Handbook for One-Act Play · 2016. 9. 22. · “In a well-planned One-Act Play Contest, there are...

THE UNIVERSITY INTERSCHOLASTIC LEAGUE

Handbook for One-Act Play

for Directors, Adjudicators and Contest Managers

23rd Edition

THE UNIVERSITY INTERSCHOLASTIC LEAGUE

For further information write: State Theatre Director University Interscholastic League 1701 Manor Road Austin, Texas 78722 512/471-9996or471-4517(Office),512/471-7388(Fax) 512/471-5883(MAINUILSWITCHBOARD)

E-MAIL: [email protected]

Notice of Non-Discrimination

The University Interscholastic League (UIL) does not discriminate on the basis of race, color, national origin, sex, disability, or age in its programs.See Section 360, Non-Discrimination Policy, UIL Constitution and Contest Rules. https://www.uiltexas.org/policy/constitution/general/nondiscrimination

The following person has been designated to handle inquiries re-garding the non-discrimination policies:Dr. Mark CousinsUniversity Interscholastic LeagueDirector of Compliance and Education1701 Manor Road, Austin, TX 78722Telephone: (512) 471-5883Email: [email protected]

For further information on notice of non-discrimination, visit http://wdcrobcolp01.ed.gov/CFAPPS/OCR/contactus.cfmor call 1-800-421-3481 or contact OCR in Dallas, Texas:Office for Civil RightsU.S. Department of Education1999 Bryan Street, Dallas, TX 75201-6810Telephone: 214-661-9600, Fax: 214-661-9587, TDD: 800-877-8339Email: [email protected]

“Inawell-plannedOne-ActPlayContest,therearenolosers.”

Handbook for

One-Act Play23rdEdition

AcknowledgementsAverysincerethankstoConnieMcMillanandtoElisabethSikesfortheircontributions.IalsowishtothanktheTexasTheatreAdjudicatorsandOfficials(TTAO)andtheUILTheatreAdvisoryCommitteefor their work on this edition. The League also wishes to thank the Texas Educational Theatre Associa-tion,Inc.andtheInternationalThespianSocietyformaterialcontributionsandcontinuedsupportoftheOne-ActPlayContest.

INTHEHANBOOKCelebratingTexasTheatrePioneers

contentseducAtionAl theAtre ............................................................................................................................ iiA history of theAtre in texAs ...............................................................................................................iiithe rules............................................................................................................................................. 1

The ConsTiTuTion ..............................................................................................................................2The ConTesT Calendar ......................................................................................................................4The ConTesT sTruCTure ....................................................................................................................5

sTudenT Company size ...............................................................................................................5speCial needs aCComodaTions ......................................................................................................5The direCTors ..............................................................................................................................5professional aCknowledgmenT form ............................................................................................6direCTor responsibiliTies and eThiCs Code ..................................................................................6

The ConTesT .....................................................................................................................................8planning meeTings .......................................................................................................................8levels ..........................................................................................................................................8advanCing and awards .................................................................................................................8Time limiTs ...................................................................................................................................8rules violaTions ..........................................................................................................................9

ConTesT adminisTraTion .....................................................................................................................9The ConTesT manager ..................................................................................................................9adjudiCaTors ................................................................................................................................9

ConTesT enTry proCedures ............................................................................................................10The spring meeT enTry sysTem ..................................................................................................10subsTiTuTions and addiTions .......................................................................................................10failure To parTiCipaTe ................................................................................................................ 11

The ConTesT play ...........................................................................................................................12sTandards ..................................................................................................................................12play seleCTion poliCy ................................................................................................................12performing plays on The approved lisTs ...................................................................................13performing plays noT on The approved play lisTs, adapTaTions and original plays ...................13sCeniC iTems and properTies requiring approval .......................................................................14liCensing and royalTies ..............................................................................................................15performing a "sCenes from" ......................................................................................................15adapTaTions ................................................................................................................................15drama loan library ...................................................................................................................17

aid in direCTing .............................................................................................................................18finding or hosTing a fesTival .....................................................................................................18

CasT and Crew assignmenTs............................................................................................................19rehearsals .....................................................................................................................................19sChool performanCes ....................................................................................................................20exTraCurriCular defined ................................................................................................................21The ConTesT siTe ...........................................................................................................................23

musiC playbaCk and inTerCommuniCaTions equipmenT ....................................................................23lighTing aT The ConTesT siTe ......................................................................................................23

The uniT seT ...................................................................................................................................24aCTors on elevaTed uniT seT elemenTs ......................................................................................25

sTandard door and window uniTs ..............................................................................................26speCial doors, enTryways and windows ......................................................................................27

sCeniC elemenTs and properTies .....................................................................................................27lighTing and projeCTors ............................................................................................................27

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sofTgoods .................................................................................................................................28CapiTals and bases .....................................................................................................................28Trees, bushes, planTs and oTher landsCaping ...........................................................................29fenCe and railing ......................................................................................................................29sTage properTies .......................................................................................................................29

speCial issues regarding properTies ..............................................................................................31properTies wiTh CasTers ...........................................................................................................31TobaCCo/ alCohol, oTher illegal subsTanCes and weapons .......................................................31live animals ...............................................................................................................................32

fog, snow, waTer, fire and oTher speCial effeCTs .......................................................................32musiC and sound issues ..................................................................................................................33properTy CharTs ............................................................................................................................34aT The ConTesT ...............................................................................................................................36

ConduCT ....................................................................................................................................36no laTer Than 10 days prior To The ConTesT ...........................................................................36doCumenTs you will need aT ConTesT .......................................................................................37arriving, your rehearsal and preparaTion ................................................................................37The direCTors meeTing ..............................................................................................................37The performanCe .......................................................................................................................38The deCision ..............................................................................................................................40The CriTique ..............................................................................................................................40

advanCing .......................................................................................................................................41evaluaTing your adjudiCaTor and ConTesT manager .......................................................................41glossary ........................................................................................................................................42bibliography ...................................................................................................................................46

guide for AdjudicAtors .......................................................................................................................48funCTion .........................................................................................................................................49qualifiCaTions .................................................................................................................................50eThiCal ConsideraTions ...................................................................................................................50pre-ConTesT proCedures ...............................................................................................................50ConTesT proCedures ......................................................................................................................52working CondiTions ........................................................................................................................52judging The play .............................................................................................................................53seleCTion of The aCTing awards ......................................................................................................53oral CriTique insTruCTions .............................................................................................................54evaluaTion form insTruCTions .........................................................................................................56evaluaTion form .............................................................................................................................57glossary of Terms for form ..........................................................................................................60panel judging proCedures .............................................................................................................61

guide for contest mAnAgers ..............................................................................................................62uTeid and online CerTifiCaTion .....................................................................................................63funCTion .........................................................................................................................................64proCedures: planning meeTing (zone and disTriCT) ........................................................................65proCedures: bi-disTriCT .................................................................................................................66planning meeTing sample agenda ....................................................................................................67bi-disTriCT, area and region early planning ..................................................................................69To-do lisT: posT planning meeTing ................................................................................................71sample info leTTer .........................................................................................................................72while you waiT unTil february ......................................................................................................75proCedures: by february 1sT .........................................................................................................76

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To-do lisT: shorTly afTer february 1sT ........................................................................................76To-do lisT: 9 days prior To The ConTesT .......................................................................................77downloading sChool informaTion insTruCTions ...............................................................................78siTe Crew job desCripTions ............................................................................................................79Timekeepers insTruCTions ................................................................................................................80whaT should i look for when i geT The sChool info reporT .......................................................81To-do lisT: 3 days prior To rehearsals.........................................................................................82The ConTesT siTe - lighTing ............................................................................................................83sound, sTorage and dressing rooms aT The ConTesT siTe ..............................................................84rules regarding offiCial rehearsals .............................................................................................84proCedures: offiCial rehearsals ...................................................................................................85To-do lisT: ConTesT day ................................................................................................................87proCedures: before The ConTesT ...................................................................................................88model direCTors meeTing agenda ...................................................................................................89rules relaTed To seT and sTrike ....................................................................................................90proCedures: sTarTing The ConTesT and performanCes ....................................................................91sTopping a performanCe .................................................................................................................91rules relaTed To announCemenTs and The 60-seCond rule.............................................................92rules relaTed To performanCe.......................................................................................................92rules regarding violaTions ............................................................................................................93proCedures: violaTions...................................................................................................................94proCedures: ConClusion of The ConTesT ........................................................................................95proCedures: awards Ceremony and CriTique ..................................................................................96proCedures: afTer The ConTesT ......................................................................................................96proCedures: panel judging ............................................................................................................97TTao TabulaTion Tool ....................................................................................................................98Tilf sCholarship opporTuniTies .....................................................................................................99

on the cover

"Bone music" - doll Art By theAtricAl design judgeTheresa MayhasaBAandadvancedcourseworkinarthistory.Shehashadformaltrainingindrawing and painting and has also won graphic de-signcompetitions.Shehasstudiedsculpturewithafewartistsbuthermostimportant influencehasbeenEJTaylor.Shewasaminiaturistand1/12scaledollartistandanationally-recognizedteddybearartist(featuredintwobooks)duringthe1980s.Fromthe1990suntil2005,shewasaprofes-sionalcostumedesignerfortheatreinAustin,Texas,duringwhichtimeshereceivedseveralawardnominations.ShehasrecentlyretiredafternearlyfortyyearsasabookpublisherattheUniversityofTexasPress.SheisamemberofCentralTexasArtDollSculptors(CTADS),TexasAssociationofOriginalDollArtists (TAODA),OriginalDollArtistCouncil ofAmerica(ODACA),andin2015wasinductedintotheNationalInstituteofAmericanDollArtists(NIADA).HerrecentworkhasbeenfeaturedinDollCollectorandCostumingandArtDollQuarterlyandinseveralnewspaperarticles.Shesculptsinpaperclayoverawirearmaturebutalsoworksinmixedme-

dia,includingpaper,gourds,oilandacrylicpaints,inks,wood,foundobjects,andfabricofallkinds,especiallysilksrepurposedfrommen’sties.Herpiecesareprimarilyone-of-a-kind,andshedesignsandbuildsallhercostumesandaccessories.

"BoneMusic"wasinspiredbythejawboneofanadultandajuveniledeer.Thosecomprisetheharpontowhichawingedhumanissculpted,alsoinpaperclay.Thispieceremindsusoftheconnectionsbetweenalllivingcreaturesandoftheimperativetoseeandcelebrateoursamenesswhilewecan.

