Before the ceremony:
1. Induct students following the procedures provided in the troupe handbook.
2. Notify the students (in writing) of the plans for the induction ceremony.
3. Have the membership roll at the ceremony and have the charter on display.
4. Divide the speeches among the officers of the troupe. (They may either memorize or read the speeches.)
A. Welcome the guests; introduce special guests or representatives.
“Good evening. My name is _____ and I am the ________ of Troupe No. __________ of ___________(school
name). We have some very special guests with us this evening, and as I introduce these guests, we would appreciate
it if each would stand so that we may recognize you. (Introduce guests.) Thank you. At this time I would like to
introduce the officers of our troupe.” (Introduce troupe officers.)
B. Introduce the proceedings with a short history of the organization. (This may be done with one or more
speakers.)
“Friends, parents, instructors, directors, and special guests, it is a pleasure to welcome you here to share in the
induction of ___ members into ___________(school name)’s Troupe No. ___________ of the International
Thespian Society. Through hard work, sacrifice, and dedication, the candidates have earned sufficient points on a
scale dictated by the International Thespian Society to have the right to be called Thespians. It is a title of honor,
signifying a commitment to an art as old as humanity.
“Commitment to theatre is what the International Thespian Society is all about. The Society was established in 1929
at Fairmont State College, Fairmont, West Virginia, by Dr. Earl Blank, who was then the director of dramatics at the
high school in Casper, Wyoming; Dr. Paul Opp, a member of the college faculty; and Harry Leeper, a teacher at
East Fairmont
High School.
“They named their organization the National Thespian Society for Thespis, the Greek who, according to legend, was
the first actor; their guiding principle was a dedication to excellence in theatre arts in secondary schools. Seventyone schools became charter members of the society. The first national convention and election of officers was held
in 1930. From this modest beginning, the organization enjoyed steady growth, and in the next five years, the
membership had increased to 320 troupes. The national office was moved to Cincinnati, Ohio, in 1935. By the time
the Society had celebrated its fiftieth anniversary, there were 3,190 troupes on its rolls.
“At that point, the Society had grown into an international organization with more than a million members and
troupes in every state and many foreign countries. The Society sponsors state, regional, national, and international
theatre conferences where its members can learn more about the art and craft of theatre, perform and see outstanding
performances, and audition for scholarships.
“In 1989, the governing board of the Thespian Society formed the Educational Theatre Association to help it
provide a broader range of services to theatre educators. The Educational Theatre Association is a professional
organization for theatre teachers that includes in its membership all Thespian troupe directors. Its board now
operates the International Thespian Society, continuing its ___-year tradition of honoring and serving theatre
students and their teachers.
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“The goals of the International Thespian Society haven’t changed. It still strives to give young adults a place for
outstanding theatre where the standards of excellence in theatre arts will be advanced, and to honor those students
who do theatre well. And it continues to be guided by the principles of its founders: a belief that participation in the
arts is an essential means of widening students’ cultural horizons and enriching their lives.”
C. Introduce the candle lighting ceremony.
“Let us pause to reflect on the many aspects of the evolution of our art, which encompasses all of the major forms of
human expression. The history of theatre is the history of all people. It is the continuing search to find the answers to
the awesome mysteries that motivate the human personality. Just as our early ancestors dramatized a crisis in their
lives, so today we come to the theatre to search for answers to the process through which the theatre arts have
become a part of our cultural heritage. To recall and pay tribute to these arts, we begin the lighting of the candles.”
The first speaker may read the speech and then light the candle, or an individual performance may precede each of
the speeches (an acting monologue for the memory of Thespis, a musical solo before the speech about music, etc.).
For safety and reliability, electric candles are recommended. Open flames may be used at the discretion of the
director, provided local fire codes permit them.
“During the sixth century before Christ, one of the writers of tragedy who won the approval of the priests at the
Festival of Dionysus was Thespis. About 535 B.C. a new dimension was added to drama when Thespis, who was a
prominent leader of the Greek chorus, stepped from that group and recited portions of the drama alone. In the
moment he separated himself from the chorus, Thespis became the first actor. We also believe that it was he who
first used masks so that a person could portray more than one part.
“In honor of this early Greek writer, all actors are called Thespians. In his honor we are the International Thespian
Society. We have as our emblem the two masks of comedy and tragedy etched in colors of gold and blue bound
together with the Thespian ‘T.’ I light this candle in memory of Thespis. I light it to remind the wearers of the masks
that the emblem represents a proud and dignified heritage, and that this heritage is now entrusted to us.”
The first speaker lights the candle from which all the other candles will be lit. Then the speaker stands aside for the
dance-pantomime performance and/or speech.
