Judges Manual

Transcription

1 Judges Manual

2 Title: INDEX Introduction... 1 Internet Information... 2 Rules Meeting Schedule... 2 General Judging Guidelines... 3 Content Language Ruling... 4 Ethical Behavior... 5 Ethics Instructions For Judges... 7 Educational Goals of Speech/Play Production Contests... 8 Criticism and Evaluation... 8 Judging Ethics... 9 Breaking Ties Theories on Interpretation and Acting...11 Keys to Being a Professional Judge...11 Example of GOOD Speech Ballot Example of BAD Speech Ballot PUBLIC ADDRESS/SPEAKING EVENTS Public Address Rubric Persuasive Speaking Entertainment Speaking Extemporaneous Speaking Informative Public Speaking INTERPRETIVE EVENTS Interpretation Rubric Oral Interpretation of Poetry Oral Interpretation of Drama Oral Interpretation of Prose Literature -- Serious and Humorous ACTING EVENTS Duet Acting Rubric Duet Acting PLAY PRODUCTION Example of GOOD Play Production Ballot Example of BAD Play Production Ballot Play Production Rubric Play Production Judge s Name: I. ACTING / 50 VOICE Could the actors be heard? Was the rate of speaking too fast or too slow? Was there variety in rate? Inflection? Intensity? Was pronunciation correct and articulation clear? Did the actors demonstrate emotional responsiveness vocally? CHARACTERIZATION Were the characters believable? Did the actors sustain the characters? Were the actions/reactions of the characters effective? Were the lines and physical action delivered in a way that seemed right for this play? ENSEMBLE Did the actors establish and maintain the mood of this play? Was there the feeling of a polished performance that indicates cooperation, adequate rehearsal, creativity, and understanding of the material? Were the actors focused? TIMING Did the actors pick up cues properly? Did they use variety in tempo, in rate, and in pacing to build the dramatic effects and climax of the play? OVERALL EFFECT Do the actors convey the mood of the selection? Is there a feeling of completeness? Is the playwright s purpose accomplished? II. PRODUCTION / 10 STAGING Did the production have unity of style in acting and design? Was the use of blocking creative and believable? Were stage pictures and grouping used to enhance blocking? Were costumes, make-up, lights, sound, and scenery used to enhance the production effectively? Note: The play must not be lowered in rating or ranking for technical difficulties beyond the competing school s control) OVERALL EFFECT Was the production effective theatre? Was the play appropriate for the event and the cast? Was there a sense of completeness in the production? Was there an empathetic response to the performance? TIME minutes This entry is LOWERED ONE RANK for overtime exceeding 30 seconds CIRCLE the RANK for the rating for the quality of the play. THERE MAY BE NO TIES IN RANK. CIRCLE a RATING for the quality of the play production SUPERIOR EXCELLENT GOOD Use of fewer than three characters or use of a play with only two characters to which a walk-on part not essential to the play has been added. Use of material which is not a play.

3 Play Production 1. Purpose: The purpose of this activity is to create an understanding and appreciation by the students of good dramatic literature, play production, and to instruct students in acting. 2. Rules a. Acting shall be the primary criteria for judging this event. b. Schools may select any one-act play or cuttings from full-length plays, which may include musicals and plays written in verse, of theatrical value, provided that it contains no fewer than three characters. It shall be performed within a fifteen to thirty-minute time limit. c. If the play is a royalty play, the royalty shall be paid by the school presenting the play. d. Only ordinary stage properties shall be supplied by the host school. e. If a set, extra lighting, or unusual stage properties are desired, they shall be furnished by the school presenting the play. f. The properties, sound effects, costumes, and make-up shall be the responsibility of the school presenting the play. g. In advance, the host school shall send each participating school the dimensions of the stage, a description of drapes, and the lighting equipment available for use in the performance. h. The participating schools shall send the host school a diagram of the set, a lighting plot, and a program copy including the title of the play, the playwright, and a list of the cast and crew members. i. At the time of the contest, the host school shall provide areas for dressing and make-up for each cast. j. The host school shall provide a stage crew to assist the director and cast in preparing the setting and staging the production. 3. Judging Standards a. Plays shall be judged on the merits of the acting, the script, the staging and the total effect of the production. b. The script shall be judged on the theatrical value of the play and its suitability to the cast. c. The acting of the individual actors shall be judged for such elements as characterization, stage movement, and stage business. The acting of the group shall be judged for blocking, interaction of characters, tempo, and climaxes. d. The staging shall be judged for such items as blocking, stage movement, the set, lights, sound effects, properties, costuming, and make-up, with primary consideration being given to those items which are within the ability of the participating school to control. e. The total effect shall be judged in terms of dramatic unity resulting from the combination of the acting, the script, and the staging, as an integrated performance. f. The judge shall also designate those individuals whose performances are deserving of a Superior rating. g. No other ratings for individual cast members shall be announced. 4. At district competition, a certificate will be awarded to a student for an outstanding performance. Ensemble performances will not be recognized for outstanding performances. 5. Schools cannot be penalized for exceeding the established time to set-up and strike their sets. 6. Disqualification Criteria a. Use of fewer than three characters or performing a play which only uses two characters to which a walk-on part not essential to the play has been added. b. Use of material which is not a play. NEBRASKA SCHOOL ACTIVITIES ASSOCIATION 500 Charleston Street P.O. Box Lincoln, Nebraska INTRODUCTION NSAA SPEECH & PLAY PRODUCTION PROGRAMS The regulations and rules of the NSAA are the result of many years of experience and legislative changes initiated by member schools. The rules have been established to assure that the Nebraska high school activities program is, and remains, an integral part of the total educational program of the schools in our state. The Board of Directors adopts policies which fit the needs of the majority of schools and students in Nebraska. The Board is constantly striving to keep regulations current and to make changes when the membership indicates changes are desirable. It is important that all individuals involved in the program become familiar with the rules and regulations to assure that every interschool program is being conducted in an equitable manner. The Speech and Play Production programs are a very important facet of the total NSAA program. The purpose of this handbook is to familiarize coaches, directors and judges with the regulations under which the NSAA Speech and Play Production programs operate. The Association expresses its gratitude to our judges and sponsors in their endless efforts to upgrade and promote the Speech and Play Production programs for the high school students of Nebraska. If you should have any questions, please contact Debra Velder, Nebraska School Activities Association, P.O. Box 85448, Lincoln, Nebraska 68501, Phone: Lowering Rank Criteria a. Overtime (exceeding 30 seconds). b. Undertime (exceeding 30 seconds). 40 1

4 INTERNET INFORMATION Nebraska School Activities Association s home page address: RULES MEETINGS Before gaining access to rules meeting, you must pay the registration fee. The NSAA is offering FREE online rules meetings for a limited time period, which will satisfy the rules meeting requirement for head coaches and judges. During the two week no charge period, head coaches and judges can access the online rules meeting using their NSAA passcode. NEW JUDGES: Go to the NSAA Home Page Click on the Speech or Play Production link. Refer to the first item in regard to judge s registration. Last Year s NSAA Registered Judges: Go to the NSAA Home Page - Login with your NSAA judge s passcode. For those individuals that are a Head Speech or Play Production coach AND a Judge - please login with your judges passcode only to view the rules meeting. ONLINE RULES MEETINGS October 5 to October 18 No Charge to Judges & Head Coaches October 19 to October 25 Basic $25 Fee Judges and Head Coaches October 26 to October 29 Late/Penalty $50 Fee Judges and Head Coaches ON-SITE RULES MEETING SCHEDULE Monday, September 20, 6:00 p.m. Norfolk High School Tuesday, September 21, 6:00 p.m. Lincoln NSAA Office Tuesday, September 21, 6:00 p.m. Video Conference Kearney ESU 10 Wednesday, September 22, 5:00 p.m. MDT Video Conference Sidney ESU 13, Chadron, Scottsbluff (WNCC Harms Building) Monday, September 27, 6:00 p.m. Omaha Westside High School Thursday, September 30, TBA North Platte, NSCTA Convention For Speech and Play Production inquiries please Debra Velder at: dvelder@nsaahome.org 2 Good Characters sometimes believable Characters sometimes motivated by the script Actors sometimes display a clear understanding of the characters Lines sometimes delivered in a believable manner Characters sometimes distinct Actors sometimes embody the characters Actors sometimes use external expression Actors sometimes use gesture, movement, facial expression, and posture to create the characters Characters are sometimes sustained Actors sometimes use vocal traits Actors sometimes display variety in pitch, rate and quality Actors sometimes use projection, enunciation, correct pronunciation and articulation Actors sometimes use vocal intensity and flexibility Actors sometimes heard and understood Actors sometimes establish mood Actors sometimes cooperate to create ensemble Performance sometimes polished Actors sometimes focused Actors sometimes deliver lines with pace and rhythm Actors sometimes know cues Rate, pace and tempo sometimes build to the climax Creative style is sometimes established in set design, props, costumes, makeup and sound choices Blocking sometimes imaginative and motivated Interpretation/meaning sometimes understandable Script choice somewhat appropriate Actors sometimes provided an opportunity to display talent Actors sometimes establish mood Dramatic unity somewhat established The playwright s purpose somewhat accomplished 39 Fair Characters seldom believable Characters seldom motivated by the script Actors seldom display a clear understanding of the characters Lines seldom delivered in a believable manner Characters seldom distinct. Actors seldom embody the characters Actors seldom use external expression Actors seldom use gesture, movement, facial expression, and posture to create the characters Characters are seldom sustained Actors seldom use vocal traits Actors seldom display variety in pitch, rate and quality Actors seldom use projection, enunciation, correct pronunciation and articulation Actors seldom use vocal intensity and flexibility Actors seldom heard and understood Actors seldom establish mood Actors seldom cooperate to create ensemble Performance seldom polished Actors seldom focused Actors seldom deliver lines with pace and rhythm Actors seldom know cues Rate, pace and tempo seldom build to the climax Creative style is seldom established in set design, props, costumes, makeup and sound choice Blocking seldom imaginative and motivated Interpretation/meaning seldom understandable Script choice not appropriate Actors seldom provided an opportunity to display talent Actors seldom establish mood Dramatic unity not established The playwright s purpose seldom accomplished

