Institute for Theater Journalism and Advocacy
the activity or process of writing plays.
Design, Technology and Management
an act of staging or presenting a play, concert, or other form of entertainment
the art or action of conceiving of and producing a plan or drawing
the theory and practice of dramatic composition
public support for or recommendation of a particular cause or policy
supervise and control (a movie, play, or other production, or the actors in it).
Started in 1969 by Roger L. Stevens, the Kennedy Center's founding chairman, the Kennedy Center American College Theater (KCACTF) is a national theater program involving 18,000 students from colleges and universities nationwide which has served as a catalyst in improving the quality of college theater in the United States. The KCACTF has grown into a network of more than 600 academic institutions throughout the country, where theater departments and student artists showcase their work and receive outside assessment by KCACTF respondents.
The goals of the Kennedy Center American College Theater Festival are:
To encourage, recognize, and celebrate the finest and most diverse work produced in university and college theater programs;
To provide opportunities for participants to develop their theater skills and insight; and achieve professionalism
To improve the quality of college and university theater in America;
To encourage colleges and universities to give distinguished productions of new plays, especially those written by students; the classics, revitalized or newly conceived; and experimental works.
Through state, regional, and national festivals, KCACTF participants celebrate the creative process, see one another's work, and share experiences and insights within the community of theater artists. The KCACTF honors excellence of overall production and offers student artists individual recognition through awards and scholarships in playwriting, acting, criticism, directing, and design.
KCACTF is a year-round program in eight geographic regions in the United States. Regional activities are coordinated through eight KCACTF regional chairs and eight KCACTF playwriting awards chairs. With funding and administrative support from the Kennedy Center, the regional chair coordinates with the Co-Managers of KCACTF all aspects of the adjudication of productions on the local and regional level and supervises regional-level KCACTF award competitions. The playwriting chair works with schools that have entered new and student-written plays by providing expertise in the development of new scripts--assessment specifically designed for a developing play--and by providing information on the numerous playwriting awards offered.
In January and February of each year, regional festivals showcase the finest of each region's entered productions and offer a variety of activities, including workshops, symposia, and regional-level award programs.
Since its inception, KCACTF has given more than 400,000 college theater students the opportunity to have their work critiqued, improve their dramatic skills and receive national recognition for excellence. More than 16 million theatergoers have attended approximately 10,000 festival productions nationwide.
KCACTF DIVERSITY STATEMENT
Diversity in thoughts and ideas are the backbone of artistic creation. Often it is the clash or juxtaposition or reexamination of the “tried and true” that makes for exciting and new artistic creation. A diversity of thought and perspective makes our organization stronger and more relevant. And the sharing of these diverse perspectives is central to our educational mission. Therefore, diversity should be essential and integral to our approach. Educational excellence that truly incorporates diversity thus can promote mutual respect and make possible the full, effective use of the talents and abilities of all to foster innovation and train future artistic leadership in American theater.
Therefore, the Kennedy Center American College Theater Festival affirms its commitment to being inclusive and respectful in all aspects of its programming, and regional and national leadership. We vow to nurture talent in all areas of theater based on merit and achievement, regardless of economic or social status and will not discriminate on the basis of race, color, ethnic origin, national origin, creed, religion, political belief, sex, gender, gender identity, weight, physical or mental disability, marital status, or age. Respondents are encouraged to avoid discriminatory comments that deride artistic choices based on any of the aforementioned areas. Instead, choices that “break tradition” should be discussed in a respectful and collegial way that challenges long-held practices and beliefs and encourages further exploration, leading to more dramatic and long lasting discoveries.