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Educational TheatreA definition

Modern educational theatre is a creative, practical activity. Its participants learn todobydoingthosescoresoftaskswhicharerequiredofthemastheyaretaughttheartofplayproduction.Theylearntothinkindependentlybecausethedevelopmentofindividualthoughtandactionisoneofthebasicelementsofplayproduction.Theylearntoappreciatethedignityofhumanlaborbecausethetheatredemandsagreatamountofhumanlabor.Theylearntomasterthetechniques of handling tools, needles, pigment, electrical equipment, paint,lumber, and cloth. They learn to sell tickets and advertising, tomake andupholster furniture, and to launder clothing. They draw upon their knowledge ofmathematics,physics,speech,art,journalism,music,English,dance,history,literature,industrialarts,psychology,homemaking,andforeignlanguages,andcombineallthesewithspecifictrainingintheartoftheatreastheyworktogetherto produce a single play.

Modern educational theatre is a creative, culturally enlightening activity. Its participants learn to appreciate the greatliterarymasterpiecesofMoliére,Shakespeare,O’Neill,Shaw,andtheGreeks,becausetheworksofthesemastersmustbethoroughlystudiedandunderstoodiftheyaretobebroughttolifeonthestage.Anappetiteforgoodliteratureiscreated,andmotivationforliteraryappreciationisstronglyestablishedbytherequisitesofplayproduction.

Moderneducationaltheatreisacreativedemocraticactivity.Studentslearntheprinciplesofdemocracyandcivicresponsibilitybecausetheseprinciplesareinherentinaneffectiveeducationaltheatreprogram.Workingtogetherincloseharmonyasmembersofaplaycompany,establishingtheespritdecorpswhichoccurssonaturallyduringrehearsalperiods,assumingresponsibilitiesascrewmembers,coordinatingallworkprojectstomeetadeadline,settling with tolerance and understanding the differences of opinion and procedure which are always present in a freesociety,learningtocommandandbecommanded:theseareaspectsoffunctionaldemocracyandcommunityleadershipwhichareencountereddailybyallwhowork inplayproduction. Suchanactivitymakesadefinitecontributiontotheimprovementofdemocraticprocessinthecommunity.

Modern educational theatre is a creative activity which has personal and therapeutic values. Students develop suchqualitiesasself-confidence,poise,cooperativeness, initiative,resourcefulness,self-control,self-discipline,andasenseofunderstandingandappreciationoftheabilitiesandeffortsofothers.Theylearntheimportanceofsystematicorganization,orderlyprocedure,anddetailedplanningbecauseeventhemostcasualtypeofplayproductionencouragesandrequiresthedevelopmentoforganizationalabilities.Studentsineducationaltheatreexperiencethefeelingofbelonging;theyareprovidedwithacontrolledoutletforphysical,emotional,andmentaldisturbanceswhichseemcommontomostyoungpeople.Theydiscoverthroughdramaticsamoredefinitepurposeforstayinginschoolandanacceptablereasonforgivingcloserattentiontotheotherscholasticpursuits.Ifstudentsareshy,theyaretaughttoovercomeshyness.Iftheyaretooaggressive,theylearntotemperaggressivenesswithconsiderationforothers.Inplayproductionstudentsfindanopportunitytoexpendexcessenergyinaconstructiveandeducationallyproductiveway,todevelopimagination,andtouseleisurehourstobetteradvantage.

Moderneducationaltheatreisacreativeactivitywhichhasdefinitevocationalpossibilities.Oneofthereasonsfortheincreasednumberofcollegiatetheatrecourseshasbeenthedemandforpublicschoolanduniversityteachersof theatre arts. Educational theatre also exists for the purposes of giving training to those students who seek careers intelevision,communityandprofessionaltheatre,dance,andthemotionpictureindustry.

Therefore,educationaltheatreisacreativesegmentofacademiclifewhichbecomesmorethananextracurricularactivity,morethanamediumofentertainment,andmorethanjustaclassplay.Itprovidesactualexperienceinpracticingdemocraticprinciplesoflivingwhichincreasesthestudent’spotentialvaluestothecommunity.Itsuppliespersonalandtherapeuticvalueswhichgiveagreateremotionalandmentalstabilityandwhichenhancethechancetoprovideanadequatelivelihood.Studentscanfindsomewhereinthediversifiedintricaciesofplayproductionanopportunitytousealloftheirtalentsandcapabilities.Eachoftheirneedsismetintheeducationaltheatrebecauseofthescopeandcomprehensivenessofitsactivities.

F.LorenWinshipservedasLeagueOAPDirectorbeginningin1938.Heisconsideredbymanytobethefatherofmoderneducationaltheatre.

"Los Pastores" production in 1907

AHistoryofTheatreinTexasbyMichaelBarnes

BeforethearrivalofEnglish-languagetheaterinTexas,fourtypesofperformanceprevailed.Forcentu-ries,Indiansperformedreligiousritualsthatincludedelementsofdance,costume,andimpersonation.InSpanishTexas,colonistsstagedseculardramastocelebratespecialoccasions.Spanishmissionar-iespresentedreligiousdramasandcultivatedafourthtypeofperformance,amixtureofnativedanceandChristiantheater.PerformancesoccurrednearElPasoin1598,atLosAdaesin1721,andinSanAntonioduringthe1770s.ThistheatricaltraditionprefiguredsuchSpanish-languagefolkdramasas

LosPastores,performedinTexascommunitiesannuallysincethenineteenthcentury.AmericannewspapersreportedEnglish-languagetheaterinColumbiaasearlyas1836.ProfessionaltheaterarrivedinHoustonin1838.Twomanagers,JohnCarlosandHenriCorri,foundedcompetingtheaters beforeHoustonians built their first church.Professional actors,who traveled by ship fromNewOrleans,played leading roles,whileamateursfilledsmallerparts.SamHouston,MirabeauB.Lamar,JohnS.Ford,andWilliamB.OchiltreewereamongtheleadersoftheRepublicofTexaswhoparticipated in theater.Theaterspresentedseriousplaysandmusical concertsaswellasavarietyof disreputable entertainments.Frontier audiences consistedmostly ofmenand sometimes turnedrowdy.Houstonianspubliclydebated themoralityof theaternot longafter its introduction there.By1845strollingplayers,orindependentperformers,hadreachedMatagorda,SanAugustine,Galveston,Jefferson,andothertownsonaccessibletraderoutes.DuringtheMexicanWar,actors,includingfuturestarJosephJefferson,performedforUnitedStatestroopsinCorpusChristiandtheRioGrandevalley.From1845to1860,professionaltheaterinTexaswaschieflyaphenomenonoftheGulfCoast.Withitsbustlingport,GalvestonbecameanattractiveadditiontotheNewOrleans-basedtouringcircuit.Smallinland townsgotbywithamateurdramatic societiesand theoccasional strollingentertainer.A feworiginalplayswerewrittenbyTexansduringthisperiod,includingseveralabouttheTexasRevolution,suchasTheStormingof theAlamo.After1850,sophisticatedGerman-language theaterandoperaalsoflourished,presentedmostlybysocialclubsinsuchGermantownsasFredericksburgandNew

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Braunfels.TheCasinoClub inSanAnto-niobuiltaseriesofhandsometheatersforGerman-languageperformance.

TheCivilWarandReconstructionbroughtTexas theater toa temporaryhalt. In the1870s, however, railroads opened inland markets for traveling troupes. Managersof stock companies, including actor Wil-liam Crisp, established short-lived resi-denttheaters inGalveston,Houston,andSanAntonio.Texansbuilt dozensof the-aters, then called opera houses, across the state, somewith full scene-changingequipment, traps, and auxiliary rooms.Several of these theaters survive, the old-estbeingtheBastropCasinoHall,builtin1848.Utilityhallswithflatfloors-usuallylo-cated above commercial establishments-

sufficed insmaller towns.Balconiesandboxesallowedblacksandwomen toattend insegregatedsections.Bythelate1880s,Texashadjoinedthetranscontinentaltheatercircuit.CelebritiessuchasEdwinForrest,EdwinBooth,SarahBernhardt,HelenaModjeska,andLillie(EmilieCharlotte)Lang-tryqvperformedinTexas.Theytraveledinspecialrailroadcarsandplayedtointenselocal interest."Combinationcompanies,"completewithstarplayers,supportingcasts,sets,andcostumes, touredbytrain,stoppingeverythirtytosixtymilestoperformforthenight.Thestandardmixofmelodramas,Shakespeareanplays,minstrelshows,andmusicalextravaganzaswascomplementedbyvaudeville,orvarietyshowsforrespectableaudiences,inthe1890s.Largeoperahouses,suchastheGalvestonGrand,built in1894,employedthelatesttheatertechnologyandprovidedopulentsettingsfortoursfromNewYork,Chicago,andotherculturalcenters.

Inthe1890s,GalvestonbusinessmanHenryGreenwallbecameapowerfulmanagerofatouringcircuitbasedinTexas.Thenationaltouringsystemwasdominatedbyasyndicateofagentsandtheaterown-ers,whichGreenwallopposedforatime.After1905,theatersshowedfilmsasnovelties.Recognizingagrowingmarket,businessmanKarlHobliztelleqv,whomovedhisheadquartersfromSt.LouistoDallasin1920,builtlargetheatersthatalternatelypresentedmovies,vaudeville,andlegitimateplays.Staleprograms, laborproblems,and thegrowingpopularityofmoviescaused thedeclineof commercialtheatricaltours.OneexceptionwastheSpanish-languagetroupesthatfledtoSouthTexasduringtheMexicanRevolutionandtoureduntilthe1930s.

Whiletoursdeclined,better-educated and urbanizedTexans turned to amateurtheater as part of an idealis-ticmovementofcultural im-provement.Criticandschol-arStarkYoungorganizedadrama society, the CurtainClub, at the University ofTexas in 1907. It remainedactive through the 1950s. Otherdramaclubssoonfol-lowed at Texas universities. The San Antonio Little The-atre grew out of a reading group founded in 1912. Bythe 1920s, dozens of Texas

Sarah Bernhardt in Dallas, Texas

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citiesand townssupportedamateur "little theaters."TheDallasLittleTheatrewonseveral nationalcompetitionsandproducednewplaysbyrespectedwriterssuchasPaulGreen.SecondaryschoolsinstituteddramaprogramsafterthefirstUniversityInterscholasticLeagueplaycontest in1927.TheUniversityofTexasestablishedthefirstcurriculardramadepartmentin1938;itsfirstprestigiousfacultymember,ShakespearescholarB.IdenPayne,joinedin1946.

