Arizona Thespians
Theatre
Rule Book
2015
State Acting Festival
November
Table of Contents
AZT/Festival Rules
Mission Statement and Performance Policy………………………………3
Rules and Guidelines………………………………………………...……4
AZT/Specific event rules
Monologues………………………………………………………………..6
Duet Acting…………………………………………………………..……6
Group Acting……………………………………………………………...7
Solo Musical………………………………………………………………7
Duet Musical………………………………………………………………7
Group Musical………………………………………………………….…8
Costume Design………………………………………………………..….9
Costume Construction………………………………………………..…10
Theatre Marketing…………………………..…………………………...10
Set Design………………………………….……………………………....9
Short Film………………………………………………………………...8
Stage Management…………………………………………………….….10
Lighting Design…………………………………………………………...12
Sound Design……………………………………………………………...13
Make-up…………………………………………………………..……….15
One Act Regional Festival Rules…………………………………………16
Reader’s Theatre Rules…………………………………………………...18
Ballots……………………………………………………………………...…19-24
All Black Rules and Photos………….…………………………………………..25
AIA/State One Act Festival Rules and Guide Lines
Rules……………………………………………………………….………….26
Performance Standards Policy…………………………………………………….31
Code of Conduct…………………………………………..……………………32
AIA Article 37…………………………………………………………….………35
School by Region………………………………………………….………………37
Formal Review Procedure………………………..……………………………….39
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Arizona Thespians are a group of dedicated teachers, students, and professionals
who are dedicated to promoting Theatre education in our schools and community.
Our History
The Arizona Thespian Society was incorporated in the mid-1970s. We are a Region I Chapter affiliated with the International Thespian
Society and the Educational Theatre Association. Over the last three and a half decades, Arizona Thespians have provided services to over
50,000 young people and hundreds of educators. Our efforts have been recognized by the Governor’s office for the last 10 years by way
of a State Proclamation which states that November is designated as "Theatre in our Schools Month” in honor of our annual state
conference. This designation clearly signifies the importance of theatre education by our legislation.
Vision statement:
Education, Leadership and Community through Theatre.
Mission Statement:
To create the leaders of tomorrow through educational and theatrical experiences, to promote the advocacy of the Performing Arts, and to
develop strong communities.
Performance Standards Policy
(Adopted July 28, 2007)
The Arizona State Thespian Board recognizes there is a wide variation in the “contemporary community standards”
among the public, charter, and private high schools in the state. Thus, the following policy will govern all performances at
the annual Arizona Thespian Conference, as well as the regional acting festivals which are sponsored by the above Board.
No performance will be allowed (full length, one act, or individual event) which is prohibited, or not protected by the
First Amendment – i.e. “Unprotected speech.” A condensed definition of “unprotected speech” follows:
1) Material that has content that is “obscene as to minors, “ (under the age of 18). This is defined as follows:
a) Where the average person, applying contemporary community standards, would find that the performance
and/or production, taken as a whole, appeals to a minor’s prurient interest. b) Where the performance and/or
production depicts or describes in a patently offensive way, sexual conduct such as actual or simulated sexual
intercourse (normal or deviate), masturbation, excretory functions, and actual lewd exhibition of genitalia; and c)
where the performance and/or production, taken as a whole, lacks serious literary, artistic, political, or scientific
value.
2) Material that has content that is “defamatory,” – defined as the depiction of false unprivileged
communication about an individual which injures that person’s reputation in the community or good name.
3) Material that has content that will cause “a material and substantial disruption of school activities,” - defined as
student rioting; unlawful seizures or destruction of property; widespread shouting or boisterous conduct; school
boycotts, etc.
4) Material that infringes on “separation of church and state.” Under this doctrine certain religious activities, such
as proselytizing, have been held to be unconstitutional if conducted within the context of a school-sponsored
activity.
Arizona State Acting Festival
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Rules
The Arizona State Acting Festival is an intense, two-day theatre festival for high school students. This
Festival features events that stress performance and technical skills. It is sponsored by Arizona State
Thespians. Events, with the exception of Tech Challenge, are non-competitive giving ratings (as
opposed to rankings), so designed to be an enjoyable learning experience for all participants. This twoday Festival serves as the qualifier for the International Thespian Festival regarding One Act Plays
(Chapter Select Showcase). At this State Festival, schools may enter one student per Individual and
Tech Event. Exceptions are Group Musicals, Group Acting and Reader’s Theatre. Schools may enter a
single One Act, one Group Musical, one Group Acting and one Reader’s Theatre.
Rules – IE’s
Rules for Individual Events and Tech Events shall follow the rules of the
International Thespian Festival.
1. The performance events offered at the Arizona Acting Festivals are: Monologue, Duet Acting, Solo Musical
Theatre, Duet Musical Theatre. The technical events offered are Costume Design, Costume Construction, Lighting
Design, Theatre Marketing, Scenic Design, Short Film, Sound Design, Make-up and Stage Management. Group
Events offered are: Group Musical Theatre, Group Acting, Reader’s Theatre and One Act. A group event is three
(3) to sixteen (16) actors.
2. Each entrant is permitted to participate in only one (1) individual events for State Festivals. Students can
be in all three Group Events.
3. Entrants who qualify for State Showcase must present the same work that they performed in IEs. Other
qualifying entrants are expected to present the works listed on their registration. To qualify for State Showcase the
student or students must score an average of Superior rating the judges. Judges have final says on Showcase
Students.
4. No theatrical makeup is allowed in any event. Costumes are not allowed. (See Rules for Reader’s Theatre)
Participants should dress as they would for a professional audition or interview, in dress black. The wearing of
appropriate footwear is strongly encouraged in all events. Black audition clothes for men are black pants, black
button-down shirt and black dress shoes (with black socks). For women: black dress or black slacks with a
black blouse with black shoes. Shoes MUST be as near black as possible. Please avoid clothes that are too
tight.
5. No props are allowed. This includes hand-held props like a watch, a cell phone, your glasses, etc.
6. All performance events are limited to five (5) minutes. Monologue Category is limited to three (3) minute total.
Time begins after the introduction by the student. All technical presentations will be limited to ten (10) minutes.
Any entrant who goes over the time limit will be stopped and then disqualified.
7. The introduction must only include the entrant’s name, troupe number, title of selection(s), and the name of the
playwright, composer or lyricist.
8. For all music events, performers may use pre-recorded, non-vocal musical accompaniment. No acapella is
permitted. A CD/ipod player will be provided; however, performers are encouraged to bring their own CD/ipod
player. Student(s) may have a sound check before their introduction.
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9. Evaluation forms are available to NIES participants to help them understand adjudication criteria. The forms
can be found on the EdTA website or by contacting the NIES coordinator at the ITS home office.
10. There will be NO refund of the Festival fees regardless of the reason for cancellation or disqualification
The Arizona State Acting Festival (November) is under the direction of the AZT State Board and the rules
committee (AIA Board).
