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NAVIGATION
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2007-08 Guidelines for Design & Technologies Entries
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Region VI 2007-08 Festival
To all of you in Region VI,
We would like to encourage all of the students of Region VI to
participate in the Design and Technologies Exhibit at the regional
festival in Huntsville, TX., Feb. 26-March 1, 2008.
Your participation will contribute greatly to the success of the
festival and ensure that the design area will continue to grow and
increase opportunities for the students of Region VI.
There are several areas that students may enter their work for display
and adjudication at the regional festival. Only bona fide student
designers from KCACTF participating or associate productions are
eligible to be entered in the following categories. Visit the
KCACTF website to learn about eligibility and enter a production.
www.kcactf.org
Region VI winners in each category will receive a $100 check and plaque contributed by the Region VI sponsors.
The Barbizon Awards for Theatrical Design Excellence
may be entered by any student Scenic, Costume, or Lighting designer for
a KCACTF participating or associate production. The Regional
winner will be invited to attend the National KCACTF festival at the
Kennedy Center in April and attend master classes and compete for the
national award. Please see the “Guidelines for the National
Barbizon Awards” section of this document for details.
The Alcone Company Make-Up Design Award
-The Regional winner will be invited to attend the national KCACTF
festival at the Kennedy Center in May and attend master classes and
compete for the national award. Please see the “Mehron/ Make-up
Designory Make-up Design Award Guidelines” section of this document for
details.
The KCACTF Sound Design Award-The
Regional winner will be asked to submit their materials to the Kennedy
Center for review by a committee appointed to select the national
winner. The National winner will be invited to attend the
National KCACTF festival at the Kennedy Center in May and attend master
classes. Please see the “Guidelines for Sound Design Entries”
section of this document for details.
The Region VI Stage Management Award-
The Regional finalist will be invited to attend the national festival
in Washington, D.C. in April and may attend workshops and master
classes as well as complete work assignments.
The Region VI Program and Advertising Graphics Award
-This is a regional award only and is not adjudicated on the national
level. Please see the “Guidelines for Program and Advertising Graphics
Entries” section of this document for details.
The Region VI Properties Design Award
-This is a regional award only and is not adjudicated on the national
level. Please see the “Guidelines for Properties Design Entries”
section of this document for details.
To enter work, just fill out the “Region VI Design and Technologies Entry Form”
and get it to me by Jan 25, 2008. Follow the “General Guidelines
for ALL Categories” and the guidelines specific to each category.
Then bring your materials to the Region VI Festival for exhibit. We
will begin hanging the exhibit on the morning of Tuesday Feb. 26 at
11am until 6pm and will continue on Wednesday the 27th from 9am
until 6pm. All exhibits must be hung by 6:00 pm on Wednesday to be
included in the exhibit. Critiques with the respondents will
begin Thursday morning.
Included is an example of a production design concept /approach
statement. The outline format is a great way to get the
information across, and it is highly recommended for
use. These statements should be no more than a
page. Less is fine as long as you get your ideas across. Keep in
mind that the concept/approach statement needs to tell the respondents
what you were trying to do, your goals and ideas, not what you did and
how you did it. Talk about what you were trying to create.
What does the play say to you? How does the design support what
you and the director were trying to create?
This year, designs will be displayed on vertical 2” thick
4x7 sheets of blue foam. (The ceiling height in the display area is lower than usual.) “T” pins are a great way to mount paper
materials to them. Straight pins also work well. Push pins
DO NOT work. 3” drywall screws can be shot through the back
to mount something heavier. Tables will be available for stage
management and sound entries.
Please feel free to contact me if you have any questions. We look forward to seeing you at the State Festivals!
JC Laucks
Region VI Design Chair Fax 918-595-7778
Tulsa Community College Office 918-595-8629
10300 E 81st St
Tulsa, OK 74133
jlaucks@tulsacc.edu
Region VI KCACTF
General Guidelines for ALL Categories in the Design and Technologies Exhibit
1. Only schools with one or more designers in participating or
associate productions are eligible to participate in the Region VI
Design competition. Entering schools will, at the time of
registration with the Kennedy Center and Regional Chair, inform the
Regional Chair of any student designers.
2. Only bona fide students are eligible for this award. For the
purposes of this award a bona fide student is one who, during the
period of initial screening, is: a) an undergraduate student
registered for at least six semester hours or nine-quarter
hours; b) a graduate student registered to at least
three semester or four-quarter hours; or c) a continuing part time
student enrolled in a regular degree or certificate program.
3. All exhibited materials must be labeled with the title of production
and playwright, act and scene, designers name. Wherever possible
the name of the designer’s college or university should not be visible
on the front of any materials. The designer’s return address
should be on the back of each item of the entry. Note
out-of-scale reduction when appropriate.
