EXTRANEOUS INDIVIDUAL EVENTS

Sound Design

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1. 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.

   • Page 2 should be a list of equipment you are placing in your speaker plot.  This should include speaker size, power (in watts)  and brand along with amplifiers necessary to power  speakers, if necessary. (See examples below)

2. Provide 4 copies of a one-page Design Statement and Sound Cue Sheet: 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. (See Examples Below)

3. Provide suitable examples of the sound design on CD or mp3 player with 1/8” plug adaptor 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 sound files 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.

4. Plan your presentation so that you can play your examples without talking over them. The created sound is your product; let it shine.

5. Only one entrant may be involved in the design. No collaborations are allowed.

6. 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 part of the ten (10) minutes allotted time.

7. The introduction/slate must include ONLY the entrant’s name, troupe number, title of play, and playwright.

8. The presentation cannot exceed ten (10) minutes and the overall session cannot exceed fifteen (15) minutes, including setup and Q&A.

9. EVALUATION CRITERIA:

• Interpretation: Does the design visually reinforce the mood, style, character, and theme of the play?

• Execution: Are the drafting and sound examples executed with precision, clarity, and attention to detail?

• Presentation: Is the designer able to justify the significant elements of the designs—such as timbre, dynamics, and arrangement of space – in terms of the script?

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Sound Design Example 1

Sound Design Example 2

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Lighting Design

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1. The production is to be designed for a stage with a proscenium opening of 38’w x 20’h, an apron of 6’ deep, and wing space. The stage depth has a maximum of 30’ from the proscenium line to the back wall with a wing measuring 15’x30’ on each side. The proscenium arch and wing space must be represented in the light plot.

2. Computer assisted design is acceptable and encouraged (students can get Vectorworks educational version for free!)

3. The designer must present a justification of the design, communicating their understanding of their role in the production, their artistic interpretation supported by their script analysis and research, and finally addressing the execution of their design with supporting evidence from their artifacts binder.  Note cards may be used.

4. The lighting designer must create a light plot that includes the ground plan of at least one set for which they are designing.  Collaboration with a student set designer is encouraged (but not required).  The lighting designer may also design their own set.  The light plot must include:

   • Focus Points

   • Channel & Address Numbers (if different)

   • Symbol Key that lists all fixtures used

   • Instrument Notation Key

   • Cornerblock

5. The designer must present an artifacts binder.  The binder must include:

   • Statement of concept, with supporting evidence from script analysis and research, and discussion of mood, style, period, locale, and genre

   • Research images

   • Gel colors

6. Other items that the designer might (but are not required to) include are:

   • Gobos (if used)

   • Atmospheric elements (if used)

   • Thumbnail sketches

   • Lighting Key

   • Channel Hookup List

   • Instrument Information Sheets

   • Script with cue placement (no longer than 4 pages)

   • Cue sheet to accompany script

   • Anything else the designer wants to include that influenced or is used in the design

7. The lighting design must be the work of a single student.  

8. A bibliography is required documenting all resources used including but not limited to written and electronic sources. The bibliography must be in MLA style.

Production Team

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Definition: A Production Design Team will consist of a Director, and designers for at least 4 of the following categories: set, lighting, sound, costumes, makeup, and publicity.  A Production Team should have no fewer than 4 members and no more than 7 members.  Designers may execute multiple elements of the design (for example, the lighting designer may also do set design, the sound designer may also do publicity design, etc.).

The team’s focus should be on executing a cohesive design that communicates the director’s vision for the show, communicated through their designs for a single scene or song from the show. They are required to only focus on a single scene or song.  You should approach this event as you might a presentation for producers who might back your show (or in this case, the judges).

The design team will have 10 minutes to present their work, with 5 minutes for judge’s questions.

Each team must have:

• All designs must be presented on a single tri fold presentation board with maximum dimensions of 36” x 48”, with the exception of a scenic designer’s model (if they choose to do a rendering, it must be included on the presentation board), and a lighting designer’s plot (if they choose to bring one).

• All research needs to be organized into one binder.