Duties of Festival Site Director (FSD):
1.
The State Director should be a knowledgeable adult who watches over the Festival acting
events. He/she should be the one to make rulings on minor challenges at State Festivals. If
the challenge is a major dispute, it w submit it to the AIA Theatre Board and be able to give
a full explanation of the incident. The FSD is responsible for the conduct of this event
before, during and after the festival. The FSD should form a committee from the State Board
and from the AIA committee to help run this phase of the State Festival.
2.
FSD is responsible for printing all judging sheets for the judges.
3.
The committee is responsible for getting the judges and discussing the contest procedure and
ballots with them.
4.
The committee is expected to run the Festival on an exact schedule to accommodate
performers, audience members, and judges during the Festival.
5.
The committee collects the ballots at the conclusion of the contest and tabulates.
(1)
Record all Judges' Ballots on the Master Tab Sheet
(2)
Averages the Judges scores.
.
Specific event rules
Monologue
1. Entrant must present two contrasting selections that may be different in period, style, or mood.
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2. The selection should be balanced from a time perspective (approximately 1.5 minutes each) and should
reflect an important section in the play.
3. Material must be drawn from published scripts written for theatre. Works from other forms such as poetry,
fiction, or film are prohibited. Monologues from published book of just monologue still must be from
scripts written for a stage play or musical. Monologues that are not connected will a published stage play
are prohibited. Same as with Duet or Group IE’s.
4. Only one character from each play may be used.
5. The performance of both selections combined cannot exceed three (3) minutes TOTAL.
6. The introduction (slate) must be done at the beginning for both selections and must only include entrant’s
name, troupe number, title of selections, and the names of the playwrights. Time will begin once the entrant
speaks after conclusion of the introduction.
7. Props, costumes, or theatrical makeup are not allowed. Black audition clothes for men are black pants,
black button-down shirt and black dress shoes (with black socks). For women: black dress or black
slacks with a black blouse with black shoes. Shoes MUST be as near black as possible. Please avoid
clothes that are too tight.
8. One chair may be used.
9. Student MUST have a copy of the monologue on hand. If asked, and the student or advisor cannot
present a copy, then that student will be disqualified.
Duet Acting
1. Entrants must present one selection.
2. Material must be drawn from published scripts written for theatre. Works from other forms such as poetry,
fiction, film or books are not permitted.
3. Each participant must be actively involved in the scene.
4. The performance cannot exceed five (5) minutes.
5. The introduction must include only the entrants’ names, troupe number, title of selection, and the name of
the playwright. Time will begin once a performer speaks after conclusion of the introduction.
6. Props, costumes, or theatrical makeup are not allowed. Black audition clothes for men are black pants,
black button-down shirt and black dress shoes (with black socks). For women: black dress or black
slacks with a black blouse with black shoes. Shoes MUST be as near black as possible. Please avoid
clothes that are too tight.
7. Two chairs may be used.
8. Student MUST have a copy of the Duet Script on hand. If asked, and the student or advisor cannot
present a copy, then those students will be disqualified.
Group Acting
1. “Group” means three (3) to sixteen (16) performers.
2. Entrants must present one selection.
3. Material must be drawn from published scripts written for theatre. Works from other forms such as poetry,
fiction, or film are not permitted.
4. Each participant must be actively involved in the scene.
5. The performance cannot exceed five (5) minutes.
6. The introduction must include only the entrants’ names, troupe number, title of selection, and the name of
the playwright. Time will begin once a performer speaks after conclusion of the introduction.
7. Props, costumes, or theatrical makeup are not allowed. Black audition clothes for men are black pants,
black button-down shirt and black dress shoes (with black socks). For women: black dress or black
slacks with a black blouse with black shoes. Shoes MUST be as near black as possible. Please avoid
clothes that are too tight.
8. Up to six chairs and one table may be used.
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9. Student MUST have a copy of the Script on hand. If asked, and the student or advisor cannot present
a copy, then those students will be disqualified.
Solo Musical Theatre
1. Entrant must present one selection.
2. Material must be drawn from songs from published scripts written for theatre only. Works from other forms
such as film, television, poetry, fiction, or popular song lyrics not interpreted as musical performance are not
permitted. Remember, this is a musical theatre selection. The judges will consider how well the piece is
acted and not just how it is sung.
3. The selection may contain limited dialogue; however, remember this is primarily a “sung and not spoken
selection.”
4. The performer must use pre-recorded, non-vocal musical accompaniment. No accompanist will be provided.
No a Capella is permitted. A CD/MP3 Player will be provided. Performers are STRONGLY encouraged to
bring their own electronic medium performing device.
5. The performance cannot exceed five (5) minutes. Time will start once the music begins after conclusion of the
introduction.
6. Props, theatrical makeup and costumes are NOT permitted. Black audition clothes for men are black pants,
black button-down shirt and black dress shoes (with black socks). For women: black dress or black
slacks with a black blouse with black shoes. Shoes MUST be as near black as possible. Please avoid
clothes that are too tight.
7. One chair may be used.
8. Student MUST have a copy of the Song on hand. If asked, and the student or advisor cannot present
a copy, then that student will be disqualified.
Duet Musical Theatre
1. Entrants must present one selection.
2. Material must be drawn from songs from published scripts written for theatre only. Works from other forms
such as film, television, poetry, fiction, or popular song lyrics not interpreted as musical performance are not
permitted. Remember, this is a musical theatre selection. The judges will consider how well the piece is
acted and not just how it is sung.
3. The selection may contain dialogue; however, remember this is primarily a “sung and not spoken selection.”
4. The performer must use pre-recorded, non-vocal musical accompaniment. No accompanist will be provided.
No a Capella is permitted. A CD/MP3 Player will be provided. Performers are STRONGLY encouraged to
bring their own electronic medium performing device.
5. Each participant must be actively involved in the scene.
6. The performance cannot exceed five (5) minutes. Time will start once the music begins after conclusion of the
introduction.
7. Props, costumes, or theatrical makeup are not allowed. Black audition clothes for men are black pants,
black button-down shirt and black dress shoes (with black socks). For women: black dress or black
slacks with a black blouse with black shoes. Shoes MUST be as near black as possible. Please avoid
clothes that are too tight.
8. Two chairs may be used.
9. Student MUST have a copy of the Duet Song on hand. If asked, and the student or advisor cannot
present a copy, then those students will be disqualified.
Group Musical Theatre
1. “Group” means three (3) to sixteen (16) performers.
2. Entrants must present one selection.
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3. Material must be drawn from songs from published scripts written for theatre only. Works from other forms
such as film, television, poetry, fiction, or popular song lyrics not interpreted as musical performance are not
permitted. Remember, this is a musical theatre selection. The judges will consider how well the piece is
acted and not just how it is sung.
4. The selection may contain limited dialogue; however, remember this is primarily a “sung and not spoken
selection.”