DuringtheGreatDepression,commercialtourswerecon-fined to the largest cities, while musical entertainmentreachedsmaller towns through tentshows.TheFederalTheatre Project, part of the Work Projects Administra-tion,hadlittlesuccessemployingtheaterartistsinTexas,but it offered an important opportunity to pioneer direc-torMargaretJonesinHouston.After leavingtheproject,MargoJonesspearheadedtheAmericanregionaltheatermovement, which combined civic-theater idealism andsubscriptionpracticeswithprofessionalartists.Shealsopopularizedintimate,arena-stylestagingthroughherbookTheater-in-the-Round. After receiving encouragementfromlongtimeDallasMorningNewscriticJohnRosenfield,JonesfoundedTheatre47(itsnamechangedeachsea-

son)inasmallfacilityattheStateFairofTexas.Almostsimultaneously,Jones,NinaVanceqv,andhercollaboratorsfoundedtheAlleyTheatreinHouston.Itturnedprofessionalin1954.TexastheaterwasdevastatedbyJones'saccidentaldeathin1955;shehaddirectedonBroadwayandsubsequentlynur-turedthecareersofplaywrightsTennesseeWilliams,WilliamInge,andtheteamofJeromeLawrenceandRobertE.Lee,whileprovingthatprofessionaltheatercouldthriveoutsideNewYorkCity.

Duringthe1940sand1950s,innovativeeducatorPaulBaker,workingatBaylorUniversity,transformedtheoriesof creativityand theater training.He later led theDallasTheaterCenter,whichopened itsfacility,designedbyFrankLloydWright,in1959.Duringthe1960stheAlleyandtheDallasTheaterCenterbecamethestate'sdominantresident theaters(MargoJones'shadcollapsedsoonafterherdeath).These theaterspresentedworksbyTexasplaywrightsPrestonJones,HortonFoote,andL.RamseyYelvington,alongwithAmericanandEuropeanclassicplays.AidedbylargegrantsfromtheFordFoundation,theAlleybuiltasizablemoderntheaterindowntownHouston,whichopenedin1968.InaccordancewithBaker'seducationalideas,theDallasTheaterCenterwasneverfullyprofessional-izedduringhis tenure,whichendedin1982.At thesametime,severalorganizationsspecialized inlarge-scalemusicalproductions:CasaMañana inFortWorth,TheatreUnder theStars inHouston,andDallasSummerMusicals,whichpresentedshowsintheMusicHallatFairPark.Texasproducedmusicaltalentofnationalimport:actressBettyBuckleyfromFortWorth,theUniversityofTexas-trainedcomposingteamofTomJonesandHarveySchmidt(creatorsofthelongest-runningshowinAmericanhistory, The Fantasticks),andperformer-directorTommyTunefromHouston.TunehelpeddeviseThe Best Little Whorehouse in Texas,alongwithotherBroadwayandtouringsuccesses.Thefinancialsuc-cessoftheTexasversionof"Whorehouse"ledHouston'sPACEConcertstoenterthefieldoftheatrical

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Horton Foote Preston Jones Tom Jones and Harvey Schmidt


UIL-Drama, PO BOX 8028, Austin, Tx 78713 - 512/471-9996, 512/471-7388 (Fax)

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touring.Bythe1990s,PACETheatricalhadbecomethelargestproducerofBroadway-scalemusicaltours in the country.

Duringthe1970s,anotherformofcommercialtheatersweptthestate.DinnertheatersproliferatedinthesuburbsoflargerTexascities,offeringmostlylightentertainmentandfood.Thesepopularestab-lishmentsdeclinedinthe1980s,althoughvarietyentertainmentcontinuestobeservedalongwithfoodatseverallargetheaters.Outdoorperformancesalsomultiplied.ThemostsuccessfulwasTexas, still presentedeachsummeratPaloDuroCanyonStateScenicPark.

Texas atPaloDuroCanyon

Alsointhe1970s,civicleadersrecognizedthevalueofhistorictheatersandrenovatedmajorfacilitiesinDallas (theMajesticTheatre),SanAntonio (Majestic),Austin (Paramount),Abilene (Paramount),

Texarkana(Perot)andGalveston(Grand).SmallertheaterswererefurbishedinColumbus,Granbury,Uvalde,andoth-ertowns.Afterafewfailedattemptsinthe1960s,avibrantundergroundtheateralsoevolvedinurbanareasinthelate1970s. The success of sketch-comedy troupes, such asEsther'sFolliesinAustin,inspiredsatiristsJoeSears,Jas-tonWilliams,andEdHowardtoinauguratethewidelyseenGreater Tuna plays.African-AmericanandHispanic com-paniesbegan inHouston,Dallas,FortWorth,andAustin.ExperimentalplaysandperformanceartcouldbeseenatVortexRepertoryandFrontera/HydeParkTheatreinAus-tin,DiverseWorks inHouston, JumpStart inSanAntonio,CaravanofDreamsinFortWorth,andseveraltheatersintheDeepEllumdistrictofDallas.

Inthe1990s,thestate's leadingtheater, theAlley,becamemoreadventurousunderartisticdirectorGregoryBoyd.Forthefirsttime,visionaryartistRobertWilsonofWacoreturnedtoworkinhishomestate,todirectattheAlley,theUniversityofTexas,andHoustonGrandOpera,thelargestperforming-

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The Renovated Majestic Theatre in San Antonio


Web: www.uiltexas.org Email: [email protected]

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PerhapsthemostsignificantinstitutioninTexastheatercontinuestobetheUniversityInterscholasticLeagueone-actplaycontest.Almosteveryhighschoolparticipatesinthisspringrite,whichexposesthousandsofsecondary-schoolstudentstotheaterandpreparespotentialtraineesforthestate'ssev-erallargeuniversitydramaprograms.TheubiquityoftheaterinTexas,hometomorethan300produc-ingtheatercompanies,canbetracedtothewidespreadinfluenceofthiscontest.

Handbook of Texas Online,Michael Barnes, "Theater," accessed July 27, 2016, http://www.tshaonline.org/handbook/online/articles/kkt01.

UploadedonJune15,2010.PublishedbytheTexasStateHistoricalAssociation.

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2016StateChampionPlays-(LeftColumn-ToptoBottom)1A-The Balkan Women-BrysonH.S.,2A-You Can't Take It With You-MasonH.S.,3A-The Miracle Worker-JimNedH.S.

(RightColumn-ToptoBottom)4A-A View From the Bridge-SeminoleH.S.,5A-Bug -TempleH.S.,6A-Holy Day-CarnegieVanguardH.S.

www.uiltexas.orgmailto:[email protected]



1

The Contest Rules

Margo Jones with Tennessee WilliamsTexas Theatre Pioneer Margo Jones (December 12, 1911 – July 24, 1955) was an influential American stage director and producer best known for launching the American regional theater movement and for introducing the theater-in-the-round concept in Dallas, Texas. In 1947, she established the first regional profes-sional company when she opened Theatre ’47 in Dallas.

Born Margaret Virginia Jones in Livingston, Texas, Jones worked in community and professional theaters in California, Houston, and New York. "Since 1936, Margo Jones had served as assistant director of the Federal Theatre in Hous-ton] and directed the Houston Community Theatre. She had recently joined the faculty of the University of Texas's drama department in Austin (around 1942). She gained commercial success on Broadway as co-director of the original pro-duction of The Glass Menagerie by Tennessee Williams. She directed Williams' Summer and Smoke, and Maxwell Anderson's successful Joan of Lorraine, starring Ingrid Bergman as Joan of Arc. All three plays were filmed. Bergman repeated her Joan of Lorraine role in Joan of Arc (1948), for which she was Oscar-nominated. Geraldine Page was Oscar-nominated for her performance in Summer and Smoke (1961). Since 1950, there have been at least five different film/TV productions of The Glass Menagerie.

The success of The Glass Menagerie allowed her to take the next step toward her dream of running a repertory theatre outside of New York. She moved back to Dallas and opened Theatre ’47 (which changed its name to the corresponding year every New Year’s Eve - See picture.). The theater was America's first modern nonprofit professional resident the-ater and also the first professional arena theater (theater-in-the-round) in the country. Jones was inspired by Franklin Roosevelt’s Depression era National Theater Project and the European arts movement which she had experienced di-rectly during the 1930s. The resident company was dedicated to staging new plays and classics of world theater rather than revivals of past Broadway hits. Though touring shows did exist at this time, there were no quality professional American theatre companies outside of New York. Jones believed in the decentralization of theater. She wanted her art to exist all across America, beyond the realm of commercialized Broadway. She reasoned that if she and her collabora-tors succeeded “in inspiring the operation of 30 theatres like ours, the playwright won’t need Broadway.” Jones envi-sioned it as a place where actors, writers and technicians could have steady jobs and not be subject to the problems found in the volatile New York scene.

She died July 26, 1955, at the age of 43. In 1959, her theater was closed.

- Wikipedia



2

The Constitution

Section 1033: ONE-ACT PLAY CONTEST

(a) THECONTEST.(1) Purpose.ThepurposesoftheOne-ActPlayContestaretofosterappreciationofgoodthe-atre,satisfythecompetitive,artisticspiritwithfriendlyrivalryamongschools,learntoloseorwingraciously,promoteinterestintheatreduringadultlifeandincreasethenumberofschoolswhichhaveadoptedtheatreartsasanacademicsubjectinschoolcurricula.(2) ContestFormat.Eachschoolperformsashortplay.Theplaysareadjudicatedandadvancingschoolsareannouncedandindividualawardsgiven.Schoolsreceiveanevaluationformandanoralcritique.

(b) ENTRIES.(1) Representation.EachmemberhighschooloftheUILisentitledtoenteraplaycompanyinthe district contest of its appropriate conference.(2) Participation.Participationshallbedefinedasaperformanceofanapprovedscriptwitharunningtimeofnotlessthaneighteenminutes.AschoolthatfailstoparticipateintheOne-ActPlayContestafterenrollingshallbesubjecttothefullrangeofpenalties,includingsuspensionfromtheOne-ActPlayContestforthefollowingyear.(3) FacultyDirector.

