Written by 
ROY BROWN, LYNN MURRAY, WAYNE PEVEY, LOREN WINSHIP 
Additional copies of this publication may be pro· cured from the University Interscholastic League, The University' of Texas, Box 8028, University Station, Austin, Texas 78712. 
50 Cents per Copy 
THE UNIVERSITY OF TEXAS PUBLICATION 
NUMBER 6712 JUNE 15, 1967 
Published twice a month by The University of Texas at Austin, University 
Station, Austin, Texas, 78712. Second-class Postage Paid at Austin, Texas. 

THE UNIVERSITY INTERSCHOLASTIC LEAGUE 
HANDBOOK 
for 

One-Act Plnv 

DIRECTORS, JUDGES 
and 
CONTEST MANAGERS 


"In a well-planned one-act play contest, there are no losers." 
I think I love and reverence all arts equally, only putting 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 
CONTENTS 

Page 

INTRODUCTION 4 
GUIDE FOR THE ONE-ACT PLAY CONTEST DIRECTOR 5 Educational Theatre: A Definition 5 One-Act Play Contest Calendar 7 Responsibilities of the Individual Play Director 7 Selecting Your Contest Play 8 The Drama Loan Library . 9 Planning Meetings 9 The Contest • II When You Win First Place 12 An Approved List of One-Act Plays for Contest 13 Publishers 18 Ineligible Plays 18 One-Act Play Contest Rules 19 Definitions 24 Bibliography for One-Act Play Directors 24 
GUIDE FOR THE ONE-ACT PLAY CONTEST CRITIC JUDGE 26 The Function of the Critic Judge 26 Pre-Contest Judging Procedures 26 Working Conditions for the Critic Judge 26 Standards for Judging One-Act Plays . 27 Critique Problems for the Critic Judge 28 
GUIDE FOR THE ONE-ACT PJ,AY CONTEST MANAGER 30 Contest Preparation 30 Contest Production 30 

INTRODUCTION 

This HANDBOOK was prepared in order that individual play directors, critic judges, and Contest Managers might be encouraged to strive more effectively to achieve the purpose of the One-Act Play Contest and to make it a more meaningful creative educational ex­perience for all participants. 
The aims of the One-Act Play Contest are: (a) to satisfy the com­petitive, artistic 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 increase the number of schools which have adopted educational theatre as an academic unit in school curricula. 

GUIDE FOR THE ONE-ACT PLAY 
CONTEST DIRECTOR 

Educational Theatre: A Definition 
Modern educational theatre is a creative, practical activity. Its participants 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 production. 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 equip· ment, paint, lumber, and cloth. They learn to sell tickets and adver· tising, 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 to· gether 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. 
Modern educational theatre is a creative, democratic activity. Stu· dents 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 student 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. 
Modern 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 chance 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. 
One-Act Play Contest Calendar 

December 1. Deadline for submitting One-Act Play Enrollment Card. The One-Act Play Enrollment Card is mailed in September to the principal or superintendent of each high school that held League membership the previous year. 
It must be completed in full and returned to the State Office postmarked no later than December 1. 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. Deadline for requesting permission to produce plays not on the Approved List of Plays. [See Rules 1, g, 1); and 2, a, 1), 2), 3).] 
February 12. Deadline for requesting additions to the basic set. [See Rules l, g, 2); 2, a, 3); and 2, b, 5) .] 
March 3, (In 1968, March 4). 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. [See Rule 1, g, 3) -1 
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 state­ment, "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. 
Selecting Your Contest Play 

This is one of the most important and difficult tasks facing the di­rector. 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 most important step in selection of the contest play is to be completely familiar with the rules. They appear on pages 19 to 24 of this HANDBOOK. Also included in this 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 the very important 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 and ( 4) violation of rules governing the selection of plays. 
The Interscholastic League is committed to a policy of encourag­ing the use of high quality plays by Texas high schools. Use of well­written scripts will result in more effective play production and in­creased respect for the educational theatre. In keeping with this policy the League supports and approves the Play Selection Policy adopted by the American Educational Theatre Association and the Texas Edu· cational Theatre Association. Decision of the Play Appraisal Com· mittee concerning permission to produce plays published by firms not endorsed by these Associations will be governed by provision of the policy. Copies of it may be obtained from the League Director of Drama. 
It is well to keep in mind that payment of royalty does not neces· sarily give a director permission to edit a play as he wishes. This is particularly true of cuttings from 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 Entry Card is submitted. 
The Drama Loan Library 

The Drama Loan Library is maintained primarily to assist Texas play directors in the selection of their scripts. The library contains approximately 25,000 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 package 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, request 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 cata· 
logues upon request. Plays should be ordered by title. 
Planning Meetings 

The District One-Ar.t Play Contest is administered and conducted by the Distrir.t 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 jndge to present a full critique of all plays. 