5 PLAY PRODUCTION RUBRICS Criteria for Evaluation Characterization Physicality Voice Ensemble Timing Staging Overall Effectiveness Superior The creation of characters in this performance is very believable. The characters are motivated by the script and are sustained throughout the performance by the superior concentration of the actors. Actors display an understanding of action/ reaction in the creation of their characters. They deliver lines in a well rehearsed believable manner. All characters are distinct and add to the believability of the performance. The actors are always the physical embodiment of the characters. They clearly use external expression to display the concept of the characters. The actors use gesture, movement, facial expression, and posture in a superior manner to create the physical nuances of the characters. All characters are controlled, precise, and believable. All characters are sustained throughout the performance. The actors use vocal traits to create the characters and mood of the performance. Actors display variety in pitch, rate, and quality. Projection, enunciation, pronunciation and articulation are all of superior quality. Vocal intensity and flexibility are used to highlight the dramatic/comic element of the performance. All actors can be heard and understood. The actors work together with imagination to establish the mood and meaning of the play. Working together, the ensemble creates a very polished performance. The performance shows evidence of organized rehearsal, a sense of creativity and an understanding of the play and each actor s part in the performance. All actors are focused. Actors deliver lines with polished pace and rhythm. Tempo, stage business, and movements build the dramatic effect of the performance. Actors know how and when to pickup cues. Control of variety in rate, pacing and tempo build to the climax. Creative style is established in set design, props, costumes; makeup and sound illustrate the choices made to enhance the experience of the audience. Blocking is imaginative and motivated, using creative stage pictures and groupings that bring the performance to life visually for the audience. The interpretation or meaning of the play is evident in the staging choices and dramatic unity. Choice of script provides the actors an opportunity to display their talent. Actors convey the established mood in the selection. A sense of dramatic unity is established in script choice, acting and staging. An empathetic response, and a sense of completeness is created by effective theatrical performance. The playwright s purpose is accomplished. Excellent Characters almost always believable Characters almost always motivated by the script Actors almost always display a clear understanding of the characters Lines almost always delivered in a believable manner Characters almost always distinct Actors almost always embody the characters Characters almost always demonstrate external expression Characters almost always use gesture, movement, facial expression, and posture to create the characters Characters almost always sustained Actors almost always use vocal traits Actors almost always display variety in pitch, rate and quality Actors almost always use projection, enunciation, correct pronunciation and articulation Actors almost always use vocal intensity and flexibility Actors almost always heard and understood Actors almost always establish mood Actors almost always cooperate to create ensemble Performance almost always polished Actors almost always focused Actors almost always deliver lines with polished pace and rhythm Actors almost always know cues Rate, pace and tempo almost always build to the climax Creative style is almost always established in set design, props, costumes, makeup and sound choices Blocking almost always imaginative and motivated Interpretation/meaning almost always understandable Script choice almost always appropriate Actors almost always provided an opportunity to display talent Actors almost always establish mood Dramatic unity almost always established The playwright s purpose almost always accomplished GENERAL JUDGING GUIDELINES 1. Your opinions of the contestant s work are important. To improve and build a better performance, the contestant needs to know what you liked about it and what you felt could be improved. Using the critique sheet as a guide, let the contestant know what you thought the strengths and weaknesses of the presentation were and why. Suggestions are welcome. Nothing is more disheartening to a performer than a nearly blank critique sheet. Please make your comments constructive. 2. After all of the contestants in the round have performed, the judge must rank them in the order of preference. 1, for the best performance, 2, for the second best, and 3, for the third, etc. There can be no ties. After the second speaker has performed, decide if you rank this performance higher or lower than the preceding one. If better, place this sheet on top of the first sheet. Use this comparison method on each of the subsequent performances keeping them in order of preference. This method often makes the final ranking easier. Rank (1st, 2nd, 3rd, etc.) can only be assigned once. When lowering a student s rank for failure to abide by the prescribed time limits, it is possible for a student to receive the lowest rating and still be ranked first. Example: Let us suppose that we have six students in a round of entertainment speaking. The judge awards 49 points to Sam, 47 points to Ann, 46 points to Mary, 43 points to Joe, 41 points to Jack, and 37 points to Sue. The judge then ranks the students. Normally, the ranks would be assigned in order of the rating points, with Sam getting first, Ann getting second and so on. However, Sam s speech was overtime. Therefore, according to the rules, Sam s rank must be lowered to second. Dropping Sam s rank means that Ann, having the second best points is ranked first; however, Ann s speech was also overtime. Therefore, Ann must have her rank dropped. Since there cannot be a tie in rank, the judge cannot rank Ann second. Therefore, Ann is assigned the rank of third. The speeches by Mary, Joe and Jack were also overtime. Therefore, Mary is ranked fourth, Joe is ranked fifth, and Jack is ranked sixth. This leaves Sue, the student with the lowest number of points. Sue s speech was within the proper time limits. Therefore, since second through sixth places are already taken, Sue is ranked first. If everyone is overtime in a round, there is no first place. Concern may be expressed that it just doesn t seem right for the weakest speaker to earn first place; however, it is unfair to reward students who do not follow the rules. By not following the rules, even speakers with higher rating points make themselves into weaker speakers. 3. A judge is also asked to make a value judgement about each performance. Ratings enable the judge to qualify the ranking given. Determine if the performance was superior, excellent, good, or fair. Any number of students may receive the same rating. With the exception of time penalties, ranking and rating should correlate. A judge shall circle points in each category of each ballot. SUPERIOR: (Speech 45-50), (Play Production 50-60) EXCELLENT: (Speech 40-44), (Play Production 40-49) GOOD: (Speech 35-39), (Play Production 25-39) FAIR: (Speech 30-34) 38 3

6 4. Be sure your critique sheet matches the performer. Exact student names, codes, and titles help prevent errors. 5. Some speakers may be in more than one event. This means that at times they may not be able to speak in the order indicated on the program. There must be some flexibility so that the round can proceed to the next speaker. Be sure to wait until all contestants perform before ranking them. Performers are not required to remain in the room for the entire round. Bad Ballot: Lack of constructive criticism and praise. Title: Judge s Name: 6. Always sign your name on the ballot. 7. As timekeeper, indicate on the ballot if the performance is overtime. Do not stop an overtime speaker; please allow the speaker to finish. A judge shall not penalize a speaker for time infractions when the judge is not using a stop watch. 8. For failure to abide by the prescribed time limits by more than 30 seconds, judges shall lower the contestant one assigned rank. The stopwatch is to begin with the first sound or action and end when the lights go out, the curtain closes, or the speaker concludes. Note: A performer(s) who is interrupted by means not within their control during their presentation may start over without penalty. 9. Please arrive at least 15 minutes early for your judging assignment and check in at the judges registration area. You will receive a specific assignment at that time. 10. In rounds where there are more than one judge, each judge should reach a decision independently. Judges shall not confer before completing their ballot tabulation. The only exception would be when confirming an offical time. 11. During Play Production competition, judges are required to provide educationally appropriate oral and written critiques to the cast, directors, and crew members. 12. During Speech competition, judges are required to provide educationally appropriate written critiques. 13. Protests regarding the decision of judges will not be heard. 14. It is recommended that schools hire NSAA registered judges for all interscholastic speech and play production contests. If this cannot be accomplished, the director of the contest shall meet prior to the contest with the non-registered judges to inform these judges of the NSAA rules and regulations. I. ACTING VOICE Could the actors be heard? Was the rate of speaking too fast or too slow? Was there variety in rate? Inflection? Intensity? Was pronunciation correct and articulation clear? Did the actors demonstrate emotional responsiveness vocally? CHARACTERIZATION Were the characters believable? Did the actors sustain the characters? Were the actions/reactions of the characters effective? Were the lines and physical action delivered in a way that seemed right for this play? ENSEMBLE Did the actors establish and maintain the mood of this play? Was there the feeling of a polished performance that indicates cooperation, adequate rehearsal, creativity, and understanding of the material? Were the actors focused? TIMING Did the actors pick up cues properly? Did they use variety in tempo, in rate, and in pacing to build the dramatic effects and climax of the play? YES! OVERALL EFFECTIVENESS Do the actors convey the mood of the selection? Is there a feeling of completeness? Is the playwright s purpose accomplished? II. PRODUCTION STAGING Did the production have unity of style in acting and design? Was the use of blocking creative and believable? Were stage pictures and grouping used to enhance blocking? Were costumes, make-up, lights, sound, and scenery used to enhance the production effectively? Note: The play must not be lowered in rating or ranking for technical difficulties beyond the competing school s control) OVERALL EFFECT Was the production effective theatre? Was the play appropriate for the event and the cast? Was there a sense of completeness in the production? Was there an empathetic response to the performance? OK Good! OK Fine Good Pretty costumes. OK 15. Remind everyone to turn off cell phones and pagers. 16. Technical elements (examples: fire, dangerous special effects, weapons, etc.) are not under the jurisdiction of judging criteria. 17. In individual event performances, performers may NOT be assisted or accompanied by any individual. Exceptions shall be addressed on an individual basis through the NSAA office. Content Language Ruling Each coach is reminded to select literature that will not offend the moral standards of the community or be in bad taste. It is advisable to eliminate all cursing, profane references to the deity, and immorally suggestive comments. CIRCLE the RANK for the rating for the quality of the play. THERE MAY BE NO TIES IN RANK. TIME 29: minutes This entry is LOWERED ONE RANK for CIRCLE a RATING for the quality of the play production SUPERIOR EXCELLENT GOOD Use of fewer than three characters or use of a play with only two characters to which a walk-on part not essential to the play has been added. Use of material which is not a play. Leaves cast without much to improve on for next contest. 4 37

