Eisteddfod Competition Rules
The following Eisteddfod rules are from previous competitions. Check event posting for an upcoming Eisteddfod for specific rules for that year.
An Eisteddfod competition generally requires one period piece, one audience, participation/inclusion piece, one bring-your-best.
A “piece” can be of any bardic category: vocal song, instrumental song, poem, story, dance, and so on.
Pieces must be no longer than 5 minutes.
Extra credit for documentation; extra credit for period-style or period performance for either of the non-period pieces.
Most important, though, is entertaining the Crown and populace in a manner that fits in the new Middle Ages.
This could include most of your documentation. Example: Upon a Dead Man’s Head: A poem by the English poet, John Skelton ca. 1498 or My Superior Poem, an original Sonnet based on the English form utilized by William Shakespeare (1564-1616).
For Acquired Pieces
- Author – If unknown please include this information.
- Date – Date composed or information surrounding the timeline of creation
- Area of Origin – The country, region or setting where this particular piece would be performed. Example Southern France during the Troubadour era, Poem written by William Shakespeare in 1599.
For Original pieces
- Period (century) upon which the piece is based – The elements of the piece that were characteristic in period. Example: “This original song utilizes a two rhyming couplets followed by a nonsense chorus as one might find in The Famous Ratcatcher, earliest known printing, 1615.”
- Area where the style would have been heard/seen
This is the minimum requirement, more resources are welcome and will improve overall scores. Please do not use Wikipedia
Other Helpful Information to Include
A short discussion of what makes your piece a “standout” in preparation or performance. Example: “The piece requires exceptional breath control and exhibits difficult changes in pitch and meter” or “While Middle English would have been easily understood by the original auditors, it was necessary to seek a balance between the original pronunciation and what is accessible to the modern ear.”