Interp Events

I believe acting choices should be justified and driven by the text. The speaker should use their tools to tell a complete story with the traditional elements of plot and story arc.

I like to see honesty and authenticity in the movement and voice of the speaker. Animated and performative acting styles should be derived from a specific style of the piece.

Spontaneity and natural variety in a performance are essential. The piece should not feel over-rehearsed and on repeat.

If needed, speakers should always adapt their choices to their surroundings. For example, if performing in a small room, the speaker should modify volume to the room.

Content warnings are appreciated when appropriate.

Teasers should set the mood for the piece and not be too lengthy.

Intros need to continue to prepare the audience for the piece by setting the appropriate tone as well as to give important exposition. A sharp or clever intro that is well constructed can be the determining factor in scoring among two equally done pieces.

Blocking and movement should be clear, well defined, and motivated. Clever or creative staging is appreciated. Unclear or unspecific pantomime, upstaging, or weird angles that prevent seeing the actor's faces should be avoided.

Characterization should be consistent and easy to follow if performing multiple characters. Pops should be clean. Vocal characterization should be suggestive of the character and not an opportunity to showcase cartoon voices/cliche characters (the surfer, the New Yorker, the Brit, the Aussie, etc.) unless warranted by the script/story.

The binder is NOT a prop other than in POI. Movement below the waist (steps) should be clear and motivated as well as minimal.

Author's Intent and/or Appropriateness of Literature- How do I feel about an HI of Miracle Worker (author's intent) or a student performing mature material (appropriateness)? That's a big NO for me if it's offensive more than it is creative. (Miracle Worker as an HI, or The Lovely Bones, or anything like that is offensive to me. The topics in those pieces aren't meant to be funny and do go against the author's intent.) Mature content if it's handled well and suits the piece doesn't bother me- if it's excessive or for shock value, then I may not like it. It really depends on the piece and the performer; I'm not really conservative but I've seen some material that I definitely wouldn't coach or have ranked down because I felt like it was too much.

For Speech Events OO/INFO– I love that Orator’s Triangle! It helps me follow the structure of your speech. I weigh the written speech (construction/logic/novelty/grammar/humor) equally with the presentation of the speech. I personally don’t like laminated stuff on Info boards (because of the glare.) I loooove creative/inventive Info props!

When it comes to interpretation events, I am drawn to performances that marry the synergy between literature, fully crafted performances, and effective blocking. I'll be looking for a well-crafted and engaging message that not only captivates the audience but also demonstrates a deep appreciation for the literary nuances in your chosen material. Ensure your content is not just spoken but embodied, utilizing effective blocking to enhance the visual dimension of your performance. Your delivery remains pivotal, so articulate your words with confidence, using your voice, body language, and strategic blocking to create a cohesive and immersive presentation. Pay attention to pacing and timing for a seamless and dynamic flow. Tell me a story, take me on a journey, and make me feel something!

I want to see you become the character(s) you are portraying and have the most believability in the role. Often times in the speech world, I see so many students caught up in the “statement” of the piece, they are no longer focusing on the acting.

I want to see completely fleshed out characters and actors who have thought about each moment! Breathing, operative words, and event work is crucial.

Blocking should be creative but not steal focus. It should be used to enhance your piece and not done for the sake of doing so.

passion and creativity in OO, INFO, and Extemp is ranked highest! When everyone has the same great analysis, it’s the small things like the intellectual way you created your AGD or vehicle that make you stand out!

When looking at a performance the biggest area I look into is commitment to the text. Is the subject matter taken beyond the surface level and is there critical thinking used through out the process. Which is evident by their perofmance.

I look to see if the performer has control of the audience.

I like seeing believability and authenticity. Something that goes beyond what is written.

I look for a clean speech that has vocal variety and does not sound over- rehearsed. Rather an organic piece that comes from the heart and not a paper.

All tactics will vary as the piece unfolds and I enjoy the unpredictability of it. Just like in life.

1. Overall Structure: I look for speeches that are well-organized and coherent. A clear introduction, body, and conclusion are essential, with smooth transitions between ideas.

2. Choice and Cutting of Literature: I assess the selection and editing of literature for its relevance, depth, and impact. The chosen pieces should resonate with the audience and enhance the overall message of the speech.

3. Social Relevance: I value speeches that address pressing social issues and offer meaningful insights or solutions. The relevance of the topic to contemporary society and its potential to provoke thought and discussion are crucial factors in my evaluation.

4. Portrayal of Honest and Truthful Moments: Authenticity is paramount. I look for speakers who convey genuine emotion and vulnerability, as well as honesty in their delivery. Authenticity fosters connection with the audience and enhances the impact of the message.

These qualities contribute to a compelling and impactful performance that resonates with both the audience and myself as a judge.

Hello, my name is Ramiro Soliz and I would consider myself a traditional judge. I look for characterization and their consistency and if movement and blocking is motivated. Articulation and projection is another thing I look for in all performances.

For DI, I like when the performer knows who they are talking to (us the audience). I do not like when performers throw themselves on the floor or yell for the "dramatic effect" if it fits the character and their tendencies then fine. I also look for the little hints of comedic usage in a DI so it is not sad the whole time. Characterization is really important to me and reestablishing and recreating the scene for us the audience. Natural intro, a time for me to hear YOU the performer.

HI, this is alot different from DI because of the use of multiple characters. I look for distinguishable characters and if I can understand and follow the story with the performers choices of characters and blocking. I also look for how this "hilarious story" relates to something happening in society that the performer wants to bring awareness to. Dont use the 30 second grace as part of the performance, its there to help performers not go over time.

PR/PO/POI: Same as above, I also tend to rank higher those performers who have good tech work. Clean and motivated page turns and consistent style of holding the book. I like for the intro to be natural so I can hear YOU and not the character in the performance.

Whether you are in person or speaking virtually, public speaking skills stand out. Work for "eye contact" as opposed to reading speeches in debate events. Keep in mind that I need to be able to see and hear you clearly. Stand up and speak up. Speak with conviction and confidence. Perform with confidence. NO ONE knows your material better than you! (Even if you do not know your topic/material/case as well as you or miss a word, how would I know?! You need to sell me your side/piece/speech. Make me want to keep listening to you after the time has run out!)

As a congress judge, I will remind you that it is called Congressional DEBATE and not Congressional Speechmaking. Take time to refute the Representatives/Senators before you. Answer and ask questions with purpose and confidence. Be clear about evidence--in other words: HAVE SOME! Anyone that is brave enough to PO needs to know the procedure and must be able to be fair and unbiased.

For CX and LD, speed is not always your friend-- especially if we are virtual. Slowing down and articulation are the keys to a good debate. Also, Clash is not just a band from the '80s. I expect to be given solid reasons to vote for you. Perhaps use the last 30 sec of your last speech to crystalize the round for me. Tell me what is important. I may not be a fan of your K or CP, but if you present it well and defend it against attacks, I will vote on it.