7 Celebrate a year of great success with your Play Production: You deserve to be here! Title: Romeo and Juliet / Very challenging choice of material Judge s Name: I. ACTING VOICE Could the actors be heard? Was the rate of speaking too fast or too slow? Was there variety in rate? Inflection? Intensity? Was pronunciation correct and articulation clear? Did the actors demonstrate emotional responsiveness vocally? CHARACTERIZATION Were the characters believable? Did the actors sustain the characters? Were the actions/reactions of the characters effective? Were the lines and physical action delivered in a way that seemed right for this play? ENSEMBLE Did the actors establish and maintain the mood of this play? Was there the feeling of a polished performance that indicates cooperation, adequate rehearsal, creativity, and understanding of the material? Were the actors focused? TIMING Did the actors pick up cues properly? Did they use variety in tempo, in rate, and in pacing to build the dramatic effects and climax of the play? YES! OVERALL EFFECTIVENESS Do the actors convey the mood of the selection? Is there a feeling of completeness? Is the playwright s purpose accomplished? II. PRODUCTION STAGING Did the production have unity of style in acting and design? Was the use of blocking creative and believable? Were stage pictures and grouping used to enhance blocking? Were costumes, make-up, lights, sound, and scenery used to enhance the production effectively? Note: The play must not be lowered in rating or ranking for technical difficulties beyond the competing school s control) OVERALL EFFECT Was the production effective theatre? Was the play appropriate for the event and the cast? Was there a sense of completeness in the production? Was there an empathetic response to the performance? TIME 28: minutes This entry is LOWERED ONE RANK for This is a visual and auditory feast for the audience. Projection was strong for all characters. The singing used in the opening perfect! Great vocal builds. Characters movement/freezes phenomenal! Don t forget everyone on stage is important... your face your eyes. The audience sees it all. Sustain the characters every second. Make sure all characters pick up cues in the opening of the play. It seemed a little slow. Don t forget how important the opening is. Such sadness in this play! I was exhilarated, and I think your audience responded very well. A mood was established with the use of costumes and make-up. The scenery is clever works/changes so easily for the actors. Strong build to the climax of the action of this play. On target! Directed/Acted/Staged with finesse. Great use of color! CIRCLE the RANK for the rating for the quality of the play. THERE MAY BE NO TIES IN RANK. CIRCLE a RATING for the quality of the play production SUPERIOR EXCELLENT GOOD Use of fewer than three characters or use of a play with only two characters to which a walk-on part not essential to the play has been added. Use of material which is not a play. I wish I had 10 sheets to write all the positives of the performance of this play. I enjoyed your work. Congratulations on qualifying on state competition! You are winners! ETHICAL BEHAVIOR I want to be a person whose behavior is ethical. How do I recognize if my behavior meets this high ideal? 1. Ethics is the discipline of dealing with what is good and bad. 2. Ethical behavior is being honest, truthful, and doing the right thing even at the expense of self-interest. 3. A person who demonstrates ethical behavior contributes to the enjoyment and growth of all rather than the rise of a few at the expense of many. 4. Ethical behavior enables the strong to help the weak. 5. People who practice ethical behavior realize that it is hard work and commitment that are the sources of excellence, regardless of the endeavor. 6. Being ethical ensures an equal opportunity for fair participation and competition. Ethical participants place fair play above personal gain or victory. 7. Ethical behavior promotes equal opportunity to participate regardless of race, gender, religion or cultural affiliation. 8. Ethical people understand that unethical actions undermine any success they experience as a participant, coach, or administrator. 9. A person who behaves ethically calls upon every participant to treat others with the respect he or she would want from them. 10. A person with ethics lives by the Golden Rule. ETHICS Interscholastic contests in speech are organized and conducted for the purpose of developing competence in the students/contestants participating. These contests, properly conceived, are definitely educational in their aims and objectives and should be viewed as educational projects. As such, they are designed to capitalize upon a very natural and very desirable rivalry between schools and between individuals. The desire to win supplies a strong incentive to application and achievement and is wholly commendable in the degree that winning is correlated with performance of merit. All the rules and regulations governing contests are designed to make the winning of contests synonymous with good speaking, good acting, good interpretation, and good debating. While this objective has been largely realized, it sometimes happens that, under the stress of a desire to win, individuals become overzealous and act in a way that does not reflect well on the good standing of the school they are representing. Every possible effort should be made to preserve friendly relations and to conduct all contests on the highest possible ethical plane. To this end the following suggestions are offered: 1. A speech contest is a friendly contest, not a war between enemies. Meet the representative of the visiting school or schools; escort them to their rooms; treat them in every way as you would treat personal guests. Do everything to make the visitors feel welcome! 36 5

8 2. Make every effort to secure fair and impartial judges. If a contest cannot be won by performance of merit, it is better to lose it. A victory won by a vote of friendship is a most costly kind of victory. It is a moral defeat and above all else, the schools should exalt honor and high standards. 3. The highest kind of school loyalty is that which reflects credit on the home school, not that which tries to secure a victory at any cost. Contestant(s): Code: Title/Topic: Round: Section: Judge s Name & Code: 4. Never allow anyone speaker, coach or friend to quarrel with the judges after the decision. The real test of adulthood comes in defeat. Learn to lose gracefully when you lose. Study the judge s comments, take their criticisms, learn all you can from them, but never, under any circumstances, question their honesty. 5. Coaches and others present should not by verbal, facial, or by other expression indicate their reaction in such a manner as to annoy the speaker, regardless of the nature of the remarks made by the speaker. Moving chairs, scraping your feet on the floor, or coughing is a planned method of annoying the speaker. Disruptive audience members may be asked to leave the room. 6. Some coaches have been known to introduce their students to a prospective judge for the sheer purpose of influencing the judge s decision in favor of that student. Such introductions shall be considered unethical. It shall be considered unethical for a judge to ask a contestant where he or she is from until after the decision is rendered and handed into the office. No coach or student shall make a conscious effort to reveal the name of their school to a judge. 7. Coaches should recognize that judging their own students is not the accepted manner in running a tournament. This usually means that the tournament director has made an error. The judge in such cases should check with the tournament director before the round to ascertain that the assignment is correct. SELECTION Is the performance appropriate to the event and the actors? Is the performance sufficiently challenging? Is adequate and effective background material provided? Is the cutting arranged satisfactorily? UNDERSTANDING Do the actors understand the selection and convey this understanding to the audience? CHARACTERIZATION Do the actors demonstrate good vocal qualities? Do the actors convey understanding of the characters to the audience? Are the actors believable characters? ENSEMBLE EFFECT Do the actors convey emotional responsiveness? Do the actors use stage business, action/reaction, facial expression, and movement? 8. The speeches being performed by the students should be the honest effort of the student. In extemporaneous speaking, it is a violation of protocol to confer with anyone during prep time. 9. It is felt that sometimes coaches fill out a speech registration blank without checking with the student regarding the student s intentions in attending certain speech meets. This results in great changes in the list on the day or two preceding the meet or even on the morning of the meet. This makes certain sections very unfair as sometimes there is only one or two in a section. Consideration of the tournament director must be given in filing of such reports. 10. The administration of each school should be aware of the material being performed. OVERALL EFFECTIVENESS Do the actors convey the mood of the selection? Is there a feeling of completeness? Is the playwright s purpose accomplished? CIRCLE the RANK of this entry in comparison to the others in this round. THERE MAY BE NO TIES IN RANK. TIME 12 minute maximum time limit. No minimum. Penalty for overtime exceeding 30 seconds. This entry is LOWERED ONE RANK for overtime exceeding 30 seconds CIRCLE a RATING for the quality of the speech SUPERIOR EXCELLENT GOOD FAIR Using scripts, hand props, mechanical sound effects, costuming, or make-up. Using more than two actors. 6 35

