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.
THE KENNEDY CENTER AMERICAN COLLEGE THEATER FESTIVAL DIVERSITY AND INCLUSION STATEMENT:
The Kennedy Center American College Theater Festival affirms its commitment to policies and practices of promoting inclusion and diversity in its leadership, both regional and national, as well as in its programming. We pledge to nurture talent in all areas of the theater based solely on merit and achievement. We encourage production respondents to avoid discriminatory comments and embrace the variety of artistic choices generated by the diversity of perspective that exists on college campuses across the country. We promote collegial exploration of new ideas, supported by a clear understanding of long-held artistic practices, fully respecting the communicated intentions of the playwright. We encourage discourse that effects positive change in the ways that under-represented groups are portrayed onstage, and we oppose acts of cultural appropriation and character depictions that deepen existing cultural divides. We embrace the idea that diversity in experience and perspective makes our organization stronger and more relevant and is therefore essential to our educational mission of training the future artistic leadership in American theater.