"In a well-planned one-act play contest, there are no losers." 
Cover design by Joe Schroeder. 
Additional copies of this publication may be pro­cured from the Bureau of Public School Service, The University of Texas, Box 8028, University Station, Austin, Texas 78712 
25 Cents per Copy 
THE UNIVERSITY OF TEXAS PUBLICATION 
NUMBER 6517 SEPT. I, 1965 
PUBLISHED TWICE A MONTH BY THE UNIVERSITY OF TEXAS, UNIVERSITY STATION, 
AUSTIN, TEXAS, 78712. SECOND-CLASS POSTAGE PAID AT AUSTIN, TEXAS. 
THE UNIVERSITY INTERSCHOLASTIC LEAGUE 
HANDBOOK 
for 

011e-Aet Play tJireetors 


Contents 
Educational Theatre: A Definition 5 Introduction 
7 Responsibilities of the Individual Play Director 7 One-Act Play Contest Calendar 7 Selecting Your Contest Play _ 9 Planning Meetings 10 The Contest . 
11 So, You Won the Contest . 12 Approved List of One-Act Plays for Contest 13 Play· Publishers . 18 Ineligible Plays . 18 One-Act Play Contest Rules 19 Standards for Judging One-Act Plays . 24 Guide for Contest Managers . 25 Definitions . 
26 Bibliography 26 
I think I love and reverence all arts equally, only put· ting my own just above the others; because in it I recognize the union and culmination of my own. To me it seems as if when God conceived the world, that was Poetry; He formed it, and that was Sculpture; He colored it and that was Painting; He peopled it 
with living beings, and that was the grand, divine, eternal Drama. Charlotte Cushman 
Educational Theatre: A Definition 
Modern educational theatre is a creative, practical activity. Its par!Ic1pants learn to do by doing those scores of tasks which are required of them as they are taught the art of play production. They learn to think independently because the development of individual thought and action is one of the basic elements of play prochiction. They learn to appreciate the dignity of human labor because the theatre demands a great amount of human labor. They learn to master the tech­niques of handling tools, needles, pigment, electrical equipment, paint, lumber and cloth. They learn to sell tickets and advertising, to make and upholster furni­ture, and to launder clothing. They draw upon their knowledge of mathematics, physics, speech, art, journalism, music, English, dance, history, literature, in­dustrial arts, psychology, homemaking, and foreign languages, and combine all these with specific training in the art of theatre as they work together to produce a single play. 
Modern educational theatre is a creative, culturally enlightening activity. Its participants learn to appreciate the great literary masterpieces of Moliere, Shake­speare, Goethe, Shaw, and the Greeks, because the works of these masters must be thoroughly studied and understood if they are to be brought to life on the stage. An appetite for good literature is created, and motivation for literary appreciation is strongly established by the requisites of play production. 
Modem educational theatre is a creative, democratic activity. Students learn the principles of democracy and civic responsibility because these principles are inherent in an effective educational theatre program. Working together in close harmony as members of a play company, establishing the esprit de corps which occurs so naturally during rehearsal periods, assuming responsibilities as crew members, coordinating all work projects to meet a deadline, settling with toler­ance and understanding the differences of opinion and procedure which are always present in a free society, learning to command and be commanded: these are as­pects of functional democracy and community leadership which are encountered daily by all who work in play production. Such an activity makes a definite con­tribution to the improvement of democratic processes of the community. 
Modern educational theatre is a creative activity which has personal and thera­peutic values. The student develops such qualities as self confidence, poise, co­operativeness, initiative, resourcefulness, self control, and self discipline, and a sense of understanding and appreciation of the abilities and efforts of others. He learns the importance of systematic organization, orderly procedure, and de­tailed planning because even the most casual type of play production encourages and requires the development of organizational abilities. The srudent in the edu­cational theatre experiences keenly the feeling of belonging; he is provided with a controlled outlet for physical, emotional, and mental disturbances which seem common to most young people. He discovers through dramatics a more definite purpose for staying in school and an acceptable reason for giving closer attention to the other scholastic pursuits. If he is shy, he is taught to overcome shyness. If he is too aggressive, he learns to temper his aggressiveness with consideration for others. In play production he finds an opportunity to expend excess energy in a constructive and educationally productive way, to develop his imagination, and to use his leisure hours to better advantage. 
Modem educational theatre is a creative activity which has definite vocational possibilities. One of the reasons for the number of collegiate drama courses has been the demand for public school and university teachers of dramatics. Edu­cational drama also exists for the purpose of giving training to those students who seek careers in television, community and professional theatre, the dance and the motion picture industry. Therefore, the educational theatre is a creative segment of academic life which becomes more than an extracurricular activity, more than a medium of entertainment, and more than just a class play. 
It provides actual experience in practicing democratic principles of living which increases the student's potential value to his community. It supplies per­sonal and therapeutic values which give him a greater emotional and mental sta­bility, and which enhance his chances to provide an adequate livelihood for himself and his dependents. He can find somewhere in the diversified intri­cacies of play production an opportunity to use all of his talents and capabilities. Each of his needs is met in the educational theatre because of the scope and comprehensiveness of its activities. 


Introduction 
This Handbook was prepared in order that individual play directors and contest managers might be encouraged to strive more effectively to achieve the purposes of the One-Act Play Contest and to make it a more meaningful creative educational experience for all participants. 
Responsibilities of the Individual Play Director 
As the director of your school's entry in the One-Act Play Contest of the Interscholastic League, you will discover at least three important responsibilities. One is to select a high quality play which will best represent your capabilities, the talents of your students, and which will reflect with credit upon the educational theatre program of your school. 
Another responsibility requires that you direct your production in a manner which will result in the finest quality performance you and your company are able to achieve. 
Finally, there is the responsibility concerning your attitude and that of your company toward play contests. Play competition, unlike some types of contest where the outcome can be measured by nu­merical totals, can be "won" even though the first place award may be to another company. Directors and students gain from participation in play production, and no decision can take these benefits away from them. You and your company should accept this concept when you enter the contest. You must realize there is literal truth in the state· ment, "In a well planned one-act play contest, there are no losers." While it is natural and entirely in keeping with the objectives of mod­ern education to strive for first place, the purposes of competition in the creative arts are lost when students and directors behave in an unbecoming manner if they fail to win. You, as director of a student play company, have a significant duty to perform in this respect. It is as important as is any other aspect of play competition. 