4. It is highly preferable for students to bring and hang their work
and be present for the critique session. If this is not possible,
students may ship their work to the festival and we will hang it for
them. Send materials to:
JC Laucks
Region VI Interim Design Chair
Tulsa Community College
10300 E 81st St
Tulsa, OK 74133
If shipped, the submissions should include a complete inventory and a
recommended layout diagram. KCACTF, the regional festival, its
hosts and volunteers are not responsible and cannot assume
liability for damage/loss or stolen items incurred during shipping or
display.
5. The materials requested for each category are listed in
separate sections for each of the categories. Not all
designers at the regional level will have all of this material but this
should not discourage or prevent them from participating in the
competition.
6. The complete presentation, when mounted and displayed, will
fit on either a 2” thick 4x7 sheet of blue foam OR _ of a banquet
table. If you need a pedestal for a model or some other 3-D
object, please bring one. Music stands work great and are
available at the theatre.
7. The presentation’s focus should not be on the matting of materials and/or extraneous display items.
Process
1. A demonstration of process is key to a good design
display. Respondents at the regional and national levels look for
specific documentation of the steps taken to arrive at the final design.
2. Respondents often have difficulty in relating the final design to a
particular script. The relationship between the script, design
idea, design approach, and the final design should be made as clearly
as possible. It is recommended that designers include at least
three drawings showing progression from initial idea to final design.
3. All entries should include as much documentation of process as possible.
Design Approach
1. A concise statement of the design idea or approach, also
referred to as a concept statement, to the production should be
included.
2. The design statement should be presented in a clear and readable
format, mounted separately from any other documentation.
Statements should not exceed one page. (See samples below.)
Photographic Documentation
1. Poor quality photographs plague the displays and hamper the evaluation process.
2. Extreme care should be made in selecting production photos for display.
Questions or Comments – Please contact:
JC Laucks Interim Design Chair (918) 595-8629
Guidelines for Statement of Design Idea or Approach (Concept Statement) Examples
(Analysis for all categories would be similar.)
1. Be clear and concise. Keep your design statement to a page or less.
2. Check your work for spelling, punctuation, and grammar. At all
costs avoid misspelling the title of the play and the playwright’s name.
3. State WHAT has to be accomplished. State the obvious briefly –
the given circumstances of the play; outline of the plot; production
objectives from the director; the type of space in which the play will
be produced.
4. Explain WHY you made these design decisions. These are often
less obvious, and more subjective, but are essential to articulate
- they should relate to the emotional and evocative content of
the play and outline the logic of your visual objectives (which could
include overall mood, period style, and so on).
5. Describe HOW you will accomplish your design. These details
may well be incorporated in “why”, but be sure to address how your
design objectives translate into actual visual choices (line, shape,
texture, and so on.)
Sample #1
Scenic Design: DC Shawger, Jr.
The Count of Monte Cristo
By Alexander Dumas
1. The Action of the Play
Edmond Dante’s (alias the Count of
Monte Cristo) has two goals--to reward those who were kind to him and
his aging father and to punish those responsible for his imprisonment
for a crime he did not commit. Through the action of the play. Monte
Cristo ingeniously plans and carries out slow and painful punishment
for those responsible for his having spent fourteen years barely
subsisting in the horrible dungeon of the Chateau d’If.
2. Thematic Conclusion
a. Vengeance, while perhaps a
mortal emotion, is better placed in the care of divine
intervention--as stated in the line: “Tell the angel who will watch
over your life to pray now and then for a man who, like Satan, believed
himself for an instant to he equal to God, but who realizes in all
humility that supreme power and wisdom are in the hands of God alone.”
b. Only a man who has felt ultimate despair is capable of feeling
ultimate bliss. In addition for man to remain happy he must do two
things: wait and hope. (Note: this truly is a romantic notion as
Dante’s sails off into the sunset--literally.)
3. Production Objectives (from the Director)
a. Using the genre Romanticism,
to tell the story of one man (Edmond Dante’s) with believable,
well-rounded characterizations.
b. To underline the theme--vengeance is inappropriate in the hands of man. It is an instrument intended for God alone.
4. Design Objects
a. To support the play through
careful interpretation of the genre Romanticism; to this end, to show
that the story is not merely an adventure but one of intrigue and
mystery.
b. Emphasize romantic embodiments, such as: the return to nature:
love of the past (especially the medieval): the concept of honor and
nobility; an infatuation with the grotesque and unreal (hence the
extensive use of light and shadow); and arduous sentimentality.
c. To create the ‘world of the play” as a dark brooding environment made up of a series of arches and levels.