3. 	
Contest site: Recommend selection of a site which has a theatre type build­ing with the following facilities: 


(a) . An auditorium which includes a stage house with a proscenium open­ing not less than 30' wide and 18' high. Minimum stage depth from curtain line to back wall should be 18'. There should be an act cur­tain and sufficient scenery or draperies to mask back-stage and off­stage areas. 
(b). 	Dimmer controls for available lighting equipment which should in­clude not fewer than eight ellipsoidal spotlights and six fresnel spot­lights. There should be sufficient dimmer control to handle all other lighting equipment on stage. 
(c). 	Separate dressing rooms for men and women with adequate light­ing, mirrors, rest rooms, and lavatories. 
(cl). All properties and set pieces described in One-Act Play Contest Rules. 
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 [See THE CONSTITUTION AND CONTEST RULES, Article VIII]; (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) Needed costumes, make-up, and sound effects as authorized by League rules; (2) only those set pieces, if any, speci­fically approved by the State Office; (3) all hand properties; (4) those stage properties not available at the contest site, provided prior permission has been granted by the Contest Manager; (5) evidence of royalty payment; (6) when applicable, publisher's approval to do a cutting of a long play. 
Arrival at contest site: Upon y'our 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 stage. 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, 
Contest Manager, and for the critic judge. Each company should be 
advised about the proper care of stage equipment properties, and 
dressing rooms. 
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 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 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. 
When You Win First Place 

If your play is awarded first place in the district or regional contest, there are certain steps you must take immediately. You will be pre­sented 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 Director­General 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 
The following plays are approved provided they comply fully with Rule 2, a, 6), page 21 of this HANDBOOK. Elimination of all cursing, profane references to the Deity, and immorally suggestive statements or scenes is required. These plays must also meet all other requirements 
of the One-Act Play Rules.  
Title, Author, Publis her  Type  Royalty  Cast  
Afjected Young Ladies, The, Moliere, French  Comedy  Non-R  6M-.'lW  
Afterwards, Geraldine McGaughan, French  Drama  $5  3M-1W  
American Family, An, Fred Eastman, French  Drama  $5  4M-4W  
Anastasia (Recognition Scene), Marcelle Maurette,  
French  Drama  $10  2W  
And Silently Steal Away, Patterson and Mitchell,  
French  Comedy  $5  2M-3W  
Angels Don't Mar ry, Ryerson and Clements, French  Comedy  $5  1M-2W  
Antic Spring, Robert Nail, French  Comedy  $5  3M-3W  
Apollo of Bellac, The, Jean Giraudoux, French  Comedy  $25  9M­3W*  
Aria Da Capo, Edna St. Vincent Millay, Baker &  
French  Fantasy  $15  4M-1W  
Bald Soprano, The, Eugene Ionesco, French  Comedy  $15  3M-3W  
Bathroom Door, The, Gertrude Jennings, French  Comedy  $5  3M-3W  
Bauble for Raby, A, E. P. Conkle, Frnnch  Comedy  $5  1M-3W  
Bishop's Candlesticks, The, Norman McKinnel,  
French  Drama  $5  3M-2W  
Boor, The, Anton Chekhov, French  Comedy  Non-R  2M-1W  
Box and Cox, John Morton, French & Baker  Comedy  Non-R  2M-1W  
Brilliant Performance, Marjorie Allen, French  Comedy  $5  4W  
Browning Version, The, Terrence Ratti1rnn, Fren('.h  Drama  $20  5M-2W  
Brute, The, Anton Chekhov, French  Comedy  $5  2M-1W  
Bumbo the Clown, Lawrence Gibson, French  Fantasy  $5  3M-1W  
Cabbages, Edward Staadt, French  Comedy  $5  3M-4W  
Call Me Mac, Theodore St. John Cox, Baker  Drama  $5  4M-2W  
Case of the Crushed Petunias, Tennessee Williams,  
Dram. Play Serv.  Fantasy  $10  2M-2W  
Chairs, The, Engene Ionesco, French  Drama  $15  2M-1W  
China-Handled Knife, A, E. P. Conkle, French  Comedy  $5  6M-4W  
Circumstances Alter Cases, Ruth Giorloff, French  Comedy  $5  2M-3W  
Clod, The, Lew is Beach, French  Drama  $10  4M-1W  
Columbine Madonna, Glenn Hughes, Baker  Fantasy  $5  4M-lW  
Courting of Marie lenvrin, The, Gwen Pharis  Comedy  $5  5M-2W  
Ringwood, French  
Curtain, Colin Clements, French  Comedy  SS  1M-2W  