One-Act Play Contest Calendar 
December l. Deadline for submitting One-A <:t Play En rollment Card. The One­Act Play Enrollment Card is mailed in September to the principal or super­intendent of each high school that held League membership the previous year. 
The Enrollment Card must be completed in full and returned to the State Office postmarked no later than Dec. l. Cards postmarked after the deadline will not be accepted, and the school will be ineligible to par­ticipate in the one-act play contest for the current year. 
Since checking "yes" on the Enrollment Card obligates the school to par­ticipate in the contest, the signature of the principal or superintendent is mandatory. Failure to compete in the district contest after a school has agreed to participate can result in suspension from this event during the following year. 
February 12. Deadine for requesting perm1ss1on to produce plays not on the ApproYed List of Plays. A director who desires to produce a one-act play not on the ApproYed List or scenes from a three-act play must submit an exact copy of the script to the League Play Appraisal Committee, no later than February 12. 
February 12. Deadline for requesting additions to the basic set. Rule 2b(4) provides that the basic set available at the host school will be used by all the companies in the contest. You may decide additional set pieces are de­sirable. You must request permission in writing from the State Office to use such items. (Refer to Definitions, page 26 for set pieces.) 
The rule further provides that the request must be accompanied by draw­ings or a model drawn or made to scale. There must also be a floor plan, drawn to scale, along with the name of the play, and complete descriptions of the pieces and explanations of how they will be located, supported, or flown. Without all of this information, the request will be returned without consideration until the required data are supplied. 
The Play Appraisal Committee is unlikely to approve additions to the basic set except for small items essential to the understanding of the play. Be sure your additions to the basic set are functional rather than decorative. This is not a con test in scene design or construction. 
Approval of the script, whether on the Approved List or by special request, does not constitute approval of any scenery described in the script. 
March 3. Deadline for submitting One-Act Play Title Entry Card. Each Febru­ary the State Office mails to the one-act play director of each school entering the contest an Official One-Act Play Title Entry Card. This card must be returned to the State Office postmarked no later than March 3. The title submitted on this card must be eligible for the contest according to the current rules. 
Payment of royalty does not necessarily give a director permission to edit a play as he wishes. This is particularly true of cuttings of long plays. Written approval to present scenes or cuttings from long plays must be secured from the publisher, and this must be accomplished before the Title F.:ntry Card is submitted. 
Selecting Your Contest Play 
This is one of the most important and difficult tasks facing the di­redor. Upon your knowledge of plays and the ability to select the best one for your situation will depend to a great extent the values which will accrue to your students. Likewise it will affect the decision of the judge when he evaluates your production. Thousands of words have been written on this subject and they are available to you through textbooks and The Leaguer. Perhaps they can best be summarized by stating "Know thyself, thy students, and many plays; neither over­estimate nor under-estimate any of these." 
The first and a most important step in selection of the contest play is to be completely familiar with the rules. They appear in the last section of this Handbook. Rule 2 is especially important. Also included in the Handbook is an "Approved List of Plays." Procedures for re­questing permission to do a play not on this list or a cutting of a long play will be found in Rule 2. 
All decisions. pertaining to consideration of such plays are made by the League's Play Appraisal Committee. Disapproval of a script is usually due to (1) a morbid or sordid theme (2) an unwholesome plot or subject (3) its being badly written and offering insufficient challenge ( 4) violation of rules governing the selection of plays. 
During the history of the One-Act Play Contest few farces or plays with plots dealing primarily with teenagers have won contests. Trag­edies, serious comedies, and plays written in the fantasy style have been more frequent winners. 
The Interscholastic League is committed to a policy of encouraging 
the use of high quality plays by Texas high schools. Use of well­
written scripts will result in more effective play production and in­
creased respect for the educational theatre. In keeping with this policy 
the League supports and approves the Play Sel ection Policy adopted 
by the American Educational Theatre Association, the Southwest 
Theatre Conference, and the Texas Educational Theatre Association. 
Decisions of the Play Appraisal Committee concerning permission to 
produce plays published by firms not endorsed by these Associations 
will be governed by provisions of the policy. Copies of it may be ob­
tained from the League Director of Drama. 
The Drama Loan Library is maintained primarily to assist Texas 
play directors in the selection of their scripts. The library contains 
approximately 20,000 volumes and includes most of the long and short plays of the major publishers. They may be borrowed by any faculty member of a Texas school system for a period of two weeks. The school with which the borrower is affiliated is held responsible for all borrowed materials. No one from that school may borrow further materials until the original order is properly cleared. With each pack· age is enclosed a sheet of instructions which gives complete details concerning the handling of the materials. 
Perhaps the best way to choose plays to read is to secure catalogues of the publishers, and after reading their descriptions, order from the Drama Loan Library those titles which seem to fit your cast and situation. The addresses of the endorsed play publishers are found in the Approved List of Plays. These publishers furnish free catalogues upon request. Plays should be ordered by title. 
Planning Meetings 
The District One-Act Play Contest is administered and conducted by the District Executive Committee. In order that this committee may have the benefit of your training and experience as a play director, and that you may have an opportunity to participate in planning the contest, you are urged to hold a play contest planning meeting. It should be scheduled as early as possible and before the District Ex­ecutive Committee meets to make plans for the Spring Contests. 
Each year the State Office asks one school in the district to provide a chairman, usually the director of the contest play, for the planning meeting. He then schedules the affair and notifies other schools in his district. This chairman is not the District Contest Manager. His job is to arrange the planning meeting only. 
These are some of the items which should appear on the agenda of the planning meeting: 
1. 	
Dates of the district one-act play contest: The date should not conflict with other spring events. Check League calendar for dates which may be used. 

2. 	
Time of contest: Depending upon the number of schools entering the con­test, arrange a time for performances which will insure the largest possible audience. Leave ample time after the contest for the expert critic judge to present a full critique of all plays. 

3. 	
Contest site: Recommend selection of a site where a school or college has the best possible rehearsal and production facilities. A good stage for con­test plays is of greater importance than a fine anditorinm. Selection of the Contest Manager may be recommended when discussing site. 

4. 	
The contest judge: Recommend that only one expert critic judge whose name is on the State Office "Accredited List of Critic Judges" be used. If more than one judge must be employed, select five or more. 

5. 	
Financing the contest: Recommend a method of paying expenses. Charging admission, collection of an entry fee from participating schools, or both methods are suggested. 

6. 	
Promotion of the One-Act Play Contest in the district: Discuss ways to se­cure participation of all district schools, discuss means of improving qual­ity of production, submit general as well as specific recommendations or suggestions to the District Executive Committee and send copies to the League Director of Drama. 