5. The performers must use pre-recorded, non-vocal musical accompaniment. No accompanist will be provided.
No acapella is permitted. A CD/MP3 Player will be provided. Performers are STRONGLY encouraged to bring
their own electronic medium performing device.
6. Each participant must be actively involved in the scene.
7. The performance cannot exceed five (5) minutes. Time will start once the music begins after conclusion of
the introduction.
8. Props, costumes, or theatrical makeup are not allowed. Black audition clothes for men are black pants,
black button-down shirt and black dress shoes (with black socks). For women: black dress or black
slacks with a black blouse with black shoes. Shoes MUST be as near black as possible. Please avoid
clothes that are too tight.
9. Up to six chairs and one table may be used.
10. Student MUST have a copy of the Group Song on hand. If asked, and the student or advisor cannot
present a copy, then those students will be disqualified.
Short Film
1. As directed by the Festival Director, Entrant must post their film on YouTube and submit the URL to the
Festival Director prior to the Festival. Entrants must also have a DVD of the an original short film that is no
longer than five (5) minutes in length from opening title screen to final credits. The DVD must available
during the days of the Festival incase the Judges need to review it.
2. Films must be of original content and may be collaborations between students.
3. Music must be original or documented public domain material.
4. Material created by students in this event that is deemed by the judge(s) to be obscene or disruptive may
receive lower ratings or in some extreme cases may result in disqualification.
Students in Tech IE’s MUST wear Business Attire. Men: Shirt and tie with slacks. Women: Dress or nice pant
suit. Please avoid clothes that are too tight or too short.
Costume Design
1. Presentation must be a design for one published play written for the theatre. The published script must be
used for the design: working from the film version only is grounds for disqualification. Designs for
performances of poetry, fiction, screenplays, or any other medium are not permitted.
2. The entrant must present five (5) character renderings. These may represent five different characters, or
follow a single character though several appropriate changes. No more than five (5) renderings are
permitted. No finished costumes are permitted.
3. Each design must be executed in full color on paper of the designer’s choice and mounted on a 10” x 15” or
11” x 17” board, such as illustration board, heavy poster board, or foam core. Board color is at the
discretion of the designer. Figures should be 8 to 10” tall. Template or trace characters may be used. Fabric
swatches are encouraged and may be attached to the lower left corner of the rendering.
4. The board should be labeled in the following manner: (a) upper left‐hand corner: play title and playwright;
(b) upper right‐hand corner: character’s name, act, and scene; (c) lower right‐hand corner: entrant’s name
and troupe number. No other information may be written on the board.
5. Only one entrant may be involved in the design. No collaborations are permitted.
6. A 1/2” binder should contain the following materials: (a) a brief statement of the design choices inspired by
the script, (b) research materials, (c) preliminary sketches, (d) a costume plot of who wears what when, and
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(e) other sources of inspiration for design and color palette, if any were used.
7. The entrant must make an oral presentation justifying the designs. Note cards may be used, in addition to
the binder. The IE presentation should be organized to guide the adjudicators through and explain your
design process and choices using your research and materials. The introduction must include only the
entrant’s name, troupe number, title of play, and playwright. The entrant will have up to Five (5) minutes to
present, a play synopsis should be prepared and offered to the adjudicators. If the synopsis is required it is
part of the ten-minute presentation, but in most cases your adjudicators will be familiar with the work being
presented and will not require a synopsis. There will be approximately five (5) minutes for adjudicators to
ask questions and follow up afterwards.
8. The overall session cannot exceed ten (10) minutes, including set-up and questions and answers.
Scenic Design
The entrant must prepare and present:
1) An original, three-dimensional scale model OR a perspective rendering (not to exceed 11"x17”) showing the set and its
relationship to the theatrical space. All forms of staging are permitted. Either model or rendering will be permitted, but not
both. Recommended scales for theatre are ¼” or ½” to 1’0”. At least one figure must be included in the rendering or model to
show proportion and scale.
2) A floor plan drawn to the same scale. The floor plan should clearly indicate the performance space, backstage space, audience
areas and sightlines. The Floor plan should contain a title block including Show Name, Producer, Facility, Date of Production,
Drawn By, and Scale.
3) Three (3) complete sets of materials (A ½” binder is recommended) for the adjudicators including:
a) A one page design statement summarizing:
(1) the director’s point of view of the play and his/her wishes;
(2) your goals and visions for the design;
(3) major messages or themes in the play to be emphasized (if any);
(4) how these were technically achieved.
b) Copies of your research;
c) Additional sources of inspiration (if any)
d) Photos or reproductions of other materials such as model, rendering, and floorplan.
4) The entrant must present a justification of the design. Note cards may be used. The entrant must also be prepared to answer
questions about the design presented.
The presentation must be of a design for one published play written for the theatre. The published script must be used
for the design: working from the film version only is grounds for disqualification. Designs for performances of poetry,
fiction, screenplays, or any other medium are not permitted. Only one entrant may be involved in the design. No
collaborations are permitted. Students will have a maximum of five (5) minutes to set-up and make their presentation.
Adjudicators will have a maximum of five (5) minutes for questions following the presentation. The introduction must
include only the entrant’s name, troupe number, title of play, and playwright.
The student should conceive this as a presentation to a director. You should be sure to address each of the 6 areas below.




‘THE WORLD OF THE PLAY” a brief statement of the time, place and culture of the play as written.
DESIGN STATEMENT (Directorial Approach/Concept Statement/Central Image) What is your* approach to the play? What is
the meaning you wish to convey to the audience? What is the response you want from the audience? How does this relate to
“The World of the Play”? (*It is useful and important to note whether this is your choice alone or determined by or with your
director/other members of the production team.)
GIVEN CIRCUMSTANCES (requirements of the play) a clear statement of what is needed to accommodate the action of the
play. May also include any special constraints imposed on the production e.g., space, budget, other resources, need to tour,
etc. as these affect the design.
RESEARCH primarily visual (aural for sound design) but with a clear descriptive context provided to illustrate how the
research is incorporated in/used in developing your design. This research should probably result in a blend of practical and
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conceptual information. The research should be based on your understanding of the “World of the Play” as framed by the
specific approach to your production.
 THE DESIGN: CHOICES & COMMUNICATION - think how you would present your ideas and solutions to your director. This
could be a model, floor plan, renderings, scene sketches/concepts, swatched renderings, costume plot, cue
descriptions/samples, light plot, magic sheet, photos of purpose built items (foley equipment) etc. as needed to clearly convey
the choices you made in your design and their rationale.
REFLECTION What worked? What didn’t? What did you learn? What would you do differently next time? Self-assessment /
constructive criticism is an important tool for a designer.
Costume Construction
1. Only one entrant may be involved in the construction. No collaborations are permitted.
2. The entrant must prepare and present:
a. Create a costume that reflects capabilities and strengths. Must produce a fully constructed item. The
costume must be an entirely original construction created by the entrant.
b. An itemized expense sheet and receipts. All materials used to construct the costume such as fabric,
thread, buttons, zippers, and trim may NOT exceed $100. If millinery, budget limit is $50, exclusive
of the cost of From the Neck Up. The expense sheet must be mounted on the display board as proof
that the entrant did not exceed their budget.
c. A costume research collage that focuses on the process of building the costume item. Process photos
should depict the garment at various stages of construction—not the participant at a sewing machine.