(A) DirectorsinthehighschoolOne-ActPlayContestshallbefull-timeemployeesoftheschooldistrictstheplaysrepresent.Full-timemeansthatthepersonisundercontracttotheschoolboardforthewholescholasticorcalendaryearandthepersonhasenoughcontractu-aldutiestobeconsideredafull-timeemployeebytheTeacherRetirementSystemandstatelaw.(B) Exceptions.Aretiredteacheroradministratorwhohas20ormoreyearsofexperi-encemaybehiredandpaidfordirectingtheone-actplay.Studentteachers,duringthese-mestertheyareassignedtoamemberschooldistricttofulfilltheirstudentteachingrequire-ments,mayvolunteer,probono,toassistindirectingtheircontestplayandmayserveasoneofthedirectorsallowed.Afull-timesubstitutewhohasdirectedone-actplayduringtheschoolyearmaybepermittedtocontinuethroughthestateOne-ActPlayContest.(C) AidinDirecting.Directorsshallnotacceptnorsolicitaidinthepreparationoftheplay,orincoachingtheactors,orindesigningprops,makeup,costumes,scenery,lightingorindirectingthecontestplay.Violationsofthisrulemayresultintheplaybeingdeemedineligibleforcompetition.

(c) CONTESTADMINISTRATIONANDPROCEDURES.(1) ContestManager.Theone-actplayContestManager,appointedbythedistrictdirector,shouldnotbethedirectorofaplayenteredinthesamecontest.

(A) Responsibilities.Itistheresponsibilityoftheone-actplayContestManagertoorga-nizeandconductthecontestinaccordancewithUILrulesandthe“guideforContestManag-ers,”inthecurrentHandbook for One-Act Play.(B) Violations.TheContestManagerisrequiredtodeclareineligibleaplaythatviolatesanyofthefollowing:usesanineligiblestudent,exceedsthenumberallowedintheperformingcompany,usesadditionalunitset,orviolatesSections1033(c)(4),(c)(6)or(c)(7).Violationsofanyotherrulesshallbereportedtotheappropriateexecutivecommittee.

(2) Enrollment.Schoolsshallenroll,registertheirtitleandentercontestantsbyfollowingtheprocedures found in the current Handbook for One-Act Play.ThedeadlinescanbefoundinthecurrentOfficialCalendar.(3) PlaySelection.AllplaysontheapprovedlistsoflongorshortplaysmaybeusedinUILcon-tests.




3

(A) PlaysNotontheApprovedListandScenicAdditions.Allrequestsforpermissiontoproduceplaysnotontheapprovedlists,togetherwithanyrequeststousescenicelementsnotpermissibleundercontestrules,shallfollowtheproceduresoutlinedinthecurrentHand-book for One-Act Play. (B) Standards.Directorsshalleliminateorrejectprofanereferencestoadeityandob-scenelanguage,actionsorscenesfromtheapprovedproduction.Theadministrationoftheproducingschoolshallassurethatthedirectorcomplieswiththeserequirementsandthattheplaydoesnotoffendthemoralstandardsofthecommunity.Whenascriptandthestagedproductionareexaminedandapprovedbytheadministrationoftheproducingschool,theproductioniseligibleforpresentationatanycontestsite.TheStandardsComplianceFormservestocertifythattheplayandproductionhavebeencarefullyexaminedandapprovedforpresentation.TheUIL’sPlayAppraisalCommitteemayeliminatelanguage,actionsorscenesas a condition for approval of plays not on the approved lists.

(4) TimeLimits.Noplayshallexceed40minutesperformancetime.Noplayshallusemorethansevenminutestosetandsevenminutestostrike.Nomorethan60secondsshallelapsebe-tweenthesettimeandthebeginningofperformance.(5) Scenery.ScenicitemsmaybeusedasspecifiedinthecurrentHandbook for One-Act Play.(6) FirearmsorExplosives.Nostarterpistol,realgun,rifle,pelletgun,airgunorpistolshallbeusedinanyway,regardlessofwhetherornotthefiringpinisremoved.Toy,woodenormodelfirearmsmaybeused.Dischargeofafirearm,cappistol,starterpistoloranytypeofexplosiveortheuseofcombustiblematerialsinconnectionwithacontestplayshallnotbepermitted.(7) TheDirectorDuringtheContestPerformance.Directorsshallnotbepermittedinthelightbooth,backstageoroffstageareasduringthecontestperformanceoftheirplay,butdirectorsarepermittedintheseareasduringthesetandstrikeperiods.Directorsshallnotmakecontactorcommunicatewithcrewandcastmembersworkinginsaidareasduringperformance.(8) Awards.Threeunrankedadvancingplaysandanalternateshallbeselectedatzone,district,bi-districtandarealevels.Twounrankedadvancingplaysandanalternateshallbeselectedatthe regional level.

(A) Playsatstateshallberankedthroughsixthplace.A+contests(JuniorHigh)shallberanked through third place.(B) Individualawardsshallincludethebestactress,bestactor,all-starcastandhonor-ablementionall-starcast.Anhonorablementionall-starcast,nottoexceedthesizeoftheall-starcast,maybeselectedatthediscretionofthejudgeorjudges.(C) MedalsandpointsgiventoindividualstudentsforcompetitionintheOne-ActPlayConteststaywiththestudentseveniftheschoolisdisqualified.However,ifthedisqualifica-tionoftheschoolistheresultofanineligiblestudent,thatstudentshallreturnawards,andpoints for that student are deducted.

(9) Judges.(A) SelectionOfJudges.OnlyjudgesselectedfromthecurrentUIL’slistofaccreditedcritic judges, unless the UIL approves an exception for valid reasons, shall adjudicate all One-ActPlayContests.(B) Judges.Judgingshallbebyanoddnumberofjudgesorbyasinglecriticjudge.AcritiqueofeachplayshallbepresentedorallytoallentriesandinterestedaudiencemembersaftertheContestManagerhasannouncedresultsofthecontest.(C) ResponsibilityForSelectionOfJudges.Judgesforzone,districtandbi-districtcon-testsshallbeselectedbytheDistrictExecutiveCommittee(s);judgesforareacontestsshallbeselectedbytheContestManagersofthesecontests;andjudgesfortheregionalandstatecontestshallbeselectedandassignedbytheStateTheatreDirector.Ajudgeshouldnotbeselectedthatwouldresultinanyentrybeingevaluatedbythesamejudgetwiceinthesameyear.(D) DecisionOfTheCriticJudgeOrJudges.Thedecisionofthecriticjudgeorjudgesisfinal.



4

one-Act PlAy contest cAlendAr 2016-17daTes subjeCT To Change – always CheCk The CurrenT ConsTiTuTion & ConTesT rules (C&CR)

date.

� Ten Calendar Days Prior to Your FIRST Contest

� March 25

� August 10 Deadlinetoreportbi-districtinformationandadjudicatorstostateoffices.The link for the form canbefoundonthetheatrewebsiteunderbi-district.Region,AreaandBi-Districtadjudicatorsshouldbecontractedbythistime.

� August 15 - Nov 1 WindowtoschedulezoneanddistrictOAPPlanningMeetings.Itmaybenec-essarytomeetearlierinordertoschedulesitesanddates.August15thisthefirstdaytocontactasingleadjudicatororthefirstmemberofapanel.ItisalsothefirstdayyoumaydrawforanyZoneandDistrictassignments.

� October 1 DeadlinetoenrollviatheUILSpringMeetEntrySystem.

� Nov 2 - Feb 1 Datestocontactandcontractthesecondandthirdmembersofapanelforzoneand district contests opting to use a panel.

� November 15 LastdayfordoublerepresentationnotificationtotheLeague.Thustwoplaysmaybeproducedbyoneschoolwhenlessthanthreeschoolsareenteredinthe district contest.

� December 14 Deadlineforrequestingpermissiontoproduceplaysnotontheapprovedlistsandscenicelementsthatarearenotpermissibleundercontestrulesandare“withoutwhichtheapprovedplaycannotbeproduced.”

� February 1 Deadlinetoorganizeyourdistrict’sOne-ActPlayContest.DeadlinetosetupOne-ActPlayMeetsintheSpringMeetEntrySystem.TitleRegistrationandContestantEntryOpens

Deadline for executing judging contracts. Deadline forContestManagers to certify online.Thismust be doneannu-

ally.

� February 23 DeadlineforregisteringyourtitleintheUILSpringMeetEntrySystem (Systemopens2/1)

DeadlineforContestantEntry,playandsetinformationandadditionaldirectorstobeenteredviatheUILSpringMeetEntrySystemwithoutDECapproval.(Systemopens2/1)Deadline forsubmitting theContestantEntryFormforZoneorDistrictcontests.Note:SomeContestDirectorssetacontestantentrydeadline earlier than the ten calendar days.

Deadlineforcertifyingtheresultsfordistrictandbi-districtcontests.

www.uiltexas.orgmailto:[email protected]://www.uiltexas.org/machform/view.php?id=244820https://www.uiltexas.org/machform/view.php?id=244820


UIL-Drama, PO BOX 8028, Austin, Tx 78713 - 512/471-9996, (Fax) 512/471-7388

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irectors - The Rules

IF YOU MISS A DEADLINE

Required itemssubmittedafter thedeadlinerequireamajorityconsentof theappropriateexecutivecommitteeorthemeetdirector,ifauthorized,inordertobeaccepted.Aletter,signedbytheschool’sadministrator,certifyingthefactthattheappropriateexecutivecommitteeorthemeetdirectorhasap-provedthelateentryshallbesubmittedtotheContestManagerandStateTheatreDirectorpriortothebeginningofthecontest.

the contest structurePArticiPAtion And eligiBility

• Eachmemberhighschoolmayenterasingleplay.• Iflessthanthreeschoolsarecompetinginthedistricttowhichaschoolisassigned,a

schoolmayentertwoplays.Thisiscalled"DoubleRepresentation."(ContacttheStateOfficebytheNovember15deadline.)

• OnlyhighschoolstudentseligibleundertheUILConstitutionmayparticipate.Thereisnoamateurruleforthiscontest.Studentsmayworkaspaidprofessionalsintheatreorfilm,summerstock,televisioncommercials,etc.andstillparticipateinOAP.

• Exception for 1A Only:StudentsinGrade8frommiddleorjuniorhighschoolsfeedingintoa1AhighschoolmayparticipateinOne-ActPlayatthehighschoollevelwhentheplaywouldbewithdrawnfromcompetitionduetolackofstudentinterestoreligibility. (SeeSubstitutionsforProceduresonpage11.)

Student Company Size

TheCompanymayincludeamaximumof24studentsandmayincludethefollowing:1. amaximumof15castmembers,2. amaximumof5crewmembersand3. amaximumof4alternates.