You may use your designs for the individual category events (for example, you can submit your work from the Production Design Team event for the Scenic/Costume/Lighting/Makeup/etc. Individual Events).  However, you should ensure that your work for those events adheres to the rules and expectations of those events, particularly in their focus on the entire show rather than on a single scene.

All designers will need to decide how they want to communicate their designs. They should utilize the requirements from the individual IEs as options.

RULES AND RESPONSIBILITIES OF EACH TEAM MEMBER

1. Director—Provides the basis of the ‘vision’ of the Production Design and acts as Team leader to make sure that all elements of the design coincide and express a common idea.  Their portion of the presentation should include research that supports their vision for the production.  The Director may (but is not required) to also serve as the designer for any other category.

2. Set Designer—As per the established Set Design guidelines, the Set Designer 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.  Renderings and/or models must be done for one scene only. Computer assisted design is acceptable. Additionally, the Set Designer must work with the Lighting/Sound Designer and designate on the model the placement of lighting instruments and sound equipment on the model (or in the computer rendering).

3. Lighting Designer—Must provide a lighting key that indicates gel color/gobos and distribution.  A light plot indicating instrument type, gel colors, gobos, focus points, fixture placement, channel numbers, etc. is encouraged, but not required.  Provide 4 copies of a one-page Design Statement and Lighting Cue Sheet and discuss the director’s point of view of the play and his/her lighting wishes. Discuss your vision for illuminating the scene and discuss any major messages in the play that lighting enhances and discuss technically how the lighting effects were achieved.

4. Sound Designer—As per the current established Sound Design Guidelines, the Sound Designer must provide: A sound system plot on 2 pages with page 1 indicated where on the set and in the performance space loudspeakers will be placed and page 2 should be a list of equipment you are placing in your speaker plot. This should include speaker size, power (in watts) and brand along with amplifiers necessary to power speakers if necessary. Provide 4 copies of a one-page Design Statement and Sound Cue sheet and 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.

5. Costume Designer—As per the established Costume Design guidelines the Costume Designer must present three (3) character renderings from the same scene. These must represent three (3) characters from the same scene. Computer assisted design is acceptable. These costumes should complement the director’s vision and show a high level of consistency with the Production Teams shared vision for the show.

6. Makeup Designer—As per the currently established guidelines of Make Up Design, the student must choose THREE characters from the play and present a face chart and color photo (headshot) for each. Face charts must show instruction and design for the makeup as if it were to be applied by an actor. Full rendering is optional but instruction such as color, texture, lining & special effects placement, etc. are mandatory. A human face may be traced and/or used as a template for the face chart. Photos should be 8 x 10 glossy or matte finish of the executed makeup design. The make-up design should complement the director’s vision and show a high level of consistency with the production teams shared vision for the show.

7. Advertising/Publicity Manager—As per the currently established guidelines of Publicity Design, the following materials are to be presented:

   • Poster design on 11x17 paper.

   • Ticket design

   • Program design and full layout of no less than four pages

Rules:

1. The production is to be designed for a stage with a proscenium opening of 38’w x 20’h, an apron of 6’ deep, and wing space. The stage depth has a maximum of 30’ from the proscenium line to the back wall with a wing measuring 15’x30’ on each side. The proscenium arch and wing space must be represented in the model and in the placement of sound and lighting instruments.

2. The Production Design Team must present a justification of the design and indicate the common elements of each Designer’s contribution to the overall vision of the Production. Note cards may be used.

3. Though each member of the Production Team has their own specific job it should be noted that this is a team effort and collaboration (unlike in the individual events) is encouraged.

4. This is a larger scale tech event than most but the time for the event should not exceed 15 minutes.

5. A bibliography is required documenting all resources used including but not limited to written and electronic sources. The bibliography must be in MLA style.

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District 5 Senior Scholarship

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IF using Pre-Screening Process, then...

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Pre-Screening Process

• District leadership will conduct a video pre-screen audition (5 students per school limit) prior to the district festival to be judged by a panel of hired judges formed by the District 5 Judge Committee. The top 50 students from this pre-screen audition will be invited to participate in the in-person scholarship adjudication at the District 5 Festival.