9 Duet Acting 1. Purpose The purpose of this activity is to encourage actors to exercise creative imagination in the selection, adaptation, and presentation of material suitable for theatre. In this event, actors will reveal their ability to create characters, communicate the interrelationship of characters, and create the meaning of the material used. 2. Rules a. This event shall consist of a scene or sequence of theatrical material which requires two actors to perform. b. The presentation shall not exceed twelve minutes. c. Narration may be used to provide necessary expository background or transitional information. d. The narrator shall be one or both of the two actors. e. The use of scripts, costuming, make-up, and lighting shall not be permitted in this activity. Costuming is wearing any article of clothing, which is not normally worn at a speech contest, to enhance the presentation. f. Stage devices shall be limited to a table and two chairs. (If needed, actors shall provide the table and two chairs.) g. Hand props, mechanical sound effects, and costuming shall not be permitted. h. Actors may play more than one character. The previous suggestions are given in the hope that we can more effectively meet the objectives of competitive speech. In addition to these suggestions, the following are some specific actions which are considered unethical: 1. For Coaches: a. Educating students to circumvent the rules b. Failing to appear for judging assignments c. Switching students in a round to avoid a particular judge d. Leaving unannounced before the tournament is over e. Unprofessional conduct f. Obsessing with the desire to win g. Scouting debates h. Demonstrating the attitude of getting even i. Falsifying evidence j. Challenging a judge s critique k. Disregarding rules for the use of the building by the host school l. Allowing students to attend meets unsponsored m. Publicly criticizing judging decisions n. Publicly criticizing a judge o. Teaching students to question a judge s decision p. Altering a script that violates the author s intent 3. Judging Standards a. The acting of the actors shall be judged with respect to the elements of modern dramatic techniques including characterization, stage movement, and the interaction between the characters. b. The scene or sequence presented shall be evaluated as to its theatrical value. c. The comments during narration shall be judged for their value in enhancing the presentation. d. The total effect shall be judged in terms of unity resulting from the combination of the material selected and the acting. e. No individual recognition shall be given. f. The final test of Duet Acting is the ability of the actors to cause the audience to forget that this is a contest. 4. Disqualification Criteria a. Scripts, hand props, mechanical sound effects (i.e. machine or tool made), costuming or make-up use. b. More than two actors. 5. Lowering Rank Criteria a. Overtime (exceeding 30 seconds). 2. For Students: a. Misconduct during other contestants speeches b. Being critical to a judge concerning a decision c. Failing to abide by the rules of the host school d. Unprofessional conduct e. Any conduct unbecoming to a person of character f. Falsifying evidence g. Switching rounds to avoid a particular judge h. Altering a script that violates the author s intent Instructions For Judges The NSAA district and state speech and play production contests are designed to stimulate interest in speech and theatre. In judging the contests, judges should do the following: 1. Aid in the program of speech and theatre education. The results of her/his judging can either be a help or a hindrance. Care should be exercised in the wording of statements in order that they may be detailed, constructive and helpful. Be considerate in the type of comments given orally and in writing. Comments should be detailed enough to qualify the ranking and rating given inorder that Directors may have sufficient suggestions to improve their work. 2. Judges must keep in mind that they are judging high school students. 3. Turn off cell phones. NO TEXTING. 4. Judges should give close attention to the performance. 5. Judges will use the Judges Critique Sheet when evaluating the performance. AVOID GENERAL- IZED STATEMENTS BE SPECIFIC. 6. Judges independently, rank and rate each performance. Judges must be sure that the scores and comments on the ballot correlate to the rank and rating of each performance. 7. Judges should arrive at the contest site at one-half hour prior to the start of the contest and help the Contest Director keep the program on schedule. 8. Judges are to rank and rate all performances without consulting with the other Judges. 9. Judges are reminded that the performances have already been certified to meet community standards as well as with compliance with technical elements. 34 7

10 Educational Goals of Speech/Play Production Speech contests are conceived and structured to provide educational experiences for high school students. Specifically, the various contest events are designed to provide training toward the following educational objectives: 1. To read, speak, and perform with a clear purpose, applying the principals of research, organization, effective language, and critical thinking 2. To enable the participants to become more stable and mature people through the development of self-discipline, ethical behavior, self-esteem, and communication skills. 3. To encourage self-expression and creativity 4. To offer an opportunity for social growth through exposure to new people, places, and ideas through shared learning experiences 5. To improve delivery by emphasizing vocal expression, bodily responsiveness, and poise 6. To increase cultural awareness and understanding of human behavior through a greater appreciation of literature 7. To instill a sense of ethical responsibility Criticism and Evaluation The Basics of Speaking/Acting, Interpretation and Play Production Criticism A. Delivery 1. Communicativeness a. Direct Eye Contact b. Sincerity c. Spontaneity d. Non-verbal Effectiveness 2. Bodily Action a. Movement of Arms and Hands (Gestures) (1) Purposeful (2) Responsive (3) Natural b. Posture c. Facial Expression d. Use of Notes 3. Use of Voice a. Inflection b. Projection c. Fluency d. Articulation e. Variation (1) Force (2) Quality (3) Rate B. Content 1. Choice of Topic a. Suitability to Purpose b. Suitability to Speaker c. Adaptability to Audience and Occasion 2. Organization a. Arrangement of Points b. Clarity of Pattern c. Transition Good Script is sometimes appropriate Introduction somewhat captures attention Playwright and title somewhat communicated Clear transitions sometimes provided Actors sometimes demonstrate an understanding of the script Performance sometimes true to the playwright Actors sometimes in control Actors sometimes understand the performance Actors sometimes create characters Actors sometimes project, enunciate and articulate Actors sometimes physically create characters Characters sometimes believable Actors sometimes work together Performance sometimes shows evidence of rehearsal Actors sometimes focused Actors sometimes the physical embodiment of the characters Actors sometimes use external expression Actors sometimes polished Characters sometimes controlled Fair Script is not appropriate Introduction does not capture attention Playwright and title not communicated Transitions seldom provided Actors seldom demonstrate an understanding of the script Performance seldom true to the playwright s intent Actors seldom in control Actors seldom understand the performance Actors seldom create characters Actors seldom project, enunciate and articulate Actors seldom physically create characters Characters seldom believable Actors seldom work together Performance seldom shows evidence of rehearsal Actors seldom focused Actors seldom the physical embodiment of the characters Actors seldom use external expression Actors seldom polished Characters seldom controlled DUET ACTING 8 33

11 DUET ACTING RUBRIC Criteria for Evaluation Selection Understanding Characterization Ensemble Effect Overall Effect Superior The script is very appropriate to the actors and this event. The introduction captures attention and heightens the audience s understanding and appreciation of this scene. The playwright(s) and title are clearly communicated. If needed, clear and creative transitions are provided to link time, place, and scene changes. Actors demonstrate an understanding of the script and the motivation of characters through the script. The performance is true to the intent of the playwright. The actors are clearly in control of the characters and the script throughout the performance. Because of the actors clear understanding, the audience has a clear understanding of the performance. The actors use vocal traits to create the characters in the performance which include variety in pitch, rate, and quality. The actors use projection, enunciation and articulation. The actors create characters through the use of gesture, movement, facial expression, and posture. Characters are clearly motivated and sustained. The actors are very well rehearsed and distinct. The actors work together with imagination to establish the mood and meaning of the play. The performance shows evidence of rehearsal, a sense of creativity and an understanding of the play and each actor s part in the performance. All actors are focused. The actors are always the physical embodiment of the characters they are portraying. They use external expression to display the concept of the characters. The actors are polished in their use of gesture, movement, facial expression and posture. The characters are controlled, precise and believable. 32 Excellent Script is almost always appropriate Introduction almost always captures attention Playwright and title are communicated Clear transitions almost always provided Actors almost always demonstrate an understanding of the script Performance almost always true to the playwright s intent Actors almost always in control Actors almost always convey an understanding of the performance Actors almost always create characters Actors almost always project, enunciate and articulate Actors almost always physically create characters Characters almost always believable Actors almost always work together Performance almost always shows evidence of rehearsal Actors almost always focused Actors almost always the physical embodiment of the characters Actors almost always use external expression Actors almost always polished Characters almost always controlled 3. Outline a. Completeness of Introduction and Conclusion b. Clarity of Main Points c. Transition d. Clarity of Theme (Central Idea) 4. Supporting Material a. Relevant b. Appropriate c. Understandable d. Vivid e. Adequate f. Pertinent g. Clearly Arranged 5. Introduction a. Gains Attention of Audience b. Interesting c. Focuses on Central Idea 6. Conclusion a. Climax of Speech b. Summary c. Likely to be Remembered C. Language Style 1. Choice of Words 2. Sentence Structure 3. Fluency 4. Correctiveness 5. Pronunciation D. Time Limits 1. For failure to abide by the prescribed time limits by more than 30 seconds, judges shall lower the contestant one assigned rank. 2. A speaker who is interrupted by means not within their control during their presentation, may start over without penalty. 3. The stopwatch is to begin with the first sound or action and is to end when the lights go out, the curtain closes, or the speaker concludes. Judging Ethics The professional ethics connected with judging warrants the common sense approach; for example, if students are expected to dress appropriately for contest appearances, we should expect judges to set an example by being appropriately dressed. A judge should always be attentive and interested in all students as they compete for ratings. This means he/she should display a friendly smile and show he/she is an interested person. A judge should exhibit a desire to assist the student in becoming a better person through the speech experience. A judge must show patience while in a contest situation. There is no reason for a judge to show apparent disgust toward a student appearing late or out of order since generally it is not the student s preference but rather a necessity that precipitated the change. The general rule of ethics is to make all students feel as comfortable as possible when they are competing. The judges who attain that goal are the ones most respected by the students and their speech coaches. 9

