Festival 55 -2023 Events
Festival Event Registration Instructions
Festival 55 – February 2023
KCACTF Region 7 festival will be February 19-24, 2023 in Spokane, WA.
Individuals and Schools Register for the Festival Here when open
ASPIRE LEADERSHIP FELLOWS
The KCACTF/LORT ASPIRE Leadership Fellows Program is designed to cultivate a new generation of artistic and administrative leaders for the American Theater with a focus of engaging Black, Indigenous, and People of Color (BIPOC) and members of other groups that are consistently underrepresented in the field. This diverse national cohort of fellows assembled from all of KCACTF’s eight regions will engage in topics concerning equity, diversity, inclusion, and anti-racism as well as leadership skills building, investigation of institutional challenges, and professional networking opportunities.
This week-long fellowship occurs as part of the annual national convening of the American College Theater Festival at the Kennedy Center in Washington, D.C. The curriculum is designed and led by professionals from LORT institutions in partnership with staff from the Kennedy Center and the American College Theatre Festival Regional Chairs.
What is ASPIRE Arts Leadership?
If you are interested in arts leadership and shaping the future of American theatre, read on!
For a dynamic introduction, watch the video created by national program alumni: ASPIRE Arts Leadership | Kennedy Center
ASPIRE was created in collaboration with the League of Resident Theatres (LORT) to:
- Boost the voices of the next generation of theatre professionals.
- Cultivate artistic and administrative leaders who will transform the landscape of American theatre.
- Focus on engaging Black, Indigenous, People of Color (BIPOC) and others who are demographically underrepresented in the field.
Region 7 Events
If you are interested in ASPIRE, join us for 3 introductory workshops in Spokane!
- Inclusive Leadership with RED & ASPIRE
- Arts Leadership and ASPIRE, A Deep Dive
- ASPIRE Arts Leadership – The Pitch
After Spokane, join national ASPIRE Arts Leadership 2023 for immersive events on Zoom!
- Saturday, February 25 from 1:00-7:00 PM EST / 10:00 AM-4:00 PM PST
- Sunday, February 26 from 1:00-7:00 PM EST / 10:00 AM-4:00 PM PST
One Final Presentation with Feedback:
- Saturday, March 4 at a designated 30-minute time slot between 1:00-6:00 PM EST / 8:00 AM-3:00 PM PST.
- You present a creative pitch about a theatrical season or a new theatre company and receive feedback from faculty and professional theatre leaders.
- 2022-2023 preliminary pitch guidelines: ASPIRE Guide_The Creative Pitch 22-23 .docx
National ASPIRE Arts Leadership Cohort in Washington D.C.
One fellow from each region will be selected to join the weeklong fellowship based on full attendance and participation in the national ASPIRE Arts Leadership 2023 events (workshops February 25-26 and final presentation March 4).
DTM – DESIGN, TECHNOLOGY, MANAGEMENT
DTM Registration is now open and will close February 3rd, 2023!
WHY PARTICIPATE IN THE DTM EXPO?
The DTM Expo is a wonderful way to showcase your work to hundreds of festival participants, professional theatre practitioners, and schools. You will receive a response to your presentation from a professional designer or technician; potentially creating connections that will help you find future work opportunities.
We want to showcase and celebrate the incredible work of our student designers, technologists, and stage managers! Please join us by entering your project(s) into the DTM and attending the response sessions during our festival (Feb 20-24th, 2023).
ELIGIBILITY: All projects are eligible for regional and/or national awards. Projects may have been completed for course work or for productions that were or were not produced. To qualify for awards you must have been a bonafide student in 2022 and registered for the 2023 festival.
ITJA – INSTITUTE FOR THEATRE JOURNALISM AND ADVOCACY
The Institute for Theatre Journalism and Advocacy (ITJA) was established to assist in elevating the level of arts criticism and journalism and to provide writers the opportunity to grow at the same pace as the artists whose work they review, celebrate, and interpret.