The collage must be presented on a 20″ x 30″ presentation board that is labeled in the lower right hand
corner with the entrant’s name and troupe number.
3. Note: The entrant should bring the garment on a hanger or, if the item is an accessory, in a box. The
entrant should NOT wear the costume to the IE session.
4. After the ten minute presentation, adjudicators will have up to five minutes to ask questions. The overall
session, including the introduction and follow-up questions, cannot exceed fifteen minutes.
Theatre Marketing
1. Entrants should approach this process as if they are presenting a “case study” that methodically works
through the marketing process. Students will have a total of five (5) minutes to set-up and make their
presentation. Adjudicators will have a total of five (5) minutes for questions following the student’s
presentation.
2. Presentation must be for a marketing campaign for one published play written for the theatre. Designs
for performances of poetry, fiction, screenplays, or any other medium are not permitted. It is strongly
recommended that the entrant was responsible for actual publicity.
3. The presentation must be for the marketing campaign developed and executed for the play presented by the
school.
4. The entrant’s should bring three portfolio binders for the judges that contain the components of their
marketing campaign, including:
a. A finished poster
b. A finished program
c. Two press releases consisting of an informational article and a feature article
d. A copy of the marketing budget for the publicity campaign and justification of expenses
e. Any work that shows the progression of the creative process, including a brief statement of the
design choices inspired by the script, research materials, and other sources of inspiration, if any
were used.
5. The work will be judged on the creative process and the results, not necessarily how much the entrant had
in the budget and how well the entrant spent the money.
Presentation Format
1. Background
a. Introduce yourself and your Thespian troupe number
b. Quick description of the play that you are marketing
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c. Dates of performance/number of shows
d. Were you the only person responsible for executing the marketing campaign or did you have a team of
other students assisting
2. Creative development
a. Describe your target market outside of your school. Who, specifically, are you trying to get to come to
your show? Obviously, you want everyone to come to see your production, but are there groups of
people who would naturally enjoy the production, that you are trying to get to come to your show.
b. Describe any research that you did to develop your design concept: did you consult with the scene
designer? Did you do research of concepts from past productions of this specific play? Where did you
draw inspiration?
c. How does your marketing design concept match with the production design? Will the audience have an
idea of what they are going to be seeing before they see it?
d. Were you the only person responsible for developing the marketing campaign’s design concept? Did
you just develop the design concept and have someone else polish the final design or were you
responsible for the concept development and design creation?
3. Execution
a. Describe and demonstrate the components of your marketing campaign. Examples of marketing
components are: posters, tickets, promotional handouts, social media, etc.
b. Explain how and where this marketing was distributed.
c. Is there is consistency in your marketing so that it is recognized that all of your marketing pieces are
from the same campaign? What elements (images, colors, fonts, etc.) did you have to change to fit the
media of your marketing components?
4. Outcomes
a. Budget versus money spent. Note: if your school offers some services for free (i.e. making copies,
printing) or a vendor donates a product or service, please discover what the actual or comparable
service would cost—there is a value in this!
b. Number of tickets sold per performance versus house capacity. Try to compare your outcome to a
similar show that the school previously produced.
c. As part of your presentation, include your reflections on what you might have done differently in your
marketing campaign if you had had more time, money, etc.
Stage Management
1. Entrants should approach this process as if they are interviewing for a college Stage Management program
or a job interview. The process in which you stage manage and the job you did should be the focus of the
presentation. What did the role of “stage manager” mean in your production? Students will have a total of
five (5) minutes to make their presentation. Adjudicators will have a total of five (5) minutes for questions
following the student’s presentation.
2. Presentation must be from a realized production either in your middle or high school program or a
community/professional theatre.
3. A strong understanding of the stage manager’s job and the process is most important. This particular
position isn’t text book and your personality and style can show through. However, judges will be looking
for consistency, clarity, and organization. If someone picked up your prompt book, would it make sense?
4. Entrants should bring a three-ring binder for the judges that contains the components of their stage
management prompt book and paperwork they used to perform their responsibilities. This should include
but not limited to:
a. Prompt script (including blocking and all technical cues {i.e. lights, sound, deck, etc.}) This may be
broken into two scripts.
b. Examples of Contact sheet, Cast list, Rehearsal schedule, Props list, Sound & Lighting cue sheets
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c. A written statement of the director’s artistic concept of the production that includes a discussion of
the theme and how the theme was executed.
5. The entrant will be judged on the clarity and organization of their prompt book and the effective
communication of their understanding of their role as a stage manager as it related to their production.
Lighting Design
The entrant must prepare and present:
1. A light plot, ( ¼” or ½” =1’0” no larger than 24”x 36”) which indicates focus, channel (dimmer) color, type
of instrument and any special equipment along with an indication of the set, and masking. This single page
(plate) should include a Unit Key for clarification of all stage fixtures and a Title Block indicating: show
name, producer, facility, date of production, drawn by and scale data.
2. Three (3) complete sets of materials (A ½” binder is recommended) for the adjudicators including:
a. A one page design statement summarizing:
 the director’s point of view of the play and his/her wishes;
 your goals and visions for the design;
 major messages or themes in the play to be emphasized (if any);
 how these were technically achieved.
b. Copies of your research;
c. Additional sources of inspiration (if any)
d. A description of light cues organized by scene and including the purpose (outcome) of the cue,
the timing of the cue.
e. A one page document (8.5” x 11”) also called a ‘magic sheet’, showing the acting space (set) and
indicating the colors used in the design and the angles (i.e. down light, front light, side light, etc)
for all major components of the design. (Specials are not required to be noted.)
f. A dimmer or channel hookup (not an instrument schedule).
3. The entrant must present a justification of the design. Note cards may be used. The entrant must
also be prepared to answer questions about the design presented.
The presentation must be of a design for one published play written for the theatre. The published script
must be used for the design: working from the film version only is grounds for disqualification. Designs
for performances of poetry, fiction, screenplays, or any other medium are not permitted. Only one entrant
may be involved in the design. No collaborations are permitted. Students will have a maximum of five (5)
minutes to set up and make their presentation. Adjudicators will have a maximum of five (5) minutes for
questions following the presentation. The introduction must include only the entrant’s name, troupe
number, title of play, and playwright.
The student should conceive this as a presentation to a director. You should be sure to address each of the 6 areas
below:
 ‘THE WORLD OF THE PLAY” a brief statement of the time, place and culture of the play as written.
 DESIGN STATEMENT (Directorial Approach/Concept Statement/Central Image) What is your* approach
to the play? What is the meaning you wish to convey to the audience? What is the response you want from
the audience? How does this relate to “The World of the Play”? (*It is useful and important to note whether
this is your choice alone or determined by or with your director/other members of the production team.)
