All musical theatre pieces must be performed from a musical published fort the stage. Cabaret nights, movie songs, and pop songs are not eligible for competition. Musical Categories include Solo Musical, Duet Musical, Group Musical.
Recommended companies to look up songs.
The Musical Company
The musical rubric is broken down into six sections.
Movement and Dance
For more help on each section and how to maximize your performance, keep reading.
Acting transitions includes the following elements
- A clear slate that includes clear articulation of name, selection, author of selection, and troupe number.
- Transition into the scene/monologue, transitions between monologues, and a clear final moment of the piece and transition out of the piece.
Recommendations to improve your Acting Transition score.
1. Practice your slate like you do your piece itself.
2. Know how to pronounce your author and selection. If the judge knows the proper pronunciation and you say it wrong, it sets the wrong tone.
3. This is your first impression, almost like a date, you want to be pleasant but not over the top and say what you are supposed to, not too much, and not too little.
4. If you are using a chair or table (if allowed), pre set it before your slate, do not allow your transition be muddled with moving furniture.
5. Be aware of what you do before you talk, you are being evaluated from when you start your slate.
6. Be clear on your final moment. Don't start leaving before you are done.
Characterization on the rubric asks for emotional and physical believability and commitment to character; choices or tactics towards an objective that create a relationship with real or implied partner(s).
What is characterization? Characterization is the creation of character through voice, movement, personal research and textual analysis.
Different Tips and methods to creating character.
Character DOs and DONTs
Read the script!
Take time to do more than memorize! Look for different objectives
Don't just read lines with feeling.
Don't just go up and "wing it."
Don't "play emotions."
Don't employ stereotypes.
Don't just take. Give.
Acting Techniques: There are several different methods to creating character developed by a range of teachers. It is up to the actor to decide which method is write for them.
For a general overview of the major methods and the actors who use it. CLICK HERE.
Constantin Stanislavski: Known as the method, Stanislavski is considered the father of modern acting. His approach incorporates spiritual realism, emotional memory, dramatic and self-analysis, and disciplined practice.
Lee Strasberg: Strasberg took Stanislavski's method and adapted it, it encourages actors magnify and intensify their connection to the material by creating their characters’ emotional experiences in their own lives.
Stella Adler: Adler studied under Strasberg but modified the system to emphasize imagination in addition to emotional recall.
Sanford Meisner: Meisner worked with Adler and Strasberg. Meisner taught his students to “live truthfully under given imaginary circumstances.” His approach is an imminently practical one; his famous repetition exercise, in which two actors sit opposite each other and respond in the moment with a repeated phrase, breaks down overly structured technique and builds openness, flexibility, and listening skills.
Michael Chekhov: Chekhov pioneered a psycho-physical approach to acting, focusing on mind, body, and a conscious awareness of the senses.
Practical Aesthetics: This method was developed by William H Macey and David Mamet. It involves a four-step scene analysis that simply focuses on pursuit of an action; actors are taught to focus on what is literally happening in the scene and what is desired of the other characters.
Uta Hagan: Her popular technique emphasizes realism and truth above all else; “substitution” (or “transference”) encourages actors to substitute their own experiences and emotional recollections for the given circumstances of a scene.
Viola Spolin: Used theatre games to live in the moment and respond quickly and truthfully to their present circumstances.
Characterization in Theatre
Pitch, articulation, pace, rhythm, projection, breath support and control that follows the score.
Score (reading music)
Helpful Videos on Musical Theatre Singing Techniques
Musical expression that communicates and reflects the character's emotions and subtext.
Gestures, facial expressions, blocking, and movements/dance communicate the character's emotions and subtext.