The Contest 
Eligibility Notice: An Eligibility Notice is mailed from the State Office to each one-act play director who submitted a Title Entry Card. The Eligibility Notice is an important form serving ( 1) to certify the eligibility of the play selected by the school; (2) to certify that par­ticipating students are eligible; (3) to describe stage properties re­quired for the play; (4) to provide program copy for the contest manager; and (5) to indicate the length of performance for prepara­tion of the contest schedule. 
No play may be presented in contest unless the Eligibility Notice has been submitted to the contest director general. In the event the Eligibility Notice is lost, call the State Office immediately so that an­other one can be issued. 
Take with you: (1) Costumes, make-up, and sound effects needed and authorized by League rules; (2) only those set pieces, if any, specifically approved by the State Office; ( 3) all hand and stage prop· erties not available at the contest site; (4) evidence of royalty pay­ment; (5) when applicable, publisher's approval to do cutting of a long play. 
Arrival at contest site: Upon your arrival at the theatre, advise the contest manager in order that he can give you information about the rehearsals and the contest. 
Rehearsal time: The Contest Manager will allow as much time as possible to rehearse on the st'age. It is usually unnecessary to have a complete rehearsal, but you need time enough to become accustomed to the auditorium, lights, size of stage, etc. It is imperative that you observe time limits. Every cast deserves its full turn on the stage prior to the contest. 
Conduct: You are specifically responsible for the conduct of your company. Instruct your students of the prime importance of courtesy and consideration for other visiting students, for the local crews and contest managers, and for the critic judge. Each company should be advised about the proper care of stage equipment, properties, and dressing rooms belonging to the host school. 
Remember that your actors may not be prompted by anyone in the off-stage or back-stage areas during a performance and that you will not be permitted in these areas after the curtain rises on your show. 
The Performance: Allow the host stage and prop crews time to set the stage before bringing your cast on stage. Be prepared to come to the stage for performance when called by the stage manager. After the performance the cast should leave the stage immediately, and the crew should strike all hand props and costumes. Actors should remove all make-up and costumes before going into the house to see other plays. 
The Decision: Accepting the judge's decision requires a graciousness on the part of the "winners" as well as the "losers." Receiving a first place award in the one-act play contest is no reason for a display of boisterous or riotous demonstration. Applause is the acceptable method to pay tribute in the theatre. One aspect of your task as a director is to so instruct your students. 
The Critique: The play contest is a creative, culturally enriching event and the desire to improve by comparison is one of the principal reasons why students and directors participate. Thus, receiving the comments of the critic judge becomes as definite a part of the contest as does the performance. To miss this educationally important aspect of play competition denies your company a benefit which it has earned and to which it is entitled. Failure to participate in the critique is evidence of immaturity and bad sportsmanship. You owe it to your company and to your own efforts to listen to what the judge may say; you have no right to offer an opinion contrary to his when you have not heard his full critique. 
So, You Won the Contest 
If your play is awarded first place in the district, area, or regional contest, there are certain steps you must take immediately. You will be presented with a winner's envelope by the Contest Manager {ask for it, if he fails to give it to you). In the envelope will be another Eligibility Notice which you are to fill in completely and send to the director-general of the next higher contest. Your principal will know the address if the contest manager does not have the information. 
The items as described above apply equally to all other play con­tests. Plan thoroughly, prepare fully, and check carefully all items before a contest This is a wonderfully worthwhile event in the lives of your company. 
An Approved List of One-Act Plays for Contest 
Title, Author, Publisher  Type  Royalty  Cast  
A ffel'!ed Young Ladies, The, l\foliere, French  Comedy  Non·R  6M-3W  
Afterwards, l,eraldinio Mc Gaughan, French  Drama  $5  3M-IW  
Am<>rican Family, An, Fred Eastman, French  Drama  SS  4M-4W  
Anastasia I Recognition S1·e1w), Marcelle Maurette,  
Frenr:h  Orama  $10  2W  
And Sikntly Steal Away, Pattf'rson and Mitchell,  
French  Comedy  S5  2M-3W  
Angels Don't Marry, Ryerson and Clements, French  Comedy  $5  IM-2W  
Antic Spring, Robert Nail, French  Comedy  $5  3M-3W  
Apollo of Bellac, The Jean Giraudoux, French  Comedy  $25  9M-3W*  
Aria Da Capo, Edna St. Vincent Millay, Baker &  
French  Fantasy  $15  4M-lW  
At Night All Cats Are Gray, Robert (:arland, French  Comedy  $5  3M-1W  
Raid Soprano, The, Eugene Ionesco, French  Comedy  $IS  3M-3W  
Bathroom Door, The, Gertrude Jennings, French  Comedy  $5  3M-3W  
Bauble for Baby, A, E. P. Conkle, French  Comedy  $5  1M-3W  
Bishor's Candlesticks, The, Norman McKinnel,  
French  Drama  SS  3M-2W  
Boor, The, Anton Chekhov, French  Comedy  Non-R  2M-1Wx  
Box and Cox, John Morton, French & Baker  Comedy  Non-R  2:\1-lW  
Brilliant Performance, Marjorie Allen, French  Comedy  $5  4W  
Brown in~ Version, The, Terrance Rattigan, French  Drama  $20  SM-2W  
Brute, The, Anton Chekhov, Frenl'h  Comedy  85  2M-1Wx  
Bumbo the Clown, Lawrence Gibson, French  Fantasy  $5  3M-lW  
Cabbages, Edward Staadt, French  Comedy  SS  3M-4W  
Call Mc Mac, Theodore St. John Cox, Baker  Drama  $5  4M-2W  
Case of the Crushed PetnniaR, Tennessee Williams,  
Oram. Play '3erv.  Fantasy  SlO  2M-2W  
Chairs, The, Eugene Ionesco, French  Drama  $15  2M-1W  
China-Handled Knife, A, E. P. Conkle, French  Comedy  SS  6M-4W  
Circnmstanr-es Alter Cases, Ruth GiorlofT, Fr1:nd1  Comedy  SS  2M-3W  
Clod, The, Lewis Beach, French  Drama  $10  4M-1W  
Columbine iliadonna, Glenn Hughes, Baker  Fantasy  85  4M-IW  