5. Translation of the design objective into visual and graphic terms
a. Line: Various, reflective of
early romantic period. Emphasis on the graceful. elegant yet moody
architectural curves found in the early 16th and 17th
Centuries--especially Baroque, hint of even earlier medieval (13th
Century) arches. Tall, overwhelming archways with emphasis on grand
proportion, further suggestion of the power in refinement through
simplification.
b. Color: Dark, moody black to blue, with ochre and golden
highlights. Emphasis upon the dark sense of mystery accenting light and
shadow--with plenty of shadows cast from the massive archways, etc.
c. Texture: Very earthy feel. Hint towards the idea of “return to nature”.
d. Ornamentation: Hint towards simplified late Medieval Gothic rather than Baroque.
6. Choice of Period. Style and Form
a. Period: 19th Century Romanticism (much earlier influence from the mid-13th-15th Centuries).
b. Style: Gothic as developed from the late Medieval Gothic to Baroque periods.
c. Form: Modified Shakespeare stage; single set, multilevel (linear form accented)
Sample #2: For The Piano Lesson, by August Wilson
August Wilson’s The Piano Lesson is a play about legacies and ghosts of
the past. It is about family, land, and finding out what matters
most in life. The conflict of the play is over the fate of the
piano in Berneice’s living room - a family heirloom. The
play cannot end unitl Berniece and her brother, Boy Willie, unite to
exorcise their family’s slavehood past. The play cannot end until
Berniece plays the piano, and Boy Willie no longer wants to sell it –
both characters thereby embracing their family’s legacy to them.
The design of the play must address the geography and socioeconomic
givens of the play’s setting. It takes place in Berniece’s home,
in a northern city, during the Depression. The piano is as
much a character in the play as any person in it; and Berneice’s
home must have a staircase – both to show her home is not a hovel, and
to accommodate the play’s climax: the visitation by Sutter’s ghost.
While working-class, the characters must also convey a range of
differences within the African-American community. There must be
clear distinctions in type of character; “city” characters and
“country” characters from Mississippi; serious and comic characters;
moral and amoral; employed and unemployed - without falling into
two-dimensional stereotypes.
The play feels eerie, tempestuous, and full of sharp contrasts; it
feels like a haunted merry-go-round. The visual solution should
therefore be crunchy, pieced-apart, and full of movement; it should
appear mysterious and ordinary, comfortable and incomplete.
General Information for the National Barbizon Awards at the Kennedy Center: Scenic, Costume, Lighting Designs
1. Student designers may be selected to attend their regional
festival are regional Barbizon nominees regardless of whether the
production itself is selected for the regional festival. Regional
Barbizon nominees must attend their regional festival, and display
their designs, in order to be eligible for nomination to the National
Barbizon Awards.
2. The designer is responsible for developing a suitable method of
shipping their design to and from the regional festival, including
providing the appropriate mailing and insurance charges.
3. Should they become a national Barbizon finalist, the designer is
also responsible for shipping their design to and from the national
festival, including providing the appropriate mailing and insurance
charges.
4. Each regional festival will include a design workshop.
5. A guest designer, or designers, will respond to the work of all
regional Barbizon nominees who are present at their regional festival,
in a public forum. One regional Barbizon winner (national
Barbizon finalist) will be selected in each are (scenery, costumes, and
lighting). The selection of national Barbizon finalists shall include
the guest design respondent/s; the selection process may include other
guest respondents as determined by the regional design & technology
chair.
6. One regional Barbizon winner – a national Barbizon finalist – in
each area (scenery, costumes, and lighting) will be announced at the
regional festival. National Barbizon finalists will be invited to
exhibit their design display, and will attend, the national festival in
Washington, D.C. in April.
7. KCACTF will provide national Barbizon finalists with travel, shared
hotel accommodations and per diem for the period of national festival
(normally Tuesday through Saturday). Attendance at the national
festival is not mandatory; however, many of the awards mentioned above
are determined by a student’s work and participation in workshops and
master classes while at the national festival. Faculty mentors
will be allowed to observe the national design response session on a
space available basis; they are not able to observe other workshops or
master classes held during the national festival week.
8. National Barbizon Design Award winners will be selected at the
national festival, by national design respondent/s, solely on the basis
of the response session for the submitted design documentation of the
relevant KCACTF participating or associate production.
9. National Barbizon finalists are welcome to bring their portfolio to
the national festival at the Kennedy Center. National design
respondents may be available, time permitting, to examine portfolios.
However, portfolio material may not be presented until after the
national Barbizon winners have been selected; the contents of the
portfolio shall have no bearing on the selection of the national
Barbizon winners.
Regulations and Procedures for the Barbizon Awards:
1. Only students who have designed an associate or participating KCACTF
entry are eligible for the Barbizon Awards for Theatrical Design
Excellence – in scene design, costume design, and lighting
design. Entering schools will, at the time of registration with
the Kennedy Center and Regional Chair, inform the Regional Chair of any
student designers in one or more of the three design categories and
will request a KCACTF respondent.
2. Only bona fide students are eligible for this award. A bona
fide student is: a) an undergraduate student who is registered for a
minimum of six semester hours or nine quarter hours at the time of
production; b) a graduate student who is enrolled for three semester
hours or four quarter hours at the time of production; c) a continuing
part-time student who is enrolled in a regular degree program at the
time of production.