Dancers, The, Horton Foote, Dram. Play Serv.  Drama  $1S  3M-7W  
Dark Brown, Philip Johnson, French  Drama  SS  2M-SW  
Dawn Will Come, David Weinstock, French  Drama  SS  SM  
Day of Atonement, Margaret Wood, French  Drama  Apply  3M-1W  
Dear Departed, The, Stanley Houghton, French  Comedy  $S  3M-3W  
Death of the Hired Man, The, Jay Reid Gould,  
Dram. Pub. Co.  Drama $10--$7.SO 2M-2W  
Devil and Daniel Webst er, The, Stephen Vincent  
Benet, Dram. Play Serv.  Comedy  SS  6M·lW  
Devil on Stilts, Ryerson and Clements, French  Comedy  SS  3W  
Devil's Cuspidor, The, Beatrice La Force, McKay  Comedy  $10--SS 2M-3W  
Double Date, Florence Ryerson, French  Comedy  SS  3M-4W  
Dust of the Road, Kenneth Goodman, Baker  Drama  $10--SS  3M-1W  
Early Frost, Douglass Parkhirst, French  Drama  SS  SW  
Enchanted Night, Glenn Hughes, Dram. Play Serv.  Fantasy  $S  SM-3W  
Enemies, Arkady Leokum, French  Drama  $10  2M  
Everyman, Anonymous, Various Publishers  Drama  Non-R 11M-6W*  
Farce of the Worthy Master Pierre Patelin, The,  
Moritz J agendorf, Baker  Comedy  SS  4M-1W  
Finders-Keepers, George Kelly, French  Drama  $10  1M-2W  
Finger of God, The, Percival Wilde, Baker  Drama  $10  2M-1W  
Five in Judgment, Douglas Taylor, Dram. Play Serv.  Drama  $10  7M-1W  
Fixin's, Paul and Erma Green, French  Drama  $S  2M-1W  
Flattering Word, The, George Kelly, French  Comedy  $10  2M-3W  
Florist Shop, The, Winifred Hawkridge, Baker  Comedy  $10  3M-2W  
Footfalls, Brainerd Duffield, Dram. Pub. Co.  Drama  $10-SS  7M-4W*  
Four Hundred Nights, Jack Knapp, Baker  Drama  SS  SM-4W  
Friends, Arkady Leokum, French  Comedy  $10  3M  
Frogs, The, Aristophanes, Adapted by I.E. Clark,  
Stage Magic, Box 246, Schulenburg, Texas  Comedy  $10  8M-4W*  
Game of Chess, The, Kenneth Goodman, French  Drama  $10--$S  4M  
Gammer Gurton's Needle, Adapted by I. E. Clark,  
Stage Magic, Box 246, Sl:hulenburg, Texas  Comedy  $10  6M-4W  
Good-Bye to the Clown, Ernest Kinoy, French  Comedy  SS  3M-3W  
Grand Cham's Diamond, Allan Monkhouse, Baker  Comedy  SS  3M-2W  
Grannys Little Cheery Room, E. P. Conkle, French  Comedy  $5  1M-3W  
Great Choice, The, Fred Eastman, French  Drama  $S  4M-4W  
Happy Journey to Camden and Trenton, The, Thorn·  Comedy  $10  3M-3W  
ton Wilder, French  
Heritage of Wimpole Street, The, Robert Knipe,  Drama  SS  2M-3W  
Baker  
'Ile, Eugene O'Neill, Dram. Play Serv.  Drama  $10  SM-lW  

I'm A Fool, Christopher Sergei, Dram. Pub. Co. Comedy $10-SS 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, Bernar<l V. Dryer, Baker Joint Owners in Spain, Alice Brown, Baker 
Kitten in the Elm Tree, E. P. Conkle, French 
Ladies Alone, Ryerson and Clements, French Last of the Papier-Mache Cupids, The, 
Cleve Haubold, French Lawyer of Springfield, The, Ronald Gow, Baker l,esson, The, Eugene Ionesco, French Lonesomc-Uke, Harold Brighouse, Frend1 Long Christmas Dinner, The, Thornton Wilder, 
French 

Macbeth, William Shakespeare, Adapted by I. E. 
Clark, Stage Magir., Box 246. Schulenburg, Tex. Make Mine Vanilla! , Ruth Angell Purkey, Baker Maker of Dreams, The, Oliphant Down, French Man in the Bowler Hat, The, A. A. Milne, French Marriage Proposal, The, Anton Chekhov, French Married at Sunrise, John Kirkpatrick, French Minnie Field, E. P. Conkle, French Minuet, .1, Louis Parker, Frr.nd1 Mooni:alf Mugford. Duffidd & Leary, Dram. Pub. Co. Moonshine, Arthur Hopkins, French Mr. Flannery's Ocean, Lewis John Carlino, 
Dram. Play Ser. My Last Duchess, H. K. Bannerman, Dram. Puli. Co. 
Neighbors, The, Zona Gale, French & Baker Nine Eives of Emily, The, John Kirkpatrick, French No 'Count Boy, The, Paul Green, French Noble Lord, The, PP.rcival Wilde, Baker Not in the Contract, Nina Warner Hooke, French Now that April's Here, James Reach, French Old Lady Shows Her Medals, The, J.M. Barrie, 
French Once Upon A Playground, Jack Frakes, French On the Sentimental Side, John Kirkpatrick, French Orphans, The, Nancy C:am<"hc, French 
Over the Teacups, Percival Wilde, Baker Overpraised Season, An, Richard S. Dunlop, French Overtones, Alice Gerstenherg, McKay 
Comedy 
Drama Drama Drama 
Drama Comedy 
Comedy 
Comedy 
Comedy Comedy Drama Comedy 
Fantasy 
Drama Comedy Fantasy Comedy Comedy Comedy Comedy Drama Drama Comedy 
Drama 
Drama 
Comedy Comedy Comedy Comedy Comedy Comedy 
Comedy romedy Comedy Drama 
Comedy Drama Comedy Apply 5M-4W $10 2M-2W $10 3M-1W $10-$5 5M-3W 
$5  6i\1-lw  
$5  4W  
$5  3M-3W  
$5  3W  
$5  6M-4W  
$5  7M-1W  
$15  1M­3W  
$5  1M-3W  
$10  5M-7W*  