12 BREAKING TIES... When two judges are assigned to judge the final round in each event at district speech competition, ties in cumulative rank will be broken as follows: 1. Reciprocals applied to the final round. 2. Highest cumulative rating points in the final round. 3. Lowest rank in the preliminary round. 4. Highest rating points in the preliminary round. 5. Judges brought back together to break the tie. *NOTE: There is NO Judge s Preference when only two judges are used. When three judges are assigned to judge the final round in each event at the state speech competition or district and state play production competition, ties in cumulative rank will be broken as follows: 1. Judge s preference in the final round.* 2. Reciprocals applied to the final round. 3. Highest cumulative rating points in the final round. 4. Lowest cumulative rank in the preliminary rounds. 5. Reciprocals applied to the preliminary rounds. 6. Highest cumulative rating points in the preliminary rounds. 7. Judges brought back together to break the tie. take into consideration: *NOTE: Where there are only three judges, Judge s Preference can NOT break a three-way tie between competitors. In the case of a three-way tie, the following procedures shall be used. 1. Rank reciprocals will be applied to the final round. The competitor with the highest reciprocal total shall receive the next highest placement. Once the three-way tie has been broken, the tabulation staff will break the remaining tie by starting over at the beginning of the procedures listed above. There is one scenario that could potentially result in an unbreakable three-way tie. In such an instance the tied competitors shall all receive the same placement. To award superior certificates when multiple judges are used, the judge s rating shall be averaged. If the average of the ratings is 45 points or greater in speech or 52 points or greater in play production, a superior certificate will be issued. The average shall not be rounded up to the nearest whole number. Terminology: Reciprocals -Reciprocals require that each rank be assigned the decimal equivalent of its place. Hence, 1st-1.0, 2nd-.5, 3rd-.33, 4th-.25, 5th-.20, etc. The reciprocals are then added and the play or speaker with the highest cumulative reciprocal score wins. Judge s Preference -This method compares the judge s rank to determine which performance is preferred. Example when three judges are used: Judge 1 Judge 2 Judge 3 Total Speaker 1 1/50 2/50 3/50 6/150 Speaker 2 2/50 3/50 1/50 6/150 Speaker 3 3/50 1/50 2/50 6/150 Contestant(s): Code: Title/Topic: Round: Section: Judge s Name & Code: SELECTION Is there an effective introduction which heightens audience understanding and appreciation of the selection? Are there suitable transitions provided where needed? Is this an effective cutting? PHYSICAL RESPONSIVENESS If used, is the script handled effectively? Does the contestant display good poise, gesture, and posture? VOCAL QUALITIES Is there control, variety, and strength? PRESENTATION Is the mood maintained? Is there believability? Is there consistency? If multiple characters are used, are they easily distinguished? If narration is used, is it effective? Is there differentiation between character(s) and narration? OVERALL EFFECTIVENESS Do the narration and characterization complement each other? Is the presentation spontaneous and genuine? TIME 10 minute maximum time limit. No minimum. Penalty for overtime exceeding 30 seconds. This entry is LOWERED ONE RANK for overtime exceeding 30 seconds CIRCLE the RANK of this entry in comparison to the others in this round. THERE MAY BE NO TIES IN RANK. CIRCLE a RATING for the quality of the speech SUPERIOR EXCELLENT GOOD FAIR Use of a commercially produced cutting

13 Oral Interpretation of Prose Literature - Serious and Humorous 1. Purpose: The purpose of this activity is to train students to convey the thoughts, feelings, and mood of a selection of prose literature to an audience. 2. Rules a. The selection shall be an original cutting or arrangement of prose literature from published books, short stories, or plays. (Note: Plays written in poetic verse are acceptable.) b. Commercially produced cuttings are not to be used. c. The contestant shall make introductory remarks concerning the author, selection, and cutting designed to heighten attention, understanding, and appreciation of the selection by the audience. d. Maximum time limit, including introductory remarks and transitions shall be ten minutes e. The selection may be memorized or delivered from a manuscript with or without a lectern. 3. Judging Standards a. The art of interpretation is to be regarded as essentially one of suggesting the meaning, feeling, and mood of a story so vividly as to recreate the author s work in the minds of the audience. b. In assigning rank or rating to a contestant, the judge should take into consideration the literary merit of the selection, appropriateness, use of the body, and use of the voice in interpreting. c. This is a contest in oral interpretation, not acting. d. The contestant should try to distinguish all the character(s) by suggesting distinctive visual and auditory clues, depending upon the audience to fill in the details in picture. e. Familiarity with the script, if used, is essential so that the contestant may maintain eye contact with the audience the majority of the time. f. The selection may be memorized. g. The contestant may use a lectern. h. The final test of good Oral Interpretation of Prose Literature is the ability to use all of these factors so successfully that the audience forgets that this is a contest. 4. Disqualification Criteria a. Use of a commercially produced cutting. 5. Lowering Rank Criteria a. Overtime (exceeding 30 seconds). 30 Theories on Interpretation and Acting Lewis, Todd, COMMUNICATING LITERATURE, Kendall Hunt, Publishing Co., Dubuque, IA. In the early to middle part of the century many of the academic instructors of oral interpretation attempted to argue for the distinction of oral interpretation as performance. They set up a chasm between oral interpretation and acting that would separate the art forms. Recent scholarship has wisely spanned the gulf and argued for a more inclusive view of performance studies. Gratefully, we have moved from the stultifying view that oral interpretation is only from the neck up. Both the actor and the interpreter need to analyze a text. Both performers prepare to present persona(e) with accuracy and credibility. Both performers seek the same audience reactions: to please, to entertain, to provoke, to communicate. Arbitrary comments that This is acting and That is interpretation are based on outmoded proscriptive rules that only serve to hamper creativity performance, and maturity of the performance study discipline. Yordan, Judy E., Roles in Interpretation. Actors must interpret their roles. Howard R. Martin puts it well as he describes the similarities between these two complementary arts: After all, acting is an interpretive art in the sense of deriving from a clear understanding of previous givens (e.g. texts, scenarious, character), and conversely, interpretation is a dramatic art involving empathy, transformation, characterization, and the like. In the past, interpretation was hampered by arbitrary rules that stated (1) interpreters who moved were acting, (2) interpreters who sat down were acting, and (3) interpreters who did not use a script were acting, among others. Rules like these are proscriptive, limit creativity, and do not make allowances for individual texts or interpretations. The interpreter s challenge is to fulfill the requirements of the text. Each piece of literature is unique and calls for a different performance style. Rules limit choices, and when they are rigidly followed, rules can be detrimental to the literature as well as to the performance. Keys To Being A Professional Judge 1. Complete the requirements to become a registered judge yearly. 2. Review the rules and the judge s manual. 3. Be well read and familiar with various forms of literature. 4. Dress as a professional. 5. Come to the contest prepared. Bring a stopwatch, rulebook, pencils and pens. Ballots will be provided by the director. 6. Arrive early the day of the contest. 7. Find your room. 8. Be consistent, fair, and friendly with all students and coaches. 9. Keep a positive attitude. 10. Be flexible in accepting the student s interpretation of a piece of literature. 11. Provide positive non-verbal communication to a student during the performance. 12. Use common sense in applying the rules and regulations. 13. Justify ratings and rankings given. 14. Be cautious of what you say between presentations, at lunch and after the contest. 15. Treat the contestant the way you would want to be treated. 16. Keep personal bias from influencing comments, ratings and rankings. 11