12




GIVEN CIRCUMSTANCES (requirements of the play) a clear statement of what is needed to
accommodate the action of the play. May also include any special constraints imposed on the production
e.g., space, budget, other resources, need to tour, etc. as these affect the design.
RESEARCH primarily visual (aural for sound design) but with a clear descriptive context provided to
illustrate how the research is incorporated in/used in developing your design. This research should probably
result in a blend of practical and conceptual information. The research should be based on your
understanding of the “World of the Play” as framed by the specific approach to your production.
THE DESIGN: CHOICES & COMMUNICATION - think how you would present your ideas and solutions
to your director. This could be a model, floor plan, renderings, scene sketches/concepts, swatched
renderings, costume plot, cue descriptions/samples, light plot, magic sheet, photos of purpose built items
(foley equipment) etc. as needed to clearly convey the choices you made in your design and their rationale.
REFLECTION: What worked? What didn’t? What did you learn? What would you do differently next time?
Self-assessment/constructive criticism is an important tool for a designer.
Sound Design
1. Three (3) copies of the following (a ½” binder is recommended)
a. The entrant must present a Sound System Plot on 2 pages.
 Speaker plot indicating where on the set and in the performance space loudspeakers will be
placed. The relationship of speakers on the plot to speakers on the block diagram must be
clear.
 Block diagram indicating signal flow through the sound system and should follow the
USITT Student Sound Graphics Standards available at:
http://usitt.org/commissions/sound/Sound_Comm_Graphics_Project_2008.html
b. A one page design statement summarizing:
 the director’s point of view of the play and his/her wishes;
 your goals and visions for the design;
 major messages or themes in the play to be emphasized (if any);
 how these were technically achieved.
2. Representative examples of the sound design on CD to be played on a provided sound system. (See
Guidelines)
3. The applicant must make an oral presentation justifying the design. Notecards may be used. The
applicant must be prepared to answer questions about the design.
The presentation must be of a design for one published play written for the theatre. The published script must be
used for the design: working from the film version only is grounds for disqualification. Designs for performances
of poetry, fiction, screenplays, or any other medium are not permitted. Only one entrant may be involved in the
design. No collaborations are permitted. Students will have a maximum of five (5) minutes to set-up and make
their presentation. Adjudicators will have a maximum of five (5) minutes for questions following the presentation.
The introduction must include only the entrant’s name, troupe number, title of play, and playwright.
The student should conceive this as a presentation to a director. You should be sure to address each of the six areas
below.
 “THE WORLD OF THE PLAY” a brief statement of the time, place and culture of the play as written.
 DESIGN STATEMENT (Directorial Approach/Concept Statement/Central Image) What is your* approach
to the play? What is the meaning you wish to convey to the audience? What is the response you want from
13
the audience? How does this relate to ‘The World of the Play”? (*It is useful and important to note whether
this is your choice alone or determined by or with your director/other members of the production team.)
 GIVEN CIRCUMSTANCES (requirements of the play) a clear statement of what is needed to accommodate
the action of the play. May also include any special constraints imposed on the production e.g., space,
budget, other resources, need to tour, etc. as these affect the design.
 RESEARCH primarily aural but with a clear descriptive context provided to illustrate how the research is
incorporated in/used in developing your design. This research should probably result in a blend of practical
and conceptual information. The research should be based on your understanding of the “World of the Play”
as framed by the specific approach to your production.
 THE DESIGN: CHOICES & COMMUNICATION - think how you would present your ideas and solutions
to your director. This could be a model, floorplan, renderings, scene sketches/concepts, swatched renderings,
costume plot, cue descriptions/samples, light plot, magic sheet, photos of purpose built items (foley
equipment) etc. as needed to clearly convey the choices you made in your design and their rationale.
REFLECTION What worked? What didn’t? What did you learn? What would you do differently next time? Selfassessment/constructive criticism is an important tool for a designer.
Make-up
1. The presentation must be a design for one published play written for the theatre. Designs for performances of
poetry, fiction, screenplays, or any other medium are not permitted.
2. The student must present five character renderings, either for five different characters or following a single
character through several appropriate changes. These may represent five different characters or follow a single
character through several appropriate changes. No more than five renderings are permitted. No live models
with make-up are permitted.
3. Each design must be executed in full color on a 10”x15” white illustration board. All full faces must be 6 1/2”7” tall and an overall height of 10” including neck and/or hair. The base of the figure should be 3” from the
lower edge of the board. Template or trace characters may be used as a base.
4. The board should be labeled in the following manner: (a) Upper left hand corner: Play title and playwright; (b)
Upper right hand corner: Character’s name, act, and scene; (c) Lower right hand corner: Student’s name and
troupe number. No other information may be written on the board.
5. The student must make an ORAL PRESENTATION justifying the designs. Oral presentation cannot exceed
five (5) minutes. Note cards may be used. The introduction must include only the student’s name, troupe
number, title of the play and playwright. Time will begin once the presenter speaks after the conclusion of the
introduction. The student must also be prepared to answer questions about the design presented. The oral
presentation and question/answer session will not exceed ten (10) minutes.
READER’S THEATRE
Rules
14
This is a Group IE
Presentation time is 15 minutes maximum! (Set up, presentation, take down)
An open script must be used either in hand or on a lectern.
No makeup or costumes are allowed. Hats or part of costumes may be used as part of the story telling.
No sets. Stools, chairs and reading stands are allowed. School must bring their own stools, chairs or stands or use
chairs at site.
Props and sound effect devices are not allowed. The actors only are to make sound effects, which are part of the
story.
Reader’s Theatre is basic storytelling. Scripts must be based on a published story.
There shall be three judges for Reader’s Theatre
One Act Play Festival Rules
Space may be limited - First registered, first served.
A one-act play has a one hour block of time. The Staging is in a workshop room style, with no hidden crossover, and
very basic lighting set-up. You must provide a light board operator and your own sound system; load in must fit
through a standard door frame. There is to be NO removal of door frames and teams may not move their plays outside of
provided room. The performance must be at least 20 minutes long.
The Arizona State Festival is the qualifying festival for the Chapter Showcase at the International Thespian Festival in
Lincoln, Nebraska, June, 2015.
Material Selection:
1.
Plays may consist of:
a.
published one-act plays
b.
published full length plays
c.
published screenplays
d.
non-published, original works
e.
internet published works
f.
musicals
g.
When a script is cut, care must be taken not to change the order of the material or to add material
that changes the author’s intent. However, limited words or phrases may be added to facilitate
transitions. Word substitutions are permitted ONLY to eliminate offensive or profane language
from selections, which would otherwise be acceptable.
h.
No school can cut lines or scenes from one play and use it in another play.
2.
A play may not be repeated at the festival by the same school for at least four years after it has been used
previous.
3.