Pursuing a career in arts journalism doesn’t necessarily mean becoming a theater critic, attending stage shows every night and submitting reviews on deadline the following morning. Thanks to the growing world of digital media, the opportunities available for arts journalists these days are limitless: writing magazine-style profiles of up-and-coming talent, chatting with Broadway legends on podcast shows, filming backstage walkthroughs on TikTok, analyzing works through compelling essays, holding power players accountable with investigative reports, and so much more. And as many theater artists also work in the film, TV and music industries, so do its journalists.
Regardless of their specialties and platforms, today’s top arts journalists work hard to serve theater audiences, creatives and the future of the theater itself. They help share the stories of the storytellers through interviews, research and other reporting techniques, and help to capture an ephemeral, performance-based art form. Though they aren’t onstage eight times a week, they’re a valuable part of the industry we love.
For additional information, contact Christina Gutierrez-Dennehy at Dennehc2@wwu.edu.
NPP – NATIONAL PLAY PROGRAM
The deadline for the 10-Minute and One-Act play submission for regional recognition is November 1st and Full-Length play submission is December 1st.
SDC DIRECTING INITIATIVE & DEVISING INITIATIVE
What is the SDC Directing Initiative?
The KCACTF SDC Directing Initiative is an opportunity for students to explore the craft of directing with professional directors, educators, and peers.
One student director from each region will be selected to participate in the National Kennedy Center American College Theatre Festival in Washington D.C. each April. This award includes travel, lodging and per diem expenses, as well as attendance at KCACTF National Festival workshops and performances. Unique educational opportunities will be planned for the award recipients at the National Festival.
In addition, finalists receive a one-year Associate Membership in SDC. SDC underwrites the National Award(s), which is the result of a unique collaboration between SDC and KCACTF. Associate Membership in SDC introduces each regional finalist to the national community of professional stage directors and choreographers. Additionally, they receive the monthly E-Newsletter, a subscription to SDC Journal (the Union’s quarterly magazine), free or discounted admission to SDC Foundation’s events, and specially negotiated discounts. For more information about SDC, please visit the website at SDCWeb.org.
More about the SDC Directing Initiative from the Kennedy Center:
To be eligible for the SDC Directing Fellowship Program, you must:
- Attend a school which has entered at least one production in the regional festival at either the associate or participating level;
- Be a bona fide student at the time of the regional festival;
- Be nominated by a faculty member at their school.
Submission & Participation Process
Step 1 – Initial Round (materials due January 20, finalists notified by January 27)
To participate in the Initial Round, please submit the following materials in pdf format to Region7SDCDirecting@gmail.com by 20 January 2023:
- Statement of Interest
1 page (maximum) statement that addresses the reasons for your interest in the SDC Directing Initiative Program. Questions to consider include: Have you directed in the past? What successes and challenges have you faced? How will participating in this program contribute to your growth as a director? If you haven’t directed in the past, why are you interested in directing and what do you hope to learn in the program? Please affirm your ability to attend the festival.
- Pre-recorded Video “Pitch”
Please create a 10-minute video pitch for one of the 13 scenes identified by KCACTF.
- In the first 5 minutes of your pitch, please address the following:
- Who are you? (Please do not include information about which school you attend.)
- What play did you choose?
- Why does this play need to be done RIGHT NOW?
- What will you, specifically, bring to the production? Why are you the person to direct this play? How will you hold space in your rehearsal room?
- What does your ideal production look/feel/sound like?
- Other questions if you want to address: What space might you want to do the play in? What is your big wish for the production? What impact do you hope your production will have? How can you succinctly tell the story of this play?
- In the second 5 minutes: Present your 5 minute creative, visceral response to the play using images, music, collage, vision boards, mood boards, etc – anything which will help you express your connection with and vision for the play. This section allows you to use your creativity to reflect the heart and soul of the piece and to further support and reflect your deep analysis of the whole play.
- Video submission format: Upload your video to YouTube or a similar video hosting service, and be sure to set the privacy settings to “Public – anyone can view” or “Unlisted – anyone with the link can view.” Share the link with us.
- In the first 5 minutes of your pitch, please address the following:
- Theatre Resume
Your submitted material should not include any information that identifies the school you attend.
Your materials will be reviewed by the SDC Initiative Coordinator and the SDC respondent to be considered to move into the second round. Those moving to the second round will be contacted on/before January 25.
