Iowa Thespy Award Program

At the Iowa Thespian Festival, students have a chance to participate in the Thespy Award program, which is a part of the International Thespian Excellence Awards, sponsored by the Educational Theatre Association. The International Thespian Excellence Awards is an educational program that offers Thespians the opportunity to receive constructive feedback on prepared theatrical material and technical designs.
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Click here for more information on the National Thespy Awards

​Check out this video tutorial on how to submit your Thespy performance application in Open Water:

THESPY APPLICATION DEADLINE:
OCTOBER 18, 2022

Click Here to Register your Thespy Performance

Performance Individual Events include:

• Monologue
• Duet Acting
• Group Acting
• Solo Musical Theatre
• Duet Musical Theatre
• Group Musical Theatre
• Solo Musical Theatre Dance
• Duet Musical Theatre Dance
• Group Musical Theatre Dance

​Technical Individual Events include:

• Costume Construction
• Costume Design
• Lighting Design
• Makeup
• Scenic Design
• Short Film
• Sound Design
• Stage Management
• Theatre Marketing

STUDENTS MAY ONLY PARTICIPATE IN TWO INDIVIDUAL EVENTS AT THE IOWA THESPIAN FESTIVAL.

Students do NOT need to be inducted Thespians to participate in the Thespy Awards at Iowa Festival. However, if a student qualifies for the International Thespian Excellence Awards at the International Thespian Festival, he or she MUST be an inducted Thespian at the time of your ITF registration to participate.  

For a complete list of rules for each event and more details, check out the Iowa Individual Events Guide below.  
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Overview

The International Thespian Excellence Awards (Thespys®) are an educational program designed to provide constructive feedback for Thespians to improve their prepared theatrical materials, expand their performance and technical expertise, and develop their professional and presentation skills. The program includes 16 official categories spanning performance, technical theatre, filmmaking, and writing. Each entry is adjudicated by theatre educators and professionals based on rubrics that reflect national standards in theatre education.

Every year, thousands of students from Thespian troupes around the world participate in the Thespys. They progress from school auditoriums to district and chapter qualifiers to the international stage.
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Thespians who score “superior” ratings at a qualifying event are invited to the International Thespian Festival, where the top scorers in each category win Thespy Awards and have a chance to earn scholarships for their artistic and educational development. The program is included in the National Association of Secondary School Principals (NASSP) List of Approved Contests, Programs, and Activities for Students.

Program Rules - Iowa Thespian Chapter Qualifier

Rule 1: Fees/Registration
Fees for the Iowa chapter level will be $20 for solo events and $40 for duet/group events

​Rule 2: Submission Requirements
​All initial adjudications at the chapter level will happen happen in-person at the 2022 Iowa Thespian Festival. Although students will be performing in-person in the chapter qualifier, they must submit the online performance application in Open Water. The application is where adjudicators will submit feedback on the in-person performances held at festival. 

If advancing to the international round, Thespians must present the same work they qualified with at the chapter, state/regional, or alternate qualifier. All initial adjudications at the international level will happen virtually using an online adjudication platform. While the rules and guidelines for digital submissions are largely the same as in person for each category, Thespians are encouraged to recognize and prepare for the inherent differences in presenting their categories digitally. Thespians should optimize their submissions for the online format to receive the best feedback and the best scores.

Thespian Status
Students do NOT need to be inducted Thespians to participate in the Thespy Awards at the Iowa Thespian Festival. However, IF the student/event qualifies for the national awards at the International Thespian Festival, students MUST be an inducted by the time of registration to be able to participate at ITF. 

Rule 3: Slating
​For all categories (except playwriting and short film), Thespians begin with an introduction known as a slate. The slate must include only:

• The Thespian’s name(s)
• Troupe number
• Title of selection(s)
• 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 performing 'Oh, What a Beautiful Mornin'' from Oklahoma! by Richard Rodgers and Oscar Hammerstein II." Or this: "Hi. My name is Jennifer Johnson representing Troupe 1101, and I’m going to share my lighting design for A Midsummer Night’s Dream by William Shakespeare." 

Rule 4: Time Limits
After the introduction (slating), time begins with the first word, musical note, or acting action (if it precedes the first word or note). If a Thespian exceeds the time limits below, the adjudicator will note the time and a final eligibility ruling will be determined. Exceeding the time limit may result in disqualification.  

• Solo Acting - 3 minutes
• Duet and group acting scenes - 5 minutes
• Musical theatre solo, duet, and group performances - 5 minutes
• Short films - 5 minutes + 1 minute for credits
• Playwriting - 5 minutes
• Technical categories = 8 minutes

Rule 5: Acceptable Materials
Thespians must choose a piece fitting the acceptable material criteria. Unacceptable selections noted below will be disqualified.