Special Needs Accommodations or Modifications

UILStaffmemberswillconsideraccommodationsormodificationsforstudentswithspecialneedsonanindividualbasis.Theprocedurescanbefoundonourwebsite.

the directors

Definitions and Exceptions regarding Directors

DirectorsinthehighschoolOne-ActPlayContestshallbefull-timeemployeesoftheschooldistricts the plays represent.

Full-timemeansthatthepersonisundercontracttotheschoolboardoftheschoolthattheone-actplayrepresentsandthepersonhasenoughcontractualdutiestobeconsideredafull-timeemployeebytheTeacherRetirementSystemandstatelaw.

Exceptions:

1.)Retired teachers/administrators whohave20ormoreyearsofexperiencemaybehired and paid for directing the one-act play.



6

2.)Full-time Co-op employeesmaydirectorassistindirectingthecontestplayforoneoftheirco-opmemberschoolsifallthesuperintendentsintheco-opagree.Intheeventthatanagreementcannotbereachedbythesuperintendents,theco-opemployeecouldserveasaconsultantfortheone-actplaydirectoratthememberschoolbutcouldnotassistwithdirectingthestudentsordesigninganyelement.3.)Student teachersmay volunteer to assist in directing theone-act playduring the semestertheyareassignedtoaparticipantschoolwhilefullfilingtheirstudentteachingrequirements. Theymaybelistedasdirectorsontheeligibilitynoticeandprogrambuttheydonotcountagainsttheallotmentofdirectors.Schoolsshallnotpaystudentteachersforassisting.

NOTE: FIRST-YEAR TEACHERS AND DIRECTORS

Professional Acknowledgment FormThe UIL requiresthatallOne-ActPlaydirectorssigntheProfessionalAcknowledgmentFormatthebeginningoftheirtenureinthatposition.TheProfessionalAcknowledgementformindi-catesthedirectorhasreadandagreestoabidebytherules.Yourprincipalorsuperintendentisresponsibleforkeepingitonfile.A copy of the "Professional Acknowledgment Form"maybedownloadedfromtheTheatrepageontheUILwebsite.

Directors' Responsibilities and The Ethics Code

Responsibilities:1.Maintainasafeenvironment.2.Accept,embraceandteachthisliteraltruth,“Inawell-plannedOAPcontest,thereare

nolosers.”3.Selectahigh-qualityplaythathighlightsthequalityofeducationaltheatreinyourschool

andbestusesyourandyourstudents’talents.4.Helpyourcompanyachievetheirhighestpotentialbyconductingyourproductioninthe

highestqualitymanner.5.Familiarizeyourselfwithmattersandissuesregardingcontestrules,contestmanage-

ment,andcontestadjudication.

Section 1034: ONE-ACT PLAY CONTEST ETHICS CODEOnemissionoftheUILOne-ActPlayContestistopromoteaspiritofcooperationamongallinvolveddirectors,students,administrators,parentsandaudiencememberstopromotegrowthintherealmofeducationaltheatre.TheOne-ActPlayContestEthicsCodeshallcarrytheforceofrule.Memberschooldistricts,memberschoolsand/orcoveredschooldis-trictpersonnelwhoviolateanyoftheprovisionsofthiscodeshallbesubjecttopenalty.

(a) ONE-ACTPLAYCONTESTCODE.Section901,theAcademicMeetCoderequiresparticipants to:

(1)ParticipateintheOAPcontestwiththespiritoffairnessandsportsmanship,observ-ingallrulesbothinletterandintent.(2)Directandsponsorcompaniesandindividualswithoutresortingtotacticswhichat-tempttoskirttherulesordistractfromsoundeducationalprinciples.(3)Acceptdecisionsoftheadjudicator(s)andContestManager(s)graciouslywithout

www.uiltexas.orgmailto:[email protected]://www.uiltexas.org/files/professional-acknowledgement.pdf



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questioningtheirhonestyorintegrityunlessconcreteevidenceofimproprietycanbebroughtforward.Extendcourtesytocontestofficialsandsitecrewsfromthecompanymembers,schoolofficialsandaudience.Conductthatberates,intimidatesorthreatenscompetitors,basedongenderorethnicorigin,hasnoplaceininterscholasticactivities.(4)Receivetheadjudicator’spointofviewwithanopenmind.Negativereactionduringthecritiqueshallbedeemedinappropriate.(5)Provideinformationorevidenceregardingeligibilityofanycontestantorschooltothelocalschooladministration,thentotheproperDistrictExecutiveCommittee.Towithholdinformationisconsidereddishonorableandcontrarytogoodsportsmanship.Schoolsguiltyofviolatingthissectionaresubjecttopenalty.

(b) CODEFORONE-ACTPLAYCONTESTDIRECTORSANDSCHOOLOFFICIALS.TheCodeforone-actplaydirectorsandschoolofficialsincludestheprinciplesdescribedaboveandthepurposeslistedinSection1033(a-c)andthe“GuideForOne-ActPlayCon-testDirectors”intheHandbook for One-Act Play.TheCoderequires:

(1)Awareness,understandingandobservanceofallrulesgoverningthecompetitionforwhichthedirectorisresponsible.(2)Treatmentofcompanymembersbasedonsoundeducationalpreceptsandthegen-eral welfare and health of the student.(3)Professionalcourtesytootherdirectors,ContestManager(s),adjudicator(s)andpar-ticipants.(A)DirectorsshallcommunicatetheaimsandrulesoftheOne-ActPlayContesttoallcompanymembersintheearlystagesoftherehearsalprocess.(B)Directorsshallmodelprofessionalbehaviorduringtheplanning,theproductionre-hearsal and throughout the duration of the contest.(C)Directorsshallberesponsibleformakingcompanymembers,schoolofficials,par-entsandpatronsawareoftheobjectivecriteriadescribedintheHandbook for One-Act Playandthesubjectivityinvolvedintheprocessofadjudication;i.e.evaluating,selectingandcritiquinganyworkofart,includingaone-actplay.(D)Directorsandcompanymembersshallmodelprofessionaldecorumduringallphas-esofthecontest.Forexample,directorsandcompanymembers,asrepresentativesoftheirschoolsandcommunities,shallrefrainfromdisruptivebehavior,slanderousorovertactionsofdisrespect,oranyotherdisplaysofnegativebehavior.(4)AdherencetotheOne-ActPlayContestcalendarandpre-contestplanningproce-dures.(5)Avoidanceofanypracticethatwouldendangerthewelfareorsafetyofanycompanymember.(6)Emphasisontheacademicprogressofallparticipantsthroughacheckoftheiraca-demicstanding.(7)ProtestsandreportsofviolationsforwardedtotheappropriateDistrictExecutiveCommitteeatthezoneanddistrictlevelsandtheStateExecutiveCommitteeatthearea,regional and state levels.

(c) ProfessionalGrowthandDevelopment.Directorsareencouragedtotakeadvantageoftheopportunityforprofessionalgrowththroughaffiliationswithprofessionalassociationsandpublications.



8

the contestPlAnning meetings

WeurgeyoutoattendyourUILdistrict'sOAPplanningmeeting.Youneedtodothisinordertohaveinputintospecificsofyourcontest.ContacttheDistrictAcademicChairaboutthescheduleddates.

levels Therearesixlevelsofcompetition:zone,district,bi-district,area,regionandstate.

AdvAncing And AwArds1. Threeunrankedplaysadvancefromeachzone,district,bi-districtandareacontest.2. Twounrankedplaysadvancefromeachregioncontest.3. Playsarerankedfirst(champion)throughsixthattheStateMeet.4. Individual acting awards are given to the:

• BestActor• BestActress• 8All-StarCastmembers.• 8Honorable-MentionAll-StarCastmembers.• AwardsrecognizingtechniciansorcrewmaybegivenatthediscretionoftheContest

ManagerandarestronglyencouragedbytheLeague.Nootheractingawardsmay begiven.

time limits

* Companiesinviolationshallbeineligibleforadvancementorrankingbutareeligibleforactingawards

**Violationsshallbereportedtotheappropriateexecutivecommitteeasanethicsviolation.

1. Thecompanyshallhave7minutestosetand7minutestostrike.(Youshallreceivecountdownwarningsat1minuteintervalsstartingat5minutesleft.No warnings are given after 1 minute left.)

2. Nomorethan60secondsshallelapsebetweenthesettimeandthebeginningofperformancetimeunlesstheContestManagercallsa“time-hold.”(Youshallbetoldwhenthe60secondsstart.)

3. Noplayshallrunlessthan18minutesorexceed40minutesofperformancetime.(Youshallreceiveawarningwhen15minuteshaveelapsedandwhen35minuteshaveelapsed.Youwillbeaskedtoconfirm.Nootherwarningsaregiven.)

Time Allowed

7 Minutes Setup and Strike*

Time allowed to start the performance after declaration of end of setup**

Performance Time (minimum of 18 and maximum of 40)*

1 Minute

40 Minutes




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rules violAtions• Entriesmaybedeclaredineligibleforadvancementorrankingforanyofthefollowingviolations:

1. Useofineligiblestudents.2. Exceedingthenumberallowedintheperformingcompany.3. Exceedingthetimelimitsonperformanceorset-uporstrike.4. Theuseoffirearms,explosivesorcombustiblematerials.5. The use of additional unit set. 6. Thedirectorcommunicatingwiththecompanyduringtheperformance.

Ifthecompanyisnoteligibleforadvancementorranking,theyshallbeconsideredforindividualactingawards.Thecompanyshallreceiveanoralcritique.

other violAtionsViolationsofotherrulesareconsideredethicsviolationsandshallbereportedtotheappropriateexecu-tivecommittee.Thefullrangeofpenaltiesmayapply.

contest AdministrAtionthe contest mAnAger

Like an umpire or referee in a sporting event, the Contest Manager serves as the official during a one-act play competition.

ThefunctionoftheContestManageristoorganizeandoperatethecontestinstrict accordance with themostrecenteditionoftheConstitution and Contest Rules and this Handbook.

1. EveryUILOne-ActPlayContestManagermustbecertifiedbypassingtheonlineContestMan-agerCertificationProgrameach year.

2. Procedurescanbefoundonthe theatre website.

AdjudicAtors

Adjudicatorsforthecontestatalllevels(includingJuniorHigh)shallbeselectedfromthecurrent lists of certified adjudicatorsfoundontheTTAOwebsite.www.ttao.org

AdjudicatorsforzoneanddistrictcontestsarerecommendedbydirectorsduringplanningmeetingsandthenapprovedbytheDistrictExecutiveCommittee.Asinglecriticorajudgingpanelofthreeshallbeused.