Play directors must have with them at the tournament a copy of the material from which the
performance is taken. A school that upon request is unable to produce a copy of the material from which the
performance is taken shall have the rating dropped to poor. The school may continue under protest until such time
the tournament ethics committee has ruled upon the validity of the challenge.
REMINDERS:
1) You will be in a classroom setting as opposed to a theatre. Keep sets simple.
2) There is a 60-minute time limit, which includes set-up, performance, and strike.
15
3) No Tech crews for lights and sound will be provided.
4) If a one-act cancels after Nov. 4, you will not be eligible to present at next year’s State Festival.
5) Attach a copy of the Performance Standards Policy to this form. This is a MUST!
6) obtained performance rights and paid any royalty fees to perform this play for Festival
International Thespian Festival Adjudication Rules for One-Act Plays
To be eligible for International Festival, the following requirements must be met:
□
One hour block of time
□
No more than ten minutes are allowed for set-up.
□
No more than five minutes are allowed for strike.
□
Performance time may not exceed 45 minutes, but can be less.
□
Performance can be from one act plays, or cuttings from full lengths plays or musicals. Music must be canned.
□
Shows must be performed in the room provided.
□
All sets MUST fit through a standard door frame
There will be minimal lighting and you MUST have someone there to run it. Sound is on your own.
16
Ballots
17
Acting and Musical Theatre Individual Events
Arizona State Acting Festival
Troupe # ___________ Category
____ Monologue____ Duet Acting____ Group
____ Solo Musical____ Duet Musical____ Group Musical
Student(s) ________________________________________________ Judge ______________________
Selection __________________________________________________Time_____
Superior
Notes
Excellent (4)
Good (3)
Fair (2)
Total
(5)
Professionalism
Slating and Opening clear and
articulation
Transitions: Thoughtful, motivate,
creative, smooth
Final moments/exiting: Confident,
personable, grounded
Character
Development: individuality, risks,
honest, clear journey, strong depth of
character
Voice
Intonation, connotation, subtext
revealed, vocal emotion
Movement
Blocking, gestures, facial expressions
create new insight in text and
character, grounded presence,
dynamic, engaging, enhance
production value
Overall Presentation
Appropriate material within actor’s
capabilities, well executed in creative
manner, memorized, focused,
confident and poised. Successfully
orchestrated the performance
(beginning, middle, and end.)
Final Score_________
Overall rating based on
Final Score (please circle)
Superior
25-23
Excellent
22-18
Good
17-13
Fair
12-10
Comments
18
Technical Theatre Individual Events Rubric
School ________________________________ Troupe # ___________ Category
Student(s) _____________________________Judge ____________________
Selection __________________________________________________
Superior
Excellent
Good
(5)
(4)
(3)
Professionalism
____ Costume
____ Sound Design
____ Lighting Design____ Scenic Design
____ Stage Mgmt ____ Marketing
Fair (1)
score
Slating & Opening: Clearly held the moment to end, clear
slating articulation of name and piece. Transitions:
Thoughtful, motivated, creative, and smooth transitions.
Final moments/exiting: Confident approach and exit,
personable opening, clean solid conclusion, grounded exit
from audition space, energetic, no errors.
Interpretation and Design
Exceptional organization in demonstration of given tasks
Designs are precise, clear, cohesive and meaningful
concept appropriate for the production
Designs show an excellent understanding of social class,
age and historical period
Original artist concept which enhances and embraces the
vision of the design team
Aesthetics and Execution
The project is completed with an artistic vision and
justification in collaboration with a design team and/or
director
Precision and clarity of designs
Complete descriptive elements included
Dramatic elements perfectly worked to establish character,
time, location, and enhance the mood of the piece
Accuracy of details
Safety
All safety protocols* are met and student takes leadership
role in implementation of safety measures for others
Presentation
Demonstrated a comprehensive understanding of the play
Justification and synthesis of technical work, i.e. design
elements and principles, collaboration, production concept,
detail and descriptive elements, in a creative and
professional manner.
Final Score_______
Overall rating based on Final
Score (please circle)
Superior
25-23
Excellent
22-18
Good
17-13
Fair
12-10
Judges
#______________
19
National Individual Events 2014- 2015
NAME
DATE
_______
____
_______________ SCHOOL_________
TITLE____________________________________________________ROOM
RULES
5.
6.
7.
8.
Short Film
_____
_______ TIME
TROUPE #
_____ ______SESSION ___________
Entrant must submit a DVD with an original short film that is no longer than 5 minutes in length from opening title screen to final credits.
Films must be of original content and may be a collaboration between students.
Music must be original or documented public domain material.
Material created by students in this event that is deemed by the judge(s) to be obscene or disruptive may receive lower ratings or in some
extreme cases may result in disqualification.
Please provide feedback.
Category & Criteria
Performance Elements




Casting
Gestures and nuances of characters
Characterization
Character connections and interactions
 Interpretation of dialogue
Score
(Circle)
NOTE: Specific comments on strengths and weaknesses
provide the educational component of this event
Superior
Excellent
Good
Fair
Screenplay
Superior



Excellent
Clear development of story
Script highlights troupe’s talent
Script within the emotional capabilities of the cast
 Script has strong entertainment or education
value?
Good
Fair
Technical Elements








Editing; cuts, transitions
Angles
Mise en Scene
Camera movement
Color
Use of shots
Renderings
Lighting
 Sound
Overall Presentation
 Appropriate material
 Focus and concentration
 Clearly identified objectives
 Clearly told story
 Lines and blocking memorized
 Talent showcased
 Consistent use of eye contact
 Clearly orchestrated performance
Superior
Excellent
Good
Fair
Superior
Excellent
Good
Fair
Comments (use back if needed)
Overall rating (please circle):
Good
Fair
Judge’s name (print)
Superior
Excellent
Judge’s signature
20
Arizona Thespians MAKE-UP DESIGN-Individual Events Showcase Rules/EvaluationNAME______________________________________________ SCHOOL_____________________________
Print First Name
Last Name
Print
TITLE___________________________________ PLAYWRIGHT______________________ TROUPE #________
Make-Up Design is offered only at the state level. The students who place in this event ARE NOT eligible to participate in the
International I.E. events offered at the International Thespian Conference during the Summer.
RULES: Only one student may be involved in the design. No collaborations are permitted.
6. The presentation must be a design for one published play written for the theatre. Designs for performances of poetry, fiction,
screenplays, or any other medium are not permitted.
7. The student must present five character renderings, either for five different characters or following a single character through several
appropriate changes. These may represent five different characters or follow a single character through several appropriate changes.
No more than five renderings are permitted. No live models with make-up are permitted.
8. Each design must be executed in full color on a 10”x15” white illustration board. All full faces must be 6 1/2”-7” tall and an overall
height of 10” including neck and/or hair. The base of the figure should be 3” from the lower edge of the board. Template or trace
characters may be used as a base.