$10 10M-4W* $5 4M-1W $8 2M-1W $10 4M-2W Non-R 2M-1W 
$5 2M-4W 
$5 SM 
$10 2M-1W $10-$5 2M-3W 
$5 2M 
$10 3M-5W 
$5 3M-2W 
$10 2M-6W $5 3M-4W $5 2M-2W $10 2M-1W Apply 4W $5 ·2M-4W 
$10 2M-4W $5 2M-8W $5 3M-4W $5 3M-.3W 
$10 4W $5 4M-2W $10-$5 4W Part-Time l ob, Laura Hornickel, French Patchwork Quilt, The, Rachel Field, French Patterns, Anne Coulter Martens, Dram. Pub. Co. Pearls, Dan Totheroh, French Phaedra, Jean Racine, Adapted by I. E. Clark, 

Stage Magic, Box 246, Schulenburg, Texas Phoenix Too Frequent, A, Christopher Fry, Dram. Play Serv. Pink Lemonade for Tomorrow, Ruth Angell Purkey, 
Baker Pioneers, Mabel 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 Thanksgiving, A, Katharine Kester, French Purple Doorknob, The, Walter Eaton, French 
Queens of France, Thornton Wilder, French 
Quiet Please, Howard Bauermann, Dram. Play Serv. 

Ralph Roister Doister, Nicholas Udall, Adapted by 

I. E. Clark, Stage Magic, Box 246, 
Schulenburg, Texas Red Heels and Roses, Patricia Clapp, McKay Rehearsal, Christopher Morley, McKay 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 Revisited, Tom Jones, French Scarecrow, The, I. E. Clark, Stage Magic, 
Box 246, Schulenburg, Texas Sandbox, The, Edward Albee, Dram. Play Ser. School for Husbands, The, Moliere, Adapted by I.E. 
Clark, Stage Magic, Box 246, Schulenburg, 
Texas 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 Pub. Sheriff, The, James W. Arnold, French Shiny Red Ball, The, Cleve Haubold, French Short Walk After Dinner, A, Cleve Haubold, French Comedy $10 4M-6W Comedy $10-$5 2M-3W Comedy $10-$5 6W Drama $10 3M-3W 

Comedy  $5  1M-4W  
Fantasy  $5  2M-5W  
Drama  $10-$5  2M-2W  
Comedy  $5  2M-2W  
Drama  $10  3M-SW  
Comedy  $'25  1M-2W  
Drama  $5  2M-2W  
Drama  $5  3M-2W  
Comedy  $5  3M-2W  
Comedy  $10-$5  5M-2W  
Fantasy  $10  6M-1W  
Drama  $5  2M-2W  
Comedy  $5  3W  
Comedy  flO  1M-3W  
Comedy  $5  3M-4W  

Drama $10 5M-5W 
Comedy $10 2M-2W 
Drama $5 3M-SW 
Fantasy $10 7M-4W Drama $10 3M-2W 
Comedy $10 7M-3W 
Drama $10-$5 4M-4W Drama $5 2M-3W Comedy $5 3M-1W 
Comedy Apply 6M-3W Drama $5 6M-1W Comedy $5 2M Drama $5 1M-2W 
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 Hughe~, Baker 
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 Suspicious Mind, Philip Levene, Adapter! hy 
Karin Schultz, Dram. Pub. Co. 

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 
Third Grave Digger, The, Cleve Haubold, Baker 
This Bull Ate Nutmeg, Josephina Niggli, French 
Th is Way tu Heaven, Doul!lass l'arkhirst, Fr"nch 
Three Pills in a Bottle, Rachel Field, French 
Thursday Evening, Christopher Morley, McKay 
Ticket to the City, A, Donald Elser, French 
Tiger /,ily, Charles Emery, French 
To Kill a Man, Percival Wilde, Baker 
Tooth or Shave, Josephina Niggli, French 
Trifles, Susan Glaspell, Baker 
Trysting Place, The, Booth Tarkington, Baker 
Twefoe-Pound Look, The . .T. M. Barrie, French 
Two Crooks and a Lady, Eugene Pillot, French 

Ugly Durkling, The, A. A. Milne, Fren"h 
Valiant, The, Hall and Middlemass, McKay 
Vision at the Inn. Susan Buchan, French 

Wait for Morning, Child, Grover Lewis, French 
What Never Dies, l'cl'cival Wilde, Baker 
When Altars Bum, Kay Arthur, French 
When the Fire Dies, Ramona Maher, French 
When the Whirlwind Blows, Essex Dane, Baker 
Where But in America?, Oscar Wolff, Baker 