Non-Musical Performance Categories

Acceptable

• Selections must be from full-length or one-act plays or musicals written for the theatre (not for film or television)
• Selections must be published by an approved publisher.

Unacceptable

• Direct permission from the author only.
• Any play (or monologue from a musical) not published by one of the approved publishers.
• Any work featured on a “red light” list from an approved publisher.
• Works available through self-publishing platforms.
• Monologues published independently that are not from a theatrical script (e.g., a monologue book/website).

Musical Performance Categories
Acceptable

• Songs must be from a stage musical or have been used in a stage musical (regardless of previous publication as a classical or popular song (e.g., “Mamma Mia,” “Lady Marmalade,” etc.).
• Sheet music must be publicly available for sale in a vocal selections book or musical score.
• There must be a copyright mark on the sheet music or on the published score (i.e., bootleg PDFs of scores are not acceptable)
• Selections must be published by an approved publisher.

Unacceptable

• A cappella songs unless originally written to be performed a cappella in the musical.
• Songs from musical films or television musicals that have not appeared in a stage musical.
• Classical or popular songs not used in a published work for the theatre.
• Tracks with any pre-recorded vocals, including background vocals.
• Any selection from a musical not published by one of the approved publishers.
• Any work featured on a “red light” list from an approved publisher.

Musical Theatre Dance Categories
Acceptable

• Songs must be from a stage musical or have been used in a stage musical (regardless of previous publication as a classical or popular song (e.g., “Mamma Mia,” “Lady Marmalade,” etc.).
• Selections must be published by an approved publisher.
• Recordings with vocals are acceptable in the Musical Theatre Dance category

Unacceptable

• Any selection from a musical not published by one of the approved publishers.
• Any work featured on a “red light” list from an approved publisher.

Technical Categories
Acceptable

• Any published work written for the theatre (musical or non-musical). The work need not appear on the approved publishers list.

Unacceptable

• Works written for film or television.
• Unpublished theatrical works.

Rule 6: Securing Performance Rights
For performance categories, it is the troupe director’s responsibility to ensure that permission is obtained for the use of copyrighted material where required. In certain cases, permission is not required. Be sure to follow these guidelines:

• Musical Theatre Performance Categories: The performance of a song from a published musical score with copyright notices printed upon the sheet music or in the back of the published score is considered fair use in Thespy adjudication so long as the licensing company who holds the performance rights to the musical is listen on the approved publishers list and the work itself does not appear on a red-light list from the licensing company (which would be noted on the approved publishers list).
• Acting Categories: The performance of a monologue or scene from a non-musical play are subject to an agreement negotiated between EdTA and several major theatrical publishers. Thespy participants must use a monologue or scene from a publisher who appears on the approved publishers list.

Exceptions noted in the approved publishers list (e.g., the works of Neil Simon, August Wilson, etc.) require that Thespians must secure permission from the publishers/authors (and likely pay a fee) in order to perform such works in Thespy adjudication. Proof of performance rights must be provided to EdTA by May 10, 2023.

Rule 7: Approved Publishers


It is very important that Thespians and troupe directors correctly identify the publisher of any material used in a Thespy entry to ensure they have permission to perform it. Securing permission from the approved publisher for a school production does not grant permission for a Thespian to use it for a Thespy entry. Refer to the approved list of publishers for detailed information about acquiring rights for Thespy performances; not all material from every publisher is approved for Thespy use.
Publishers interested in becoming an approved publisher can submit an application.

Rule 8: Dress Code
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.
Thespians should follow these guidelines:

• Dress neatly in simple, modest attire suitable for a professional interview or audition, in black or dark colors. To better understand styles that constitute this tone, search the internet for “business casual for students.”
• Acceptable footwear is neutral and may include character shoes, dance shoes (if appropriate for the category), dress shoes (such as Oxfords), or sneakers in unobtrusive colors and patterns, free of logos if at all possible.
• Theatrical makeup, costumes, and props are not permitted.
• Clothing should be appropriate for the situation. For performance categories, consider black/dark-colored apparel that might be worn in a professional audition and that allows easy movement for the actors to accommodate the action of the performance. For technical categories, choose apparel suitable for a professional interview or the black/dark-colored clothes traditionally worn by technicians.
• Avoid wearing distracting items such as large, dangling jewelry, light-up footwear, or fashionably distressed clothing.

Note: If selected for the Thespy Award Showcase, Thespians are permitted to dress in formal attire. All Thespians at ITF are encouraged to dress up to celebrate the closing ceremony, and performers are not restricted to the dress code required for adjudication. Group performances should still consider coordinated apparel choices, and may consult with the director/producers of the showcase if any questions about apparel arise.