3. After the initial KCACTF response, the KCACTF respondent will inform
the nominee/s and the regional chair of any student design nominees
from the production they have viewed. After such nomination, and
appropriate notification from the regional design & technology
chair, the student designer/s will send their design materials to the
host of the regional festival. The designer is responsible for
developing a suitable method of shipping; return postage and packaging
must be included for the work to be returned via mail.
4. The timely delivery of such materials will be determined by the host
of the regional festival. Alternatively, some regions may require
that students bring their materials in person to the design exhibit
space at a specifically scheduled time.
5.The complete design presentation, when mounted and displayed on a
vertical surface should be approximately 16 to 24 square feet.
When size limitations require xerographic reduction of materials
presented in scale, such out-of-scale reduction should be noted.
Please see Suggested Format for All Design Exhibits. For regional
festival all entries will be allowed access to one 4’ X 7’ display
board or _ of a banquet table.
6. Should a regional Barbizon nominee move on to the national festival
in Washington, D.C. as a national Barbizon finalist, an approximate
space of 24 sq. feet, including a table surface, is normally provided
to each regional winner.
7.Designers are encouraged to include all of the following materials in
their design display at the regional festival. Please note that
an inability to provide all requested materials should not discourage
or prevent students from participating in the Barbizon design
competition. The design materials requested are:
- At least two representative production photographs, in color,
labeled as to scene/locale. At least one photograph should
illustrate the entire setting and its relationship to the stage and
theatre space.
- Visual materials which serve to show research, preliminary
sketches, photographic images, and any other sources of inspiration
that demonstrate the designers’ process and evolution. Such
information should be in a format no larger than 24 inches by 40
inches.
- A one-page statement of the design approach to the production; included separately from the renderings and color scheme.
- All design materials must be labeled with: the play title
and playwright; act and scene; and the student designer’s name.
Wherever possible the name of the designer’s college or university
should not be visible on the front of any materials. The
designer’s return address should be on the back of each item of the
entry.
- Note: KCACTF cannot assume liability for damage or loss
incurred to designer’s work during shipping to the regional or national
festival.
8. Designers are encouraged to include all of the following additional
information, depending on their design area. Please note that an
inability to provide all requested materials should not discourage or
prevent students from participating in the Barbizon design competition.
Scene Design – the design materials above, plus:
- Ground plans: blue-line (or equivalent) plans should not exceed 24 inches by 40 inches.
- Finished color renderings: no larger than 24
inches X 36 inches; or finished model: built in a suitable scale
for shipping and exhibition (suggested size is _” =1’-0”). Note:
KCACTF cannot assume liability for damage or loss incurred to models
during shipping to the regional or national festival.
Costume Design – the design materials above, plus:
- Six to twelve finished renderings
representative of the production, no larger than 18 inches X 24 inches,
with fabric swatches attached.
- For productions requiring more than twelve
costumes, the designer should include a graphic color scheme showing
the palette for the entire production.
Lighting Design – the design materials above, plus:
- Light Plot.
- Color key (or some method of showing color choices).
- Magic sheet and traditional paperwork such as
hook-up and instrument schedule: displayed in an orderly, logical
fashion. Area used for this material should not exceed 24 inches
X 40 inches.
- Sample production cue sheets: these
should be accompanied by a description of the moments and “looks”
desired.
- Paint and fabric swatches (or some method of
showing overall color and texture schemes for scenery and
costumes).
The Kennedy Center American College Theater Festival
THE ALCONE COMPANY MAKEUP-DESIGN AWARD
The purpose of the Alcone Company Makeup-Design Award is to provide
student designers with feedback from professionals working in the
field; to give outstanding student designers national recognition; and
to provide the opportunity for student designers to exhibit their work
at the Kennedy Center. Designs will be appraised on the basis of
quality, effectiveness, originality, and rendering techniques.
Students who have designed the makeup for a KCACTF associate or
participating entry are eligible for the Alcone Company Makeup-Design
Award. Entering schools will, at the time of registration with the
Kennedy Center and Regional Chair, inform the Regional Chair of any
student makeup designers and will request a KCACTF respondent.
Please be sure to provide contact information, including email, for all
student designers.
Student designers will be notified of their selection for the regional
design exhibition, as a regional Alcone nominee, according to the
procedures of their region: at the time of the initial KCACTF response;
by the Regional Chair; or at the announcement of the productions chosen
for the regional festival.
At the regional festival guest designers will respond to the projects
of regional Alcone nominees who are present; they will select one
winner (national Alcone finalist) from the regional makeup design
entries.
Designs of the national Alcone finalists will be on display during the
KCACTF national festival in Washington, D.C., and will be returned to
the designers immediately following it. A national winner will be
selected from the national Alcone finalists by the designated design
respondent/s during the national festival.