The League strongly discourages zones with four or less schools and the use of panel judging in those contests.

Adjudicatorsforbi-districtarerecommendedbydirectorsfromthepaireddistrictsandthencontactedusing the procedures outlined in the current "Bi-District Procedures" document foundon theUILwebsiteandinthisHandbook.Asinglecriticorajudgingpanelofthreeshallbeused.

Judgingpanelsforarea,regionalandstatecontestsareassignedbytheStateTheatreDirector.

YoumaysuggestAdjudicatorsforyourarea,regionandstatecontestsusingyouradjudicatorevaluationform.ThisshouldbedonenolaterthanJune1st.“Strikelists”arenotacceptable.

http://www.uiltexas.org/policy/constitutionhttp://www.uiltexas.org/theatre/contest-managershttps://ttaao8.wildapricot.org/directoryhttps://ttaao8.wildapricot.org/directoryhttp://www.ttao.orghttp://www.uiltexas.org/files/academics/theatre/Bi-District_Information_Guide_2016-171.pdf



10

contest entry Proceduresthe sPring meet entry systemPdf documents containing step-by-step instructions may be downloaded from the Theatre page

at the UIL website. Click on the “Spring Meet Entry System” link.

Deadline Responsible Party

Task

October1Director or School UIL Coordinator

SubmitEnrollmentInformationviatheUILSpringMeetEntrySystem.GototheTheatrepageandclickonthe"SpringMeetEntrySystem"link.

February23 Director or School UIL Coordinator

Register your title via the UIL Spring Meet Entry Sys-tem.GototheTheatrepageandclickonthe"SpringMeetEntrySystem"link.

NoLaterThan10CalendarDays Prior toYourFirstContest*

Director or School UIL Coordinator

1.Completecontestantentry,playandsetinformationand enter additional directors via the UIL Spring Meet EntrySystem.GototheTheatrepageandclickonthe"SpringMeetEntrySystem"link.Theinstructionscanbefoundatthatlink.

AND

2. Go to "Zone and District Meets" page under "High School One-Act Play" and complete the Zone or District Contestant Entry Form.

PriortoYourFirstContest

Principal or Superinten-

dent

Signthe"CommunityStandardsandCopyrightCom-plianceForm."TheformcanbedownloadedfromtheUILwebsite(OverviewPage).ThisformshallNOTbesigneduntiltheadministratorsigninghasseenthepro-ductionasitwillbeperformedatthatlevel.

No play may be presented in contest unless the Online Enrollment, Title Registrationand Contestant Entry Form have been submitted.

ZONE/ DISTRICT CONTESTANT ENTRY FORM LINKCOMMUNITY STANDARDS FORM LINK

*Note:SomeContestDirectorssetthecontestantentrydatedeadlineearlierthanthetencalendardays.

suBstitutions After the ten-dAy Period

Youmayfinditnecessarytochangeoraddmemberstoyourcompanyaftertheten-daydeadline.Therearetwobasicscenarios:

1. TheSubstituteEligibility formmaybe downloaded from theUIL’sTheatrewebpage.Link Here

2.Alettercertifyingeligibilitythatissignedbytheschool’sadministratormaybeusedin placeofthecertificate.Youmaydothisuptothesecondyourplayisabouttobegin.

3.1AONLY-StudentsinGrade8frommiddleorjuniorhighschoolsfeedingintothehighschoolmayparticipateinOne-ActPlayatthehighschoollevelwhentheplaywouldbewithdrawnfromcompetitionduetolackofstudentinterestoreligibility.Thisdoesnotaffectthestudent'shighschooleligibility.

www.uiltexas.orgmailto:[email protected]://www.uiltexas.org/theatre/spring-meet-entryhttps://www.uiltexas.org/machform/view.php?id=244921https://www.uiltexas.org/machform/view.php?id=245132http://www.uiltexas.org/files/academics/substitute-eligibility-form.pdfhttp://www.uiltexas.org/files/academics/substitute-eligibility-form.pdf



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suBstitutions And Additions After AdvAncing

1.Whenyouadvancefromzone,districtandbi-district,changesmaybemadetoyouradvanc-ingentrywhenyousubmitthe"ContestantEntryForm"ateachlevel.Thelinkstotheseformscanbefoundunder"AdvancingInformation"ateachlevelofcompetitionunder"HighSchoolOne-Act Play."

2.1AONLY-StudentsinGrade8frommiddleorjuniorhighschoolsfeedingintothehighschoolmayparticipateinOne-ActPlayatthehighschoollevelwhentheplaywouldbewithdrawnfromcompetitionduetolackofstudentinterestoreligibility.Thisdoesnotaffectthestudent'shighschooleligibility.

3.Whenyouadvancefromareaandregion,changesmaybemadetoyouradvancingentry:

a.)whenyousubmitthe"ContestantEntryForm"ateachlevel and

b.)ontheSpringMeetOnlineEntrySystem.Aredbuttonlabeled"MakeChanges"willappearontheTheatrehomepageduringtheweeksofareaandregionalcontests.

c.)Thesystemwillopenfora36-hourperiodonSundayatnoonandcloseMondayatmidnightfollowing area week and regional week.

Procedures for using 8th grAders in 1A

Thesubstitutionshallberequestedbytheadministratorattheendofthegradingperiodpriortothecontest.

The "8thgrade toHighSchoolSubstitutionForm" (Link) foundunder "ResourcesandForms"shallbesenttotheappropriateExecutiveCommitteeChairforapprovalbythemajorityofthatcommittee.(Zone-Bi-District to theDistrictExecutiveCommittee(DEC)andArea-State to theStateExecutiveCommittee(SEC).)

Ifapproved,thedirectorshallprovideacopyoftheDECorSECdecisiontotheContestManagerateach contest.

The8thGraderdoesnothavetorelinquishtheirspotinthecompanyiftheineligiblestudentatthetimeofthesubstitutionbecomeseligible.

WhereDoWeSendSubstitutionFormsorAdditionsLetters?

Level Contact 1 Contact 2ZoneandDistrict ContestManager DistrictAcademicChairBi-District ContestManager

Area ContestManager State Theatre Director

Region ContestManager RegionalAcademicChairState State Theatre Director

fAilure to PArticiPAte

Schools that withdraw or fail to show for the contest shall:1. ContacttheAcademicChair,theContestManagerandtheStateOfficeimmediately.2. TheprincipalofthewithdrawingschoolshallfileawrittenreporttotheStateExecutiveCom-

mitteestatingtheirreasonsforwithdrawalbyJune1st.TheStateExecutiveCommitteeshallconsidereachcaseandinformtheschoolifanypenaltieshavebeenaccessed.The State Executive Committee may impose the full range of penalties.



12

the contest PlAy

Your contest play shall be selected from:

1. The approved lists of plays (Directors are not required to submit plays on the approved lists for approval.), or

2. Be approved by the League’s Play Appraisal Committee through the procedures found on page 13-14.

AgreatresourceforpotentialtitlesaretheannualParticipationListsthatcanbedownloadedfromtheUILwebsite.(ResourcesandForms)Theselistsincludethedirectorsandtitleproducedbyeachpar-ticipating school for that particular school year.

Play Selection PolicyPlays which are, by nature, monologues, duet acting scenes, readers theatre, musical theatre or which are predominantly narration or choral speaking shall not be used in this contest. This includes some versions of titles found on the approved lists where "various dramatizations" are permissible. (i.e. Alice in Wonderland has several musical versions.)

stAndArds (reAd cArefully)Whenselectingyourplay,rememberthatLeaguerulesrequiredirectorsandadministratorsto eliminate profanereferencestoadeity,obscenelanguage,actionsorscenesfromtheapprovedproduction.Itisuptoeachschool’sadministrationtodeterminethatallprofanityandobscenityhasbeeneliminatedandthattheirplayandproductiondoesnotoffendthemoralstandardsoftheircommunity.1.ProfanityischaracterizedbyirreverenceorcontemptforGodoranysacredprinciplesorthings.Theuseofanydeity’snamewhennotinreverenceorprayerwouldbeprofanitybydefinition.Theuseof“Jesus,”“Oh,God,”“Godknows,"etc.isconsidered,bydefinition,profanewhennotusedin reverence or prayer and shall be removed. This is not an option.2.Indecentandobscenelanguageshall alsobeeliminated.Foreignlanguagethatisprofane,indecentorobsceneshall alsobeeliminated.3.Sincemostcompetitorsareminors,particularattentionshallbepaidtoanyactionthatinsinuatessexual activity and shall be reviewedbyschooladministratorstomakesureitcomplieswiththeStan-dardsrulebeforethe"CommunityStandardsandCopyrightComplianceForm"issigned.4.Eachschool’sadministratormustaffirmthattheyhaveseentheplayasproducedforthatlevelofcompetitionwhentheysignthe“CommunityStandardsandCopyrightComplianceForm.”5. Plays Not On the Approved Lists:TheLeague’sPlayAppraisalCommitteemayeliminatelanguage,actions or scenes as a condition for approval of plays not on the approved lists. 6. Plays on the Approved Lists:Theyshallbeeditedbythedirectorandadministratortocomplywiththisrule.Allprofanity,indecentandobscenelanguageandactionshallbeeliminated.Their appearance onthelistsdoesnotimplythattheuneditedplaymeetstheStandardsRule.

NOTICEPhotocopied, computer-generated or typed copyrighted scripts will not be accepted by the League unless accompanied by publisher permission.




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Iftheplaycannotbecuttomeetcommunitystandards,thentheplayshouldnotbeselectedforcontestuse.Itisthedutyofeachdirectorandtheiradministratortomakearesponsibleselectionforthestudentsyouworkwithandthecommunityyourepresent.Makesurethatyoudiscussthechoiceofscriptandquestionablelanguageandbusinesswithyouradministrators.If the script has been read and the staged production viewed and determined to be in compliance with League rules by the admin-istrator of the producing school, the production is eligible for presentation at any contest site.

Performing PlAys on the APProved PlAy lists• Thelistsofapprovedlongplaysandshortplayscanbefound

ontheUILwebsite. LinkHere• Directorsarenot required tosubmitplayson theapproved

lists for approval. • Directorsandadministratorsshalleliminate profane references

toadeity,indecentandobscenelanguage,actionsorscenesfromplaysontheApprovedListsofPlays..