Rule 9: Props and Set Pieces in PerformancesThe use of set pieces, props (including stationary and handheld), or other personal items is not permitted in Thespy adjudication and will result in disqualification.
Exceptions:

• Solo Acting, Musical Theatre Performance, and Musical Theatre Dance: One (1) chair may be safely used.
• Duet Acting, Musical Theatre Performance, and Musical Theater Dance: Two (2) chairs may be safely used.
• Group Acting, Group Musical Theatre Performance, and Group Musical Theatre Dance: One (1) table and up to six (6) chairs may be safely used.

“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).

Rule 10: Diversity, Equity, and Inclusion
Race, ethnic origin, gender, and sexual orientation should not influence a Thespian’s evaluation. Thespians are encouraged to choose pieces that speak to them, but copyright rules must be followed. For example: Thespians may play a role of any gender regardless of the gender with which they identify, but it is important to note that all copyright rules are to be enforced and the Thespian cannot change pronouns without the express written consent from the publisher.
Deaf/hard of hearing Thespians are permitted a conductor (adult or Thespian) for musical performances to guide their tempo.

Rule 11: Adjudicators
All Thespy adjudicators are required to complete a free, public course on Theatre Educator Pro to help standardize the feedback students receive on their Thespy submissions. Prospective adjudicators may complete the course at any time, prior to the beginning of their desired adjudication session.
Adjudicators should also avoid conflicts of interest that may unconsciously influence their evaluations. For example, troupe directors and coaches should not adjudicate their own students.

Rule 12: Disqualification
The International Thespian Excellence Awards program is meant to challenge, inspire, and educate Thespians. As you’ll note throughout this document, there are very clear rules to ensure equity among all participants. Violations of these rules can lead to disqualification at the chapter or international level.
Failure to follow any of the guidelines in this document and the program rubrics will result in a disqualification. Adjudicators will note the reason for the disqualification on the evaluation form. Disqualifications at the international level will be ruled on by a member of the EdTA staff.

Rule 13: Appeals
Direct all appeals, questions, or clarifications to thespys@schooltheatre.org. Please include all relevant details: name of the student, school, troupe number, location, and detailed information about the issue.

Download All Category Rubrics (PDF)

Event Rules

Solo Acting
In a Monologue Acting performance, the Thespian should prepare two contrasting selections from published works written for the theatre. Performances of original work, poetry, fiction, screenplays, television, or any other medium are not permitted. 
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 a Monologue Acting performance, the Thespian 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:

• Prepare two contrasting selections (may be different in period, style, mood, etc.)
• The total performance time for the two selections must not exceed three minutes. Time is measured as outlined previously.
• You may not combine multiple characters’ lines to create a monologue from what was written as a scene.
• One chair may be safely used during the performance. No other scenic elements or furniture is allowed. (See guidance on what constitutes “safely.”)
• Prior to the event, validate the material using the approved publishers and acceptable materials information.

Duet/Group Acting
A duet is defined by the International Thespian Excellence Awards as a performance for 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 a Duet/Group Acting performance, the Thespians 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:

• Each participant must be actively involved in the scene.
• The total performance time for the selection must not exceed five minutes. Time is measured as outlined previously.
• For Duet Acting, two chairs may be safely used during the performance. No other scenic elements or furniture is allowed. For Group Acting, one table and up to six chairs may be safely used. (See guidance on what constitutes “safely.” )
• Prior to the event, validate the material using the approved publishers and acceptable materials information.

Solo Musical Theatre
In a Solo Musical Theatre Performance, the Thespian must present one musical selection from a published score written for musical theatre. The adjudicators will consider how well the piece is acted as well as how well it is sung. The selection may contain dialogue; however, it should primarily be a “sung and not spoken” selection.
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 through both dialogue and music
• Use of focus and concentration
• Vocal skill, technique, and expression
• Use of dance and/or movement
• Integration of voice, body, movement, and staging

In a Solo Musical Theatre Performance, the Thespian 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:

• Performers must use pre-recorded, non-vocal musical accompaniment; no live music is permitted, including live accompanists.
• A cappella performances are not permitted unless the selection was specifically written to be performed as such in the musical.
• The total performance time for the selection must not exceed five minutes. Time is measured as outlined previously.
• Prior to the event, validate the material using the approved publishers and acceptable materials information.