General Information on the Alcone Design Award:
Student designers may be selected to attend their regional festival as
regional Alcone nominees regardless of whether the production itself is
selected for the regional festival. Regional Alcone nominees must
attend their regional festival, and display their designs, in order to
be eligible for nomination to the National Alcone Award.
The designer is responsible for developing a suitable method of
shipping their design to and from the regional festival, including
providing the appropriate mailing and insurance charges.
Should they become a national Alcone finalist, the designer is also
responsible for shipping their design to and from the national
festival, including providing the appropriate mailing and insurance
charges.
A guest designer, or designers, will respond to the work of all
regional Alcone nominees who are present at their regional festival, in
a public forum. One regional Alcone winner (national Alcone
finalist) will be selected. The selection of the national Alcone
finalists shall include the guest design respondent/s; the selection
process may include other guest respondents as determined by the
regional design & technology chair.
The national Alcone finalist will be announced at the regional
festival. The national Alcone finalist will be invited to exhibit
their design display, and attend, the national festival in Washington,
D.C in April.
KCACTF will provide national Alcone finalists with travel, shared hotel
accommodations and per diem for the period of national festival
(normally Tuesday through Saturday). Attendance at the national
festival is not mandatory; however, the National Alcone Company
Makeup-Design Award is determined by a student’s work and participation
in workshops and master classes while at the national festival.
Faculty mentors are not able to observe workshops or master classes
held during the national festival week. Please see the “What
Next?” page for further information on the national festival.
National Alcone finalists are welcome to bring their portfolio to the
national festival at the Kennedy Center. National design
respondents may be available, time permitting, to examine
portfolios.
Please see Suggested Format for All Design Exhibits and What Next? documents for further information
Regulations and Procedures for the Alcone Award:
1. Only students who have designed an associate or participating KCACTF
entry are eligible for the Alcone Company Makeup-Design Award. Entering
schools will, at the time of registration with the Kennedy Center and
Regional Chair, inform the Regional Chair of any student makeup
designers and will request a KCACTF respondent.
2. Only bona fide students are eligible for this award. A bona fide
student is: a) an undergraduate student who is registered for a minimum
of six semester hours or nine quarter hours at the time of production;
b) a graduate student who is enrolled for three semester or four
quarter hours at the time of production; c) a continuing part-time
student who is enrolled in a regular degree program at the time of
production.
3. After the initial KCACTF response, the KCACTF respondent will inform
the nominee and the regional chair of a student makeup-design nominee
from the production they have viewed. After such nomination, and
appropriate notification from the regional design & technology
chair, the student designer will send their design materials to the
host of the regional festival. The designer is responsible for
developing a suitable method of shipping; return postage and packaging
must be included for the work to be returned via mail.
4. The timely delivery of such materials will be determined by the host
of the regional festival. Alternatively, some regions may require
that students bring their materials in person to the design exhibit
space at a specifically scheduled time.
5. The complete design presentation, when mounted and displayed on a
vertical surface should be approximately 16 to 24 square feet. When
size limitations require xerographic reduction of materials presented
in scale, such out-of-scale reduction should be noted. Please see
Suggested Format for All Design Exhibits. Each region shall
determine its own specific requirements as to space and presentation at
their regional festival. Please check with individual regions for
specifications and restrictions.
6. Should a regional Alcone nominee move on to the national festival in
Washington, D.C. as a national Alcone finalist, an approximate space of
24 sq. feet, including a table surface, is normally provided to each
regional winner.
7. Designers are encouraged to include all of the following materials
in their design display at the regional festival. Please note
that an inability to provide all requested materials should not
discourage or prevent students from participating in the Alcone
makeup-design competition. The design materials requested are:
- At least one representative production photograph, in color,
labeled as to scene/locale; it should illustrate the entire setting and
its relationship to the stage and theatre space.
- Visual materials which serve to show research, preliminary
sketches, photographic images, and any other sources of inspiration
that demonstrate the designers’ process and evolution. (Please
see Suggested Format for All Design Exhibits for more details.)
- A one-paragraph statement of the design approach to the production; included separately from other materials.
- At least one representative rendering (or makeup worksheet) for
each character, delineating colors for each area – base, cheeks, eye
shadow, lips, hair.
- Visual materials that explain techniques used.
- Color photographs of the executed makeup; these should include at
least one headshot and one full-body shot to show coordination between
the costume and makeup.
- Any visual materials (such as swatches) that show costume colors and textures.
- All design materials must be labeled with: the play title and
playwright; act and scene; and the student designer’s name. Wherever
possible the name of the designer’s college or university should not be
visible on the front of any materials. The designer’s return
address should be on the back of each item of the entry.
- Note: KCACTF cannot assume liability for damage or loss incurred
to designers’ work during shipping to the regional or national festival.
