Acting
Solo Acting
In a Solo Acting performance, the Thespian should prepare two (2) contrasting selections from published works written for the theatre. Performances of original work, poetry, fiction, screenplays, television, or any other medium are not permitted.
Duet & Group Acting
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 3-16 players. In each case, every participant must be actively involved in the scene chosen for performance.
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
In Acting performances, the Thespian(s) must follow the aforementioned rules for the International Thespian Excellence Awards as presented in this guide, and also the following rules specific to this category:
- Prior to the event, validate the material using the approved publishers and acceptable materials information.
- For a Solo Acting performance, the Thespian should prepare two (2) contrasting 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 comprised of only one character's lines.
- For a Duet or Group Acting performance, the Thespians should prepare a scene that includes each participant in an active role.
- The total performance time for the performance must not exceed three (3) minutes for a Solo Acting performance or five (5) minutes for a Duet or Group Acting performance. Time begins after the slate with the first word, musical note, or acting beat (if it precedes the first word or note) of the presentation. If a Thespian exceeds the time limit, the adjudicator will note the time and a final eligibility ruling will be determined. Exceeding the time limit may result in a disqualification.
- In the Solo Acting category, one (1) chair may be safely used during the performance. In the Duet Acting category, two (2) chairs may be safely used, and in the Group Acting category, up to six (6) chairs and one (1) table may be safely used. No other scenic elements or furniture is 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(s) is usually acceptable so long as safety is the priority (i.e., if a chair or table has wheels, it would not be considered safe to stand upon).
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.