• Althoughaplaymayappearonthislist,itdoesnotguaranteethat the publisherwill license the play or allowyoutoperform"scenesfrom"orallowyoutosubstituteoreliminateprofane,indecentorobscenelanguage.

• Inadditiontotheplaysonthelists,allplayswrittenbyShake-speare, Chekhov, Ibsen,Moliére,GeorgeBernard Shaw,EugeneO'Neill, Sophocles, Euripides, andAeschylusare approved. Thisblanketapprovaldoesnotincludeanyadaptationsunless those adaptations are specifi-callylistedontheapprovedplaylists.Ifnot,theymustbesubmittedforLeagueapprovalbytheDecember14thdeadline. E-mailtheLeague’sTheatreofficeforclarification.EXAMPLE:Sophocles’Antigoneisfoundin“AnApprovedListofLongPlays”anditstrans-lationsdonotrequireLeagueapproval.JeanAnouilh’sAntigone is an adaptation of the play bySophoclesthatisalsoontheapprovedlistoflongplaysandalsodoesnotrequireLeagueapproval. However,TimberlakeWertenbaker’sAntigone is an adaptation that is not on the approvedlistsandrequiresLeagueapproval.Phraseslike“adaptedby,”“anewversion”or“anewadaptation”foundonthetitlepageorcovershouldsenduparedflag.

Performing PlAys not on the APProved PlAy lists, including AdAPtAtions And originAl PlAys

• TheLeague'sPlayAppraisalCommitteeevaluatesfromAugust1–December14forhighschoolsandAugust1-April15forjuniorhighschools.Noplayswillbeacceptedafterthosedates.

• Torequestanapprovalyouwillneedtodothefollowing:

1. Submitthecurrentyear'sonline"High School One-Act Play and Scenery Approval Request Form 2016-17"foundunder"ResourcesandForms"intheTheatrewebsite.

Dangerous Myths About Play Approval

• Donotassumethataplay approved in the pastwill be approvedagain. Plays are ap-proved only for the individualmaking therequest and the ap-proval is valid only for that contest year.

• Plays that are ap-proved for a specific school are not auto-maticallyaddedtotheapproved play lists. Checkthecurrentap-proved lists and secure performancerightsbe-fore starting work on a production. There mustbeastonghistoryofproductionbeforeaplay goes on the list.

http://www.uiltexas.org/theatre/approved-playshttps://www.uiltexas.org/machform/view.php?id=279493https://www.uiltexas.org/machform/view.php?id=279493



14

2. Mail the following: a)Acopyofyour"UILOne-ActPlayApprovalRequestForm."Printitafteryoureviewitand

beforeyouhitthe"submit"button. b)Thecompletepublishedplaywhichspecificallyandclearlyindicates

i)Theexactportionsofthetotalscripttobeused.(HighlightedinYellow) ii)Deletionofalldialogueandbusinessnottobeused.Makeitclearthatyouarecut-

tingbutlightenoughthatareadercanlookatthematerialthathasbeeneliminated.(Strike-throughinpen)

iii)Deletionofalllanguageandactionthatviolatesthe"StandardsRule."(Strike-throughinpen)

iv)Deletionofscenerythatmightrestrictapproval.Makeitclearthatyouarecuttingbutlightenoughthatareadercanlookatthematerialthathasbeeneliminated.(Strike-throughinpen)

c)Alistofallcharacterstobeplayedandhownecessarydoublingistobeaccomplished.

Scenic Items and Properties Requiring Approval

Scenic additions and restricted properties will be approved only if they are “without which the approved play cannot be produced.”

TheLeague’sPlayAppraisalCommitteeconsidersallproperlysubmittedrequestsbetweenAugust1,2016andDecember14,2016.

Norequestwillbeapproved:

• Ifdirectorialdesireisthesolejustification.• Ifstagedirectionsandscenicdescriptionsaretheonlyjustification.• IfelementsoftheUnitSetwillservethesamepurposeorachieveasimilareffect.• Iftherequesteditem(s)exceedseightfeetordoesnotfoldtofourfeet.• Ifitrequirescasters.(Someexceptionsforproperties)

Ifyoufindthatsceneryorpropertiesbeyondwhatisallowedundercurrentrulesisrequired,thedirectorshallsubmitonorbeforeDecember14,2016thefollowing:

1.ForPlaysOntheApprovedLists:Completeandsubmittheelectronic"High School One-Act Play and Scenery Approval Request Form."andinstructions(Linkhere)Itcanbefoundunder"ResourcesandForms"(SubmittingaPlayorScenicItemforApproval)ontheTheatrewebsite.Itissubmittedwithhe play.

ForPlaysNotOntheApprovedLists:Theinformationissubmittedaspartofthe "High School Scenic Items or Properties Requiring Approval Request."Itcanbefoundunder"ResourcesandForms"(SubmittingaPlayorScenicItemforApproval)ontheTheatrewebsite.

2.Youwillreceiveareceipt/copyofyoursubmissionviae-mailimmediatelyaftersubmission.CheckSPAM/junkfilesifyoudonotreceiveit.DONOTRESUBMITWITHOUTCONSULTINGWITHTHESTATEOFFICE.Printitduringthereviewprocess.

3.Sendacopyofthesubmittedform,acopyoftheplay,ifnotontheapprovedlist,andapaymentof$30madeouttoUT-Austin/UIL.Combinedrequests(scriptandset)requireonly one $30 fee.

www.uiltexas.orgmailto:[email protected]://www.uiltexas.org/machform/view.php?id=279493https://www.uiltexas.org/machform/view.php?id=279493https://www.uiltexas.org/machform/view.php?id=243310https://www.uiltexas.org/machform/view.php?id=243310https://www.uiltexas.org/machform/view.php?id=243310



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Rememberthatifaplayisnotontheapprovedlists,essentialadditionstothebasicsetshallbesubmit-ted with the play request.Asetadditionsubmittedseparatelywillnotbeaccepted.Incompleterequestswillberejected.TheLeagueshallnotrequestadditionalinformationorcorrectionsforclarification.Thedirectorwillreceiveane-mailindicatingwhetherornottheuseofeachitemshallbepermissiblefortheapprovedplay.Acopyofthate-mailshallbeprovidedtotheContestManagerateachlevel.

d)Anyscenicitemsthatarenotallowedundertherulesbutare"withoutwhichtheapprovedplaycannotbeproduced."

Requests for scenic additions for a play that is not on one of the approved lists must be submitted with the play request by December 14.

e)A$30 fee.Thisfeeincludesscenicitemsrequestedwiththescript.Thecheckshouldbemadeoutto"UTAustin-UIL"

• Submissionsthatarereturnedasdisapprovedorincompletemayberesubmittedforanaddi-tionalfee.However,thismuststillbedonebytheDecember14deadline.Submitasearlyasyoucantoallowfornecessarycorrectionsorre-submittals.

• Playsreturned"requiringclarification"ora"LetterofSupport"fromthelocaladministratorshallberesubmittedwiththerequiredinformationwithintwoweeksoftheUIL'srequestdate.

licensing And royAlties (ThisisnotnecessaryforplaysinthePublicDomain.)• Youmustrequestandreceivepublisherpermissiontoproducetheplayyouhaveselected.Written

evidencemustbeproducedbeforeyouwillbeallowedtoperform.

• Permissiontoperformtheplayforcontestfromzonethroughstateshouldberequested.Thisshouldprevent withdrawal of production rights during the contest season.

• YourContestManagerwillaskyoutoproducealicensefrom the publishertoperformand, in the caseofa"scenesfrom,"permissiontocut.

• YourContestManagerwillaskyoutoproducewrittenevidencefrom your school administration thatroyaltyforeachperformancehasbeenpaid.Acancelledcheck,checkcopy,purchaseorder,oraletterfromyouradministrationonschoolletterheadwillsuffice.

DO NOT ASK THE PUBLISHER FOR A RECEIPT OR OTHER PROOF OF PAYMENT!

TAKE TIME TO READ THE LICENSE PROVIDED BY YOUR PUBLISHER. THIS IS A LEGAL DOCUMENT. THEY OFTEN CONTAIN RESTRICTIONS THAT YOU MUST FOLLOW.

i.e. plays such as The Crucible, Steel Magnolias and The Women restrict changes in gender and or time and place.

Performing a "Scenes From" • Alwaysrequestpermissiontodoa"scenesfrom."• Gettinghelpwitheditingaplayforcontestuseisnotaviolationoftheprofessionalassistance

orfull-timeemployeerules.• Sharinga"scenesfrom"editedscriptispermissibleunderLeaguerules.• Whenborrowinga"scenesfrom"editedscriptfromtheapprovedlists, it is important to make

sure that it complies with current contest rules.



16

Adaptations

Theadditionofmaterial,relocationofdialogueorscenes,changinggender,addingcharacters,splittingcharacters or any other revision that alters the text or plot is considered an adaptation of the play. Aftercompletingyour"scenesfrom,"askyourselfthefollowingquestions:

1.HaveIaddedcharacterstosceneswheretheirpresencechangestheplotorstory?Exceptions:Thenumberofactorsusedinalisted“ensemblegroup”suchas children in I Never Saw Another Butterfly, Schoolgirls in The Prime of Miss Jean Brodie or The Children’s Hour, Townspeople in The Diviners, Guardsin MacBeth, etc.

2.HaveIaddedorrelocateddialogueorscenes?Exceptions:Logicalvocalreactionsorad-libs,notwrittenintothescript,arepermissibleaslongastheydonotchangetheplotorwriter’sintent.EXAMPLE:Astudentwhogetshitonthethumbwithahammersaying“OW!”,althoughnotwrittenintothetextofthescript,ispermissible.Theall-too-familiarsettingofthepartyorthecourtroomwhere“responsesandconversations” are heard is another example.These logical reactions,utilizing words or sounds, are appropriate.

3.HaveIreassignedlines?Exceptions:Thisisnotmeanttorestrictdirectorsfromredistributinglinesthatareassignedtochoralorotherensembletypegroups.Thiscouldin-cludetheFuriesinThe Insanity of Mary Girard or the chorus in Wiley and the Hairy Man.