Comedy 
Fantasy Fantasy Comedy 
Comedy Comedy Comedy Comedy Drama 
Drama Comedy 
Comedy Comedy 
Drama 
Comedy 
Comedy Drama Comedy Comedy Comedy Fantasy Fantasy Comedy Drama Drama Comedy Comedy Drama Comedy Drama Drama 
Comedy 
Drama 
Drama 
Drama Drama Drama Drama Drama Comedy 
17  
$5  1M-2W  
$10  9M-2W*  
$5  1M-2W  
$5  3M-3W  
$5  1M-3W  
$5  7M-3W  
$5  2M-2W  
$5  3M-2W  
$5  2M-1W  
$5  9W  
$5  1M-4W  
$10  2M-2W  
$10  1M-2W  
$10  3M-3W  

$10-$5 2M-2W 
Non-R 2M-4W Non-R 2M-1W $5 6W $5 1M-3W $5 4M-1W $5 2M-2W $5 4M-4W $10-$5 1M-3W $5 4M-3W $5 3M-2W 
$10 3M 
$5 2M-2W $10 3M-2W $10 4M-3W $10 2M-2W $10 3M-3W 
$5 4M-3W 
$10 5M-1W $5 1M-4W 
$5 2M-1W $10 1M-3W $5 4W $5 1M-4W $5 3W $5 1M-2W 

Where the Cross is Made, Eugene O'Neill,  
Dram. Play Ser.  Drama  $10  6M-1W  
Will-o'-the-Wisp, Doris Hallman, Baker  Fantasy  SS  4W  
Wisp in the Wind, Jack Cunningham, French  Drama  SlO  lM-lW  
Woman's Privilege, A, Marrijane and Joseph  
Hayes, French  Comedy  SS  2M-2W  
Wonder Hat, The, Hecht and Goodman, French  Fantasy  $10  3M-2W  
Woodshed, The, L. E. Preston, Baker  Drama  SS  3M-3W  
Workhouse Ward, The, Lady Gregory, French  Comedy  SS  2M-1W  
World of Sholom Aleichem, The, Arnold Perl,  
Dram. Play Service  
A Tale of Chelm  Comedy  $10  SM-3W  
Bontche Schweig  Comedy  $1S  7M-4W*  
The High School  Drama  $2S  7M-3W  
Write Me a Love Scene, Ryerson and Clements,  
French  Comedy  SS  2M-2W  
Yes Means No, Howard E. Rogers, Dram. Play Serv.  Comedy  SS  3M-2W  
Young Lady of Property, A, Horton Foote,  
Dram. Play Service  Drama  SIS  3M-6W  

* Double casting necessary. [Refer to Rule 2, b, 3), page 23, of this HAND­BOOK.] 


PUBLISHERS 

Walter H. Baker, Co., 100 Summer Street, Boston, Mass. 02110 Dramatic Publishing Co., 86 East Randolph Street, Chicago, Ill. 60601 Dramatists Play Service, 440 Park Ave. So., New York, N.Y. 10016 Samuel French, Inc., 2S West 4Sth St., New York, N.Y. 10036 David McKay Co., 7SO 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 Candy Goes on a Diet All of the "Wilbur" Plays Circus American Dream, The Claw, The 
Construction Crippled Heart, The Balcony Scene Cry Witch Blue Beads Cup of Tea, A 

Blue Stockings Blue Teapot, The Dark at the Top of the Stairs, The­Breaking of Bread, The Act III Brick and the Rose, The Dark Rider Butch Darkest Hour, The Echo Evening Star 
First Mrs. Paris, The Fog on the Valley Fumed Oak Four on a Heath 
Glorified Brat, The Golden Slippers Great Jeanne Gray Bread 
Hello Out There High Window Hour of Honor In the Suds Infan ta 
Joan the Maid Jacob Comes Home 
Last Flight Over Leader, The Legend of the Lake Lithuania Life With Willie 
Long Silence, The Love Hits Willie 
Masque o[ the Reel D<,ath Minor Miracle Mr. Snoop Is Murdered 
No Greater Love 
Once a Thief Once Around the Block Overruled 
Perfect Gentleman, The Pink and Patches Portrait of Nelson Holiday, Jr. Professor Roars, The 
Room, The Ruffies and Roller Skates 
Salome Sidetracked Silver Cord, The-Act III Sod So Wonderful! (In White) Sorry, Wrong Number Special Guest Submerged Storm, The Sugar and Spice 
Thompsons, The Three on a Bench Tree Fell in the Forest, A True in Heart, The 
Undercurrent 

Wall, The Wheat Fire When Shakespeare's Ladies Meet Which is the Way to Boston? White Dove, The White Dresses White Tablecloths 
Zoo Story, The 
One-Act Play Contest Rules 

1. CONTEST ENTRY PROCEDURES 
a. 	
Represcntatio11.-Each member high school of the League is entitle<l to cnt"r 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. 
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. 


d. 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. 
e. 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. (This provision is not intended to prevent directors from taking members of their companies to the several drama conferences and workshops con­ducted by the League and by numerous Texas colleges and universities. Neither does it prevent use of a critic judge at a local intra·school contest so long as three or more casts participate in the contest.) 
f. 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 or fails to meet the title entry deadline. 
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. 
g. Dates and Deadlines: 