• Students will be required to complete an online form that consists of name, troupe number, email address, intended major, headshot, resume, transcript, and a link to their unlisted YouTube video.

• All videos must be recorded horizontally in 1 take, void of video or audio edits/overlays.

• All applicants must be seniors with a 3.0+ unweighted GPA

• Students will select 1 category from the following 3 categories: Acting, Musical Theatre, Design/Technical/Management.

  • ACTING - Slate, followed by a ONE MINUTE monologue. 

  • MUSICAL THEATRE - Full slate for both pieces, followed by a 90 SECOND audition consisting of a musical selection and a monologue. The musical selection must come before the monologue. You may use a live accompanist or a track for the musical selection. The total audition package should not exceed 90 SECONDS.

  • DESIGN/TECHNICAL/MANAGEMENT - Full slate with technician on camera, followed by a TWO MINUTE presentation of work from their portfolio, which should include a variety of fine art and/or theatre art work. The portfolio might consist of some of the following: drawings of any subject, any medium; examples of work in color; drafting; prints; 3-D projects of any type; actual theatrical design work, realized or not; figure drawings; costume designs; lighting plots; etc. The portfolio presentation is required whether your interests are in scene design, lighting, or costuming. Please make sure these visual items are clear and in focus in your video. Stage Managers will present prompt books and supporting material. The technician should NOT be seen on camera during the presentation. The focus should be on the portfolio and materials.

  • Approximate Timeline:

    • Mid-October - Online Application/Video Submissions Due

    • Late-October:

      • Judging

      • Troupe Directors/Students Notified of Results

      • Troupe Directors complete form of preferred District Festival/In Person time slot for those who qualify

    • Early November - Schedule Published

District Festival / In-Person Adjudication

• Only the top 50 students from the pre-screening audition will be invited to participate in the in-person Scholarship IE at the district festival. Scholarship winners will be selected from this group of students.

• Students must present the same audition package they used for the pre-screening audition.

• After the student’s presentation, the judges will have a period of time to work with the students, ask questions, and further assess the applicants.  The duration of this event (performance and judge’s question period) is a total of 5 minutes. This additional period is ONLY for District V, and does not apply to the State Scholarship auditions.

• An accompanist will be provided for Musical Theatre auditions. NO recorded music will be allowed.

• DESIGN/TECHNICAL/MANAGEMENT candidates will be allocated a minimum table display space of 24"x36". Students should bring their portfolio or prompt books/supporting materials. Students should be prepared for a question/answer period to discuss past experiences and their professional goals.

• REGARDLESS OF THE TYPE OF AUDITION, NO AUDITION WILL EXCEED TWO MINUTES. TIME STARTS after the Troupe number is said at the conclusion of the slate.

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If NOT using the Pre-Screening Process, then...

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1. ACTING auditions have ONE MINUTE to perform a monologue. MUSICAL THEATRE auditions will have a maximum of 90 seconds to perform both a solo followed by a monologue. The musical selection must come before the monologue. After the student’s presentation, the judges will have a period of time to work with the students, ask questions, and further assess the applicants. The duration of this event (performance and judge’s question period) is a total of 5 minutes.

This additional period is ONLY for District V, and does not apply to the State Scholarship auditions.

2. An accompanist will be provided. NO recorded music will be allowed.

3. DESIGN/TECHNICAL/MANAGEMENT candidates will be allocated a minimum table display space of 24"x36". Students should prepare a two minute presentation of their work. You should bring your portfolio, which should include a variety of fine art and/or theatre art work. The portfolio might consist of some of the following: drawings of any subject, any medium; examples of work in color; drafting; prints; 3-D projects of any type; actual theatrical design work, realized or not; figure drawings; costume designs; lighting plots; etc. Stage Managers will bring prompt books and supporting material. The portfolio is required whether your interests are in scene design, lighting, or costuming. You should also be prepared in a question and answer period to discuss past experiences and your professional goals.

4. REGARDLESS OF THE TYPE OF AUDITION, NO AUDITION WILL EXCEED TWO MINUTES.

5. TIME STARTS after the Troupe number is said.
6. All performance pieces should be fully memorized.
7. All applicants must be seniors with a 3.0+ unweighted GPA