Cooks' Detour, l\fonte Kleban, French Courting of Marie Jenvrin, The, Gwen Pharis Ringwood, French Curtain, Colin Clements, French 
Dancers, The, Horton Foote, Dram. Play Serv. Dark Brown, Philip Johnson, French Dawn Will Come, David Weinstock, French Dear Departed, The, Stanley Houghton, French Death of the Hired Man, The, Jay Reid Gould, 
Orm. Pub. Co. Devil and Daniel Webster, The, Stephen Benet, 
Orm. Play Service Devil on Stilts, Ryerson and Clements, French Devil's Cuspidor, The, Beatrice La Force, McKay Double Date, Florence Ryerson, French Dust of the Road, Kenneth Goodman, Baker 
Eariy Frost, Douglass Parkhirst, French Enchanted Night, Glenn Hughes, Dram. Play Serv. 
Farce of the Worthy Master Pierre Patelin, The, 
Moritz Jagendorf, Baker Finders-Keepers, George Kelly, French Finger of God, The, Percival Wilde, Baker First Class Matter, Rachel Field, French Five in Judgment, Douglas Taylor, Dram. Play Serv. Fixin's, Paul and Erma Green, French Flattering Word, The, George Kelly, French Florist Shop, The, Winifred Hawridge, Baker Footfalls, Brainerd Duffield, Dram. Pub. Co. Four Hundred Nights, Jack Knapp, Baker Frogs, The, Aristophanes, Adapted by I. E. Clark, 
Stage Magic, Box 246, Schulenburg, Texas 
Game of Chess, The, Kenneth Goodman, French Gammer Gurton's Needle, Adapted by I. E. Clark, 
Stage l\fagic, Box 246, Schulenburg, Texas Good-Bye to the Clown, Ernest Kinoy, French Grand Cham's Diamond, Allan Monkhouse, Baker Granny's Little Cheery Room, E. P. Conkle, French Great Choice, The, Fred Eastman, French 
Happy Journey, The, Thornton Wilder, French 
Heritage of Wimpole Street, The, Rohert Knipe, 
Baker 
'Tie, Eugene O'Neill, Dram. Play Scrv. 

Comedy Comedy 
Comedy 
Drama Drama Drama Comedy 
Drama 
Comedy Comedy Comedy Comedy Drama 
Drama Fantasy 
Comedy Drama Drama Comedy Drama Drama Comedy Comedy Drama Drama 
Comedy 
Drama 
Comedy Comedy Comedy Comedy Drama 
Comedy 
Drama 
Drama SlO-SS 2M-2W 
SS  SW  
SS  Sl\I-2W  
SS  ll\l-2W  
$1S  3M-7W  
SS  2M-SW  
$5  SM  
SS  3M-3W  

SS 6M-l\"'\I SS 3W $10-SS 2M-3W SS 3M-4W $10-SS 3M-1W 
SS SW SS SM-3W 
SS 41\I-lW $10 1M-2W SlO 2M-1W $S 2M-3W SlO 7.l'vl-lW SS 2M-1\V $10 2M-3W SlO 3l\!-2W $10-$S 7M-4W* SS SM-4W 
$10 81\1-4W* 
$10-$S 4M 
$10 6M-4W $S 3M-3W $S 3.\I-2W $S E\'l-3W $.5 4M-4W 
$10 3M-3W 
SS 2l\1-3W SlO SM-lW 
I'm A Fool, Christopher Sergei, Dram. Pub. Co. Comedy $10-$S 4M-4W 
Importance of Being Earnest, The, Oscar Wilde, 
Various Publishers Impromptu, Tad Mosel, Dram. Play Ser. In the Shadow of the Glen, J. M. Synge, French Informer, The, John McGreevey, Dram. Pub. Co. 
John Doe, Bernard V. Dryer, Baker Joint Owners in Spain, Alice Brown, Bake;­
Kitten in the Elm Tree, E. P. Conkle, French 
Ladil!s Alone, Ryerson and Clements, French Last of the Papier Mache Cupids, The, 
Cleve Haubold, French Lawyer of Springfield, The, Ronald Gow, Baker Leader of the People, The, Luella E. McMahon, 
Dram. Pub. Co. Lesson, The, Euµ:cnc Iones"o, French Lonesome-Like, Harold Brighorse, French Long Christmas Dinner, The, Thornton Wilder, 
French 
MaciJr-,th, William Shakespeare, Adapted by I. E. 
Clark, Staµ:e i\faµ:ic, Box 246, Schulenburg, Tex. Maker of Dreams, The, Oliphant Down, French !\Tan in the Bowler Hat, The, A. A. Milne, French Marriage Proposal, The, Anton Chekhov, French Married at Sunrise, John Kirkpatrick, French J\·1innie Field, E. P. Conkle, French Mi1111et A, Luis Parker, French Mooncalf Mugford, Duffield & Leary, Drm. Pub. Co. Moonshine, Arthur Hopkins, French Mr. F., Percival Wilde, French Mr. Flannery's Ocean, Lewis John Carlino, 
Dram. Play Ser. My Last Duchess, H. K. Bannerman, Drm. Pub. Co. 
Nciµ:hho1.,,, The, Zona Gale, French & Baker Nine Lives of Emily, The, John Kirkpatrick, French 'Nitiated, The, E. P. Conkle, French No 'Count Boy, The, Paul Green, French Noble l.or<l, The, Percirnl Wilde, Baker Not a Cloud in the Sky, Sophie Kerr, French Now that April's Here, James Reach, French Old Lady Shows Her Medals, The, J. 1\1. Barrie, 
French Old Mrs. Brown, l\farian Gould, French On the Sentimental Side, John Kirkpatrick, French Orphans, The, Nancy Camche, French Comedy 
Drama Drama Drama 
Drama Comedy 
Comedy 
Comedy 
Comedy Comedy 
Drama Drama Comedy 
Fantasy 
Drama Fantasy Comedy Comedy Comedy Comedy Drama Drama Comedy Comedy 
Drama 
Drama 
Comedy Comedy Comedy Comedy Comedy Comedy Comedy 
Comedy Comec.ly Comedy Drama Apply SM-4W $10 2M·2W SlO 3M-1W 
$10-$S  Sl\1-3W  
SS  6i\I-1W  
$S  4W  
SS  3M-3W  
$S  3W  
$S  6M-4W  
$S  7M-1W  

$10-SS 3M-2W $1S 1M-3W $S 1M-3W 
$10 SM-7W* 
$10 !OM-4W* $8 2M-1W $10 4M-2W Non-R 2M-1W $S 2M-4W SS SM $10 2M-1W $S 2M·3W $S 2M $10 3M-1W 
$10 3M-SW 
$S 3M-2W 
$10 2M-6W 
$S 3M-4W 
$S 6M 
$S 2M-2W 
$10 2M-1W 
$.5 2M-1W 
$S 2M-4W 
$10 2M-4W SS 9W $S 3M-4W $S 3M-3W o,·er the Teacups, Percival Wilde, Baker Overpraised Season, An, Richard S. Dunlop, French Overtones, Alice Gerstenberg, David McKay Co. 
Part-Time Job, Laura Hornickel, French Patchwork Quilt, The, Rachel Field, French Patterns, Anne Coulter l\lartens, Dram. Pub. Co. Pearls, Dan Totheroh, French Period House, W. P. Eaton, French Phoenix Too Frequent, A, Christopher Fry, 
Orm. Play Serv. Pioneers, l\fahel B. Gilmer, Baker Pit'chur Win'der, Grady Hausenfluck, 
The University of Texas Drama Dept. Pot Boiler, The, Alice Gerstenberg, McKay Princess Marries the Page, The, Edna St. Vincent 
Millay, Baker Psalm of Thanksgivin~, A, Katharine Kester, F rench Purple Doorknob, The, Walter Eaton, French 
Queens of France, Thornton Wilder, French 
Quiet Please, Howard Bauermann, Dram. Play Serv. 

