Sound Design

What to Prepare

For a Sound Design entry, the Thespian must prepare a sound 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. Demonstration of representative examples of sound effects/cues from the production. Cues should be played on a device provided by the participant that is able to play back the sounds at a volume level that can be heard by all adjudicators (i.e., a mobile phone alone is not recommended).
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).
   • Techniques used within the design.
   • A sound cue sheet that must include:
     • Act/scene;
     • Placement of cue (e.g., corresponding line, stage direction, etc.);
     • Description of cue;
     • Duration of cue;
     • Effect, if applicable (e.g., fade in, fade out, etc.).
   • Speaker plot that must include the location and specs of each speaker used in the production.
   • Sound reinforcement plan, signal flow, and/or mic plot, as appropriate.
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 demonstrated sounds. 
   • 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 address category-specific topics such as:
     • What role(s) did the other design elements play in the sound design for this production?
     • What challenges did you face in mixing the sound for the production?
     • Are there elements of your initial design that you needed to adjust based on the facility in which the show was produced (i.e., capacity, acoustics, etc.)?
4. Optional written essay response to share additional information about the sound 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., sound design for August: Osage County);
• Name of the playwright(s) and/or composer(s).

A slate might sound like this: "Hello. My name is John Smith from Troupe 561, and I’ll be sharing my sound design for The Crucible by Arthur Miller." 

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: Sound Design

• Ability to demonstrate an understanding of the sound 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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