14 The making of a good ballot: Balance of constructive criticism and praise. The judge shares comments in each category. The ballot provides comments to help the student improve. Contestant(s): Code: Title/Topic: Contestant(s): Code: Round: Section: Judge s Name & Code: Title/Topic: Round: Section: Judge s Name & Code: THESIS Is there a clear thesis? Is it valid? Is it reasonable? Is it persuasive? Is it relevant? ORGANIZATION Is there an appropriate introduction? Is there a clear and suitable structure? Is there a suitable conclusion? CONTENT Is there sufficient supporting material? Is this support relevant, reliable, and/or documented? Is there critical thought? Does the contestant clearly address the issue with or without a solution? STYLE AND LANGUAGE Is there clarity? Directness? Simplicity? Specificity? Color? DELIVERY Is it direct? Extemporaneous? Conversational? If used, is the manuscript unobtrusive? Is the delivery technique effective? Good opening narrative, clear and direct. Structural strategy for this topic sound. The topic is timely. I see a lot of discussion concerning this issue on the television and in the newspaper currently. Many people are searching for a solution to this issue. The first point is primarily informational, it is not enough that we know it can be done, but explain how it can be done. Watch transition to length on idea to the next. Strong conclusion drawing the speech together. Good job! Cite homepages rather than web addresses. Offer a date so we can judge the recency and relevance to the evidence. Good job in using a wide range of resources. Make sure your subject and verbs agree. Slow down and articulate. Good direct style. What can you do with descriptive language? Could you use an analogy to help our audience understand? Good emphasis at times, but could increase variety. Work on timing, pause at times to emphasize important facts and ideas. SELECTION Is it suitable for this group and the event? Is it well arranged? PRESENTATION Is there an introduction that prepares listeners for the reading? Does the selection build to a climax? Is there unity in the whole presentation? Does it sustain a mood? CHARACTERIZATION Are the contestants believable? Do they portray the nuances of character? Do they utilize nonverbal as well as verbal communication? Are they poised? ENSEMBLE EFFECT Do the contestants work well together? Do they handle their scripts well? Does the staging enhance the presentation? Is there bodily responsiveness to the dialogue? Is there interaction between contestants? Are the movements and gestures suggested rather than acted? Is this an ensemble rather than several solos? Is off-stage focus or on-stage focus, or a combination of both, used effectively? OVERALL EFFECTIVENESS Is there empathetic appeal? Do the contestants understand the material and convey the thought and mood to the audience? Is there a feeling of completeness at the end? Is this a unified, balanced presentation? Do the contestants bring this play to life in the audience s mind? CIRCLE the RANK of this entry in comparison to the others in this round. THERE MAY BE NO TIES IN RANK. TIME 9:38 10 minute maximum time limit. No minimum. Penalty for overtime exceeding 30 seconds. This entry is LOWERED ONE RANK for overtime exceeding 30 seconds CIRCLE a RATING for the quality of the speech SUPERIOR EXCELLENT GOOD FAIR Extensive paraphrasing. Having more than 150 quoted words. Use of visual aids. Use of notecards. Obviously not having an original speech. At the request of the judge, at the conclusion of the speech, not providing a manuscript. CIRCLE the RANK of this entry in comparison to the others in this round. THERE MAY BE NO TIES IN RANK. CIRCLE a RATING for the quality of the speech SUPERIOR EXCELLENT GOOD FAIR TIME 15 minute time limit. No minimum. Penalty for overtime exceeding 30 seconds. This entry is LOWERED ONE RANK for overtime exceeding 30 seconds. Deliberate touching during any part of the presentation. Using costumes, make-up, properties, special lighting, or mechanical sound effects. Each contestant not possessing a copy of the manuscript. Not using an original cutting of a play. Fewer than three or more than five contestants

15 Oral Interpretation of Drama 1. Purpose: The purpose of this activity is to train students to create within the minds of the audience a clear impression of the playwright s central idea, plot, characters, situations, and mood in the play or in the scenes being interpreted. 2. Rules a. The presentation shall be an interpretation of drama and not a play production. b. Each member of the group shall possess a copy of the manuscript. Interpretation: The selection(s) must be interpretted from a manuscript. The performer may interpret the selection by referencing the manuscript or may give the selection solely by memory without reference to the manuscript. No costumes or props, with the exception of the intact manuscript, shall be permitted. c. The manuscript shall be an ORIGINAL CUTTING OF A PLAY. d. The number of contestants in each group shall not be fewer than three nor more than five. e. If the script calls for more than five characters, and it is impossible to omit additional characters, contestants may read more than one character. f. An introduction shall provide continuity for the cutting. g. Maximum time limit shall be fifteen minutes. h. If the play chosen is subject to royalty payment, the participating school shall be responsible for obtaining permission from the publisher for its use and for paying such royalty charges involved. i. Interpretation of Drama may be presented in a variety of ways. It may be per formed with the contestants in any effective arrangement. (i.e. staging devices, music stands, chairs, stools, blocks and steps.) j. Movement is allowed but shall remain in the realm of suggestion rather than that of realistic acting. k. Either off-stage focus, on-stage focus, or a combination of both may be utilized by the contestants. l. Entrances and exits shall be suggested. m. Costumes, make-up, properties, special lighting, or mechanical sound effects shall not be permitted. Costuming is wearing any article of clothing, which is not normally worn at a speech contest, to enhance the presentation. n. Deliberate touching in any part of the presentation shall not be permitted. 3. Judging Standards a. Judges shall take into consideration the literary value of the play, the quality of the cutting, suitability for the group and the event, as well as the effectiveness of the interpretation. b. The art of interpretation shall be regarded as essentially one of suggesting the meaning, the feeling, and the mood of the play so vividly as to recreate the drama in the mind s of the audience. c. Contestants shall show bodily responsiveness to the meaning and feelings of dialogue in order to reveal the characters and central theme of the play. d. Within the scope of the rules, the coach s discretion shall dictate the amount and kind of gestures, reaction, and movement used. e. The final test of good Oral Interpretation of Drama is the ability of the contestants to bring the play to life, causing the audience to forget that they are listening to a contest. 4. Disqualification Criteria a. Deliberate touching during any part of the presentation. b. Costumes, make-up, properties, special lighting, mechanical sound effects (i.e.: machine or tool made) used. c. Each contestant not possessing a copy of the manuscript. d. Not using an original cutting of a play. e. Fewer than three or more than five performers. 5. Lowering Rank Criteria a. Overtime (exceeding 30 seconds). Contestant(s): Code: Title/Topic: Round: Section: Judge s Name & Code: THESIS Is there a clear thesis? Is it valid? Is it reasonable? Is it persuasive? Is it relevant? ORGANIZATION Is there an appropriate introduction? Is there a clear and suitable structure? Is there a suitable conclusion? CONTENT Is there sufficient supporting material? Is this support relevant, reliable, and/or documented? Is there critical thought? Does the contestant clearly address the issue with or without a solution? STYLE AND LANGUAGE Is there clarity? Directness? Simplicity? Specificity? Color? DELIVERY Is it direct? Extemporaneous? Conversational? If used, is the manuscript unobtrusive? Is the delivery technique effective? TIME 10:58 10 minute maximum time limit. No minimum. Penalty for overtime exceeding 30 seconds. This entry is LOWERED ONE RANK for overtime exceeding 30 seconds Bad Ballot: Lack of commentary on ballot OK OK GOOD! OK OK CIRCLE the RANK of this entry in comparison to the others in this round. THERE MAY BE NO TIES IN RANK. CIRCLE a RATING for the quality of the speech SUPERIOR EXCELLENT GOOD FAIR Extensive paraphrasing. Having more than 150 quoted words. Use of visual aids. Use of notecards. Obviously not having an original speech. At the request of the judge, at the conclusion of the speech, not providing a manuscript. No justification for placing the speaker last in the round. PUBLIC ADDRESS EVENTS

16 PUBLIC ADDRESS RUBRICS Contestant(s): Code: Criteria for Evaluation Thesis Organization Content Superior Thesis clearly fulfills the purpose of the event. It is rational, reasonable, and relevant. It is justified, clearly stated and well-developed. It shows originality, creativity, and depth of analysis. It is appropriate, genuine, and interesting to the audience. The audience learns or profits in some manner by the speaker's topic/thesis. Clear, appropriate, and suitable introduction, body, and conclusion are present. Material is organized logically and coherently. Fluid, parallel transitions connect the segments of the speech, and enable the audience to accurately follow the speaker's points/arguments. Ending is clear and satisfying. Supporting material is sufficient, appropriate, reliable, and clearly relevant. Evidence supports the purpose and stated thesis. Sources are cited effectively when needed. Examples, stories, and details add interest and depth to the speech. Creativity and originality capture audience's attention. Critical thought is apparent throughout the speech. Speaker demonstrates mastery of mechanics, syntax, and grammar. Language is appropriate, correct and adapted to oral presentation. Word choice is direct and discriminating. Vocabulary demonstrates color, clarity, vividness, and variety. Figures of speech, allusions, rhetorical devices, and metaphor may be used to enhance understanding. Speaker is polished and poised. Posture, gestures, movement, and eye contact are superb. Articulation and pronunciation are clear and correct. Speaker is sincere, direct, and conversational, acknowledging the audience throughout. Pace, pause, volume, emphasis, inflection, and timing enhance understanding. Delivery is extemporaneous. Excellent Thesis fulfills the purpose of the event. It is clear and appropriate, but less unique, relevant, or significant. Rationale is less obvious. Analysis lacks depth in some areas. Originality and creativity are not clearly revealed. Audience interest is piqued at times, but not consistently or thoroughly. Introduction, body, and conclusion are clearly present. Material is organized, but ideas are not as fully developed or coherent. Transitions connect the main segments of the speech. Minor logical problems may be present. Prepares audience for a clear ending. Listeners are left with a feeling of completeness. Supporting material is adequate, appropriate, and reliable, but may not clearly support the stated thesis or claims. Sources may be cited inconsistently. Examples, stories, and details are included, but are not as abundant or relevant. Creativity, originality, and critical thought are present but inconsistent. Title/Topic: Round: Section: Judge s Name & Code: SELECTION(S) Does the introduction effectively lead into the program? If used, are transitions suitable? Is the program unified? Is it appropriate for the event? PHYSICAL RESPONSIVENESS Is the script handled effectively? Does the contestant s bodily responsiveness enhance the reading? Is there control? VOCAL QUALITIES Does the contestant have vocal variety, control, strength, and believability? Style and Language Delivery Speaker demonstrates effective mechanics, syntax, and grammar. Language is appropriate and adapted to oral presentation. Vocabulary clearly communicates ideas and the purpose of the speech. With few exceptions, words are chosen for their precise meaning. Color, variety, and/or rhetorical devices are used occasionally and without confusion. Speaker is practiced and prepared. Posture, gestures, movement, and eye contact are effective. Articulation and pronunciation are typically clear. Audience is acknowledged. Delivery does not significantly detract from the message. Pace and volume are varied. If used, manuscript or notecard is unobtrusive, serving as a point of reference. PRESENTATION Is the contestant believable? Does the contestant understand the material and transfer this understanding to the audience? Is there a feeling that the contestant is controlled? Does the contestant use poetic elements to his/her best advantage? OVERALL EFFECTIVENESS Is the audience left with a feeling of completeness? Is the audience left with an understanding of the poet s (or poets ) purpose(s)? CIRCLE the RANK of this entry in comparison to the others in this round. THERE MAY BE NO TIES IN RANK. CIRCLE a RATING for the quality of the speech SUPERIOR EXCELLENT GOOD FAIR TIME 6-8 minute time limit. Penalty for undertime or overtime exceeding 30 seconds. Not possessing a script. θn This entry is LOWERED ONE RANK for undertime or overtime exceeding 30 seconds 14 27