Ralph Rnistcr Doister. Nicholas Udall, Adapted hy 

I. E. Clark, Stage Magic, Box 246, 
Schulenburg, Texa5 Hed Heels and Roses, Patricia Clapp, McKay Rehearsal, Christopher Morley, David McKay Co. Riders to the Sea, John Millington Synge, Baker Robe of the Galilean, The, John McGreevey, 
Dram. Pub. Co. Rose of Sharon, The, Frank R. Harland, The University of Texas Drama Dept. 
Saben Revi.'l.ited, Tom Jones, French 
Sandalwood Box, The, Essex Dane, Baker 
Sandbox, The, Edward Albee, Dram. Play Ser. 
Seeds of Suspicion, John McGreevey, Dram. Pub. Co. 
Shadow of a Dream, Roland Fernand, Dram. Pub. Co. 
Sham, Frank G. Tompkins, Baker 
She Stoops to Conquer, Oliver Goldsmith, 

Various Publishers Sheriff, The, James W. Arnold, French Sisters Mcintosh, The, Richard Corson, French Six Who Pass While the Lentils Boil, 
Stuart Walker, French Slave with Two Faces, The, Mary C. Davis, French Small-Town Girl, Glenn Hughes, Baker Comedy Drama Comedy 
Comedy Fantasy Drama Comedy Comedy 
Comedy Drama 
Comedy Comedy 
Fantasy Drama Comedy 
Comedy Comedy 
Comedy Comedy Comedy Drama 
Drama 
Comedy 
Drama Drama Drama Drama Drama Comedy 
Comedy Drama Comedy 
Fantasy Fantasy Comedy $10 4W $5 4M-2W $10-$5 4W 
SS 1M-4W $5 2M-5W SI0-$5 2'.\I-2W $5 2M-2W $5 3M-5W 
$25 1M-2W $5 3:\1-2W 
$5 3l\1-2W 
$10 5i\r-2W 
$10 6l\I-l w $5 2~1-2W S5 3W 
$10 1M-3W 
$5 3M-4W 
$10 4M-6W $10-$5 2M-3W $10-$5 6W $10 3M-3Wx 
$10 5.M-SW 
$10 2M-2W 
$5 3M-5Wx 
$5 ?W $10 3M-2W $10 4M-4W SS 2M-3W SS 3M-1W 
Apply 6M-3W 
$5 6M-1W 
$5 1M-2W 
$10 9M-2W* $5 1M-2Wx $5 3M-3W Sparkin', E. P. Conkle, French Spreading the News, Lady Gregory, French Spring Scene, Babette Hughes, Baker Stop for a Love Scene, John Kirkpatrick, French Storm is Breaking, A, Jim Damico, French Summons of Sariel, The, Magdalene Kessie, 
Dram. Pub. Co. Sunday Costs Five Pesos, Josephina Niggli, French Sunny Morning, A, Serafin and Joaquin Alvarez 
Quintero, French Suppressed Desires, Susan Glaspell, Baker 
Tangled Web, The, Charles Stevens, McKay Teeth of the Gift Horse, The, Margaret Cameron, 
French Terrible Meek, The, Charles Kenedy, French They're None of Them Perfect, Sophie Kerr, French This Bull Ate Nutmeg, Josephina Niggli, French This Way to Heaven, Douglass Parkhirst, French Thor, with Angels, Christopher Fry, Dram. Play Serv. Three Pills in a Bottle, Rachel Field, French Thursday Evening, Christopher Morley, McKay Tiger Lily, Charles Emery, French To Kill a Man, Percival Wilde, Baker Tooth or Shave, Josephina Niggli, French Trysting Place, The, Booth Tarkington, Baker Twelve-Pound Look, The, J. M. Barrie, French Two Crooks and a Lady, Eugene Pillot, French 
Ugly Duckling, The, A. A. Mime, French 
Valiant, The, Hall and r-1iddlcmass, McKay 
Vision at the Inn, Susan Buchan, French 

Wait for Morning, Child, Grover Lewis, French What Never Dies, Percival Wilde, Baker When Altars Burn, Kay Arthur, French When the Fire Dies, Ramona Maher, French When the Whirlwind Blows, Essex Dant!, Baker Where But in America, Oscar Wolff, Baker Where the Cross is Made, Eugene O'Neill, 
Drnm. Play Ser. 
Will-o'-the-Wisp, Doris Hallman, Baker 
Woman's Privilege, A, Marrijane and Joseph 

Hayes, French 
Wonder Hat, The, Hecht and Goodman, French 
Workhouse Ward, The, Lady Gregory, F rench 

Comedy Comedy Comedy Comedy Drama 
Drama Comedy 
Comedy Comedy 
Comedy 
Comedy Drama Comedy Comedy Fantasy Drama Fantasy Comedy Drama Comedy Comedy Comedy Drama Drama 
Comedy 
Drama 
Drama 
Drama Drama Drama Drama Drama Comedy 
Drama Fantasy 
Comedy Fan tasy Comedy 
17  
$5  1M-3W  
SS  iM-3W  
SS  2M-2W  
SS  3M­3W  
SS  2M-1W  
$S  9W  
$S  IM-4W  
S: lO  2M-2W  
$10  1M-2W  

SlO-SS 2M-2W 
Non·R 2M-4W Non-R 2M-1W SS 6W $S 41\1-lWx $5 2.M-2W Apply 8M-2W SS 4M-4W $10-$5 1M-3W $S 3M-2W 
$10 3M 
$S 2M-2W $10 4M-3W $10 2M-2W $10 3M-3W 
$S 4M-3W 
$10 SM-lW 
$S 1M-4W 
SS 2M-1W $10 1M-3W $S 4W $S 1M-4W $S 3W $S 1M-2W 
$10 6M-1W $S 4W 
$S 2M-2W $10 3M-2W $S 2M-1W 
World of Sholom Aleichem, The, Arnold Perl, 
Dram. Play Service A Tale of Chelm Comedy $10 5M-3W Bontche Schweig Comedy $15 7M-4W* The High School Drama $25 7M-3W 
Write Me a Love Scene, Ryerson and Clements, French Comedy $5 2M-2W 
Yes Means No, Howard E. Rogers, Dram. Play Serv. Comedy $5 3M-2W Young Lady of Property, A, Horton Foote, Dram. Play Service Drama $15 3M-6W 
* Double casting necessary. (Refer to Rule 2, b, 2, page 21, Handbook for Une-Act Play Directors. I 