1). Request for Play Approval Deadline.-All requests for permission to pro· duce plays not on the Approved 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 items a) through d) of Rule 2, b, 5), page 22, no later than February 12. 
One-Act Play Handbook 

3). The Entry Deadline.-The title of the play selected for contest use must be submitted to the State Office no later than March 3 (/n 1968, March 4). 4). District, area, or regional play contests may be scheduled at times sep­arate from other League contests. 5). No <leviations from nor exceptions to any official League deadline will be made. 
2. CONTEST PLAY SELECTION AND ELIGIBILITY 
a. Title Selcction.-All plays on the Approved List oI Plays may he 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 February 12. Such plays are approved only by individual request each year. 
2). No consideration will he given to a request for approval of a play cutting unless it is accompanied by a copy of the script which clearly indicates the exact portions to be used. 
3). Directors who request approval of plays not on the List which may require additions to the basic set must submit, with the same request, all informa­tion and items called for in Rule 2, h, 5). Approval of a script, whether on the List or by special request, does not constitute approval of any addi­tions to the basic set which may be described in the script. 
4). Plays listed in this HANDBOOK as ineligible or plays which are predomi­nantly musical or choral speaking in nature may not be selected for use in contests. 
5). Plays may be selected which require recordings for incidental sound and music effects. 
6). Plays used in contests must not offend the moral standards of the com­munity nor be in bad taste. Directors will revise or reject all scripts which in any way fail to meet these qualifications. 
h. 	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 member of the company of an ineligible play may he placed on all-star casts. 
1). Eligiblity 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). Royalty Receipts.-The director must produce written evidence that the royalty payment has been paid, if royalty is required. If the director is producing; scenes from a long play or an original play he must produce written evidence that permission for production has been obtained from the publisher or author. The League assumes no responsibility for payment of royalties or ob­tarnrng permission from the publisher or author to produce plays or scenes from plays. 
3). Number in Company.-No play may be performed which uses more than ten individuals in the cast. Double casting is permissible. No more than three additional individuals may serve as crew members or alternates. 
4). 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. 
5). Sets and Props.-No play will be 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 may consist of a standard box set, or arrangements of wing and backdrop draperies, or a curtain cyclorama, with such door and window units as are necessary. If additions to the basic set, such as drops, small step units, small plat­forms, scrim, set pieces, curtains, draperies or flat scenery except as noted above, are desired, the director must submit to the State Office on or before February 12 each of the following: a). A scale drawing of the complete ground plan of the proposed set. b). A scale drawing or model rendered to scale of each proposed addition 
to the basic set. c). A full description of all materials to be used in construction of each proposed addition to the basic set. d). A full description and justification of the intended use of each pro­
posed addition to the basic set. No consideration will be given to any request for additions to the basic set unless items a) through d) listed above are submitted. (Additions to the basic set do not include stage properties. See page 24 for definition of stage properties.) The letter from the State Office approving set additions must be presented 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. No stage properties such as those included in the definition (Refer to page 24 of this HANDBOOK), will be used as substitutes for platforms or step units. 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 individual play directors. (See page 24 for definition of hand properties.) 
6). Firearms or Explosives.-No real gun, rifle, or pistol may be used in any way, regardless of whether or not the firing pin is removed. Toy or wooden model firearms may be used. Discharge of a firearm, cap pistol, or any explosive in connection with a contest play is prohibited. 
7). 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. The Contest Manager is respon­
sible for enforcing these limits. 
Only sixty seconds is allowed to make a scene change during a perform­
ance. Either a blackout or closing a curtain may he used to indicate lapses 
of time, Aashhacks, or scene changes. The timekeeper is responsible for 
recording these limits. 

8). Prompting.-No prompting of actors will be allowed during the perform­ance hy anyone off-stage or out of the acting area. 
9). The Director During the Contest Performance.--No director will he per­mitted in hack-stage or offstage arras 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. (See the Interscholastic League Calendar in the CONSTITU­TION AND CONTEST RULES.) Recommendations resulting from this meeting concerning site, judging, 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 accordance with League mies and the "Guide for Contest Managers," page 30 of this HANDBOOK. 1i. 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 Contest Manager. The Contest Managf'< shall establish a rehearsal and performance schedule before the contest, and directors shall be advised of the schedule as soon as possible thereaftP.r. 
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 and such blackouts and scene changes as may occur during a performance. Onder no circumstances will the judge or the Contest Mana­ger serve as a timekeeper. 
c. Judging. 
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 ear:h play and present it as advised by the Contest Manager. The critique will not be presented until after the Contest Manager has announced the results of the contest. 
b). Panel judging.-When it is not possihl" 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 be 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 must not be allowed to give a critique nor otherwise evaluate the plays or contestants after the contest. 
2). Selection of J udges.-Judges for the district contests will be selected by the District Executive Committee; judges for area and regional contests will be selected by the Contest Managers of these contests; and judges for the State Contest will be selected by the State Executive Committee. 
3). Instructions to Judges.-Before the contest begins, the Contest Manager will give to the judge or judges a copy of the judging standards. The Contest Manager will fully explain them and other contest procedures insofar as they concern the judging, decisions, and critique. The con· test will not begin until the Contest Manager has performed this duty faithfully. 
4). Decision of the Judge or Judges.-The decision of the judge or judges is final. 
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: 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: Albright, Halstead & Mitchell, Principles of Theatre Art, Houghton, Mifflin Dean, Fundamentals of Directing, Holt, Rinehart &Winston Dolman, The Art of Play Production, Harper 

