SDC Fellowship Guidelines
Students admitted to the SDC Fellowship Program should be prepared to be busy during the Festival. In addition to the Program Rounds, directing students will be provided rehearsal time, and will participate in directing workshops and roundtable discussions. Directors need to be present for all aspects of the program, for the full week, from early Tuesday evening through Saturday evening. Latecomers to the program will not be accommodated.
Up to fifteen students can be invited to participate in the SDC Fellowship Program at the Region 1 Festival. Each director will present a short scene from the list provided on the national website. The scene will include bona fide student actors, and must be rehearsed at the home institution and presented at the regional festival.
Scenes are to be selected from the list that has been posted on the KCACTF National website.
Note: Student directors or their school are responsible for purchasing and/or providing their own script copies for the above-listed scenes.
Logistics and Technical Information: The only furniture items permitted and provided will be one table and two chairs. Any hand props or costumes required for the scene must be provided by the director. The regional host and coordinators will not be able to provide props or costumes for the scenes. Costumes may be used (but are not required). Please note that there is no technical support in the way of lighting and sound. The festival will provide a stage manager from the regional event. Directors should come prepared with a script for the regional stage manager. There will be a five-minute break between scenes for set-up, with a ten-minute break after every fourth scene.
Director’s Book: Student directors accepted into the fellowship program will create a book for review by the Directing respondents. It must be submitted electronically as a PDF to Kathleen Sills by January 25th, 2019. Late production books will result in disqualification. It must include:
- Director’s Statement
The director’s written statement provides the personal, analytical and intuitive framework for the scene. It is a combination of script analysis, research, creativity and personal connection to the text. The statement should address the themes, images and specific lines of text that guide the director’s work, including the context of the scene; where/how the scene fits into the play.
- Play Analysis (see below)
- List title of play, name of author, and date of writing, first production, or both.
- Briefly describe any significant previous action that occurs before the scene begins.
- Describe the major event(s) of the scene.
- Describe the scene’s basic conflict in a concrete sense (example: Edna wants Joe to join the striking cab drivers but Joe is afraid).
- Describe how this scene’s basic conflict integrates with the basic conflict of the play in an abstract sense (example: Edna and Joe’s conflict reflects the basic conflict of Waiting for Lefty which is an exploration of the struggle of the working class against capitalist greed… etc., etc.).
- List the characters, and provide an overall character objective and an objective for the scene.
- Identify the obstacles between each the characters and each of their objectives in the scene.
- How do the characters change over the course of the scene?
Vision / Concept:
What is the importance of the scene to the play as a whole? How does this scene reveal, highlight, detail, or expand upon one or more of the ideas that the playwright hopes to communicate to her / his audience? (Please understand that the last part of this question asks you to identify at least one of the playwright’s ideas or purposes in writing the play.)
Spectacle / Design:
List a series of imagistic words that capture your aesthetic sense of the scene’s look and “feel” of the play. These words could include colors, textures, ornamentation, relevant metaphoric images, light and shadow, composition, degree of detail, etc.