1. Storytelling. Does the scene have a dramatic arc? Can we clearly follow the action of the scene? Does the scene begin and end with purpose? Is there a unity of approach and execution of artistic choices?
2. Staging and use of space/ground plan. Is the space thoughtfully and imaginatively used to tell the story of the scene? Does the staging help clarify the story or does it impose something on the scene? Does the director understand the fundamentals of staging?
3. Theatricality. Does the director solve the challenges presented by the scene in an inventive and purposeful way?
4. Casting. Was the scene well cast?
5. Actor Coaching. Are character relationships clear and compelling? Are the actors/characters in the same dramatic world?
6. Communication, collaboration and understanding. Is there evidence of collaboration and communication within the company? Is there evidence of clear dramaturgy regarding the playwright, the play, and the nature of the scene?

• Does the Prompt Book reflect the director’s work and understanding of the scene?
• Does the Director’s Statement reflect a clear, articulate explanation of the director’s vision?
• How effectively did the director communicate a coherent and compelling vision of the play and scene in the interview, rehearsal, and performance aspects of the process?
• Did the director demonstrate a comprehensive understanding of how to realize a unified vision of the play and scene?
• Does the Director’s work demonstrate an understanding of the play and scene?
• How well does the director communicate their ideas?
• How successfully does the director incorporate the feedback received in order to further develop the scene?

Presentation of Scenes

Directors are encouraged and expected to assist their actors in setting up and striking the set for their scene in the preliminary round. Directors may opt not to assist the actors for the final presentation. Set up and strike for scenes should be rehearsed and happen quickly, with respect for preceding and following scenes. Each director will introduce themselves, their scene, and their actors. Introductions should be made without reference to school. It is suggested that you rehearse the introduction with your actors giving them a signal to begin the piece. Directors are required to observe all scenes and attend all response sessions. If possible, a short amount of time will be arranged for the directors prior to the preliminary scene so that they (and their actors) can walk the space. No rehearsing is allowed at this time, but vocal checks for volume may be performed. If possible, rehearsal time will be arranged in the performance space at festival between the preliminary and final presentations to allow directors to incorporate feedback. If it is not possible to arrange formal rehearsal time for all of the participants, or if the director cannot attend the arranged rehearsal time because of conflicts, the director will be responsible for rehearsing their scene on their own. Rehearsal time may be observed and evaluated by respondents.

Interview

Interview questions may include discussions about the director’s scene at festival, previous directing experiences, future goals in the field, prompt book and other written materials.

Written Materials

(Note: The name of your school and contact information should only be included on the Contact Information page. Your name only should be included on all other materials.) Students nominated to participate in the SDC Student Directing Event are required to bring the following materials to the regional festival:

• Prompt Book and Director’s Statement (Due on the first day of festival)
• Current Resume (Due at the interview)
• Other Supporting Materials – Optional (Due at the interview)
• Prompt Book (Required)

Those nominated to present scenes are required to present a detailed prompt book. Failure to provide the Prompt Book, including the prepared Director’s Statement, on the first day of festival (time and place to be announced) will result in disqualification. The Prompt Book is an important factor in deciding who will advance to the interview and final round of presentations. The Prompt Book will also be reviewed as part of the interview phase of the process. The Prompt Book is the director’s way of presenting their vision and point-of-view on the scene and play they have selected. The Prompt Book should reflect the dramaturgical and academic approach to the subject of directing. It should contain essential elements that articulate the process of selecting, researching, preparing, visualizing, analyzing, designing, rehearsing, and fine-tuning the text.

• Contact Information (This page will be seen by the coordinator only)
• Nominee’s Name, School, Current Email Address, Cell Phone Number
• Faculty Advisor’s Name, Email Address
• Name of Play/Scene Being Presented
• Actors Names
• Director’s Statement (a written statement that reflects analysis of the scene – see below)
• Visual Materials (ground plan, blocking diagrams, etc.)
• Critical Materials (dramaturgical research, text, language, character analysis, etc.)
• Working Script (for the text with notes, breakdown, analysis, edits, etc.)

• Your directing philosophy and goals as a director.
• Why did you choose this particular scene/play?
• What are you trying to achieve with your directing approach to this scene?
• How would you present a fully produced version of your play?
• What are your strengths and challenges as a director, and in regards to this particular project?
• Current Resume (Required) A current resume focused on directing and theatre-related activities

Additional Materials (Optional)

You may bring one additional Production Notebook or Portfolio to the interview. These Additional Materials should be representative of your work on previous productions as a director, and will be returned after the final presentation of scenes. Be selective and choose quality over quantity. Suggestions for Additional Materials:

• Production Script, Journal, Notes, Blocking, Scene Breakdown
• Production Photographs, Research Images
• Directing Statements, Character Analysis
• Research or Dramaturgical Materials
• Design Process, Research, Notes (Set, Costume, Lights, Make-up, Props)
• Videos, dvds, tape recordings or other audio-visual materials will not be accepted.

Technical Parameters

There will be no technical rehearsals for these scenes. There is no technical support for these scenes.

Theatre Space

The following block furniture will be supplied at festival:

• 1 table – small square
• 4 chairs
• 4 cubes
• 1 Free-standing door
• 1 futon or bed option
• Lights

There will be no light cues. Lighting for the stage will be preset as a wash and cannot be changed. There will not be any lights up or down. Costumes, Props The director is responsible for any costume pieces, set dressing and hand props needed for their presentation. Sound The director is allowed to use sound. However, there are no tech rehearsals. There will not be a sound board operator. If the director elects to use sound, the director must supply a sound source (boom box). If the director elects to use sound, the director may not operate the sound. No directors will be allowed to operate the sound. Actors or other students may operate the sound. Any additional questions can be directed to Jennifer Holmes, jholmes@whittier.edu.

• Deadline for Application is January 15, although early application is suggested since pre-festival involvement is encouraged.
• No faculty recommendation is necessary for the Observership.
• Follow the Student Directing Observership Overview and Guidelines
• Fill out the Student Directing Questionnaire and send to:

  Jeremy Lewis
  KCACTF Region 8 Directing Program Coordinator
  Concordia University, Irvine
  jeremylewisdirector@gmail.com

• Once questionnaires have been received, you will receive an email from the Student Directing Coordinator confirming your participation in the Student Directing Fellowship.