9. The board should be labeled in the following manner: (a) Upper left hand corner: Play title and playwright; (b) Upper right hand
corner: Character’s name, act, and scene; (c) Lower right hand corner: Student’s name and troupe number. No other information may
be written on the board.
10. The student must make an ORAL PRESENTATION justifying the designs. Oral presentation cannot exceed five (5) minutes. Note
cards may be used. The introduction must include only the student’s name, troupe number, title of the play and playwright. Time will
begin once the presenter speaks after the conclusion of the introduction. The student must also be prepared to answer questions about
the design presented. The oral presentation and question/answer session will not exceed ten (10) minutes.
WRITTEN EVALUATION-Your comments on 3
Circle one rating for each aspect.
SCORING: Superior,
strengths and 2 weaknesses provide the educational
Excellent, Good,
component of this process. PLEASE PROVIDE
Fair
CONSTRUCTIVE FEEDBACK.
Superior
WRITTEN CONSTRUCTIVE COMMENTS
Interpretation
Excellent
(Make positive comments in each section.)
-Appropriate to the Production
Good
-Concept
Fair
-Time
-Location
-Mood
-Style
-Characters
-Theme of the Play
Execution
-Precision
-Clarity
-Artistic Quality of Renderings
Presentation
-Knowledge of the Play
-Understanding of the Entire
Production Concept and
Relationship to the Costume Design
-Justification of Design Elements
-Effective Communication of
Thought
Superior
Excellent
Good
Fair
Superior
Excellent
Good
Fair
************BALLOT IS INCOMPLETE WITHOUT ONE OVERALL CIRCLED RATING.
OVERALL RATING(Please Circle): SUPERIOR
EXCELLENT
GOOD
Please make additional comments on the back.
________________________________________
__________________________________________
Judge’s Name (Please print)
Judge’s Signature
FAIR
Do not rank any entry or give Superior rating to a presentation with offensive material/language/actions.
SCHOOL CODE___________________TITLE __________________________________________________
Time__________
21
State One Act BALLOT
ACTING (60% of total value, approximately 5 points each)
1. VOICE/Singing - Could you hear the actors distinctly? Was the rate too fast or too
slow? Was there a variety of rate and inflection? Was pronunciation and articulation
properly done for each character? If dialect was used, was it done correctly and naturally?
2. CHARACTERIZATION - Was there a complete physical and mental
recreation of the character by the actor? Were reactions to other actors correct
and effective? Did we “believe” the actor’s characterization at all times? Were
the lines delivered in a manner which seemed natural to the characters in this
play?
3. MOVEMENT/Dance - Were the movements of the actors in keeping with the
story. Was there a great deal of random movement?
4. ENSEMBLE - Did you feel a smoothness of action which indicated adequate
rehearsal and close cooperation and understanding among the actors?
5. TIMING - Did the actors pick up cues properly? Did the movements of the
actors slow down the tempo of the show?
6. MOTIVATION - Was there a logical reason for all business and movement
by the actors which was consistent and in keeping with the characters of the
play? Were emotional transitions natural and effective?
STAGING (40% of total ballot, approximately 5 points each)
7. COSTUMES AND PROPS - Were the Costumes and Props in harmony
with the characters, period, mood and style of the play.
8. LIGHTING AND SOUND EFFECTS - Did the Lighting and sound effects
enhance the play? Were technical choices appropriate to this production?
9. SET DESIGN - Did the set have a unity of design? Did the set exhibit an
appropriate understanding of the concept of the play? Did the set enhance the
play?
10. PLAY CONCEPT - Was the production an effective piece of Theatre? Did
it impact the audience? Did all of the elements come together?
Overall points
Overall rating_________________________
Superior=50-42 pts. Excellent=41-33 pts. Good=32-28 pts.
Judge’s Signature____________________________________
Please put comments and reason for decision on the back of this ballot.
Point guideline 5 = Superior
4 = Excellent
3 = Good
SCHOOL CODE________________________________________ TITLE ____________________________
22
Reader’s Theatre Festival
BALLOT
ACTING (60% of total value, approximately 10 points each)
1. VOICE - Could you hear the actors distinctly? Was the rate too fast or too slow? Was
there a variety of rate and inflection? Was pronunciation and articulation properly done
for each character? If dialect was used, was it done correctly and naturally?
2. CHARACTERIZATION - Was there a complete physical and mental
recreation of the character by the actor? Were reactions to other actors correct
and effective? Did we “believe” the actor’s characterization at all times? Were
the lines delivered in a manner which seemed natural to the characters in this
play?
3. MOVEMENT - Were the movements of the actors in keeping with the story.
Was there a great deal of random movement? Was the pantomime accurate and
convincing?
4. ENSEMBLE - Did you feel a smoothness of action which indicated adequate
rehearsal and close cooperation and understanding among the actors? Were
movements and page turning done as a group?
5. TIMING - Did the actors pick up cues properly? Did the movements of the
actors slow down the tempo of the show?
6. MOTIVATION - Was there a logical reason for all business and movement
by the actors which was consistent and in keeping with the characters of the
play? Were emotional transitions natural and effective?
PRODUCTION (40% of total ballot, approximately 10 points each)
7. SCRIPT USE - Did actors use their scripts? Were pages turned at the same
time?
8. SOUND EFFECTS - Were all sound effect used in the story made by the
students and did they help move the story?
9. STAGING - Did the staging have a unity of design? Did the staging exhibit an
appropriate understanding of tempo, blocking, movement and literary genre?
10. IMPACT - Was the production an effective piece of Reader’s Theatre? Did it
entertain? Did it impact the audience? Did all of the elements come together?
Overall points
Overall rating_________________________
Superior=100-88 pts. Excellent=87-78 pts. Good=77-63 pts.
Judge’s Signature____________________________________
Please put comments and reason for decision on the back of this ballot.
Point guideline 10-9 = Superior
8-7 = Excellent
6-5 = Good
Participants should dress as they would for a general audition or interview in black. The wearing of appropriate
footwear is strongly encouraged in all events. Black Audition clothes for men are black pants, black button-down
shirt. For the women, black dress, or black slacks and black blouse. Shoes MUST be as near black as possible.
23
All Black
Acceptable shoes
Middle shoe OK, outer shoes not!
Performance Standards Policy
(Adopted July 28, 2007)
24
The Arizona State Thespian Board recognizes there is a wide variation in the “contemporary community standards”
among the public, charter, and private high schools in the state. Thus, the following policy will govern all performances at
the annual Arizona Thespian Conference, as well as the regional acting festivals which are sponsored by the above Board.
No performance will be allowed (full length, one act, or individual event) which is prohibited, or not protected by the
First Amendment – i.e. “Unprotected speech.” A condensed definition of “unprotected speech” follows:
5) Material that has content that is “obscene as to minors, “ (under the age of 18). This is defined as follows:
a) Where the average person, applying contemporary community standards, would find that the performance
and/or production, taken as a whole, appeals to a minor’s prurient interest. b) Where the performance and/or
production depicts or describes in a patently offensive way, sexual conduct such as actual or simulated sexual
intercourse (normal or deviate), masturbation, excretory functions, and actual lewd exhibition of genitalia; and c)
where the performance and/or production, taken as a whole, lacks serious literary, artistic, political, or scientific
value.