17 Oral Interpretation of Poetry 1. Purpose: The purpose of this event is encourage students to obtain a broad knowledge and appreciation of poets and their poetry, and to increase their ability to share with others the full meaning intended by the poet by interpreting from a manu script. 2. Rules a. The participant shall select, cut, and arrange one long poem or a group of poems unified by either a central theme or the writings of one poet. b. The presentation shall include introductory remarks to heighten the understanding of the theme or the poet s works. Transitions are optional. c. Time limit including such remarks shall be not fewer than six nor more than eight minutes. d. The arrangement shall be interpreted from manuscript with or without lectern. Interpretation: The selection(s) must be interpretted from a manuscript. The performer may interpret the selection by referencing the manuscript or may give the selection solely by memory without reference to the manuscript. No costumes or props, with the exception of the intact manuscript, shall be permitted. 3. Judging Standards a. Poetry interpretation is regarded as recreating the thoughts and emotions of the poet in the minds of the audience. b. On assigning rank or ratings, the critic should take into consideration the appropriateness of the poem(s) chosen by the student, the effectiveness of the cutting and arrangement, and the adequacy of the introductory and transitional remarks which unify the presentation. c. In interpreting poetry from a manuscript, the meaning should be conveyed primarily through the voice with the aid of the appropriate body responsiveness, eye contact, and the other mechanisms of delivery. d. The contestant should be observed for naturalness and emotional responsiveness. e. While effective use of rhythm can contribute to interpretation, the presentation should not become sing-song or monotonous. f. The final test of quality Oral Interpretation of Poetry is the ability of the contestant to cause the audience to forget that they are listening to a contest. 4. Disqualification Criteria a. Not possessing a script. 5. Lowering Rank Criteria a. Overtime (exceeding 30 seconds). b. Undertime (exceeding 30 seconds). Good Thesis fulfills purpose of the event, but is vague or undeveloped. Rationale is unclear or absent. Analysis is superficial. Originality and creativity are lacking. It is appropriate and acknowledges the audience, but holds little interest for them. Introduction, body, and conclusion are present, but some parts may be vague or incomplete. Structure is not obvious or apparent. Transitions are awkward, unclear, or missing. A logical progression of ideas is absent, hindering audience's ability to follow the speaker's points and ideas. Ending is unclear or abrupt. Speaker attempts to provide support, but it is insufficient and lacks clear connection to the thesis. Citations are improper or absent. Sources may lack relevance, credibility, or may not clearly support the stated thesis or claims. Few examples, stories, or details are present. Creativity is lacking. Some supporting material may hinder clarity or understanding. Speaker makes frequent errors in mechanics, syntax, or grammar. Listeners can follow the presentation, but may be distracted by errors, slang, or jargon. Vocabulary is limited, awkward, repetitive, or inappropriate to the purpose of the speech. Language confuses or hinders understanding. Speaker is generally prepared, but gestures, movement, or eye contact are awkward or ineffective. Vocal variety or volume are inadequate at times. Articulation and pronunciation are sloppy. The audience is not acknowledged effectively. Delivery interferes with understanding. Dependence on manuscript or notecard impedes the message. Fair Thesis fails to fulfill the purpose of the event, is trivial, or is unstated. It may be unoriginal, inappropriate for the audience, or absent altogether. Demonstrates little regard or concern for the audience's interest. Parts of the introduction, body, and/or conclusion are unclear or absent. Organization and structure are haphazard or incoherent. Main ideas are vague or unclear. Listeners can follow the presentation only with great effort, and are not left with a feeling of completeness at conclusion. Speaker provides little or no evidence or supporting materials. Citations, when necessary, are absent. Stories, examples, and details which add interest and depth to the speech are minimal or absent. Lack of supporting materials critically undermines the thesis or purpose of the speech and obscures the audience's understanding. Speaker makes critical errors in mechanics, syntax, or grammar. Listeners are frequently distracted by errors, slang, jargon, or technical terms. Language may not be appropriate to the audience, or may hinder understanding to the point that the purpose of the speech is not fulfilled. Speaker appears uncomfortable or unprepared. Gestures, movement, or eye contact are awkward or absent. The speaker may be inaudible or monotone. Articulation, delivery, or pronunciation impair understanding. Little regard is shown for the needs of the audience. Heavy reliance on manuscript or notecard distracts from the message, or speech may be read

18 Persuasive Speaking 1. Purpose: The purpose of this activity is to train speakers to choose and organize material supporting a central theme in a persuasive speech on a timely subject, and to present these ideas in a direct, communicative, and effective speaking manner. 2. Rules a. This contest shall consist of persuasive speeches actually written by the speaker delivering them. b. The speaker shall use any appropriate, worthwhile, and relevant subject matter which can be developed in the time allotted. c. Maximum time limit will be ten minutes. d. Not more than one-hundred fifty words of the speech shall be direct quotations from any other speech or writing, and such quotations shall be indicated in the manuscript with quotation marks. (Each number combination referenced within a direct quote shall be counted as one word.) e. Extensive paraphrasing of any source is prohibited. f. The judge may request a copy of the manuscript at the conclusion of the speech. g. The speech may be presented from manuscript (Notecards will not be acceptable) in an extemporaneous style. h. The performer may or may not use a lectern. i. Visual aids will not be allowed in this event. 3. Judging Standards a. Since these speeches have been written by the contestant delivering them, the judge shall consider thought, composition, and delivery. b. The speaker shall not be expected to solve any of the great problems of the day, rather be expected to discuss intelligently and with a degree of originality, in an interesting manner, and with some profit to his audience, the topic chosen. c. The speaker may be given wide latitude in the ideas expressed but held closely accountable for the manner in which they are expressed. d. Material shall be organized according to some logical plan to produce a unified and coherent speech. e. The composition shall be considered carefully for its persuasiveness, eloquence, and diction. f. The composition shall reveal a discriminating choice of words and shall be especially adapted to oral presentation. g. Delivery shall be judged for mastery of the usual mechanics of speech and communicativeness. h. The speech should be observed for qualities of directness and sincerity. i. The best delivery technique retains the directness and simplicity of good conversation employing the necessary energy to reach all listeners. j. The final test of Persuasive Speaking is the ability of the speaker to make the audience forget that this is a contest. Good The literature does not adequately fit the performer and/or the event. The introduction is irrelevant or incomplete. The author(s) and/or title(s) are not clearly communicated. Transitions, if needed, are unclear or absent. If poetry, theme is unclear or not identified. Speaker is lacking polish and/or poise. Posture, gestures, movement, and eye contact are inconsistent or lacking. If used, focal points are inconsistent or fail to clearly delineate characters or distinguish narration. If used (or required), the manuscript is obtrusive. The student makes little attempt to acknowledge the audience. Articulation or pronunciation is occasionally unclear or incorrect. Pace, pause, volume, emphasis, inflection, and timing are absent or inconsistent. The performer displays inconsistent vocal control. If used, characters are vocally indistinguishable. If used, characterization is inconsistent or fails to remain within the realm of suggestion. If used, narration is not clearly distinguished from characterization. If used, multiple selections are not distinguishable. In poetry, poetic devices (rhyme, rhythm, imagery, etc,) are inconsistent. Fair The literature does not fit the performer and/or the event, or is inappropriate to the activity. The introduction is incomplete or absent. The author(s) and/or title(s) are not communicated. Transitions, if needed, are unclear or absent. If poetry, theme is not identified. Speaker is unpolished. Posture, gestures, movement, and eye contact are absent or inappropriate. If used, focal points are inconsistent or confusing. If used (or required), the manuscript is overtly obtrusive. The student may simply be reading with no attempt to interpret the selection or acknowledge the audience. Articulation or pronunciation is often unclear or incorrect. Little attempt is made to vocally interpret the literature. The performer lacks vocal control. If used, characters are vocally indistinguishable. The performer may mumble or cannot easily be heard. If used, characterization is unclear or fails to remain within the realm of suggestion. If used, narration is not distinguished from characterization. If used, multiple selections are confusing or not distinguishable. In poetry, poetic devices (rhyme, rhythm, imagery, etc,) are absent. INTERPRETIVE EVENTS 4. Disqualification Criteria a. Extensive paraphrasing. b. Having more than 150 quoted words. c. Obviously not having an original script. d. Not providing a manuscript at the request of the judge at the conclusion of the speech. e. Use of visual aids. f. Use of notecards. 5. Lowering Rank Criteria a. Overtime (exceeding 30 seconds). The presentation lacks spontaneity. The performer inconsistently maintains a sense of mood. The point of the literature is unclear. Literary merit is questionable or lacking. The performance is not always true to the author's intended purpose. The presentation lacks spontaneity. The performer fails to maintain a sense of mood. The point of the literature is unclear. Literary merit is lacking. The performance is not true to the author's intended purpose, or is clearly not an interpretation of literature

