2021 SDC Directing Program Guidelines

To enter the SDC Directing Program, each student will prepare a theoretical production pitch for one scene/play from the list published on the National KCACTF website for 2021: https://www.kennedy-center.org/education/opportunities-for-artists/pre-professional-artist-training/kcactf/directing/

  • Hype Man: a Break Beat Play by Idris Goodwin (Playscripts)
  • Shoe (Choose Option 1 or Option 2) by Marisela Treviño Orta (script acquired for restricted use for SDC only from Kelly Quinnett by emailing kellyq@uidaho.edu) 
  • Do You Feel Anger? by Mara Nelson-Greenberg (Samuel French)
  • Twelfth Night adapted by Dr. Emily Rollie (NPX)
  • The Day We Were Born by Jaisey Bates (NPX) (Note from the Playwright: BIPOC cast — Indigenous preferred but not required — all roles open to female-id or NB.)
  • Black Super Hero Magic Mama by Inda Craig-Galvan (NPX)
  • Good Kids by Naomi Iizuka (Playscripts)
  • Orange by Aditi Brennan Kapil (Samuel French)
  • Three Sisters adapted by Maiya Corral (script acquired for restricted use for SDC only from Kelly Quinnett by emailing kellyq@uidaho.edu) 
  • The Revolutionists by Lauren Gunderson (Dramatists Play Service)

Required SDC Directing Application Materials:

  • Personal Materials
    • Resume that focuses on your experience and training as a director.
    • Statement of Interest addressing your interest in the SDC Fellowship Program and what you hope to achieve and learn through involvement in the process.
  • Conceptual Directing Materials
    • Pre-Recorded Video Pitch for your Conceptual Production (10 minutes).
      • The first 5 minutes: Present your ideal production to the respondents (they will be familiar with your play). Within the five minutes, answer the following:  1) Who are you? 2) What play did you choose?  3) Why does this play need to be done RIGHT NOW? 4) Why are you the artist to do this play, and what will you, specifically, bring to the production? 5) What does your ideal production look/feel/sound like?  Other questions if you want them: What space do you want to do the play in? What is your big wish for the production? What impact do you want your production to have? How can you succinctly tell the story of this play?
      • The second 5 minutes: Present your 5 minute emotional and visceral response to the play using images, music, collage, vision boards, short film, other persons, things – anything which will help you express your connection with the play. This is for you to use all your creativity to reflect the heart and soul of the piece and to further support and reflect your deep analysis of the whole play.
    • Your Director’s Book 
      • Director’s Statement  Provides the personal, analytical and intuitive framework for the scene. It is a combination of script analysis, research, creativity and personal connection to the text.  The statement should address the themes, images and specific lines of text that guide the director’s work, including the context of the scene; where/how the scene fits into the play.
      • Play Analysis
        • Identification: List title of play, name of author, and date of writing, first production, or both. Feel free to include any relevant research or dramaturgical work that informed your process.
        • Plot: Briefly describe any significant previous action that occurs before the scene begins. Describe the major event(s) of the scene. Describe the scene’s basic conflict in a concrete sense (example:  Edna wants Joe to join the striking cab drivers but Joe is afraid). Describe how this scene’s basic conflict integrates with the basic conflict of the play in an abstract sense (example:  Edna and Joe’s conflict reflects the basic conflict of Waiting for Lefty which is an exploration of the struggle of the working class against capitalist greed… etc., etc.).
        • Character: List the characters, and provide an overall character objective and an objective for the scene. Identify the obstacles between the characters and each of their objectives in the scene. How/do the characters change over the course of the scene?
      • Vision / Concept: What is the importance of the scene to the play as a whole?  How does this scene reveal, highlight, detail, or expand upon one or more of the ideas that the playwright hopes to communicate to her/his audience?  (This asks you to identify at least one of the playwright’s ideas or purposes in writing the play.)
      • Spectacle / Design: List a series of imagistic words that capture your aesthetic sense of the scene’s look and “feel” of the play. These words might include colors, textures, ornamentation, relevant metaphoric images, light and shadow, composition, degree of detail, etc.

Entries must include the four items above, and and are due no later than December 15th, 2020 at midnight.  

SUMBIT MATERIALS HERE (link to open on December 1)

Please note that all written material should be submitted as a PDF, and that your video will be shared with a limited number of people registered with the KCACTF Region 1 festival: your fellow SDC directing candidates and the SDC respondents.

Feel free to direct any questions to:

Thomas B. Costello, Chair of Region 1 SDC Directing Initiative
Region1.Directing@gmail.com