“No one knows when people began to dance. Archaeologists believe that people have always danced. To pacify the
frightening forces of nature and to express joy in the gentle beauty around them, primitive people, by means of
rhythmic movement and pantomime, communed with a being that both protected and threatened them.
“Early people realized that everything around them had a rhythmic pattern. They saw this in the path of the sun, in
the changing seasons, in the movement of animals, and in their own heartbeats. In their attempt to understand their
world and to worship their gods, they imitated those rhythms and developed the earliest known form of
performance. When a hunter wished to boast of his skill, he leaped into the circle about the fire and relived his
exploits. To the primitive mind, this was magic; to us, it is pantomime.
“Wherever people lived, the dance/drama developed. As the intellectual powers of the human being became more
acute, the dance became more complex. Gradually, through the ages, people learned to live in two worlds. In
addition to the savage world of reality in which people worked and fought for existence, people created another of
rhythm and imagination which
expressed in dance and action their emotions, prayers, hopes, dreams, and sometimes simply the joys of the human
existence. I light this candle from the Thespian candle in honor of the art of acting without words—dance and
pantomime.”
The speaker lights the candle from the Thespian candle (and either places it in a pre-assigned holder or holds the
candle) and stands aside for the performance and/or speech about music.
“Music is the language of time and space. From the prehistoric era to the present moment, music is a record of
human feelings. Early people responded to the environment about them, finding their music in the natural world.
“People detected pitch in the cries of animals, and tone quality in the wailing of the wind. They discovered rhythm
in their own footsteps. The first songs were shouts of joy and fear, and these shouts echoed again and again in
triumphs and defeats, thus releasing people’s innermost feelings. For the first musical instruments, there were two
sticks banging simultaneously
or stones clapped together in repeated beats. The music talked to gods or communicated with others through hand
clapping, stomping, shouting, and the use of instruments.
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“The beginnings of music are buried with the countless centuries, but through the persistence of that mysterious
inner force that requires all people to express themselves, humanity has found musical form in tone quality, pitch,
and rhythm. I light this candle in honor of the musical expression of ideas and feelings that enhance so much of
theatre today.”
The speaker lights the candle from the Thespian candle and stands aside for the performance and/or speech about
speech.
“Pantomime and rhythm were not sufficient for early people who were endowed with an intellect. Even in a desolate
existence, people sought to communicate ideas to other minds. Thus, people became adventurers, daring to enter the
realm of reasoning and creativity.
“In this new world, words could become symbols for thoughts, and as a result, speech became a part of the total
experience of the human race. It was enough for other creatures to communicate danger or need through chirps or
calls, but it was not enough for human beings, who wished to express concepts that were only imagined.
“Today, while we can touch the past through speech and reach into our imaginings of the future with speech,
perhaps what is even more astounding is that we can reveal our thoughts, hopes, and inspirations to other people
through that same medium.
“I light this candle in honor of speech, which lifts human beings from ordinary reality to entire worlds beyond,
especially the worlds created on the stage.”
The speaker lights the candle from the Thespian candle and stands aside for the performance and/or speech about
dramatic literature.
“In our western culture, dramatic literature grew in part out of the worship of Dionysus, the youthful god of wine
and revelry, and of crops and vegetation. Because of the importance of this deity to the ancient Greeks, they honored
him each year with elaborate festivals, during which a chorus of men dressed as satyrs, mythical beings who were
half goat and half man, and danced about an altar chanting his praise. Thus was born the Greek chorus, and it
became a central focus in the development of the powerful tragedies of the golden age of Greek drama.
“Around 600 B.C., playwrights presented their plays in annual festivals in the great theatre of Dionysus at Athens.
Each hoped to win the approval of the priests whose privilege it was to choose the best play and to bestow a prize
upon the writer.
“I light this candle in honor of dramatic literature, each script depicting the agonies and comedies of the human
drama and providing the map to guide the process of creating theatre.”
The speaker lights the candle from the Thespian candle and stands aside for the performance and/or speech about
the theatre.
“In a very real sense, the theatre today knows no bounds. While primitive people pantomimed around the fire, and
the Greek actor portrayed his agony of spirit in the dancing circle, the modern performer presents his soul searching
on a stage, the seeing place, and in an auditorium, the hearing place.
“The theatre speaks to all of us, and at the same time it speaks for all of us. It is a critical voice, exhorting people to
become aware of the world in which they live, and to pass judgment upon it. It is a social voice, exhibiting both our
nobility and our pettiness. Most of all, it is a prophetic voice.
“The events that affect our future are given form through the use of the techniques of the modern theatre. The theatre
of today has accepted the challenge of its time. It is stripping away the masks of Thespis and is revealing the
complexities of the human condition with an uncompromising vigor and honesty.
