light. There is no charge for use in the International Thespian Festival NIES.

 

SMITH AND KRAUS http://www.smithkraus.com

Most Smith and Kraus collections and monologue books include a blanket permission statement for audition use. These collections provide a loophole if you’re desperate to perform a piece listed on Samuel French’s “red light” list of plays. Remember, however, the particular piece you’re interested in performing must be found in one of these collections that include blanket permission.

PLAYSCRIPTS, INC. http://www.playscripts.com/rights

Currently, royalties are waived for the performance of excerpts lasting less than 10 minutes at adjudicated school theatrical festivals or auditions, unless otherwise noted. These particular performances, and only these, are automatically authorized by the playwright when you purchase books from Playscripts.  (Note: Any other cuttings must receive prior approval from Playscripts.)

EDWARD ALBEE

Edward Albee's plays are now available for use in the International Thespian Festival NIES with the following rules:

• None of the scenes are to be altered in any way, including the deletion of characters' lines for the formation of a monologue.
• The scenes must be performed contiguous and unaltered (no internal cuts). No royalty is required unless the student is selected for the NIES Showcase.

Securing performance rights FOR SONGS

Songs from shows fall into that vague space between grand and small rights.  A licensing company (for example, MTI) owns the rights to the entire show.  BMI and ASCAP own the “non dramatic interpretation” of the individual songs.  Dramatic interpretation (use of acting, props, costumes, movement) is not owned by the licensing houses nor BMI and ASCAP.  Therefore, the “education use” rule becomes the basis for determining use.

In that case, the student does not need to secure the rights as long as the environment is one in which he/she is evaluated/judged. This same process applies in a showcase environment. As long as there is presence of at least two adjudicators in the audience for the showcase, the performance qualifies as an educational setting, and, therefore, proof of rights is not required. However, the judges must complete critiques and provide them to the students. At the International Thespian Festival, there are judges present at the Festival showcase. There will be judges at the Festival showcase.