Duet/Group Musical Theatre
In a Duet/Group Musical Theatre Performance, the Thespians must present one musical selection from a published score written for musical theatre. The adjudicators will consider how well the piece is acted as well as how well it is sung. The selection may contain dialogue; however, it should primarily be a “sung and not spoken” selection.
A duet is defined by the International Thespian Excellence Awards as a performance for 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/song 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 through both dialogue and music
• Use of focus and concentration
• Vocal skill, technique, and expression
• Use of dance and/or movement
• Integration of voice, body, movement, and staging

In a Duet/Group Musical Theatre Performance, the Thespians 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:

• Each participant must be actively involved in the scene.
• Performers must use pre-recorded, non-vocal musical accompaniment; no live music is permitted, including live accompanists.
• A cappella performances are not permitted unless the selection was specifically written to be performed as such in the musical.
• The total performance time for the selection must not exceed five minutes. Time is measured as outlined previously.
• For Duet Acting, two chairs may be safely used during the performance. No other scenic elements or furniture is allowed. For Group Acting, one table and up to six chairs may be safely used. (See guidance on what constitutes “safely.”)
• Prior to the event, validate the material using the approved publishers and acceptable materials information.

Costume Construction
In a Costume Construction presentation, the Thespian must prepare a presentation and realized execution for one costume for a published work written for the theatre. Costumes for performances of original work, poetry, fiction, screenplays, television, or any other medium are not permitted. Only one Thespian may be involved in the construction. No collaborations are permitted. Costumes for either theoretical or realized productions are acceptable.
The skills measured by the adjudicators during the presentation are:

• Sewing and construction skills including: application of sewing techniques, pattern use, fitting of the final garment to self or another model
• Attention to detail
• Ability to demonstrate an understanding of the artistic, functional, and practical constraints that impact construction choices
• Ability to research and understand the connection between style, period, locale, genre, and other historical and cultural influences and construction choices
• Ability to budget appropriately for the costume construction
• Ability to document, present, and clearly explain and justify the process of constructing the costume and the costume’s functionality

In a Costume Construction presentation, the Thespian 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:
The Thespian must prepare:

1. A fully constructed costume that reflects the Thespian’s capabilities and strengths, constructed entirely by the Thespian, using a publicly available or personally designed pattern, for use in a play or musical.
   • The garment should be presented on a hanger, mannequin, or, if an accessory, in a box. The Thespian should not wear the costume during the presentation.
   • The design for the costume need not be done by the Thespian who constructs it, but it should be original to the production being presented, whether theoretical or realized. If non-original material is used, sources must be cited, and receipts of purchased materials (e.g., a pattern) must be included in the presentation of the costume.
2. A portfolio of support materials (bound or digital) that must include the following:
   • 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).
   • Pattern used for the costume construction.
     • If the costume is designed, developed, and constructed from a pattern available for purchase, the pattern manufacturer’s information must be included in the details of the presentation.
     • Alternatively, a pattern designed by the participant may be used, but must be included in the portfolio.
     • The costume needs to fit the person or model for which it was built. The costume may be designed to fit the participant.
   • Itemized expense sheet with accompanying receipts for all materials used to construct the costume, such as fabric, thread, buttons, zippers, and trim.
     • The total spent on all items used in the construction of the costume may not exceed $100 (USD), exclusive of the cost of the pattern (if purchased).
     • It is understood that there may be an occasional instance where the total value of the materials used exceeds $100, but donated materials have been used. If using donated materials, the value must be determined, documented, and noted in the expense sheet.
     • If showcasing millinery work, the budget limit is $50 (if submitting both a garment and millinery item, the total would be $150). If using donated materials, the value must be determined and included in the expense sheet.
   • Costume production photo series that focuses on the process of building the costume item (laying out the pattern, cutting the fabric, draping the fabric, etc.).
     • Include process photos used to document and reflect on the construction of the garment (i.e., not photos of the participant at a sewing machine).
     • Photos must depict the garment at various stages of construction and should illustrate such skills (e.g., sleeve alignment, zipper placement and insertion, seam finishes, etc.).
     • Include photos of the costume on the person or model for which it was built.
3. A five- to eight-minute in-person or digital presentation summarizing the work with connections to concept, collaboration, and design decision-making. Digital media may be used during an in-person presentation as well (participant must provide their own equipment).
   • The video component may be a webinar-style presentation (i.e., a voiceover during a PowerPoint slideshow) or a talking head-style presentation (i.e., talking to the camera).
   • Suggested standard prompts are provided to help guide the content of a video presentation. Also consider these category-specific questions:
     • What significant challenges did you face while constructing this costume?
     • Were you also responsible for designing the costume, and if so, why did you choose this fabric/color/embellishment for the character?
     • If you did something differently than what they pattern suggested, why?
     • If the show was realized, did you have issues with fitting the actors, or the costume tearing during a performance and how did you fix it?
   • Any video presentation must display the work so that the adjudicators can see the details. If the details of the documents/photos referenced in your presentation cannot be clearly seen in the video, they should be included in your portfolio of support materials.
4. An optional written essay response to share additional information about the costume with the adjudicators.