19 INTERPRETATION RUBRICS Criteria for Evaluation Selection Superior The literature is appropriate to the performer and the event. The introduction heightens the audience's understanding and appreciation of the literature. The author(s) and/or title(s) are clearly communicated. If needed, suitable transitions are provided to link components of the program. If poetry, theme is clearly maintained. Speaker is polished and poised. Posture, gestures, movement, and eye contact are superb. If used, focal points are consistent and clearly delineate characters, enhance visualization, or distinguish narration. If used (or required), the manuscript is handled effectively and unobtrusively. Excellent The literature is appropriate to the performer and the event. The introduction effectively provides necessary background. The author(s) and/or title(s) are clearly communicated. If needed, suitable transitions are provided to link components of the program. If poetry, theme is adequately maintained. Speaker is polished and poised. Posture, gestures, movement, and eye contact are effective. If used, focal points are generally consistent and delineate characters, enhance visualization, or distinguish narration. If used (or required), the manuscript is handled effectively. Contestant(s): Code: Title/Topic: Round: Section: Judge s Name & Code: THESIS Is there a clear thesis? Is it valid? Is it reasonable? Is it persuasive? Is it relevant? Physical Responsiveness Vocal Qualities Presentation Articulation and pronunciation are clear and correct. Pace, pause, volume, emphasis, inflection, and timing enhance understanding of the literature. The performer maintains a strong sense of vocal control. If used, characters are distinguished vocally. If used, characterization is consistent and remains within the realm of suggestion. If used, narration is distinguished from characterization. If used, multiple selections are clearly distinguished from one another with transitional devices. In poetry, poetic devices (rhyme, rhythm, imagery, etc,) are mastered by the performer. Articulation and pronunciation are clear. Pace, pause, volume, emphasis, inflection, and timing are effective. The performer maintains vocal control. If used, characters are distinguished vocally. If used, characterization is consistent. If used, narration is distinguished from characterization. If used, multiple selections are generally distinguished from one another with transitional devices. In poetry, poetic devices (rhyme, rhythm, imagery, etc,) are effectively used by the performer. ORGANIZATION Is there an appropriate introduction? Is there a clear and suitable structure? Is there a suitable conclusion? CONTENT Is there sufficient supporting material? Is this support relevant, reliable, and/or documented? Is there critical thought? Does the contestant clearly address the issue with or without a solution? STYLE AND LANGUAGE Is there clarity? Directness? Simplicity? Specificity? Color? DELIVERY Is it direct? Extemporaneous? Conversational? If used, is the manuscript unobtrusive? Is the delivery technique effective? CIRCLE the RANK of this entry in comparison to the others in this round. THERE MAY BE NO TIES IN RANK. CIRCLE a RATING for the quality of the speech SUPERIOR EXCELLENT GOOD FAIR Overall Effectiveness The presentation is spontaneous and genuine. The performer creates and maintains a strong sense of mood. The performance advances the moral, social, or philosophical point of the literature. Merit is reflected through the literature's universality, individuality, and suggestion. The performance is true to the author's intended purpose. The presentation is spontaneous and genuine. The performer creates a clear sense of mood. The point of the literature is clear and consistent. Literary merit is apparent. The performance is true to the author's intended purpose. TIME 10 minute maximum time limit. No minimum. Penalty for overtime exceeding 30 seconds. This entry is LOWERED ONE RANK for overtime exceeding 30 seconds Extensive paraphrasing. Having more than 150 quoted words. Use of visual aids. Use of notecards. Obviously not having an original speech. At the request of the judge, at the conclusion of the speech, not providing a manuscript

20 Entertainment Speaking 1. Purpose: The purpose of this event is to encourage students to develop and demonstrate their creativity by employing imaginative thinking and language in their speech writing. The event should also exhibit their ability to organize and present a speech to entertain without mimicking professional comics and without entertaining only themselves. Contestant(s): Code: Title/Topic: Round: Section: Judge s Name & Code: 2. Rules a. This speech shall be of an entertaining nature composed by the contestant. b. This speech shall be an original composition. c. The speech shall be based on a theme or a central idea and shall be delivered in an extemporaneous manner with or without a lectern. d. One 4 x 6 notecard or a smaller notecard is optional. e. Visual/audio media may be employed, but costuming and makeup shall not be used. Costuming is wearing any article of clothing, which is not normally worn at a speech contest, to enhance the presentation. f. Maximum time limit shall be eight minutes. THESIS Is there a clear thesis? Is its purpose to inform? Does the speech develop an informative point of view? ORGANIZATION Is there an appropriate introduction? Is there a clear and suitable structure? Is there a suitable conclusion? 3. Judging Standards a. An entertainment speech of an interesting nature shall combine the elements of basic organization, graphic word pictures, humor, and lively, animated delivery. b. The most effective speeches to entertain employ one or more of the following devices: exaggeration, understatement, plays on words, satire, or irony. c. Basic entertainment may be found by observing the aspects of every day living. d. The material presented shall be organized to produce a unified and coherent speech, rather than a loosely structured comic routine. e. Delivery shall be judged for the mastery of the usual mechanics of speech with emphasis on the speaker s use of bodily communication, poise, and timing. f. The final test of Entertainment Speaking is the ability of the speaker to make the audience forget that this is a contest. 4. Disqualification Criteria a. Use of more than one 4 x 6 card. b. Use of a card larger than 4 x 6. c. Not having an original speech. d. Use of costumes or make-up. 5. Lowering Rank Criteria a. Overtime (exceeding 30 seconds). CONTENT Is there sufficient supporting material? Is this support relevant, reliable, and/or documented? Is there critical thought? If audio/visual media are used, are they effective? STYLE AND LANGUAGE Is there clarity? Directness? Simplicity? Specificity? Color? DELIVERY Is it direct? Extemporaneous? Conversational? If used, is the notecard unobtrusive? Is the delivery technique effective? CIRCLE the RANK of this entry in comparison to the others in this round. THERE MAY BE NO TIES IN RANK. CIRCLE a RATING for the quality of the speech SUPERIOR EXCELLENT GOOD FAIR TIME 8 minute maximum time limit. No minimum. Penalty for overtime exceeding 30 seconds. This entry is LOWERED ONE RANK for overtime exceeding 30 seconds Obviously not having an original speech. Using more than one 4 x 6 notecard. Using a notecard larger than 4 x

21 Informative Public Speaking 1. Purpose: The purpose of this event is to teach the student to organize and present material of informative nature, to increase knowledge of speech composition, to develop proficiency in delivery, and to utilize visual/audio media appropriately. 2. Rules a. This event involves the gathering and organizing of material primarily informative in nature and composing an original speech. b. The primary purpose of this speech shall be to inform the audience. Any other purpose such as to entertain, to impress, or to convince shall be secondary. c. The speech shall be delivered extemporaneously. d. The speaker may use a lectern. e. The student is encouraged, but not required, to use visual/audio media such as charts, maps, diagrams, or actual objects, always mindful that media should be an integral part of the presentation and not an unnecessary gimmick. f. Maximum time limit shall be eight minutes. g. One 4 x 6 notecard or smaller may be used. 3. Judging Standards a. The primary aim of this speech shall be to present information clearly and interestingly. b. The judge shall consider clarity of organization and development by examples, illustrations, analogies, statistics, use of effective wording, and factors of interest. c. Delivery shall be judged for the mastery of the usual mechanics of speech and effectiveness in the use of visual/audio media. d. The speech shall be well composed and delivered so that it is unmistakably clear and the possible understanding, explanation, and instruction occur. e. The final test of Informative Public Speaking is the ability of the speaker to make the audience forget that this is a contest. 4. Disqualification Criteria a. Not having an original speech. b. Use of more than one 4 x 6 notecard. c. Use of a note card larger than 4 x Lowering Rank Criteria a. Overtime (exceeding 30 seconds). Contestant(s): Code: Title/Topic: Round: Section: Judge s Name & Code: THESIS Is there a definite theme? Is its purpose to entertain? Is it appropriate for the event? Is it a speech rather than a routine? ORGANIZATION Is there a suitable introduction? Are the thesis and subpoints supporting the main idea? Is there evidence of structure? Is the organization suitable to this event? Is there a suitable conclusion? CONTENT Does this speech entertain, amuse? Is the contestant s work original? Is it appropriate for this event? Is it more than a series of jokes? Does it contain elements of humor and/or fascination? STYLE & LANGUAGE Is it appropriate? Colorful? Fresh? Does it gain the attention of the audience and hold it? DELIVERY Is it appropriate to this event? Is it lively? Does it enhance rather than interfere with understanding? If audio/visual aids are used do they enhance the presentation? CIRCLE the RANK of this entry in comparison to the others in this round. THERE MAY BE NO TIES IN RANK. CIRCLE a RATING for the quality of the speech SUPERIOR EXCELLENT GOOD FAIR TIME 8 minute maximum time limit. No minimum. Penalty for overtime exceeding 30 seconds. This entry is LOWERED ONE RANK for overtime exceeding 30 seconds Obviously not having an original speech. Using more than one 4 x 6 notecard. Using a notecard larger than 4 x 6. Use of costumes or make-up