PUBLISHERS 
Walter H. Baker, Co., 100 Summer Street, Boston, Mass. 02110 Dramatic Publishing Co., li9 North Michigan Ave., Chicago, Ill. 60601 Dramatists Play Sen·ice, 440 Park Ave. So., New York, N.Y. 10016 Samuel French, Inc., 25 West 45th St., New York, N.Y. 10036 David McKay Co., i50 Third Ave., New York, N.Y. 10017 
Ineligible Plays 
The following plays are not eligible for the University Interscholastic League One-Act Play Contest: 
Afraid of the Dark First l\frs. Paris, The All of the Wilbur Play,; Fog on the Valley 
Fumed Oak Balcony Scene Four on a Heath Blue Beads Blue Stockings Glorified Brat, The Blue Teapot, The Golden Slippers Breaking of Bread, The Great Jeanne Butch Gray Bread 
Candy Goes on a Diet High Window Circus Hour of Honor Construction In the Suds The Crippled Heart Infanta Cry Witch Cup of Tea, A Joan the Maid Dark at the Top of the Stairs, The--Jacob Comes Home 
Act Ill 
Dark Rider Last Flight Over 
Darkest Hour, The Legend of the Lake 
Echo Lithuania 
Evening Star Life With Willie 

Long Silence, The Special Guest Love Hits Wlllie So Wonderful! On White) Sorry, Wrong Number 
Minor Miracle Submerged 
Mr. Snoop Is Murdered Sugar and Spice Storm, The
No Greater Love Thompsons, The
Once a Thief Three on a Bench Once Around the Block Tree Fell in the Forest, A Overruled 
True in Heart, The Perfect Gentleman, The 
Undercurrent
Pink and Patches 
Portrait of Nelson Holiday, Jr. 

Wall, TheProfessor Roars, The Wheat Fire When Shakespeare's Ladies MeetRoom, The Which is the Way to Boston? 
Ruffles and Roller Skates 
White Dove, The Salome White Dresses Sidetracked White Tablecloths Silver Cord, The-Act III Sod Zoo Story, The 
One-Act Play Contest Rules 
It is the purpose of the one-act play contest: (a) to satisfy the com­petitive spirit with friendly rivalry among schools, emphasizing high quality performance in this creative art; (b) to foster appreciation of good acting, good directing, and good drama; (c) to promote interest in that art form most readily usable in leisure time during adult life; 
(
d) to learn to lose or win graciously, accepting in good sportsman­ship the judge's decision and his criticism with a view to improving future productions; and (e) to encourage the adoption of educational theatre as an academic unit in school curricula. 

I. 
CONTEST ENTRY PROCEDURES 

a. 
Representation. Each member high school of the League is entitled to enter a play company in the district contest of its appropriate conference. If no more than two schools are represented in a district, each school may double its representation in the district play contest with the approval of the District Executive Committee. 

b. 
Student Eligibility. Each member of a one-act play company shall be eligible under Article VIII of the Constitution and Contest Rules. Only students in high school are eligible for this contest. 

c. 
R ebate. Rebates for participation in the State Contest will be paid for only fiye members of the company. 

d. 
Enrollment. Schools desiring to enter this contest must complete an entry form (mailed each year to all schools from the State Office) countersigned by the principal or superintendent and return it to the State Office before the December 1 entry deadline. 