4. 	
History: Brockett, The Theatre an Introduction, Holt, Rinehart & Winston Cheney, The Theatre, 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: Bowman, Modern Theater Lighting, Harper Bros. 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 

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, Mifflin Heffner, Selden & Sellman, Modern Theatre Practice, Appleton 

9. 	
Theatrical Equipment Directory: Simon's Directory of Theatrical Materials, Package Publicity Service Inc. 




GUIDE FOR THE ONE-ACT PLAY CONTEST CRITIC JUDGE 
The Function of the Critic Judge 
The most important function of the critic judge is to serve as an educator. True, he must select winners, but adjudication without a carefully prepared critique which teaches as it criticizes deprives play competition of a most valu· able feature: opportunity for qualitative improvement. 
An effective critique requires, among other things, extensive knowledge of all styles and types of drama, and an understanding of the physical theatre with special concern for limitations often imposed upon the stage house in school the· atre plants. The successful judge must be able to discuss the plays he has seen in a firm but courteous manner. He must be objective, direct, and detailed in his criticism without imposing his opinions dictatorially. 
The critic judge has the special responsibility of evaluating seriously the efforts of the director and his company, and of treating them and their performance with respect. They have deliberately engaged in creative competition which offers a wider variety of cultural and practical opportunities than other contests. Through many hours of rehearsal they have sought to perfect creative performances not only to win the contest, but for the satisfaction which comes through the search for perfection in the arts. To treat such effort casually would defeat the primary function of critic judging. 
The critic judge should use his skills and experience to make each contest a pleasant and richly educational experience in the lives of young people as they seek to understand more fully the art of theatre. 
Pre-Contest Judging Procedures 
1. 
Request of your Contest Manager that he and all participating directors meet with you for about thirty minutes immediately before the contest. The purpose of this meeting is to discuss matters pertaining to selection of the all-star cast, method of presenting your critique, and other details about judging the contest. 

2. 
Make definite arrangements with the Contest Manager about fees. Suggested minimums are $5 per play, eight cents per mile from your home to the contest and return, meals, and lodging as required, not to exceed $12 per day. 

3. 
Take with you all correspondence pertaining to the contest. 


4. 
Arrive at the contest site in plenty of time to inspect the theatre and the loca­tion of your judging position. 


Working Conditions for the Critic Judge 
1. 
You must have an uninterrupted view of the stage as nearly in the center of the theatre as possible. You need a small table, or a lap board if you are sitting in a row. There should be no member of the audience seated within two seats of you in any direction. 

2. 
There should be a low wattage shaded lamp available at your table or seat which you can turn on and off. 

3. 
The Contest Manager has judging materials from the State Office which you will need. Request these if he forgets to give them to you before the contest. 

4. 
Before the pre-contest meeting with the directors, request the Contest Manager to furnish you with a copy of the official contest program on which all names of directors and sehools have been rendered illegible. 

5. 
Arrange with the Contest Manager all details concerning the procedures to be followed at the conclusion of the last play. 


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 effort to use exact percentages as a method of ranking the plays, even though approximate percentage values are suggested for the two major areas. 
1. 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 <lorn., correctly and naturally? 

b. 
Characterization.-Was there a complete bodily 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'? 

c. 
Movement.-\Verc the movements of the ac:tor in keeping with the character? Was there a great <lea! of random movement? Was the pantomime accurate and convincing? Did the actor seem to have a well-controlled, poised body? 


<l. 	
Contrast.-Were there clearly contrasting 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? 

c. 
Ensemhle.-Did you fed 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 hecause 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? 


2. Directing and Stage Mechanics. Value: about 40%. 
a. 
Set-Within limitations of contest rules, di<l the set sa tisfactorily 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 dfects blend harmoniously and unobtrusively into the action of the play? Were there effects which were so ohvious 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. 
Makeup.-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 fre­quently cover or block each other? Was the business properly motivated? Was the designed business adequate to bring out the idea of the play? 


£. 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 give 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 theme of the play brought out clearly? 



