Last year we took time to recreate the Judge's Training Videos that are watched at the beginning of each portion of the competition. We will continue to keep these new videos updated. As we continue to improve consistency across the competition, it is time to ask more of our (now higher paid) judges. We have updated the test judges take to be certified to judge the competition. The test focuses more on theatrical knowledge than rules, as the new Judge's Training spends more time highlighting rules/regulations than theatrical knowledge.
This is the current proposal for the new Judge's Test. Feedback appreciated!
Questions in BLUE are either A) altered significantly; or B) completely new questions.
Questions in RED are at the end will be deleted from the test.
Questions in BLACK are left-over with no (or minimal wording) changes from the old test.
SECTION A (acting and theatre expertise):
1.How would you best define the term “objective” as it is used in the standard Objectives/Tactics?
a. How the character moves around the stage in the context of their scene
b. A character’s primary emotional state; ex, depression or joy
c. A character's goal; or what they want from their scene partner
d. Something standing in the way of a character getting what they want
2. When evaluating a Classical/Contemporary Scene or Dramatic/Humorous Monologue, which of the following aspects should NOT be taken into consideration when scoring the Standard of Voice?
a. Tempo
b. Honesty
c. Articulation
d. Inflection
3. While watching a Monologue or Scene, you note that the performers approach to their roles feels too exaggerated or “over-the-top,” resulting in a difficulty to believe in the world they are creating. Which standard is the performer NOT meeting?
a. Characterization
b. Objectives/Tactics
c. Voice
d. Movement and Staging
4. You are judging a pantomime performance, and even though the performer's gestures and emotions are clear and specific, you are struggling to follow the storyline. Which standard is the performer NOT meeting?
a. Objectives/Tactics
b. Plot
c. Movement and Staging
d. Characterization
5. In the Musical Theatre event, students must sing on key in order to score well in each standard.
a. True: Singing on key is the most important element of a musical theatre piece, and is required for scoring well in each standard.
b. False: Pitch is an element of the "Voice" standard, and does not affect a student's score in other standards, such as "Objectives/Tactics," or "Choreography and Staging."
6. Which of the following observations best deserves a score of 5 in the category of Objectives/Tactics?:
a. The actor(s) is fighting strongly for an objective by begging their scene partner. They use the tactic “to beg” for the majority of the scene.
b. There is a variety of different interesting choices the performer(s) is making. The choices feel disconnected, and it is unclear what they want from their partner or why they keep changing.
c. The actor(s) is fighting strongly for an objective. They are committed to what they want and how to get it. Nothing their scene partner does causes a change in their behavior.
d. As they attempt to get something from their scene partner, the actor(s) tries 3 distinct and creative ways of achieving their goal. They continuously check in with their partner to gauge if their approaches are working.
7. Which of the following could receive a score of 5 in the area of Movement and Staging?
a. A scene or monologue with a lot of movement. The staging highlights shifts in tactic as well as power dynamics. Movements and gestures use a lot of different levels and shapes to reveal the motivations and journeys of the characters.
b. A scene or monologue with limited movement. The character(s) moves in precise and detailed moments. Their movements and gestures work in sync with their dialogue to build the intensity or humor of the piece.
c. A pantomime in which an actor (s) is careful and specific to use size, weight and resistance of imaginary objects to help tell their story.
d. All of the above scenarios could receive a 5 in the standard of Movement and Staging.
e. Only A & C could receive a 5 in the standard of Movement and Staging.
SECTION B (competition guidelines):
8. You must give different point scores to each entry in a round.
a. True: You may not have tied point scores at the end of a round.
b. False: Students receive point scores based only on how well they achieve the standards written on the ballots. If multiple pieces receive the same point score, the judge decides which pieces are ranked higher and lower.
9. Here are four lists of results from four preliminary rounds of an individual event. Only one of them represents valid results that may be tabulated. The others all contain errors which must be corrected by the judge. Which set of results are valid?
a. 1st Place - 23 Points, 2nd Place - 24 Points, 3rd Place - 20 Points, 4th Place - 19 Points, 4th Place - 18 Points.
b. 1st Place - 25 Points, 2nd Place - 25 Points, 3rd Place - 25 Points, 4th Place - 25 Points, 4th Place - 25 Points.
c. 1st Place - 24 Points, 2nd Place - 22 Points, 3rd Place - 21 Points, 4th Place - 20 Points, 5th Place - 19 Points.
d. 1st Place - 25 Points, 2nd Place - 24 Points, 2nd Place - 24 Points, 4th Place - 23 Points, 5th Place - 22 Points.
10. In the 4A, 5A, and 6A classifications, at the region level, if a judge believes a student in an individual event has met the standards described on the ballot, and should be allowed to compete at the state level, what is the minimum total point score they must award?
a. 25
b. 20
c. 15
d. Point totals do not affect a student's eligibility to compete at the state level. Advancement to the state level is only determined by ranking.
11. In an individual event, when should the timekeeper start timing a performance piece?
a. As soon as the judge calls the students to the stage.
b. As soon as the students begin introducing their piece.
c. Immediately after the students have completed their introduction.
d. As soon as the students speak their first line, or begin the first moment of their performance, after they have given their introduction and the judge has had time to record the name and author of their piece.
12. What should a judge do if they believe a piece has violated a rule?
a. Make a note of the rule violation in the space provided, and do NOT score the ballot.
b. Make a note of the rule violation in the space provided, and score the ballot as you normally would.
c. Make a note of the rule violation in the space provided, score the ballot as you normally would, and then subtract two points from the total point score.
d. Stop the students immediately. They have been disqualified.
DISCARDED QUESTIONS -- WILL NOT BE ON THE JUDGES TEST 2026
6. Choose the best answer to complete the following sentence. In order to receive a score in the "Above Standard" band of a standard, a student must:
a. Not meet the standard, ever.
b. Sometimes meet the standard during the performance.
c. Frequently meet the standard during the performance.
d. Consistently meet the standard throughout the performance.
7. Choose the best answer to complete the following sentence - When decided how many points to award for a standard, the judge should compare performance to:
a. The other performances in the round being judged.
b. A typical high school theatre performance.
c. A professional theatre performance.
d. The standards described on the ballot
8. True or False: You may give perfect scores to multiple pieces in the same round.
a. True: There is no limit to the number of high or perfect scores you may award in a round.
b. False You may only award one perfect score per round.
12. In the 3A, 4A, 5A, and 6A classifications, at the region level, if a judge believes a one act play has met the standards described on the ballot, and should be allowed to compete at the state level, what is the minimum total point score they must award?
a. 50
b. 42
c. 30
d. Point totals do not affect a one act play's eligibility to compete at the state level. Advancement to the state level is only determined by ranking.
14. True or False: If there is time left at the end of an individual event round, after each piece has performed, the judge is allowed to give verbal feedback to the competitors.
a. TRUE: The judge should always give verbal feedback at the end of the round, if there is time.
b. FALSE: The judge should always give written feedback on each ballot, but is NOT allowed to give verbal feedback on individual events, ever.