Dramatic Performance
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Brief Overview
Dramatic Performance, often referred to as DP, and sometimes even as DI (short for Dramatic Interpretation) is a presentation done from memory from a script or play. DP has a time limit of 10 minutes and a short introduction presenting the piece, though the introduction does not have to be the very first thing that a performer presents.
Judging Criteria
When judging a DP round judges have to take in a variety of factors, such as language, flow, and volume. The tough part of judging DP comes when there are a variety of types of pieces in the room. When both dramatic and humorous pieces are going against each other the judge has to make a distinction based on how to separate those out. That is why it's a good idea to have some variation in your cutting, so that even if you are 'the funny piece in the room,' you are able to show a little of your dramatic side with at least a small serious moment.
DP Ballots
Click on the above images to view them in more detail
in-depth approach
FINDING PIECES
Finding Pieces can sometimes be the most difficult part of any performance. The scripts can come from any published drama, including play scripts, movie scripts, and even podcasts.
Some of the sources that we most like are linked below, these have some good possibilities for finding pieces. These are links directly to Amazon, and purchasing through our site actually helps defray some of the costs of our domain hosting and website.
THE CUTTING
Because very few prose and poetry pieces are exactly 6 - 10 minutes long, the portion that is performed is called the cutting, referring to the fact that the piece has been cut down shorter from its original length. The cutting of a performance is immensely important. While you're cutting, there are few things you need to pay attention to.
The length. Going over time is the easiest way a judge distinguishes students. If a judge has two outstanding performances in a room, and you're one of them, don't make it an easy choice by going over time! Make sure you're not going to go over time, even in a room that is laughing at you, or if you have an epiphany and add another dramatic pause. in some rules there is a 30 second grace period for OI. This does NOT mean that your time limit is 10:30. You still need to focus on that 10 minute mark. The 30 second grace period is actually built in for audience participation. That way, if you get a lot of laughs, you're still within the grace period.
The message. This is the central component to your performance. You need to decide your cutting not just based on how cool you think the story is, but how cool you think the message the story is telling is. Keeping in mind the message while you're cutting means that you're going to come out on tournament day with a well thought out, fully formed message embedded fully into your performance. This is the component that separates out the national finalists.
The levels. You don't want a cutting that is all sad or all funny. Even if you're going for a fully serious piece, making sure there is a line or two in which your audience gets to smile is a great way to keep everyone focused on your performance. Or vice versa. You want to have levels, show depth, and use those tools to present the strongest piece.
The Performance
As you finish your cutting, there are many components to the performance that are important .
The Blocking. The blocking is the way that a performer enhances the performance with movement. This is the physical component that separates out the creative. Blocking is tricky, as it needs to be clear what the performer is doing. With that end, the blocking can't be too complicated, as this will both confuse the audience and distract from the goal of the piece. Most of the best blocking isn't written right into the piece, its found through practice and performance. The blocking brings a new layer of a visual component to the performance.
Vocals. The vocals might seem like the easiest part of a performance - many competitors think they are just speaking. But the vocals are a key component to the performance. Vocals embody not just how loud you are, but the accent, age, and strength of a character. Think about your own tonality and vocal patterns. Those are not necessarily the same as your characters. Make your performance the strongest it can be.
Additional Resources
Character Analysis - This is a document that can help as a tool you come back to over the course of the year. Use this document in the beginning - helping you analyze how to approach your interpretation. Then, use it again a few months later. See how your answers have changed.
How to Write an Intro - This doc will help you focus your intro writing. Use it to make sure you're on the right track.
Keeping it Fresh - Sometimes, when we've done a piece for a while, it can start to feel a little stale. Here are some exercises to help keep those pieces exciting!