4.HaveIchangedcharactergender,addednewcharacters,orsplitcharacters?Exceptions:Gender-blindcastingdoesnotrequireapprovalwheretherearenogenderreferencestothecharacterinthetextoftheplay.However,changingthegenderofacharacterwhereagenderisspecifiedorimpliedby the text requiresapproval. Anexampleofan impliedgenderwouldbethebutlerinThe Importance of Being Earnest.Thisdoesnotprohibitafemalefromplayingamalecharacteroramalefromplayingafemalecharacter.Forexample,afemalemayplayBuddyLaymaninThe Diviners asamalebutcannotturnhimintoafemalecharacter.Checkyourlicensefor restrictions.

5.HaveImadeoff-stagevoicesintoon-stagecharacters?On-stagetooff-stage?ExamplesofthissituationmightinvolvetheInterviewerinThe Shadow Box, the Loudspeaker in I Never Saw Another Butterfly orCharleyinFlowers for Algernon.

6.HaveIusedsubstitutionsforwordsdeemedprofaneorobscene?Exceptions:DramatistsPlayServiceallowsthis.Otherpublishersneedtobecontacted.

7.HastherebeenanyotherrevisionofthetextorstructureoftheplayotherthandeletionstocomplywithLeaguerules?

Iftheansweris“yes”toanyofthesequestions,youhaveadaptedtheworkandwillrequireLeagueandpublisherapproval.Ifyouhaveanydoubts,e-mailtheLeague’sTheatreofficeforclarification.




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Drama Loan LibraryTheUIL’sDramaLoanLibraryismaintainedtoassistUILplaydirectorsintheselectionoftheirscripts.Thelibrarycontainsapproximately40,000volumesandincludesmanyofthelongandshortplaysofapprovedpublishers.TheymaybeborrowedbyanyfacultymemberofaUILmemberschoolorbymembersoftheTTAOforaperiodofthreeweeks.Theborrower’sschool isheldresponsibleforallborrowedmaterials.Additionalmaterialswillnotbeavailableuntiltheoriginalorderisproperlycleared.

InformationandformscanbefoundintheUILTheatreandFilmwebsite.LINK

PLAY SELECTION TO-DO LIST

Select a Script Select a Script

IFONTHEAPPROVEDLISTS IFNOTONTHEAPPROVEDLISTS

Contact the play’s publisher to see if performancerightsareavailable.

Contact the play’s publisher to see if performancerightsareavailable.

Obtainalicensetoperformforcontest RequestpermissiontousethetitlefromtheLeague.ThedeadlineisDecember14thforHighSchoolen-triesand45dayspriortothecontestforJuniorHigh

Contests.

PayRoyaltiestoPublisher Ifpermissionisobtained,obtainalicensetoperformfor contest

PayRoyaltiestoPublisher

http://www.uiltexas.org/theatre/resources/drama-loan-library



18

Aid in DirectingIMPORTANT

Please remember that critics at festivals cannot give official interpretations or opinionsor be the justification for violations of OAP rules. Official staff opinions

must be obtained from the State Theatre Director or the State Executive Committee.

VIOLATIONS OF THIS RULE SHALL DEEM THE PRODUCTION INELIGIBLE FOR COMPETITION.

Directors shall not accept nor solicit aid in designing or in directing the contest play except as follows:

1.)OAPFestivals:Unliketheatreworkshopsanddemonstrationswheresessionsdealwithgeneraltopics,festivalsarespecifictoandforthebenefitofthespecificOAPentriesthatareparticipating. a. Schools are restricted to a total of four sessions at non-UIL contests or festivals per school year. b.Threesessionsmaybescheduledduringschooldays;however,onlyonenon-UILcontest orfestivalsessionispermittedduringanyoneschoolweek. c.Eachsessionshallincludeaperformanceoftheplayandmaynotexceedtwohours. d.Oneadditionalfestivalmaybescheduledonweekendsorholidays. e.Duringanyschoolyear,companiesarerestrictedtonomorethantwosessionswith thesamecriticperschoolyear.2.)ProfessionalSuppliersandVolunteers:Directorsmayobtaincostumesfromentitiesthatwillrentorloancostumestoallschools.Theatricalsupplycompanies,parentsorvolunteersmayconstructorprovidescenery,propertiesorcostumes.3.)WorkshopsandConventions:Directorsandstudentsmayattendworkshopsandconventions.TheLeagueencouragestheseprogramsandurgesyourparticipation.

IMPORTANTDirectorsandadjudicatorsshouldtakecaretoavoidfestivalswherethecriticmayadjudicatethepro-ductionatanylevelofOAPcompetition.Bi-District,Area,RegionandStateadjudicatorsarepostedonlinebyAugust14theachyear.A school that allows a potential adjudicator to see their production prior to contest shall be in violation of the ethics code.

finding or hosting A festivAlYoucanfindafestivalorregisteryourfestivalatthe“StatewideOne-ActPlayFestivalInformation."A link to this site is found on the UIL website(ResourcesandForms.)Asahostyoumustcomplywiththefollowing: a.)Usingacriticatafestivalrequiresschedulingandcritiquingaminimumofthreehigh schoolsorthreejuniorhighsatthesamesiteonthesameday.

b.)Festivalhostshavetheresponsibilityofmakingsurethatthecriticsareprovidedalistoftheplays they are seeing.

A host school who has not executed the conflict form and allows a critic to see a play they may be judging shall be in violation of the ethics code. The participating school and clinician shall also be in violation of the appropriate ethics code.

• The"ClinicConflict"formmaybedownloadedfromtheTheatresectionoftheUILwebsite

(ResourcesandForms)andshallbefilledoutbythehost.LinkHere• Thecriticshallsigntheformacknowledgingthattheyhaverevieweditandhaveno

conflicts.• Theformshallbesenttothestateofficeandplacedinthecritic’sfile.

www.uiltexas.orgmailto:[email protected]://sites.google.com/site/uiloapfestivals/http://www.uiltexas.org/files/academics/theatre/clinic-conflict-form.pdf



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cAst And crew AssignmentsTheLeaguestronglysuppports"blind-casting"asaneducationaltool.This is an educational event and studentsshouldbecastbasedontheirabilitiesandnotthecircumstancesoftheirbirth.

• Amalemayplayafemaleroleandafemalemayplayamaleroleaslongastheyplaythepartas thegender that theplaywright intended.Publisherpermissionmaybe required.Pleaseconsultwiththem.

• Offstage voices that do not appearonstagemayberecordedbyanyone,amplifiedorspokenliveoffstagebyacrewmemberoracastmemberwhoplaysanonstagerole.

• OffstagevoicesarenoteligibleforanyawardsandshallnotbelistedintheSpringMeetEntrySystemorprogram.

• Eachcastmembermayplaymultipleroles.• TherearenoLeaguerulesspecifyinghoworwhenyoucastaplayormakecrewassignments.

the TEA-UIL SIdE-by-SIdE documentTheUILpublishesthisdocumenttoprovidememberschoolsnoticeofTexasEducationAgencyregula-tionswhichrelatetoUILandallotherextracurricularactivitiessponsoredorsanctionedbytheschooldistrict.ThisdocumentprovidesexplanationsandinterpretationsofCommissionerofEducationrules,UIL Constitution and Contest Rules, and statutes.

LINK TO "SIDE-BY-SIDE" DOCUMENT

reheArsAls

!STATE LAW REGARDING REHEARSAL TIME AND THE NUMBER OF PERFORMANCES APPLY TO ALL "EXTRACURRICULAR" THEATRICAL PRODUCTIONS. THIS INCLUDES "NON-UIL" SHOWS. HOWEVER, THERE ARE NO LEAGUE RULES SPECIFYING HOW OR WHEN YOU BE-

GIN REHEARSING FOR A PLAY.

TherearestatelawsandUILrulesthatrestricttheamountoftimeastudentmayrehearseforanex-tracurricular activity:

• During School-TheStateofTexaslimitsrehearsalsorpracticeduringtheschooldaytooneclassperiod(definedas60minutes)duringtheschoolday.

• After School-Foreachextracurricularactivity*,aschooldistrictmustlimitstudentstoamaximumofeighthoursofrehearsalorpracticeoutsidetheschooldayperschoolweek.Schoolweekmeanstheweekbeginningat12:01a.m.onthefirstinstructionaldayofacal-endar week and ends at the close of instruction on the last instructional day of the calendar week,excludingholidays.ATheatreProductionclassthatisscheduledafterschoolmaybeusedforrehearsalsanddoesNOTcounttowardstheeighthours.

• Sundays -TheLeaguedoesnotprohibit regularschoolOAPrehearsalsor festivalsonSundays.Sincetheyareconsideredapartofthecompetition,officialrehearsalsheldatthecontestsiteshallnotbeheldonSunday.

http://www.uiltexas.org/files/policy/TEA_UIL_Side_by_Side.pdf



20

How many hours may I rehearse or practice?

*SeeDefinitionof"Extracurricular"onpage 21.

school PerformAncesTherearestatelawsandUILrulesthatrestrictthenumberofperformancesorgames(extra-curricularactivities)thatareallowed.

Foranyindividualextracurricularactivity*,astudentmaynotparticipateinmorethanoneperformanceperschoolweek,excludingholidays.Forexample,astudentmayparticipateinasingleplayperfor-mance,achoirconcertandabasketballgameduringaschoolweek.Thisappliestoperformancesoftheircontestplayfortheirschoolsandcommunities.

After school Rehearsal

Time

After School Theatre

Production Class

Notes on the 8 Hour Rule/TEA Law

Monday 2 hours 1 hour TEAlawsrestricttheamountoftimededicatedtore-hearsals or practice for ALL extracurricular activities.

TEAlimitsrehearsalsorpracticeduringtheschooldaytooneclassperiod(definedas60minutes).ThisincludesaTheatreProductionclassthatmeetsafterschool.

Theschoolweekbeginsat12:01AMonthefirstinstructional day of the calendar week. The school week ends at the close of instruction on the last instructional day of the calendar week.

Thereisnolimitonthenumberofhoursaschoolmayrehearseorpracticeontheweekends.

Thereisnolimitonthenumberofhoursaschoolmayrehearseorpracticeduringholidays.

Schoolsmayrehearseorpracticeanunlimitedamountofhoursduringspringbreakandwinterbreak.

Tuesday 2 hours 1 hour

Wednesday 2 hours 1 hour

Thursday 2 hours 1 hour

Friday Unlimited 1 hour

Saturday Unlimited Noclass

Sunday Unlimited Noclass



UIL-D

Handbook for One-Act Play · 2016. 9. 22. · “In a well-planned One-Act Play Contest, there are...

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Transcript of Handbook for One-Act Play · 2016. 9. 22. · “In a well-planned One-Act Play Contest, there are...