The Kennedy Center American College Theater Festival
STAGE MANAGEMENT AWARD
The purpose of the KCACTF Stage Management Award is to provide student
stage managers with feedback from professionals working in the field;
to give outstanding student stage managers national recognition; and to
provide the opportunity for student managers to attend the national
festival at the Kennedy Center.
Students who have stage managed a KCACTF associate or participating
entry are eligible for the Stage Management Award. Student stage
managers must be nominated by the director of the production they stage
managed (or appropriate faculty mentor if the director is also a
student). Letters of nomination should be sent to the regional
design & technology chair, and copied to the regional chair.
Please be sure to provide contact information, including email, for all
student stage managers.
At the regional festival guest professionals will respond to the
projects of regional stage management nominees who are present; they
will select one winner (national stage management finalist) from the
regional stage management entries.
General Information on the KCACTF Stage Management Award:
Student stage managers may be nominated to attend their regional
festival as regional stage management nominees regardless of whether
the production from which they were nominated is itself selected for
the regional festival. Regional stage management nominees must attend
their regional festival, and display their materials, in order to be
eligible for nomination to the National Stage Management Award.
The stage manager is responsible for developing a suitable method of
shipping their materials to and from the regional festival, including
providing the appropriate mailing and insurance charges.
A guest professional, or professionals, will respond to the work of all
regional stage management nominees who are present at their regional
festival, in a public forum. One regional stage management winner
(national stage management finalist) will be selected. The
selection of national finalists shall include the guest respondent/s;
the selection process may include other guest respondents as determined
by the regional design & technology chair.
The regional stage management finalist will be announced at the
regional festival. National stage management finalists will be
invited to attend the national festival in Washington, D.C in April.
KCACTF will provide national finalists with travel, shared hotel
accommodations and per diem for the period of national festival
(normally Tuesday through Saturday). Attendance at the national
festival is not mandatory; however, the National KCACTF Stage
Management Award will be determined by a student’s work assignments,
and participation in workshops and master classes, while at the
national festival. Faculty mentors are not able to observe
workshops or master classes held during the national festival
week. Please see the “What Next?” page for further information on
the national festival.
Please see Suggested Format for All Design Exhibits and What Next? documents for further information
Regulations and Procedures for the KCACTF Stage Management Award:
1. Only students who have stage managed an associate or participating
KCACTF entry are eligible for the KCACTF Stage Management Award.
Student stage managers must be nominated by the director of the
production they stage managed (or appropriate faculty mentor if the
director is also a student).
2. The letter of nomination must address the effectiveness of the
student stage manager’s collaboration, team-building, and communication
– with director, actors, designers and production staff; the
effectiveness of their personnel management skills; their effectiveness
of time management at rehearsal and performance; the effectiveness of
their process, including paperwork, script notations and calling the
show; and the effective use of resources.
3. Only bona fide students are eligible for nomination to this award. A
bona fide student is: a) an undergraduate student who is registered for
a minimum of six semester hours or nine quarter hours at the time of
production; b) a graduate student who is enrolled for three semester or
four quarter hours at the time of production; c) a continuing part-time
student who is enrolled in a regular degree program at the time of
production.
The stage management nominee is responsible for the following:
1. After nomination, and appropriate notification from the regional
design & technology chair, the student stage manager will send
their materials to the host of the regional festival. The stage
manager is responsible for developing a suitable method of shipping;
return postage and packaging must be included for the work to be
returned via mail.
2. The timely delivery of such materials will be determined by the host
of the regional festival. Alternatively, some regions may require
that students bring their materials in person to the design exhibit
space at a specifically scheduled time.
3. The complete presentation, when displayed, should be approximately 16 to 24 square feet. Please see Suggested Format for All Design Exhibits.
Each region shall determine its own specific requirements as to space
and presentation at their regional festival. Please check with
individual regions for specifications and restrictions.
4. Stage managers are encouraged to include all of the following
materials in their display at the regional festival. Please note
that an inability to provide all requested materials should not
discourage or prevent students from participating in the stage
management competition. The materials requested are:
a. A one-page statement of the stage manager’s production management approach.
b. Documentation –
i. At least one representative
production photograph, in color, labeled as to scene/locale. It
should illustrate the entire setting and its relationship to the stage
and theatre space.
ii. Playbill or program from the production.
c. Process – visual information such as
i. Effective collaboration with director, performers, designers, and production staff
ii. Effective management of rehearsal and performance process
iii. Team building and personnel management
iv. Effective use of resources
v. Preparation of schedules, shift plots and running-sheets
vi. Script notation and calling the show
d. Implementation – visual information such as
i. Prompt book/sample script with cues and blocking.
ii. Effective use of schedules, lists, plots and running-sheets – for one performance.
iii. Computer applications
iv. Indication of communication style of stage manager – such as examples of email correspondence
v. Any other materials used to accomplish job
*All materials must be labeled with:
the play title and playwright; and the student stage manager’s name.