6) Material that has content that is “defamatory,” – defined as the depiction of false unprivileged
communication about an individual which injures that person’s reputation in the community or good name.
7) Material that has content that will cause “a material and substantial disruption of school activities,” - defined as
student rioting; unlawful seizures or destruction of property; widespread shouting or boisterous conduct; school
boycotts, etc.
8) Material that infringes on “separation of church and state.” Under this doctrine certain religious activities, such
as proselytizing, have been held to be unconstitutional if conducted within the context of a school-sponsored
activity.
(For a complete discussion of the above see: Teaching Theatre, Spring 2007 Edition, pp. 4-13, which includes the MiamiDade County policy on play selection.)
Instructor’s Approval
I hereby certify that: a) at least one public performance has been given; and that such performance(s) conforms to the local
school’s “contemporary community standards,” and that it contains no examples of “unprotected speech,” as defined above.
b) If no public performance has been given I certify that I have perused the script(s) and have found nothing objectionable in
its content re: “contemporary community standards” or “unprotected speech.”
(On a practical note: NO performance will be allowed at any of the above events that are listed on the event’s application
form as: “TBA.” i. e. without an exact title.)
I hereby certify that all productions/performances listed on the event’s application form(s) have had at least one public
performance at _______________________ (name of school) on _______________(date)
AND/OR:
I have perused the script(s)and/or cuttings from a script of each production listed on the event’s application form(s) and have
found no violations based on the local school’s “contemporary community standards” or “unprotected speech.”
_________________________________(signed) ____________(date)
(Failure to adhere to this policy may result in A.I.A. sanctions to your school.)
Coaches Code of Conduct
25
The Arizona Thespian’s believes that sportsmanship is a core value and its promotion and practice are essential.
Thespian Coaches have a duty to assure that their teams promote the development of good character. This code of
conduct applies to all theatre coaches involved in interscholastic festivals and activities.
1. The theatre coach will promote academics and the educational process.
2. The theatre coach will teach, enforce, advocate, model, and promote the development of good character to
include:
a) Trustworthiness
b) Respect
c) Responsibility
d) Fairness
e) Caring
f) Citizenship
3. The theatre coach will respect participants, officials, opponents, parents, and all other involved.
4. The theatre coach will promote fair play and uphold the spirit of the rules in the activity.
5. The theatre coach will model appropriate behavior at all times.
I have read and understand the requirements of this Code of Conduct and acknowledge that I may be disciplined if
I violate any of its provisions.
______________________________________ _____________
Signature
Date
The AIA Theatre Advisory Committee has the final action on all Code of Conduct violations
26
Student Participants Code of Conduct
The Arizona Thespian’s believes that sportsmanship is a core value and its promotion and practice are
essential. Student participants have a duty to assure that their teams promote the development of good
character. This code of conduct applies to all student participants involved in interscholastic festivals and
activities.
1. Student participants will support the value of academics and the educational process.
2. Student participants will advocate, model, and promote the development of good character to include:
a) Trustworthiness
b) Respect
c) Responsibility
d) Fairness
e) Caring
f) Citizenship
3. Student participants will respect peers, coaches, officials, opponents and other associated with the event.
4. Student participants will promote fair play and uphold the spirit of the rules in the activity.
5. Student participants will model appropriate behavior at all times.
6. Student participants will engage in a healthy lifestyle.
I have read and understand the requirements of this Code of Conduct and acknowledge that I may be disciplined or
removed from a team if I violate any of its provisions.
______________________________________ _____________
Signature
Date
The AIA Theatre Advisory Committee has the final action on all Code of Conduct violations
27
AIA and Arizona Thespians Code of Conduct FOR JUDGES

I will be attentive to the performance and to the performer and limit all possible distractions.

I will remember that I am watching high school students who are trying their best to create an effective theatrical experience and
I will judge them as high school students.

I will to make my critique positive and user friendly.

I will make any negative comments, constructive and useful critique.

In my critique, written and/or verbal, I will avoid personal comments such as, “I love (hate) that play/author.” “I really liked (did
not like) the way you placed your chairs.” “When I directed that show I did it this way,” “and it should be done this way.” And
my comments will reflect the score given or the score given will reflect my comments.

I will do my best to make comments that refer to an effective/non-effective theatre performance such as “I think that you
expressed the author’s desire for this piece because ________.” “The way you placed your chairs allowed for effective
blocking.” “Another way to do this play would be ____________.”

I will not alter my scores for certain schools or teachers, but to judge fairly as all plays are equal in the opportunity to display
their talents.”
____________________________________
Name of Judge – Signature
__________________________________
Printed Name
______________________________________________
Name of Event
________________________
Date
Review Procedure
-Provide AIA/AZT Review Form. Only this form will be accepted.
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-Ethics committee is required to verify that all protest forms have been thoroughly
completed. Ethics committee is made up of the Area Director and the two Area Reps at Regional Festival; at State
Festival it is the IE/GE committee members
No coach, competitor, or protester may protest an Ethics Committee decision. If a
coach, competitor, or protester is in disagreement with Ethics Committee decision, they
may formally write their complaint and present it personally for discussion and resolution at the next AIA Theatre
Advisory Committee meeting or the Arizona Thespian State Board meeting.
If a coach, competitor, or protester refuse to abide by an Ethics Committee decision,
they are to be disqualified and ejected from the tournament (even if this means a team
must be disqualified as well as a result of a lack of certified supervision).
All filed protests (infractions) are considered valid from tournament to tournament,
season to season. For example: A protested selection or piece of work is found in violation in tournament A. If the
same violation occurs in tournament B, the competitor and head coach will be
immediately disqualified.
Verification must be provided.
Only the head coach, protester, competitor(s), and Ethics Committee may be involved in
protest procedures.
All Ethics Committee decisions are final.
Any disputed decisions are NOT to be addressed at tournaments, but at the next AIA/ATZ Committee meeting.
AIA /AZT
Theatre Review Form
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Head Coach ONLY:
Name: ________________________________________
Student
Name(s): ______________________________________
Briefly state what needs reviewed:
1. Name the specific rule for review : _________________________________________
_____________________________________________________________________________________
2. How was the rule violated? __________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
AIA/AZT
Theatre Review Form (2)
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To be filled out by the Ethics Committee
______ Protested Coach and Competitor personally notified of protest as written. (EC Member must initial)
______ Head Coach (Head Coach must initial)
______ Competitor(s) (Competitor(s) must initial)
______ Student performed selection, provided script, cutting, debate evidence, etc…(EC Member must initial)
Ethics Committee Decision
We rule:
_____AGAINST PROTEST
_____IN FAVOR OF PROTEST
Explanation
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