If selected to move into the second round:
Step 2, Part A – Select & Prepare Your Scene
Prior to the Festival, student directors work with student actors from their school to rehearse and prepare the scene that they pitched for presentation at the Regional Festival. All participants must be registered for the Festival.
Logistics and Technical Information for performance at Festival:
- The only furniture items permitted and provided will be one table and two chairs.
- Any hand props or costumes required for the scene must be provided by the director. The regional host and coordinators will not be able to provide props or costumes for the scenes.
- Costumes may be used (but are not required).
- Please note that there is no technical support in the way of lighting and sound.
- Directors will be allowed a maximum of five minutes to set up for their scene.
Step 2, Part B – Prepare a Director’s Book
Prepare a completed Director’s Book for your scene and submit it as a single pdf document by February 18 to Region7SDCDirecting@gmail.com.
Step 3 – Present your scene at Festival
At the Festival, you will work with the SDC Directing Respondent to gain feedback on your pitch, your director’s book, and your directing skillset.
Students participating in the SDC Initiative should plan to participate in the following events:
- Individual interview with the SDC respondent and coordinator – during the interview, your director’s book and approach to the scene will be discussed along with other your directing experiences and goals.
- In-space rehearsal for your scene – this rehearsal will be observed by the SDC respondent and coordinator to offer feedback about the director’s communication with actors
- Public sharing of your scene
- Closed Feedback session with the SDC respondent and all finalist SDC Directors
Information about Director’s Book Contents
Your Director’s Book outlines in greater detail your analytical and creative framework for the selected scene. Your book should include script analysis, research, creativity, and your personal connection to the text. Within the Director’s Book you should address the themes, images, and specific lines of text that inspire the director’s work or connect them to the text. Your book is the director’s opportunity to showcase your level of research and knowledge of the scene selected. Please submit your Director’s Book as a single pdf document to Region7SDCDirecting@gmail.com by February 18.
Director’s books should include:
- Director’s statement, which provides the personal, analytical and intuitive framework for the scene. It is a combination of script analysis, research, creativity and personal connection to the text. The statement should address the themes, images and specific lines of text that guide the director’s work, including the context of the scene and where/how the scene fits into the play. Please limit this statement to a single page (single space, 12pt font).
- Brief Play Overview
- A metaphor which expresses the essence of the play.
- A simple, one sentence telling of the story of the play.
- Given Circumstances, including:
- Geographical location and climate
- Date: year, season, time of day
- Economic environment
- Political environment
- Social environment
- Religious environment
- Characters: provide the character’s objective for the play overall and the scene specifically. Please also address their obstacles, and discuss what the character learns (or how they change/evolve) in the scene.
- Language: discuss how choice of words, images, phrases, sentence structures and the sound of the dialogue help to reveal character and provide meaning within the scene.
- Dramatic Action: Include the following:
- Provide a concise analysis of the scene’s basic conflict.
- The previous action (to the scene)
- A copy of your script divided into units of action and beats. Give a nominative phrase as a title for each beat. Example: A entraps and B pleads.
- Additional materials: provide any additional dramaturgical research material, images, etc., that helped you find the core of the scene.
Your materials will be reviewed by the SDC Initiative Co-Coordinators and the SDC respondent.
Email SDC Initiative Coordinator Emily Rollie (she/her) at Region7SDCDirecting@gmail.com.
2023 Devising Prompts
This are to prompt your creativity, not feel like requirements. Use the prompts that fuel your imagination, and no need to use them all.
“To be seen and heard”
Thao and the get down stay down “We the Common”
song – and portion of the song, played, sung, or lyric quoted
-10 seconds of stillness or slow motion
– Ensemble does something in unison – Someone or something gets lifted
More about the Devising Initiative from the Kennedy Center:
“Going in, I thought, if I had to explain dramaturgy to somebody who’s never heard of it before, has no context for what the role is, how would I boil it down in a way that would make sense for a broader audience? So I came up with a little script for what I was gonna say. I said that while the role can differ depending on whether you’re working on new-play development or in production, the role of a dramaturg, generally speaking, refers to someone who works in the capacity of a researcher or advisor on a theatrical production. My little line was: I’m there to ask questions and help answer them, which I think is really a useful way of thinking through ways to be useful in the room.”