Costume Design
In a Costume Design presentation, the Thespian must prepare and present designs for a set of five costumes for a published work written for the theatre. Designs for performances of original work, poetry, fiction, screenplays, television, or any other medium are not permitted. Only one Thespian may be involved in the design. No collaborations are permitted. Designs for either theoretical or realized productions are acceptable.
The skills measured by the adjudicators during the presentation are:

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

In a Costume Design presentation, the Thespian 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:
The Thespian must prepare:

1. Five costume renderings (either five different characters or a single character through five changes).
   • No more than five costume renderings will be permitted.
   • No finished costumes are permitted.
   • Renderings should be at least 8 inches tall and must be in full color; large and detailed enough for the adjudicators to easily understand the design choices (whether in person or digitally).
   • Renderings may be presented on a display board or in a portfolio (bound or digital). The board or portfolio page 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 applicable)
     • Character’s name, act, and scene
     • Entrant’s name and troupe number (optional)
   • Template or traced character forms are permitted.
   • Renderings may be hand-drawn or computer-generated.
   • Swatches must be included.
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.
   • Preliminary sketches.
   • Costume plot for the chosen character(s), showing costume changes and indicating when costume changes happen.
3. A five- to eight-minute in-person or digital presentation summarizing the work with connections to concept, collaboration, and design decision-making. Digital media may be used during an in-person presentation as well (participant must provide their own equipment).
   • The video component may be a webinar-style presentation (i.e., a voiceover during a PowerPoint slideshow) or a talking head-style presentation (i.e., talking to the camera).
   • Suggested standard prompts are provided to help guide the content of a video presentation. Also consider these category-specific questions:
     • Describe your collaborative design process (e.g., with your design team or director)
     • What role(s) did the other design elements play in designing the lighting for this production?
     • What challenges did you face due to other design elements of the production?
     • Do you think your designs helped to support the actor’s/director’s choices?
   • Any video presentation must display the work so that the adjudicators can see the details. If the details of the documents/photos referenced in your presentation cannot be clearly seen in the video, they should be included in your portfolio of support materials.
4. An optional written essay response to share additional information about the costume design with the adjudicators

Lighting Design
In a Lighting Design presentation, the Thespian must prepare a presentation of lighting designs for a published work written for the theatre. Designs for performances of original work, poetry, fiction, screenplays, television, or any other medium are not permitted. Only one Thespian may be involved in the design. No collaborations are permitted. Designs for either theoretical or realized productions are acceptable.
The skills measured by the adjudicators during the presentation are:

• Ability to demonstrate an understanding of the lighting design process
• Ability to demonstrate an understanding of the artistic and practical constraints that impact design and the relationship to the unifying concept
• Basic understanding of the technology/equipment needed to implement and support the design
• 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

In a Lighting Design presentation, the Thespian 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:
The Thespian must prepare:

1. A light plot (digital or physical; scale should be 1/4-inch or 1/2-inch = 1 foot), indicating all information necessary to ensure clear understanding of the designer’s intentions and large enough for the adjudicators to see the details.
   • The location and identification of every instrument, accessory, and specialty unit should be represented on the light plot, along with the following information as appropriate:
     • Color medium
     • Set and masking
     • Areas
     • Lighting positions with labels
     • Type of instruments
     • Unit numbers
     • Circuit
     • Channel
     • Focus/purpose
     • Gobos/patterns/templates
     • Practicals
     • Special instruments (LED, moving lights, foggers, hazers, fans, relays, etc.)
     • Instrument key
   • The light plot 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 for which the plot was designed)
     • 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.
   • Techniques used within the design.
   • Instrument schedule.
   • Magic sheet/cheat sheet.
   • Sample color media used with explanations of choices.
   • One of the following two options:
     • Description of three light cues, organized by act and scene with a stated purpose for the cue and planned timing of the cue. Include a description of the time of day and location of the scene (indoors, outdoors, etc.), as well as use of intensity, color, movement, directionality, and/or quality of light to communicate to the adjudicators both meaning and mood during the scene, as appropriate.
       -OR-
     •  Three light renderings that include a description of the use of intensity, color, movement, directionality, and/or quality of light to communicate to the adjudicators both meaning and mood during the scene, as appropriate.
   • If the production was realized, a photo series or short video (no longer than 1 min.) that highlights the lighting cues should be included (no dialogue or music from the play may be included in the video).
3.  A five- to eight-minute in-person or digital presentation summarizing the work with connections to concept, collaboration, and design decision-making. Digital media may be used during an in-person presentation as well (participant must provide their own equipment).
   • The video component may be a webinar-style presentation (i.e., a voiceover during a PowerPoint slideshow) or a talking head-style presentation (i.e., talking to the camera).
   • Suggested standard prompts are provided to help guide the content of a video presentation. Also consider these category-specific questions:
     • How did you use lighting design to help tell the story? Give a specific example and explain the thought process that went into generating your design.
     • What role(s) did the other design elements play in designing the lighting for this production?
     • What would you say was the biggest lighting-specific setback you had to overcome while working on this design?
     • Reflecting on your process, if you could change one part of this design, what would it be and why?
   • Any video presentation must display the work so that the adjudicators can see the details. If the details of the documents/photos referenced in your presentation cannot be clearly seen in the video, they should be included in your portfolio of support materials.
4. Optional written essay response to share additional information about the lighting design with the adjudicators.