e. Qualification for Participation in a Higher Contest. 
1). District winners qualifying for participation in regional contests may be assigned to area contests for the purpose of reducing the number of schools at the regional contest. 
2). The director of the winning company shall mail immediately to the Director General of the next higher one-act play contest a properly com­pleted Eligibility Notice. 
3). The State Executive Committee may merge or rearrange districts for the improvement of the contest. 
f. Faculty Director. 
1). A director of one-act play must be a regular member of the faculty or a person formally designated as a director upon recommendation of the superintendent and approval of the school board. 
2). Directors may not accept nor solicit aid from college or university faculty members, ex-professional or professional actors, directors, designers, or costumers in the preparation of the play, or in coaching the actors, de­signing props, costumes, or scenery, or in directing the contest play.* 
g. Penalties for Failure to Participate in Contests. 
1). Disqualification from the one-act play contests for the current academic year will result if a school fails to meet the entry deadline, fails to meet the title entry deadline, fails to pay royalty as required, or fails to obtain permission of th() publisher to produce the play. The League assumes no responsibility for payment of royalties or obtain­ing permission from the publisher to produce plays or scenes from plays. 
2). Suspension from the one-act play contests for the following year will result if a school fails to participate in the district one-act play contest after making an official entry. Schools may file a written report to the State Executive Committee stating their reasons for withdrawal. 
h. Dates and Deadlines. 
1). Request for Play Approval Deadline.-AII requests for permission to pro­duce plays not on the ApproYed List of Plays must be submitted, along with an exact copy of the play to the League Play Appraisal Committee, no later than February 12. 
2). Requests for Additions to Set Deadline. All requests for additions to basic sets must be submitted, along with appropriate scale drawings or models and descriptions, no later than February 12. 
3). Title Entry Deadline. The title of the play selected for contest use must be submitted to the State Office no later than March 3. 
• This provision is not intended to prevent directors from taking membera of their companies lo the several drama conferences and work.hops conducted by the League and by numerous Texa• colleges and universities. Neither does it prevent use of a critic judge at a lecal inlra·school contest so long as three or more casts participate in the contest. 
4). District, area, or regional play contests may be scheduled at times sep­arate from other League contests. 
5). No deviations from nor exceptions to any official I.cai,;ue deadline will be made. 
2. CONTEST PLAY SELECTION AND ELIGIBILITY 
a. Title Selection. All plays on the Approved List of Plays may be used in League contests, but each must conform in all details to play contest regula­tions. 
1). Directors intending to select plays not on the List must submit a request, accompanied by a copy of the script, to the State Office for approval prior to Feb. 12. 
2) . No consideration will be given to a request for approval of cuttings from plays unless it is accompanied by a copy of the script which clearly indicates the exact scene or scenes to he used. 
3). Plays listed in the Handbook For One-Act Play Directors as ineligible, or plays which are predominantly musical or choral speaking in nature may not be selected for use in contests. 
4) . Plays may be selected which require recordinl!:S for inc.idental sound and music efTects. 
5). Plays used in contests must not ofTend the moral standards of the com­munity nor lie in had taste. Directors will reYise or reject all sc ripts which in any way fail to meet these qualifications. 
b. Contest Play Eligibility. The contest manager is required to declare ineligible any play which violates any one of the following rules. He shall notify the judge of such ineligibility before the judge makes his decision. No play which is declared ineligible by the contest manager may be included in final ranking nor be considered for any honors, and no mt'mber of the company of an ineligible play may be placed on all-star casts. 
l). Eligibility Notice. No play may be performed unless the director can produce the Official Eligibility Notice that the title is duly approved and recorded by the State Office. 
2). Number in Company. No play may be performed which uses more than ten individuals in the cast. Double casting is permissi ble. No more than three additional individuals may serve as crew members or alternates. 
3). Time Limit. No play may exceed forty minutes in performance time. Length of playing time shall be determined by time elapsing from the opening curtain, or from the beginning of music or action in front of the curtain, to the closing curtain. Time for scene changes during the progress of the play shall be included in the forty minute time limit. 
4) . Sets 	and Props. No play will he performed in contest which violates any of the following provisions concerning sets and props: The basic set shall be the one which is available at the contest site. The basic set to be used for all one-act play contests will consist of a standard box set, or arrangements of wing and backdrop draperies, or 
The University of Texas Publications 
a curtain cyclorama, with such door, window, and small step units as are necessary. If additions to the hasic set, such as drops, platforms, scrim, set pieces, curtains or draperies or nat scenery except as noted above, are desirod, a full description of each item along with drawings or models of the com· plete set as proposed, rendered to scale, must be submitted to the State Office on or before February 12. (Additions to the basic set do not include stage properties. Refer to page 26 for definition of stage properties.) No consideration will he giYen to any request unless it is accompanied by the drawings or models prepared as drsnibed. The letter from the State Office approving set additions must be pre· sented by the director to the contest manager. Set additions not officially approved by the State Office cannot be used in one-act play contests. District, area, regional, and state one-act play contest managers will supply only standard stage properties. Individual play directors may provide unusual stage properties not available at the contest site. Arrangements for the use of such properties must be made in advance with the contest manager. All hand properties must be furnished by indiYidual play directors. (Refer to page 26 for definition of hand properties.) 
5). Firearms or Explosives. No real gun, rifle, or pistol may be used in any way, regardless of whether or not the firin g pin is removed. Toy or wooden model firearms may be used. Discharge of a firearm, cap pistol, or any explosive offstage is not permitted. 
6). Scene Changes and Lapses of Time. No director may use more than ten minutes to set and ten minutes to strike all sets, lights, properties, or sound effects for any contest production. Only sixty seconds is allowed to make a scene change during a perform· ance. Either a blackout or closing a curtain may be used to indicate lapses of time, flashbacks, or scene changes. 
7). Prompting. No prompting of actors will be allowed during the perform­ance by anyone offstage or out of the acting area. 
8). The Director During the Contest Performance. No director will be per· mitted in backstage or offstage areas during the contest performance of his play. 
3. CONTEST PLANNING PROCEDURES, AND JUDGING 
a. 
Planning Meeting. One-act play directors in each district are urged to hold a preliminary planning meeting in advance of the organizing date for district contests. Recommendations resulting from this meeting concerning site, judg· ing, and other contest procedures may be made to the District Director General. 

b. 
Contest Procedures. It is the responsibility of the one-act play contest manager, appointed by the District Director General to organize and conduct 


the contest in ac.cordance with League rules and the "Guide for Contest Managers."* 
1). Schedule. The order of performance will be determined by a drawing conducted by the contest manager. Adjustments in order of performance may be made to avoid conflict with other contests, or for other reasons deemed valid by the manager. The manager shall establish a rehearsal and performance schedule before the contest, and directors shall be advised of the schedule i:s soon as pos­sible thereafter. 
2). Timekeeper. The contest manager shall appoint a responsible adult to serve as timekeeper who will record the beginning and closing times of each play. Under no circumstances will the judge or the contest manager serve as timekeeper. 
c. fudging. 
1) . Types of Judging. 
a). 	Critic judging. It is specifically recommended that one expert critic judge be used to judge all one-act play contests. He shall prepare a critique on each play and present it as advised by the contest manager. The critique will not be presented until after the manager has announced the results of the contest. 
b). Panel judging. When it is not possible to secure the services of an expert critic judge, a panel of three, five, or more judges may be called. If this type of judging is used, the judges must sit apart during the contest. They must arrive at a decision without conferring with each other or any other person. If panel judging is used, the League Play Ranking Plan will Le the only one used by the judges and tabulated by the contest manager in determining the results of contest. In keeping with the educational function of this contest the panel should not be allowed to give a critique nor otherwise evaluate the plays or contestants after the contest. 
2). Selection of Judges. Judges for the district contests will be selected by the District Executive Committee; judges for area and regional contests will be selected by the managers of these contests; and judges for the State Contest will be selected by the State Executive Committee. 
3). lnstructions to Judges. Before the contest begins, the manager will give to the judge or judges a copy of the judging standards. The manager will fully explain them and other contest procedures insofar as they concern the judging, decisions, and critique. The contest will not begin until the manager has performed this duty faithfully. 
4). Decision of the Judge or Judges. The decision of the judge or judges is final. 
* Note page 25 for "Guide for One-Act Play Coolest Managers." 

Standards for Judging One-Act Plays 
These are the official standards for judging all Interscholastic League one-act play contests. 
Please do not make any e/Jort to use exact percentages as a method of ranking the plays, even though approximate percentage values are suggested for the two major areas. 
l. 	
Acting. Value: about 60%. 

A. 	
Voice.--Could you hear the actors distinctly? Was the rate too fast or too slow'? Was there a variety of rate and inflection? Was pronunciation and articulation properly done for each character? If dialect was used, was it done <·orrectly and naturally? 

B. 	
Chararterization.-Was there a complete Lodily and mental re-creation of the character by the actor? Were his reactions to other actors correct and effective'? Did we "believe" the actor's characterization all the time he was on the stage? 


l.. 	Movement.-Were the movements of the actor in keeping with the char­acter? Was there a great deal of random movement? Was the pantomime accurate and convincing? Did the actor seem to have a well controlled, poised body? 
D. 	Contrast.-Were there clearly rontrasting moods in speech? Were emotional transitions natural and effective? Were the lines delivered in a manner which seemed natural to the characters in this play? 
E. 	Ensemble.-Did you feel a smoothness of action which indicates adequate rehearsal and close cooperation and understanding among the actors? Was it a closely knit, rhythmically correct show? 
F. Timing.-Did the actors pick up cues rapidly? Did the movements of the actors slow down the tempo of the show? Was the production static in places because the actors seemed to lack a sense of pace? 
G. Motivation.-	Was there a logical reason for all business and movement by the actors which was consistent and in keeping with the characters in the play? 
II. 
Directing and Stage Mechanics. Value: about 40% 

A. 	
Set.-Within limitations of contest rules, did the set satisfactorily represent the idea of the play? Was the furniture used in a way which assisted but did not hinder the action? 