Wherever possible the name of the stage manager’s college or university
should not be visible on the front of any materials.
**Be careful to maintain the privacy of individuals – do not include
any paperwork that might indicate private information of cast, crew, or
production staff.
(Examples: any lists with social security numbers; medical information forms; or address and phone numbers.)
e. Note: KCACTF cannot assume liability for damage or loss incurred to
designers’ work during shipping to the regional or national festival.
The Kennedy Center American College Theater Festival
AWARD FOR SOUND DESIGN EXCELLENCE
The purpose of the KCACTF Award for Sound Design Excellence is to
provide student designers with feedback from professionals working in
the field; to give outstanding student designers national recognition;
and to provide the opportunity for student designers to attend the
national festival at the Kennedy Center. Designs will be appraised on
the basis of quality, effectiveness, and originality.
The KCACTF Sound Design award is focused on the ideas behind, and
approach to, a design that supports a production, and not on the
equipment in the original venue.
Students who have designed the sound for a KCACTF associate or
participating entry are eligible for the KCACTF Award for Sound Design
Excellence. A student sound designer may be nominated to enter the
regional sound design competition by a KCACTF respondent, or a faculty
member from their own campus. Entering schools will, at the time
of registration with the Kennedy Center and Regional Chair, inform the
Regional Chair of a student sound designer and will request a KCACTF
respondent.
Please be sure to provide contact information, including email, for all student designers.
The student designer will be notified of their selection for the
regional design exhibition according to the procedures of their region:
at the time of the initial KCACTF response; by the Regional Chair; or
at the announcement of the productions chosen for the regional
festival.
At the regional festival guest designers will respond to the projects
of regional sound design nominees who are present; they will select one
winner from the regional design entries.
A national winner in sound design excellence will be selected from the
regional winners by the national design respondent/s during the
national festival. The national sound design winner will be
awarded a design fellowship at the O'Neill National Playwrights'
Conference, where they will serve as a design assistant to the resident
designer; the award includes travel, housing, and tuition waiver to the
month-long summer program.
General Information on the KCACTF Sound Design Award:
Student designers may be selected to attend their regional festival as
sound design nominees regardless of whether the production itself is
selected for the regional festival. Regional sound design nominees must
attend their regional festival, and display their designs, in order to
be eligible for nomination to the national KCACTF Sound Design
Excellence Award.
The designer is responsible for developing a suitable method of
shipping their design to and from the regional festival, including
providing the appropriate mailing and insurance charges.
Should they become a national finalist, the designer is also
responsible for shipping their design to and from the national
festival, including providing the appropriate mailing and insurance
charges.
A guest designer, or designers, will respond to the work of all
regional nominees who are present at their regional festival, in a
public forum. One regional winner (national finalist) will be
selected. The selection of the national finalist shall include
the guest design respondent/s; the selection process may include other
guest respondents as determined by the regional design & technology
chair.
The regional finalist in sound will be announced at the regional
festival. National finalists will be invited to exhibit their
design display, and attend the national festival in Washington, D.C in
April.
KCACTF will provide national finalists with travel, shared hotel
accommodations and per diem for the period of national festival
(normally Tuesday through Saturday). Attendance at the national
festival is not mandatory; however, the national award will be
determined by a student’s work and participation in workshops and
master classes while at the national festival. Faculty mentors
are not able to observe workshops or master classes held during the
national festival week. Please see the “What Next?” page for
further information on the national festival.
National finalists are welcome to bring their portfolio to the national
festival at the Kennedy Center. National design respondents may
be available, time permitting, to examine portfolios.
Please see Suggested Format for All Design Exhibits and What Next? documents for further information.
Regulations and Procedures for the KCACTF Sound Design Excellence Award:
1. Only students who have designed an associate or participating KCACTF
entry are eligible for the KCACTF Sound Design Excellence Award.
Entering schools will, at the time of registration with the Kennedy
Center and Regional Chair, inform the Regional Chair of any student
designer in sound and will request a KCACTF respondent.
2. Only bona fide students are eligible for this award. A bona fide
student is: a) an undergraduate student who is registered for a minimum
of six semester hours or nine quarter hours at the time of production;
b) a graduate student who is enrolled for three semester or four
quarter hours at the time of production; c) a continuing part-time
student who is enrolled in a regular degree program at the time of
production.
3. After the initial KCACTF response, the KCACTF respondent will inform
the nominee/s and the regional chair of a student sound design nominee
from the production they have viewed. After such nomination, and
appropriate notification from the regional design & technology
chair, the student designer will send their design materials to the
host of the regional festival. The designer is responsible for
developing a suitable method of shipping; return postage and packaging
must be included for the work to be returned via mail.