Makeup Design
In a Makeup Design presentation, the Thespian must prepare and present five makeup design renderings for a published work written for the theatre. Designs for performances of original work, poetry, fiction, screenplays, television, or any other medium are not permitted. For the purposes of Thespy adjudications, teeth and hair are considered part of the makeup design and should be included in the materials outlined below. Only one Thespian may be involved in the design. No collaborations are permitted. Designs for either theoretical or realized productions are acceptable.
The skills measured by the adjudicators during the presentation are:

• Ability to demonstrate an understanding of the makeup 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

In a Makeup Design presentation, the Thespian 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:
The Thespian must prepare:

1. Five makeup renderings (either five different characters or a single character through five looks).
   • No more than five makeup renderings will be permitted.
   • Renderings should be at least 8 inches tall and must be in full color; large and detailed enough for the adjudicators to easily understand the design choices (whether in person or digitally).
   • Renderings may be presented on a display board, in a portfolio (bound or digital). The board or portfolio page 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 applicable)
     • Character’s name, act, and scene
     • Entrant’s name and 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.
   • Sources of inspiration for design and color palette (if used).
   • Techniques used within the design.
   • Preliminary sketches.
   • Makeup plot showing who wears what makeup when.
3. A five- to eight-minute in-person or digital presentation summarizing the work with connections to concept, collaboration, and design decision-making. Digital media may be used during an in-person presentation as well (participant must provide their own equipment).
   • The video component may be a webinar-style presentation (i.e., a voiceover during a PowerPoint slideshow) or a talking head-style presentation (i.e., talking to the camera).
   • Suggested standard prompts are provided [insert link] to help guide the content of a video presentation. Also consider these category-specific questions.
     • What research did you do to arrive at the final makeup look?
     • How do you apply this makeup or style the hair this way?
     • Were you responsible for applying the makeup or teaching the actors how to apply it on themselves? If the latter, what challenges did you encounter while teaching the actors how to apply the look?
   • Any video presentation must display the work so that the adjudicators can see the details. If the details of the documents/photos referenced in your presentation cannot be clearly seen in the video, they should be included in your portfolio of support materials.
4. Optional written essay response to share additional information about the makeup design with the adjudicators.

Playwriting
Thespy Playwriting (formerly Playworks) is sponsored by Concord Theatricals and nurtures original student-written plays from the page to the stage. In a Playwriting adjudication, the Thespian must write an original short play. The plays must be the original work of a single Thespian writer. Collaborative works or adaptations are not permitted, nor are plays that include music, lyrics, or dialogue written by anyone other than the submitting writer. Only one play may be submitted per student. Professional directors and dramaturgs will help the chosen finalists workshop and present their plays with student actors.
The skills measured by the adjudicators are:

• An understanding of how the elements of the play create an intentional structure
• Ability to create well developed characters
• Ability to create authentic dialogue that supports and amplifies the action

The Thespian must prepare:

1. A typed (12-point font) short play on any subject with a running time of 30 minutes or less (approximately 30 typed pages).
2. A cover page that should include the title of the play, the student’s name and email address, school name, troupe number, and the troupe director’s name and email address.
3. A character synopsis page listing the name and a brief description of each character.

For Playwriting adjudication, the Thespian does not need to make a presentation – the work should stand alone. Adjudicators will supply feedback on the online adjudication form.

Scenic Design
In a Scenic Design presentation, the Thespian must prepare a presentation of the scenic design for a published work written for the theatre. Designs for performances of original work, poetry, fiction, screenplays, television, or any other medium are not permitted. Only one Thespian may be involved in the design. No collaborations are permitted. Designs for either theoretical or realized productions are acceptable.
The skills measured by the adjudicators during the presentation are:

• 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

In a Scenic Design presentation, the Thespian 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:
The Thespian must prepare:

1. Scale model (physical or digital) of a scenic design that represents up to three unique scenes/locations in the play. No more than three scenes/locations are permitted.
   • At least one 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 elements.
     • 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-minute in-person or digital presentation summarizing the work with connections to concept, collaboration, and design decision-making. Digital media may be used during an in-person presentation as well (participant must provide their own equipment).
   • The video component may be a webinar-style presentation (i.e., a voiceover during a PowerPoint slideshow) or a talking head-style presentation (i.e., talking to the camera).
   • Suggested standard prompts are provided [insert link] to help guide the content of a video presentation. Also consider these category-specific questions:
     • 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 consideration for scenic designers. How did you consider the actors’ safety in your designs?
   • Any video presentation must display the work so that the adjudicators can see the details. If the details of the documents/photos referenced in your presentation cannot be clearly seen in the video, they should be included in your portfolio of support materials.
4. Optional written essay response to share additional information about the scenic design with the adjudicators

Short Film
In a Short Film adjudication, the Thespian must create an original short film. The film must be of original content and may be a collaboration among up to 16 Thespians. Adaptations are not permitted. Only one film may be submitted per student/group in one of the following categories: Short Film (live-action), Short Animated Film, Short Documentary Film. Separate rubrics are below for each category.
The skills measured by the adjudicators during the presentation are:

• The ability to create opening and closing titles, credits, and graphics that orient the viewer to the story
• The ability to visually develop a story with dialogue
• Camera, lighting, and sound use
• Editing, including scene length and flow
• The emotional and physical believability of the acting
• The filmmaker’s use of film elements to create a successful product

The Thespian must prepare:

1. An original documentary, live action, or animated film no more than five minutes long, plus one additional minute for credits. The film must demonstrate:
   • Proper use of title cards and credits within the time limit
   • Properly executed camera angles and shot variation to enhance the storyline and finished product
   • Control over lighting exposures for clarity, storytelling, and a professional finished product
   • The ability to capture, record, and manipulate all audio aspects of your production
   • Controlled and manufactured editing choices that enhance the overall storytelling
   • The ability to complete a storyline that includes a clear arc (beginning, middle, and end)
   • The film must meet the following requirements:
     • Music used in short films must be original, in the public domain, and/or properly credited.
       • If in the public domain or original, proper credit must be listed in the film’s credits.
       • If not in the public domain or original, proper credit must be listed in the film’s credits and proof of payment for the rights to the music must be documented and shared with the adjudicators.
     • The film should be uploaded to YouTube with privacy settings set to “Public” or “Unlisted” for adjudication. Note: if the film is set to “Private,” the adjudicators will be unable to view and score the work.
     • The film should contain no content that would exceed a PG13 rating by the Motion Picture Association of America. The film should not include any nudity or depict acts that are illegal for anyone under 18 years of age.

The Thespian(s) does not have to give a presentation — the work should stand alone. Adjudicators will supply feedback in the adjudication form online.

Sound Design
In a Sound Design presentation, the Thespian must prepare a presentation of the sound design for a published work written for the theatre. Designs for performances of original work, poetry, fiction, screenplays, television, or any other medium are not permitted. Only one Thespian may be involved in the design. No collaborations are permitted. Designs for either theoretical or realized productions are acceptable.
The skills measured by the adjudicators during the presentation are:

• 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

In a Sound Design presentation, the Thespian 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:
The Thespian must prepare:

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 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-minute in-person or digital presentation summarizing the work with connections to concept, collaboration, and design decision-making. Digital media may be used during an in-person presentation as well (participant must provide their own equipment).
   • The video component may be a webinar-style presentation (i.e., a voiceover during a PowerPoint slideshow) or a talking head-style presentation (i.e., talking to the camera).
   • Suggested standard prompts are provided to help guide the content of a video presentation. Also consider these category-specific questions:
     • 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.)
   • Any video presentation must display the work so that the adjudicators can see the details. If the details of the documents/photos referenced in your presentation cannot be clearly seen in the video, they should be included in your portfolio of support materials.
4. Optional written essay response to share additional information about the sound design with the adjudicators.

Stage Management
In a Stage Management presentation, the Thespian must present digital and/or physical documents that showcase the stage manager’s promptbook and other paperwork for a production of a published work written for the theatre. Designs for performances of original work, poetry, fiction, screenplays, television, or any other medium are not permitted. Only one Thespian may be involved in the design. No collaborations are permitted. Designs for either theoretical or realized productions are acceptable, though it is strongly recommended that the Thespian was responsible for the actual stage management for a realized production.
The skills measured by the adjudicators during the presentation are:

• Ability to demonstrate an understanding of the stage manager’s role and specific responsibilities
• Ability to organize stage management ideas, products, and choices that support a realized or theoretical production
• Ability to document, present, and clearly explain and justify stage management products and choice

In a Stage Management presentation, the Thespian 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:
The Thespian must prepare:

1. A portfolio of materials (bound or digital) that exhibits consistency, clarity, and organization of materials and must include the following:
   • A brief bulleted list of duties performed as stage manager, including during the rehearsal process and during performances (before, during, and after).
   • Representative sample from the promptbook: at least 5-10 consecutive pages from the prompt script that includes dense blocking notation and technical cues (lights, sound, etc.).
   • Representative documentation: at least three examples of production documentation from the following list:
     • Props list
     • Costume change plot
     • Rehearsal calendar
     • Rehearsal reports (up to five)
     • Scene change assignments
     • Line notes
     • Additional production-specific documents
2. A five- to eight-minute in-person or digital presentation summarizing the work with connections to concept, collaboration, and design decision-making. Digital media may be used during an in-person presentation as well (participant must provide their own equipment).
   • The video component may be a webinar-style presentation (i.e., a voiceover during a PowerPoint slideshow) or a talking head-style presentation (i.e., talking to the camera).
   • Suggested standard prompts are provided to help guide the content of a video presentation. Also consider these category-specific questions:
     • What role(s) did the design elements play in the stage management for this production?
     • What did you learn during your stage management experience that you can take into other areas of your life?
     • If you led production meetings, describe your process.
   • Any video presentation must display the work so that the adjudicators can see the details. If the details of the documents/photos referenced in your presentation cannot be clearly seen in the video, they should be included in your portfolio of support materials.
3. Optional written essay response to share additional information about the stage management process with the adjudicators.

Theatre Marketing
In a Theatre Marketing presentation, the Thespian must prepare a presentation of a marketing campaign for a production of a published work written for the theatre. Designs for performances of original work, poetry, fiction, screenplays, television, or any other medium are not permitted. Only one Thespian may be involved in the design. No collaborations are permitted. Designs for either theoretical or realized productions are acceptable, though it is strongly recommended that the Thespian was responsible for the actual publicity in a realized production.
The skills measured by the adjudicators during the presentation are:

• Ability to demonstrate an understanding of the marketing director’s role and specific responsibilities
• Ability to demonstrate an understanding of the resources and personnel needed to communicate a marketing concept to a target audience
• Ability to perform research and apply it to the design process and marketing campaign
• Ability to align a marketing campaign’s components in a distribution strategy that supports a realized of theoretical production
• Ability to document, present, and clearly explain and justify marketing materials that are informative, engaging, and effective

In a Theatre Marketing presentation, the Thespian 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:
The Thespian must prepare:

1. A portfolio of support materials (bound or digital) that methodically works through the marketing process and that must include the following:
   • One-page design statement that includes:
     • Unifying production design concept.
     • Theme of the show/recurring motifs.
     • Target markets outside of the school audience, noting any publicity restrictions from the licensing agency.
   • 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).
   • A brief summary of their role and responsibilities during the production (including self and/or team’s responsibilities).
   • Production dates, number of performances, and cost of admission (if realized).
   • A copy of the marketing budget for the publicity campaign and justification of expenses (Note: work will be adjudicated on creativity and quality of the materials; not necessarily on how much money was in the budget.)
   • Details of the design concept’s development, including examples of collaboration with the production team.
   • Final creative assets (such as posters, tickets, promotional handouts, social media templates, etc.) demonstrating branding, promotional efforts, various modifications based on specs/usage, and student’s ability to adapt to the constraints of the licensing agent (i.e., billing requirements, licensed logo usage – if applicable, etc.). If non-original material is used, sources must be cited, and receipts of purchased materials (when applicable) must be included in the presentation of the assets.
   • Distribution schedule and locations.
   • A press release.
   • Outcomes for realized productions, including budget/cost analysis (income vs. money spent) noting any free services rendered such as copies, printing, vendor donations, etc. and assigning a cost value to those donated elements. (Note: Income may not directly affect the marketing budget, but analysis work that presents the marketing costs in relation to the full production budget and revenue should be done.)
2. A five- to eight-minute in-person or digital presentation summarizing the work with connections to concept, collaboration, and design decision-making. Digital media may be used during an in-person presentation as well (participant must provide their own equipment).
   • The video component may be a webinar-style presentation (i.e., a voiceover during a PowerPoint slideshow) or a talking head-style presentation (i.e., talking to the camera).
   • Suggested standard prompts are provided to help guide the content of a video presentation. Also consider these category-specific questions:
     • How effective do you feel your marketing was in bringing an audience to the show?
     • How did you engage with the media (television, newspaper, social media, etc.)?
     • What might have been done differently if more time, money, etc. were available (for realized productions).
   • Any video presentation must display the work so that the adjudicators can see the details. If the details of the documents/photos referenced in your presentation cannot be clearly seen in the video, they should be included in your portfolio of support materials.
3. Optional written essay response to share additional information about the theatre marketing process with the adjudicators.

Download All Category Rubrics (PDF)