Festival Events

Festival 54 -2022 Events

Festival Event Registration Instructions

Festival 54 –  February  2022
Due to the current state of the nation and our region, this year’s Festival will be a virtual event. 
Details of how to register for individual events will be provided below as details are available.  

Get our official event app

For Blackberry or Windows Phone, Click here

For feature details, visit Whova

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.

Aspire Information Link

DTM – DESIGN, TECHNOLOGY, MANAGEMENT

Submissions due byJanuary 30th, 2022

Submit Entry Here

Expo Submission Guidelines

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ITJA – INSTITUTE FOR THEATRE JOURNALISM AND ADVOCACY – New for 2022

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.

ITJA Information Link 

Contact 

NPP – NATIONAL PLAY PROGRAM

SUBMIT PLAYS HERE

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 AND DEVISING INITIATIVES

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:

https://www.kennedy-center.org/education/opportunities-for-artists/pre-professional-artist-training/kcactf/directing/

 

Eligibility

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

Initial Round (materials due extended to Sunday, January 30)

To participate in the Initial Round, please submit the following materials in pdf format to Region7SDCDirecting@gmail.com by 25 January 2022:

  • Statement of Interest
    This is a
    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 virtually.
  • Faculty Letter of Support
    A letter from a faculty member who can speak to your ability, experience in, and/or interest in directing.
  • Pre-recorded Video “Pitch” Concept
    Please create a 10 minute video pitch for one of the 13 scenes identified by KCACTF (https://www.kennedy-center.org/education/opportunities-for-artists/pre-professional-artist-training/kcactf/directing/). (See below for more information about the structure and specific content to be covered in your pitch)
  • Theatre Resume (optional)

Your submitted material should not include any information that identifies the school you attend.

Your materials will be reviewed by the SDC Initiative Co-Coordinators and the SDC respondent to be considered to move into the second round.

Second Round (if selected, materials due February 11)

If you are selected to participate in the Second Round during the festival, you will

  • Submit a completed Director’s Book for your scene. (See below for more information about the structure and specific content to include in your book.)
  • Submit 5 still images of compelling stage pictures for the scene for which you prepared your pitch and director’s book.
  • Participate in a feedback session with the SDC respondent about your scene and materials.
  •  

Further Information about Pitch & Director’s Book Contents

Pre-recorded Video “Pitch” Concept (10 minutes):

    • The first 5 minutes:  Within the five minutes of your video, please answer the following: 
      1) Who are you? (Please do not include information about which school you attend.)
      2) What play did you choose? 
      3) Why does this play need to be done RIGHT NOW?
      4) What will you, specifically, bring to the production? Why are you the person to direct this play?
      5) What does your ideal production look/feel/sound like? 
      Other questions if you want them: 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?
    • The second 5 minutes: Present your 5 minute emotional and visceral response to the play using images, music, collage, vision boards, short film, other persons, things – anything which will help you express your connection with the play. This section allows you to use all 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.

Director’s Book:
This pdf document 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.

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 scene, 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.

Further questions?
Email SDC Initiative Co-Coordinators Josephine Keefe (she/her) and Emily Rollie (she/her) at Region7SDCDirecting@gmail.com.


Devising Initiative

The Devising Initiative will not be accepting projects this year to to COVID restrictions and the virtual nature of the 20201 Festival.

DRAMATURGY – NEW FOR 2022

“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.

Here is a link to the entry form

Dramaturghttps://airtable.com/shrfgJoqqxNVXC8Gfy Information Link 

Contact 

RYAN ACTING SCHOLARSHIP AUDITION

I

Irene Ryan Prelim Round  |  Irene Ryan’s Semi-Finalists  |  Irene Ryan Finalists

Preliminary:

  • Submissions due by February 6th at 11:59pm.
  • One monologue, not to exceed 90 seconds.

Note: students must register for the festival before they can submit their preliminary video for Ryan’s.

Semi Finals:

  • Semi Finalists will be announced by February 12th.
  • Semi-Final Round Audition will consist of a scene with a partner and a second monologue.
  • The total running time of the Semi-Final Round will not exceed four and a half (4:30) minutes.
  • Submissions for the semi final round will be due by the following day, February 13th at 11:59pm.