“Theatre has outgrown the confines of the seeing place. No building can contain the impact of this most powerful
force that brings together all forms of art and artistic achievement. Truly, to paraphrase Shakespeare, all the world is
our stage, and we men and women are its players.
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“I light this candle in honor of all that is drama, from the use of artistic lighting to focus attention, to the painting of
the scenery or the sculpture of a costume or the makeup on an actor’s face, from the soundless movements of acting
to the rhythmic movements of dance, from the playwright’s script that will heighten our awareness of the world to
the spoken speech, I honor all the arts that are theatre.”
The speaker lights this last candle from the Thespian candle and stands aside for the speaker who will read the
accomplishments of each of the students who have earned the right to become Thespians. Each student may be given
a candle, which they will light from the Thespian candle after they have received their membership card and
certificate (along with a Thespian pin if that is usually awarded at this time).
D. Introduce new members and review their accomplishments.
“The following students have met the requirements for membership in the International Thespian Society, an honor
and a reward for their participation in the theatre program at this school. As I read your name and your
accomplishments that have earned you this honor, please step forward for your membership card, certificate, and
candle (and pin, if appropriate), and please light your candle at the Thespian candle.”
Depending on the amount of time—and number of students and people to help hand out the certificates and
membership cards (and pins)—the following may be said:
“This certificate serves as evidence of the honor you have received for helping to promote the theatre arts program
in this school.
“This membership card is your identification as a Thespian. This will serve as a reminder of the responsibilities you
assumed when accepting membership in the society.”
If pins are awarded:
“This insignia (pin) of gold and blue will indicate to others that you are part of an honored international group. May
you wear it with pride.”
E. With candles lit, the pledge is introduced and the new members may read or repeat the Thespian pledge.
“While membership in the society is an honor, it is also evidence of your continuing desire to work toward higher
standards for theatre productions in education and arts programs. Therefore, membership places upon you the
obligation of performing your best with the knowledge that greater honors come to those who accept greater
responsibilities through cooperation with others.
“I now ask all new members of Thespian Troupe No. _____ to say the pledge with me (“or repeat after me”).
“I promise to uphold / the aims and ideals of the International Thespian Society. / I am a student of theatre and
excellence is my ideal. / I promise to perform my part as well as I can; / to accept praise and criticism with grace; /
to cooperate with my fellow Thespians / and work for the good of the troupe; / and to share my love of theatre.”
“The pledge that you have just taken binds you to the principles and ideals of the International Thespian Society.
You are to do the tasks assigned to you. You are to cooperate with your troupe officers and fellow students as well
as your teachers and administrators in helping to raise the standards of excellence in all areas of your experience.
You are to refrain from
any action that may hinder the work of your troupe. You are to conduct yourselves so that you may gain the respect
of your school (or program) and your community.
“By the authority delegated to me by the International Thespian Society, I now declare you members of Troupe No.
_____ of ___________(school name).
“Congratulations and welcome to the International Thespian Society. Always remember our motto which comes
from Alexander Pope’s ‘Essay on Man’: ‘Act well your part; there all the honor lies.’”
Lead audience in applause.
“Please step to the membership roll, and hand your candle to _____________, who will hold it while you sign your
name.”
When members are finished signing the roll and lined up again, the speaker may say:
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“If the glow of the achievements of ages past in all art forms is to continue to brighten the path of humanity and help
civilization grow, then the theatre must remain a vigorous part of that enlightenment and growth by adding new
talent to its ranks, talent that will justify the existence and continuance of drama. We welcome you as new Thespians
and urge you to use your talents so that our candles may shine more brilliantly as you act well your parts. We have
confidence in your ability to achieve success. We sincerely hope that you will enjoy your association with this
organization. As you now extinguish your candles, resolve to always let the flame glow in your hearts.”
F. If the officers for the coming year have been elected, they may be introduced at this time.
“Thespians, the future of our organization depends on the dedication of all members and on the vision and the
ingenuity of the officers. The members of our troupe have selected the following officers to direct our activities in
the future: (Introduce the officers.)
“It is my honor to confer upon you the charge of your offices in the International Thespian Society. I extend to you
the trust of our members and of the Society in striving for the advancement of theatre arts in education and in our
community. Congratulations.”
G. Introduce any other performances that students may have prepared, give out the rest of the awards if any are to
be given, introduce the guest speaker, and/or give one of the concluding sentences:
1. “This concludes our induction (awards) ceremony this evening. Thank you for attending this ceremony; your
continued support and appreciation of our accomplishments serve to strengthen our society.”
2. “It is my pleasure to invite you to remain for refreshments and to greet our new members.” (Outline plans for
reception.)
3. “We are pleased to have parents, friends, and special guests with us on this occasion. May we extend to you a
cordial invitation to return for other induction ceremonies and also to attend our future production(s).” (Giving
details, if available.)