Critique Problems for the Critic Judge 
1. Do's a.. .... realize that, in addition to selecting winners, you were employed to be critically constructive. Help the director and actors with sound suggestions which they may use to improve their work. b..... . give a critique of all plays, not only the first and second place winners, and try to devote equal time to each. (The winning play may require a longer critique. It may be given after others are presented.) c... ... understand that most young actors try as hard as they know to be ef­fective. Be tactful and kind as you comment about their mistakes. d...... recognize in the all-star cast actors from as many different companies as the quality of their performances will permit. Give honorable mention to the better actors whom you could not list on the all-star cast. e...... whenever possible find something about the performance which you can honestly commend. f...... know that the League places limitations upon scenery. Be familiar with the rules on this subject in order to prevent penalizing the director because of staging situations over which he had no control. g...... be specific in criticizing the performance and use examples from it. Discuss it in terms used in the Judging Standards. A vague, indecisive cri­tique is clear evidence the judge is not well qualified. h.. . ... request the Contest Manager to stop the contest if audience behavior makes it difficult for you to hear or concentrate on the performance. i.. . ... keep your personal opinion of the playwright to yourself if you do not like his play. There is nothing in the Judging Standards which calls upon 
you to evaluate the playwright or his play. j...... organize your notes in order that you may arrive at your decision and 
give your critique quickly. Long-windedness defeats much of the effective­ness of the critique. k...... request of the Contest Manager the list of plays being performed, the list not to include names of directors, students, or schools. 
2. Do not's a... . .. at any time comment adversely about the play. It has been officially approved by the League Play Appraisal Committee. It may not be the best play for a particular cast to produce at a particular contest, but the judge has no responsibility in this contest to be publicly critical of the director's choice of play. 
b.. .. .. criticize only in a negative way. Try to be constructive. It is your duty to help the director and actor to improve their work. 
c . ..... make a "performance" of your critique. You were employed to judge the contest, not to "act a role" before a captive audience. 

d. 
. . . . . compare the performance of one cast with another. Instead, show the cast how they did or did not measure up to the Official Standards. 

e . . .. .. announce the winners, distribute the trophies, serve as the timekeeper, perform any of the tasks of the Contest Manager, or become involved in inter­preting the rules of the contest. You have only two major responsibilities: select the winners and present an instructive critique. 


£.•.••• re-direct the winning play. Suggestions are always in order, but let the director interpret them for his company and use them as he sees fit. g..... . embarrass the director before his company by sarcasm, ridicule, or remarks which in any way belittle him or his company. 
h...... make any of the following remarks or similar remarks which may have the same effect: "I didn't like your play." "I would have done it this way." "I don't believe high school students should play such roles." "I am so tired of seeing that play." "Yon would have won the contest (or placed second, or placed third, or your hoy would have won best actor, etc.) had your play not been disqualified." "You should have tried a newer play. This one has been done so often." "What can you expect with a play by that author?" 
i . ..... serve as a member of a judging panel. [See Rule 3, c, 1) , b), page 
23-Panel Judging.] 
j.. . ... becomes involved in a dispute about your decision. Read all the rules, 


instructions, and the Judging Standards carefully. Be sure your decision is a right one before you render it, and refuse to discuss it with directors, students, parents, or Contest Managers. You made it, it is final and can not be changed once it is officially announced. 

k . . .. .. under any circumstances give play directors your work sheets or notes. If you care to provide a written critique, do so only after you have had time to carefully consider the written commentary and how it might be interpreted. 



GUIDE FOR ONE-ACT PLAY 
CONTEST MANAGERS 

Contest Preparation 

1. 
Read the One-Act Play Contest Rules in the current League CONSTITUTION AND CONTEST RULES, and this HANDBOOK. 

2. 
Schedule a planning meeting for one-act play directors in your district (if one has not been held). 


a. 
Agree on selection of a single expert critic judge. 

b. 
Draw for places of performances. 


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

d. 
Request all directors to meet before the contest with you and the critic judge to make decisions about selecting the all-star cast, the critique, and other matters concerning the contest. 


3. 
Prior to the contest, ask your Director General for the One-Act Play Contest Package of materials which includes contest reports, winner's envelope, etc. 

4. 
Insist that each director submit to the Director General his Eligibility Notice promptly and properly complete. 


a. 
Make program copy. 


b. 
Determine property 	and scenery needs (doors, windows, sofa, tables, chairs, etc.). No stage properties, such as those included in the definition (Refer to page 24 of this HANDBOOK), will be used as substitutes for platforms or step units. 

c. 
After receipt of the Eligibility Notice, advise each one-act play director of the stage properties you have available and the stage properties they may bring to the contest. 


5. Determine how the contest is to be financed (entrance fees, gate receipts, etc.). 

Contest Production 

1. 
Assign a publicity chairman, doormen, ticket salesman, ushers, adult time­keeper, and crews for lights, properties, and scene changes. 

2. 
Reserve 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. Upon request, the critic judge should be furnished with a list of plays being performed. This list must not contain the names of schools, direc­tors, or students. 

3. 
Determine eligibility of each play. 


a. 
Affirm that royalty has been paid. 


b. 
Confirm 	that scenery and props are in accordance with One-Act Play Rule 2, b, 5), in this HANDBOOK. If additions to the basic set are used, the di· rector must have a letter of approval from the State Office. 


4. Adhere to performance schedule. 
a. 
Start the contest on time. 

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


5. At the conclusion of performance: 
a. 
Announce the judge's decision and present awards. 

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

c. 
Pay the critic judge. 

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

e. 
Send the results to the Director General of the next higher contest. 

f. 
Write the League Office if yon have suggestions to improve the One-Act Play Contest. 



For Further lnformatwn: 

DIRECTOR OF DRAMA UNIVERSITY INTERSCHOLASTIC LEAGUE Box 8028, University Station Austin, Texas--78712