B. 	
Lighting.-Did the lighting effects blend harmoniously and unobtrusively into the action of the play? Were there effects which were so obvious that they called attention to themselves and took your attention away from the action of the play? (The use of elaborate lighting effects will be disregarded by the judge ; however, the play must not be discounted because lighting control or equipment were inadequate and resulted in faulty effects for which the director could not be responsible.) 

C. 	
Make-up.-Was the make-up natural and in keeping with each character? 

D. 	
Costume.-Were the costumes for each character correct as to color, style, and period? (The use of elaborate costumes must not affect the final de­cision of the judge.) 

E. 	
Business.-Were exits and entrances properly timed'? Did the actors fre. quently cover or block each other? Was the business properly motirnted? Was the designed business adequate to bring out the idea of the play? 

F. 	
Tempo.-Did the play as a whole drag? Was it too fast to follow intelli­gently? Was the pace of the play in keeping with the general idea of the play ? Was the tempo fast enough for farce? Did it tend to become slower for tragedy? Were the sub-climaxes and the climax well built up? 

G. 	
Composition.-Were the actors grouped to giYe proper emphasis to the right characters at the right time? 

H. 
Theme.-Did the play strongly challenge the abilities of the actors? Was the main idea or the theme of the play brought out clearly? 


Guide for One-Act Play Contest Managers 
I. 	CONTEST PREPARATION 
A. 	Read the One-Act Play Contest Rules in the current League Constitution and Contest Rules, ancl the Handbook for One-Act Play Directors. 
13. 	Schedule planning meeting for one-act play directors in district (if one has not been held). 
1. 
Agree on selection of a single expert critic judge. 

2. 
Draw for places of performances. 

3. 
Make a schedule including place on program, rehearsal time, dressing rooms, etc. 

4. 
Arrange for a brief informal reception at contest for participating casts, directors, judge, and contest staff. 


C. 	Prior to the contest, contact your Director General for the One-Act Play Contest Package of materials which includes contest reports, winners en­velope, etc. 
D. 	Insist that each director send to you his Eligibility Notice promptly and properly completed. 
1. 
Make program copy. 

2. 	
Determine property and scenery needs (doors, windows, sofa, tables, chairs, etc.). 

3. 
After receipt of the Eligibility Notice, advise each One-Act Play Director the stage properties you have avai !able and the stage properties they may bring to the contest. 


II. 	
CONTEST PRODUCTION 

A. 	
Assi!(n a puhlirity chairman, doormen, ticket salesman, ushers, adult time­keeper, and crews for lights, properties, and scene changes. 


13. 	ReserYe the auditorium and other rooms necessary for dressing rooms. Have adequate working space reserved in the auditorium for the critic judge; furnish him with a table or writing board and lamp, in addition to judging instructions and pencils. 
C. 	Determ ine eligibility of each play. 
1. 
Affirm that royalty has been paid. 

2. 
Confirm that scenery and props are in accordance with One·Act Play Rule 2, b, 4, Constitution and Contest Rules. If additions to the basic set are used, the director must have a letter of approval from the State Office. 


D. Adhere to performance schedule. 
1. 
Start the contest on time. 

2. 
Avoid delay between performances: begin the next show as soon as the scenery and props are set. 


E. At the conclusion of performance: 
1. 
Announce the judge's decision and present awards. 

2. 
Urge all casts and directors to remain for critique. 

3. 
Pay the critic judge. 

4. 
Send the contest report to the State Office immediately. 

5. 
Send the rnsults to the Director General of the next higher contest. 

6. 
Write the League Office if you have suggestions to improve the One-Act Play Contest. 




Definitions 
Hand Properties-Hand properties include objects which the actor carries upon or uses while on the stage, such as books, umbrellas, letters, lanterns, etc. 
Set 	Pieces-Set pieces refer to all types of scenery. This includes trees, ground rows, platforms, step units, flat scenery, etc. 
Standard Stage Properties-Stage properties include such furniture as chairs, tables, settees, stools ,benches, desks, etc. 
Bibliography for One-Act Play Directors 
1. 	
Acting: Albright, Working Up" Part, Houghton-Mifflin Boleslavsky, Acting: The First Six Lessons, Theatre Arts McGaw, Acting ls Believing, Rinehart Stanislavsky, An Actor Prepares, Theatre Arts 

2. 	
Costume: Barton, Historic Costume for the Stage, Walter H. Baker 


.'3. 	Directing: Dean, Fundamentals of Directing, Holt, Rinehart & Winston Dolman, The Art of Play Production, Harpers Garwood and Brown, General Principles of Directing, French 
4. 	
History: Brockett, The Theatre an Introduction, Holt, Rinehart & Winston Cheney, The Theater, David McKay Co. Gassner, Masters of the Drama, Dover Macgowan &Melnitz, The Living Stage, Prentice-Hall Nicoll, Development of the Theatre, Harcourt, Brace 

5. 	
Lighting: Fuchs, Home Built Equipment for the Small Stage, French Fuchs, Stage Lighting, Little, Brown & Co. McCandless, A Method of Lighting the Stage, Theatre Arts 

6. 	
Make-up: Corson, Stage Make-up, Appleton Max Factor, Nine Make-up Pamphlets 

7. 	
Production: Gassner, Producing the Play, Dryden Heffner, Selden, & Sellman, Modern Theatre Practice, Appleton Helms, Primer of Stagecraft, Dramatists Play Service 

8. 	
Scenery: Burris-Meyer & Cole, Scenery for the Theatre, Little, Brown, and Co. Parker & Smith, Scene Design and Stage Lighting, Holt, Rinehart, & Winston Inc. Philippi, Stagecraft and Scene Design, Houghton, Miffiin Co. Selden &-Sellman, Stage Scenery and Lighting, Appleton 

9. 	
Theatrical Equipment Directory: Simon's Directory of Theatrical ,\faterials, Package Puhlicity Service Inc. 







For further information concerning the One-Act Play Contest write: 
Director of Drama University Interscholastic League Box 8028, University Station Austin, Texas--78712