– Madison Mae Williams, a dramaturg who recently appeared on Jeopardy, as quoted in a profile in American Theatre Magazine, October 28, 2021
The contextual and research-based lifeblood of any production, the dramaturg’s work exists in any number of guises and functions, which include workshop support in new play development; pre-production research preparation; company enrichment; pre- and post-show audience engagement; data collection; and community outreach, amongst many others. Today, traditional modes of dramaturgy expand into and adapt technological innovation, new approaches to text, and fresh foundations for methods of production support, all based on a core value of seeking a deeper understanding of the work at hand.
If you worked as a dramaturg over the last year on a project at your institution, we encourage you to submit your work to the Dramaturgy area recognition and awards! You can submit any and all projects – whether those were part of coursework or part of a production. There are two types of awards or recognition that we give in this region:
- LMDA/KCACTF Student Dramaturgy Award (students receiving this award have the opportunity to apply for the national level award)
- Other region-level recognition, as determined each year by the respondents
Please use this form to submit your application for the KCACTF Dramaturgy Region 7 Recognition and Awards. Entries will be read and responded to by a panel of dramaturgs. There are five parts to the application, which are described in this information document. If you have any questions on the application process or participation in the award process, please contact Region 7 Dramaturgy Coordinator Sarah Campbell (she/her) at email@example.com.
Application Materials are due January 15, 2023.
If you are interested in submitting but have questions about the process or what to submit, please reach out to Region 7 Dramaturgy Coordinator, Sarah Campbell (firstname.lastname@example.org). There will be an optional information session on the application and award process on Friday, December 16th at 1:00pm PT at the following link: https://uidaho.zoom.us/j/82930585999?from=addon.
Region 7 Information Document Link: https://docs.google.com/document/d/1eXN96lfsYajw-82PFDNWRWaEVO4KcdO3n0Iu6Oq4XSY/edit?usp=sharing
Link to Application Form: https://forms.gle/RmgHXkTZE7rH5M9Y7
RYAN ACTING SCHOLARSHIP AUDITION
Irene Ryan Prelim Round | Irene Ryan’s Semi-Finalists | Irene Ryan Finalists
- Submissions due by February 12th at 11:59pm.
- 2 contrasting monologues, time limit of 3 minutes total – recorded; submission via private YouTube link, or platform of regions choosing.
• Students (auditionee and partner) must have a paid registration to participate.
• Deadline for prelims will be before the regional festival – February 12th at 11:59pm.
• Selectors will review the preliminary round submissions and make their selections before the festival.
• Preliminary Round responses with regional faculty respondents will happen prior to the festival via zoom.. Coordinators will work to schedule these sessions.
Note: students must register for the festival before they can submit their preliminary video for Ryan’s.
- Semi Finalists will be announced at the opening ceremony of the festival.
- Semi-Final Round: performed Live at Festival:
- 1 monologue (from prelims, student’s choice) and one scene, time limit of 5 minutes total.
- Students will receive feedback from the Semi-Final Round Selectors.
- Finalist will be announced mid week.
- Will be announced on the Midweek at festival.
Final Round: performed Live at Festival: 2 monologues from prelims and one scene, time limit of 6 minutes total.
Irene Ryan Format:
- The self-nomination process will be continued.
- Participants may be partners for other participants with the option to utilize the same scene in both audition packages.
- All musical elements will be moved to MTI. Singing will no longer be a part of the Irene Ryan audition
- Virtual submissions will be one camera with no internal cuts.
- Timing of the audition will begin with the first action or word in character following the setup and introduction and will not stop from that point onward.
- Rules regarding Rights, Royalties, Slating, Timekeeping, uses of Props and Furniture will remain from previous years. Contact coordinator for details.
Festival Registration and Video Audition Submission:
- Please check your email regularly as that will be the primary point of communication for the duration of this festival.