4. The timely delivery of such materials will be determined by the host
of the regional festival. Alternatively, some regions may require
that students bring their materials in person to the design exhibit
space at a specifically scheduled time.
5. The complete design presentation should be approximately 16 to 24 square feet. Please see Suggested Format for All Design Exhibits.
Each region shall determine its own specific requirements as to space
and presentation at their regional festival. Please check with
individual regions for specifications and restrictions.
6. Should a regional sound design nominee move on to the national festival in Washington, D.C. as a national finalist, an approximate space of 24 square feet, including a table surface, is normally provided.
7. Designers are encouraged to include all of the following materials
in their design display at the regional festival. Please note
that an inability to provide all requested materials should not
discourage or prevent students from participating in the sound design
competition. The design materials requested are:
a. At least two representative
production photographs, in color, labeled as to scene/locale, and
including appropriate identification of an accompanying sound cue
and/or effect. At least one photograph should illustrate the
entire setting and show the world for which the sound was created.
b. Visual materials which serve to show research and any other sources
of inspiration that demonstrate the designers’ process and
evolution.
c. A one-page statement of the design approach to the production; included separately from other materials.
d. Script w/cues and notes from meetings with the director.
e. List sound choices with pertinent recording information, artists, recording dates and background.
f. If sound cues are engineered by the designer, explanation of
methods and types of equipment would be helpful for the respondents to
understand the student’s design process. NOTE: Process can be best
documented by illustrating how cues were built. Samples of layering one
effect upon another can easily communicate procedure.
g. Paperwork – such as sound plot, board hook-up, speaker placement,
etc., illustrating how the design was implemented – is critical. All
drawing and schedules should be prominently displayed.
h. Sound effects may have been recorded using any medium: CDs, minidiscs, etc.
i. Playback suggestions for display purposes include Discman type (CD);
portable minidisc; or small boom box players (CD or cassette tape) via
headphones, or with no more than two small external speakers (these
speakers must be driven by the headphone jack). No racks will be
permitted for display.
j. All design materials must be labeled with: the play title and
playwright; act and scene; and the student designer’s name. Wherever
possible the name of the designer’s college or university should not be
visible on the front of any materials. The designer’s return
address should be on the back of each item of the entry.
k. If including CDs or minidiscs, the designer should also supply a phone number and email address on each case.
l. All equipment should be properly labeled with contact information;
and the designer should be sure to record serial and model numbers in
their personal files.
m. It is the designer’s responsibility to provide the necessary insurance for any equipment used in their presentation.
n. Note: KCACTF and its staff cannot assume liability for damage or
loss incurred to designers’ work during shipping to the regional or
national festival; nor for loss, theft or damage to equipment used in
the display.
The Kennedy Center American College Theater Festival
MARVIN SIMS DESIGN FELLOWSHIP
The Marvin Sims Design Fellowship is sponsored by the John F. Kennedy
Center for the Performing Arts in celebration of the life of Marvin
Sims, who passed away on Christmas Day 2003. Marvin was a vital
contributor to the mission of KCACTF; he also served as the President
of both the Association for Theatre in Higher Education (ATHE) and the
Black Theatre Network (BTN).
The purpose of the Sims Design Fellowship is to give outstanding young
student- and early-career-designers of color an opportunity for
educational and professional development.
Up to three scenic, costume, and/or lighting designers of color will be
invited to the Kennedy Center Summer Intensives in Design
Collaboration. The fellowship awards include a full tuition grant;
travel to and from Washington, D.C.; shared lodging; per diem; and all
materials. This rigorous master class will focus on the
designer/director relationship by exploring project work selected from
Shakespeare, the Greeks and Opera. The full director/designer process,
from initial discussion, to research, to thumbnails, to finished
renderings and model-building, will be practically explored in the
Kennedy Center Design Studios.
Applicants should be current undergraduate or graduate students,
enrolled in an accredited college or university; recent graduates of
undergraduate or graduate programs; or early career designers.
Designs will be chosen on the basis of quality, effectiveness,
originality, and rendering techniques.
For application deadlines please see the KCACTF web site at http://www.kcactf.org
To apply please submit the following to:
Gregg Henry, KCACTF Artistic Director
MARVIN SIMS FELLOWSHIPS
PO Box 10808
Arlington, Va. 22210
- A letter stating your interest in, and explaining your reasons for, participating in the master class.
- A resume detailing your design and related experience.
- Up-to six color Xeroxes or digital photos from your portfolio offering a strong representative view of your body of work.
Lighting designers should also submit:
- A small selection of traditional paperwork (cue sheets, light plot, color key, magic sheet) representing your work
- A brief sampling of visual materials which serve to show your
method of research and preparation: preliminary sketches, photographic
images, "sources of inspiration".
Questions or Comments – Please contact:
JC Laucks, Design Chair, (918)595-8629 jlaucks@tulsacc.edu
Click here for the Design Entry Form
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