Acting
Solo Acting: What to Prepare
In a Solo Acting performance, the Thespian should 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. Thespians must also adhere to the following:
- Review the Rights & Licensing page to ensure that the chosen material is eligible to be performed for Thespys adjudication.
- "Contrasting" means that the selections should be different in period, style, mood, etc.
- The combining of multiple characters' lines to create a single monologue is not allowed. Monologues should be composed of only one character's lines.
- One (1) chair may be safely used during the performance. No other scenic elements or furniture are allowed. "Safely" means that items may be used in a safe manner but should not be used a 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 in the adjudication room.
*Note: If your chapter does not require two (2) contrasting monologues, it is not an official qualifying event for this category. In this case, Thespians should check with their chapter director about entering the Alternate Qualifier in order to be able to continue on to the final round of adjudication. Learn more about the Alternate Qualifier.
Duet & Group Acting: What to Prepare
In a Duet or Group Acting performance, 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. Thespians must also adhere to the following:
- A duet is defined by the International Thespian Excellence Awards as a performance for two (2) players. A group scene is defined as a performance for three to sixteen (3-16) players. In each case, every participant must be actively involved in the scene chosen for performance.
- Review the Rights & Licensing page to ensure that the chosen material is eligible to be performed for Thespys adjudication.
- In the Duet Acting category, two (2) chairs may be safely used during the performance. In the Group Acting category, up to six (6) chairs and one (1) table may be safely used during the performance. No other scenic elements or furniture are allowed. "Safely" means that items may be used in a safe manner but should not be used a 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 in the adjudication room.
Slating: All Acting Categories
Thespians must begin their presentation with an introduction known as a slate. The slate is not part of the performance, but is 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 group categories);
- Troupe number;
- Title of selection being performed or work being showcased (e.g., Hamlet's soliloguy from Hamlet for a Solo Acting entry);
- Name of the playwright(s).
A slate might sound like this: "Hello. My name is John Smith from Troupe 561, and I’ll be performing Ronnie's monologue from Act Two, Scene One of The House of Blue Leaves by John Guare."
After the slate, time begins with the first word or acting beat (if it precedes the first word) of the presentation. If a Thespian exceeds the time limits stated above, the adjudicator or room monitor will note the time and a final eligibility ruling will be determined. Exceeding the time limit may result in disqualification.
Dress Code: All Categories
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(s). 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 a large, dangling jewelry, light-up footwear, or fashionably distressed clothing.
Skills Measured: All Acting Categories
- 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.
Acting Rubric
ACTING TRANSITIONS
Slating that includes articulation of name and selection, transition into and between characters, final moment, and transition out of character into exit.
Above Standard
Clear articulation of name and selection; intuitive transition into and between characters, distinctive final moment and transition out of character into exit.
At standard
Clear articulation of name and selection; recognizable transition into and between characters, final moment and into exit.
Near Standard
Moderately clear articulation of name and selection; transition into and between characters and/or final moment may or may not be present.
Aspiring to Standard
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).
Above Standard
Character is consistently emotionally and physically believable; committed choices and tactics toward an objective prompt intuitive reaction to real or implied partner(s).
At standard
Character is frequently emotionally and physically believable; committed choices and tactics toward an objective prompt identifiable reaction to real or implied partner(s).
Near Standard
Character is infrequently emotionally and physically believable; choices and tactics toward an objective prompt some reactions to real or implied partner(s).
Aspiring to Standard
Character is rarely emotionally and physically believable; choices, tactics, objectives and a relationship to a real or implied partner(s) are not evident.
VOICE
Projection, articulation, intonation, and other chosen vocal techniques that reflect the character’s emotions and subtext.
Above Standard
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.
At standard
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.
Near Standard
Vocal projection and clearly articulated dialogue are inconsistent; use of pitch, tempo, tone, and inflection sometimes communicate the character’s emotions and subtext.
Aspiring to Standard
Vocal projection and articulated dialogue are limited or absent; use of pitch, tempo, tone, and inflection rarely communicate the character’s emotions and subtext.
MOVEMENT/STAGING
Gestures, facial expressions, movements, and actions that communicate the character’s emotions and subtext.
Above Standard
Gestures and facial expressions consistently communicate appropriate character emotions and subtext; blocking is varied, purposeful, and reflects the character’s emotions and subtext.
At standard
Gestures and facial expressions communicate appropriate character emotions and subtext; blocking is purposeful and reflects the character’s emotions and subtext.
Near Standard
Gestures and facial expressions sometimes communicate the character’s emotions and subtext; blocking generally reflects the character’s emotions and subtext.
Aspiring to Standard
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.
Above Standard
Concentration and commitment to moment-to-moment choices are sustained throughout the performance; integration of voice, body, and emotions create a believable character/ relationship that tells a story.
At standard
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.
Near Standard
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.
Aspiring to Standard
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.