- Important Information regarding rights and royalties can be found HERE
- Once you have registered for the festival please fill out the virtual form and upload a headshot and your preliminary round video audition. You can do that HERE
If you have any further questions please contact your regional Irene Ryan Coordinator at email@example.com
MUSICAL THEATRE INITIATIVE– MTI
All Round 1 submissions must be self-taped and uploaded to the links on our website pages. All participants must be registered for festival and students should plan on being at festival. The details of your audition are listed below. If you have questions contact the MTI Coordinator Alicia Bickley firstname.lastname@example.org
- FIRST ROUND of auditions, students should prepare two 16-bar cuts of contrasting pieces from the musical theatre repertoire (not to exceed 90 seconds). Students will need to film their audition pieces to upload by January 30th. Twenty singers from the first round will advance to the final round.
- FINAL ROUND, performers will sing the same two 16-bar cuts as well as a full song or longer cut of a third piece (all of which should not exceed 5 minutes) for a panel of selectors from the musical theatre industry.
Other Popular Events
Many regional activities happen during the festival.
Details of how to register for individual events will be provided below as details are available.
Dear NEXT STEPS – KCACTF Region 7 – guest artist, theatre companies and schools –
As promised, we have a few more details for you about the NEXT STEP process at our festival this year. Your continued patience and understanding is greatly appreciated as we navigate this new way of doing things and hope for even more participation from guests viewing students’ work.
Here is the plan for this year!
We will be hosting our Next Step INTERVIEWS on Wednesday, February 22nd. Acting/Performance interviews will be on that day between noon and 3:00 pm PST and the DTM interviews will be from 3:00 pm to 4:00 pm PST. We are asking students to submit materials that you will be able to view in advance (Performers will submit a two-minute performance file and DTM will submit a 3-minute sample from their portfolio or visual representation of work). The deadline for these submissions is Sunday, February 12th. I will then send you links to access the files so that you can prepare to “meet” with the students via a LIVE ZOOM link on Wednesday, PST. For those of you who are more locally based in the Spokane area and wish to join us in person you are more than welcome – but we are trying to make this work so we can have as many of you participate as possible. I will provide a list to the students of participating companies and schools so that they can do their research in advance, too, and ask you questions if they wish. The most important thing here is that you view the files beforehand.
Students will participate earlier in the day in an informational meeting to set up interview times with the ZOOM participants, within the determined time slots indicated above. We will begin scheduling the performers from noon on and begin with DTM students at 3:00 pm. Thus, if we only have students signed up until 2:00 pm, we will wrap us the performance interviews and move on to DTM at 3:00 pm and be completed by 4:00 pm. We will see how many sign up!
Again, what we’d love from you is that you’d look at the files beforehand and be prepared to talk with the students – ask them questions about their work and/or resume? It is up to you to then follow up with the students should you desire to do so AFTER this process. I will send you all the ZOOM link as we get closer to the date.
Thank you again and please email me with questions and concerns as we figure all of this out.
KCACTF Region 7
Next Step coordinator
Deadline for applying is February 12
S.A.B.R.E – Student Advisory Board for Region 7
This section has not been updated for Festival 54 – 2022
Scholarly Paper Competition
Have you written a paper that you’re particularly proud of? Are you interested in your paper potentially being published? Submit your work to the Scholarly Paper Competition!
The Kennedy Center American College Theatre Festival, Region VII seeks to support, encourage, and reward excellence in scholarship in theatre. KCACTF VII invites all college and university students to submit their research manuscripts to the Scholarly Paper Competition. The papers may be written on any theatre arts topic–historical, theoretical or artistic. Students do not need to attend the conference in order to enter.
- Manuscripts entered at the graduate student level should not exceed 20 double-spaced, single-sided pages excluding endnotes and references. Chicago (Notes-Bib) formatting and citation style preferred; MLA permitted.
- Manuscripts entered at the undergraduate student level should not exceed 12 double-spaced, single-sided pages excluding endnotes and references. Chicago (Notes-Bib) formatting and citation style preferred; MLA permitted.
- Citation style selected will not have an impact on evaluation.
All submissions will receive feedback and the winning papers may be published in the Western States Drama Review.
Complete the submission form here. Due Date February 1.
For questions or more information, email KT Turner at email@example.com.