Duet Acting is now eligible under both the BID and AT-LARGE systems. If a bid school tournament offers Duet, bids will be awarded at the appropriate level. 

We realize that duet acting is not offered at a large number of tournaments across the country. Therefore, in an effort to help generate interest and encourage growth of the event, we are offering the following rules and clarification.

a. SELECTION — Selections used in Duet Acting shall be cuttings from a single source from a published printed novel, short story, play, poem or screenplay. No contestant may use the same literary work that s/he used in previous competitive years. No contestant may enter the same selection in two qualifying events. The material may be humorous or dramatic, or combine both tones depending on the selected work. Contestants may not combine two or more pieces of literature. A piece of literature shall be defined as one piece of writing which was written with the intent to be published as one work. Each of the two performers may play one or more characters so long as performance responsibility in the cutting remains as balanced as possible. Introductory and/or transitional material may be presented by either or both contestants.

b. PUBLICATION — All contestants must use published materials. “Published” as used in these rules means materials for which the coach is able to provide proof of publication using either of the following methods: — Originating in print form (book, photocopy of the book, or a manuscript) — Originating in digital form (a printed copy of an online transcript) Unpublished material used for introductions and transitions of interpretations shall be the original work of either or both of the contestants. Transitions and other added material must not change the author’s intent.

c. MANUSCRIPT – An original or photocopy of the original selection must be submitted at registration. Script check is the last step in the registration process. Schools that do not complete the registration process are not eligible to compete in the tournament. The portion(s) of the author’s work being used in the interpretation must be highlighted. All introductory and transitional phrases shall be clearly indicated as such on the manuscript. Transitions and other added material must not exceed 150 words and must not change the author’s intent. Contestants must adhere to the material as submitted when performing during rounds.

d. TIME — Interpretations shall be no more than ten (10) minutes in performance including introductory and transitional materials. There is no minimum time limit. Speakers exceeding this time limit by more than 30 seconds shall not be ranked first. For each final round, a tournament official, or designee shall serve as the official timer, and will have the discretion of waiving time violations for contestants exceeding the time limit due to audience reactions. This may be extended to the semi-final round at the discretion of the tournament director or designee.

e. PERFORMANCE — The interpretation must be delivered from memory; no notes, prompting or scripts shall be permitted. No costumes or props shall be permitted. During the performance, on-stage focus (meaning contestants MAY look directly at each other) may and/or should be employed by both contestants. Contestants are encouraged to touch and make eye contact during any part of the performance. Two chairs will be allowed for use as props or to facilitate blocking and to create levels, atmosphere and environment. Two standard classroom chairs will be provided. If the performers deem it necessary, they may provide their own chairs.