Note: In the event a student moves to the semi finals they must upload two video submissions. One being their semi final recording as well as their final round submission.

Finals:

  • Will be announced on the 17th.
  • Final Round Audition will consist of the monologues from the Preliminary and Semi-Finals Rounds, and the scene from the Semi-Final Round.
  • The total running time of the Final Round will not exceed six (6) minutes.
  • Finalist video submissions will be shown to the public on our festival app. Check festival event schedule for date and time.
  • Scholarship recipients will be announced at closing ceremonies on February 19th.

Irene Ryan Format 2022:

  • 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.
  • Preliminary Session will be a 90 second monologue.
  • Semi-Final Sessions will be a 3 minute scene and the same 90 second monologue from the prelims, 4 minutes 30 seconds total. Participants in the semi final round will receive workshop time with the respondents on February 16th or 17th. 
  • Final Session will be a 6-minute package of two monologues and a scene (adding a monologue to the Semi-final submissions).

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 ryansregion7@gmail.com

 

MUSICAL THEATRE INITIATIVE– MTI

MTI Preliminary Round  |  MTI Finalists 

Congratulations to our MTI 2022 Finalists!
 
  • Elaine Bell
  • Emma Blonda
  • Doshima Iyorlu
  • Sophie Kashman
  • Allysia Peine
  • Reese Sigman
  • Nathan Templeton
  • Madelyn Wible
  • Jennifer Wilson
And congratulations to all the incredible folks who auditioned this year!
 
Please join us on Thursday, February 17th 1-2pm (PST) for a special showcase of our Finalist audition videos, see the WHOVA App for specific instructions.
 
MTI Winner to be announced at the Awards Ceremony on Saturday.

  • More information coming soon!

 

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.  

 

NextStep

How do I register for Next Step?

PERFORMERS:

  • You will record and submit a 2-minute max audition video which will include a slate. What you do with these 2 minutes is up to you. You may perform a monologue, a song, 2 contrasting monologues, a monologue and a song, the choice is yours. Pick material that shows off your personality and talents.

DESIGN/TECH/MANAGEMENT (DTM):

  • Students should prepare a video presentation of your portfolio and/or resume. Your video should be no longer than 5 minutes. Remember, you are showcasing yourself as well as your theatre interests and skills.

Once you submit your video there is nothing more that you will need to do unless you are informed you are selected for an additional interview. You will know if you are selected for an additional interview by the first day of the festival.

Additional interviews are at the discretion of the participating Next Step School and/or Company. Be sure to be checking your email so you know what you will need to do if selected for an additional interview.

Deadline for applying is February 1

Here are the links to the Next Step Forms on Submittable

Next Step DTM
https://kcactf.submittable.com/submit/a803350e-0679-4cfb-9915-11f563d7e807/region-7-2022-next-step-dtm-interviews

Next Step Performance Transfer to 4-Year School
https://kcactf.submittable.com/submit/7b006f13-0b49-4a8e-9ff5-102c313ebfe7/region-7-2022-next-step-performance-transfer-to-4-year-school

Next Step Performance Graduate School/Internship
https://kcactf.submittable.com/submit/9f4304c4-b8d3-431d-bfea-6d8ab7024b09/region-7-2022-next-step-performance-graduate-school-internship

Next Step Performance Summer or Year-Round Work
https://kcactf.submittable.com/submit/753c0399-f8cc-4869-90b7-9b79539ef685/region-7-2022-next-step-performance-summer-or-year-round-work

If you are interested in both educational opportunities AND work opportunities please fill out the appropriate form for your educational level AND the Summer/Year Round Work Form.

S.A.B.R.E – Student Advisory Board for Region 7

This section has not been updated for Festival 54 – 2022

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.
  • Manuscripts entered at the undergraduate student level should not exceed 12 double-spaced, single-sided pages excluding endnotes and references.

Due Date February 1.

All submissions must include the following:

  •      Your Name
  •      School affiliation
  •      Undergraduate or graduate student status
  •      Document attachment as a PDF file

Submit your attachment with a brief introductory email to george.caldwell@oregonstate.edu

 

Improv Olympix!

This section has not been updated for Festival 54 – 2022

Musical Cabaret

This section has not been updated for Festival 54 – 2022

Theatre Trivia

This section has not been updated for Festival 54 – 2022