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2008 Criteria by Category
Scoring
Monologue Presentations
- Maximum number per school: 4
- Each actor will perform
once for scoring and receive verbal evaluations immediately
following the performance. After each actor who is scheduled within
the hour has performed and received initial feedback, monologues may
be repeated in a workshop atmosphere as time allows. The workshop
period is NOT meant as an opportunity to “re-direct” the
scene, but rather to provide alternate choices focusing on the points
that are observed by the respondents.
 Monologues may NOT be taken from the play the school
has entered in the one act category. - Time limits: The monologue should
be presented within 1 - 3 minutes. There will be a 1 minute grace period. Actors
may be penalized in scoring for going over the time limit.
- A single actor
will perform a monologue from a published, scripted play (pieces from
film or television scripts will NOT be accepted.) Adaptations for purpose
of continuity are allowed. (In order for student original work to be
scheduled for adjudication, it must be properly indicated as such on
the registration form by the deadline.)
- Performances will take place
in classrooms, and only the furniture normally available therein may
be accessed. Easily carried hand
props may be used, but costumes and stage makeup are NOT permitted.
Students should dress as if attending an audition (something that is
comfortable, professional, and puts the focus on you and not your clothes.)
- Performers
will (write on the board) and introduce their piece by giving:
1) their name,
2) the name of their school,
3) the title of the play,
4) the author of the play and
5) the character name.
- DO NOT explain a scene.
- Each performance will be independently evaluated
by the respondents. Verbal response will be given during each session
following the monologue.
Monologue Evaluation Criteria
A. Understanding
B. Voice and diction
C. Pace and rhythm
D. Movement and presence
E. Total effect
(See Scoring and Acknowledgements page for more details.)
Duo
Scene Presentations
- Maximum number per school: 2 teams
- Each
team will present their duo scene at the beginning of the 1 hour workshop
and receive verbal evaluations immediately following the performance.
After each team has performed and received initial feedback, scenes
may be repeated in a workshop atmosphere as time allows. The
workshop period is NOT meant as an opportunity to “re-direct” the
scene, but rather to provide alternate choices focusing on the points
that are observed by the respondents.
- Time limits: 6 minutes per duo scene (maximum).
There will be a 1 minute grace period. Groups may be penalized
in scoring for going over the time limit.
- Two actors will perform a scene
from a published, scripted play. (Pieces from film or television scripts
will NOT be accepted.) Adaptations, for purpose of continuity, are
allowed. (In order for student original work to be scheduled for adjudication,
it must be properly indicated on the registration form by the deadline.)
- Performances will take place in classrooms, and only
the furniture available therein may be accessed. Easily carried hand props
may be used, but costumes and stage makeup are not permitted. Students
should dress as if attending an audition (something that is comfortable,
professional, and puts the focus on you and not your clothes.)
- Performers
will (write on the board) and introduce their scene by giving:
1) their names,
2) the name of their school,
3) the title of the play,
4) the author of the play and
5) the character names.
- DO NOT explain a scene.
- Each performance will be independently evaluated
by the respondents. Verbal response will be given during each session
following the scene.
Duo Scene Evaluation Criteria
A. Understanding
B. Voice and diction
C. Pace and rhythm
D. Movement and presence
E. Total effect
F. Ensemble: (Did actors listen to each other and react accordingly?)
(See Scoring and Acknowledgements page
for more details.)
Musical Theatre Solo Presentations
- Only solo performances will be seen, no duo scenes,
trios, etc.
- Accepted applicants from audition recordings (see
musical theatre
guidelines-pdf) will be allotted time slots.
- Warm-up rooms will be available prior to performances
times.
- Time Limits: Performers
will have 3 minutes to perform a song. There
will be a 1 minute grace period. Performers may be penalized
in scoring for going over the time limit.
- An accompanist will be provided. Performers
must bring sheet music from a Broadway or Off-Broadway show that is
legible and in their key. Sheet music should be organized either in
a 3-ring binder to taped together for easy page turning.
- The top 3 scoring soloists will be invited to give
a command performance during the Awards ceremony on Sunday evening.
Musical Theatre Solo Evaluation Criteria
- Understanding
- Volume and Diction
- Breathing and Tonality
- Movement and Presence
- Total Effect
(See Scoring and Acknowledgements page for more details.)
One
Act Play Presentations
(scheduled performance)
 One play per school- Time limit: 45 Minutes! There will be a 3-minute
grace period before time is called. At that time, sound will
go out, lights will go up and applause will be started by the host.
- Each
school will have 15 minutes set-up and 15 minutes load-out time.
- Respondents
will present oral critiques in assigned response rooms following each
performance. These sessions are not open to the
public and are intended for the students, teachers, and chaperones
of the school being evaluated ONLY.
- Students in the cast of the one
act play may also enter the monologue, duo scene, and musical theatre
categories; however, material from the one act may NOT be used in their
monologue and/or scene performances.
One Act Play Evaluation Criteria
A. Understanding
B. Voice and diction
C. Pace and rhythm
D. Movement and presence
E. Total effect
F. Ensemble: (Did actors listen to each other and react accordingly?)
(See Scoring
and Acknowledgements page for more details.)
Criteria
Descriptions
The following descriptions give you a more concrete idea of the tangible
and intangibles at which judges are looking:
Voice:
- Could the actors be heard?
- Was there a variety of rate and inflection?
- Were pronunciation and articulation correct for each character?
Movement:
- Was there logical reason for all movement by the actors which was consistent
and in keeping with the characters portrayed?
- Was movement well executed?
Characterization:
- Was there a complete physical and mental re-creation of the character
by the actor?
- Was there apparent understanding of objective (want, intentions), obstacle,
tactic, expectation?
- Were his/her reactions to the other actors correct and effective?
- Was the actor's characterization believable the entire time he/she
was on stage? Were emotional transitions natural and effective?
Ensemble:
- Was there smoothness of action which indicated adequate rehearsal and
close cooperation and understanding among the actors?
Setting:
- Within Festival limitations, did the stage arrangement satisfactorily
represent the idea of the play?
Business:
- Were exits and entrances properly timed?
- Did the actors frequently block each other?
- Was the designated business adequate to support the idea of the play?
Tempo:
- Was it too fast to follow intelligently? Was it too slow?
- Was the pace in keeping with the mood and atmosphere of the play?
- Were the climaxes well developed?
Theme:
- Did the play strongly challenge the ability of the actors?
- Was the main idea of the play brought out clearly?
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