Scenic Design

What to Prepare

For a Scenic Design entry, the Thespian must prepare a scenic design for a published work written for the theatre. Designs for performances of original work, poetry, fiction, screenplays, television, concerts, or any other medium are not permitted. Only one (1) Thespian may be involved in the design; no collaborations are permitted. Designs for either theoretical or realized productions are acceptable. The Thespian must prepare the following:

1. Scale model (physical or digital) of a scenic design that represents up to three (3) unique scenes/locations in the play. No more than three (3) scenes/locations are permitted.
   • At least one (1) human figure must be included in the model to show proportion and scale.
   • The model may be generated through multiple physical or digital media, such as SketchUp, Vectorworks, or 3-D printers.
   • The model should be clearly and neatly labeled with a title block that contains the following information:
     • Play or musical title and author(s)/composer(s);
     • Performance dates and facility in which it took place (if the production was not realized, indicate the performance space the set was designed for);
     • Scale;
     • Entrant’s name, troupe number (optional).
2. A portfolio of support materials (bound or digital) that must include the following:
   • One-page design statement that includes:
     • Unifying production design concept;
     • Theme of the show/recurring motifs.
   • Research, including:
     • Summary of given circumstances from the script;
     • Functionality requirements;
     • Genre, locale, and setting of the play (or other explanation of the world of the play);
     • Artistic and practical needs that impact the construction;
     • Sources of inspiration for design and color palette (if used).
   • Budgetary requirements or other constraints and considerations.
   • Corresponding scale ground plan(s) that include:
     • Fixed/static scenic element;
     • Indication of audience arrangement/location and backstage areas;
     • Title block(s) including the same information as presented in the model.
3. A five to eight (5-8)-minute presentation summarizing the work with connections to concept, collaboration, and design decision-making. The Thespian may use digital media during the presentation (the Thespian must provide their own equipment for viewing), or the Thespian may bring photo boards or other visual aids to display along with the scenic design.
   • The Thespian should address general questions such as:
     • What are some of your responsibilites in your field?
     • How did the director's concept influence your work?
     • How did the style of the play affect your work?
     • If the production was realized, what challenges did you face in unifying the director's concept across all areas of your work?
   • The Thespian should also address category-specific topics such as:
     • What role(s) did the other design elements play in the scenic design for this production?
     • Given the space you designed for, what considerations were given for entrances and exits (for actors as well as other scenic elements)?
     • Safety is a huge concern for scenic designers. How did you consider the actors' safety in your designs?
4. An optional written essay response to share additional information about the scenic design with the adjudicators.

Slating: All 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., scenic deisng for Macbeth);
• Name of the playwright(s) and/or composer(s).

A slate might sound like this: "Hello. My name is Jane Smith from Troupe 561, and I’ll be showing you my scenic deisgn for Pippin by Stephen Schwartz, Roger O. Hirson, and Bob Fosse." 

After the slate, time begins with 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: Scenic Design

• Ability to demonstrate an understanding of the scenic design process;
• Ability to demonstrate an understanding of the artistic and practical constraints that impact design and the relationship to the unifying concept;
• Ability to research and understand the connection between style, period, locale, genre, and other historical and cultural influences and design choices;
• Ability to document, present, and clearly explain and justify design choices.

PRESENTATION

Explanation of the executed design, unifying concept, creative decisions, and process

RESEARCH

Evidence of research of the given circumstances of the script as well as artistic and practical needs which impact the design.  

INTERPRETATION

Design choices merge the unifying concept with the designer’s unique vision.

DESIGN JUSTIFICATION

Connecting the design choices to the artistic and practical needs of the production.

EXECUTION

Products presented convey ideas and choices that support the script and unifying concept.

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