MUSTHEAT 1001 - Music Theatre Performance 1A

North Terrace Campus - Semester 1 - 2024

Ballet: An introduction to the basic concepts and principles of classical ballet. Development of postural alignment, strength, flexibility, coordination and musicality incorporating barre work and centre work. Pas de deux will be incorporated into this class and focuses on partnered dance forms. Jazz: An introduction to fundamental jazz technique including core engagement and proper alignment. Exploring the use of dynamics (tempo, weight, force, space, flow, and release of energy) and how these dynamics can be used to express emotion. Investigating creating character and conveying a story through movement. Tap: An introduction to the basic steps of tap technique and how it applies to musical theatre. Students learn coordination, rhythmic variations, the relationship between music, rhythm, and syncopation, become knowledgeable of important tap dancers and their influence on the art form. Voice/Movement: A series of exercises designed to liberate the actor from the restrictive habits and tensions that prevent freedom of expression. Students will develop the capacity to draw on a wide vocal range to ensure a rich, flexible and expressive voice, through an exploration of awareness of self, study of breath, vocal anatomy, and release of unnecessary tension in relationship to space, time, body and text as a core discipline. Acting: A foundational class on awareness of the performing self. A variety of strategies for approaching written texts, beginning with a fundamental understanding of text analysis: how a text may be mined for relevant information; how this information can be ordered and translated into rehearsal strategies; how it may ultimately be utilized in performance. The basic threads of given circumstance, action\objective, character and situation will find further definition within the context of text.

Open All

Course Details

Course Code	MUSTHEAT 1001
Course	Music Theatre Performance 1A
Coordinating Unit	Elder Conservatorium of Music
Term	Semester 1
Level	Undergraduate
Location/s	North Terrace Campus
Units	3
Contact	Up to 10 hours per week
Available for Study Abroad and Exchange	N
Restrictions	Available to BMusTheatre students only
Assessment	Continuous criteria based observations within the classroom and tutorial situation 10%, Practical presentation: Voice 20%, Ballet/Pas de deux technical assess 20%, Tap technical assess 10%, Jazz technical assess 10%, Acting research essay 30%

Course Staff

Course Coordinator: Mr George Torbay AM

Course Timetable

The full timetable of all activities for this course can be accessed from .

Course Learning Outcomes

On successful completion of this course, students will be able to demonstrate:

1	Understand the basic technical requirements and physical characteristics of classical ballet, pas de deux, tap and jazz dance styles within a theatrical context;
2	Develop strength, coordination and rhythm, and experience the body as an expressive instrument;
3	Identify idiosyncratic, habituated physical and vocal patterns and establish an understanding of vocal physiology and its application to performance;
4	Recognise and apply improvisational techniques to develop imagination, the principles of play, developing spontaneity and stimulating an awareness of others;
5	Exhibit increased strength, flexibility, stamina and coordination in the body;
6	Define the proper care of a performer’s physical instrument, and apply safe techniques to explore the alignment, posture, stamina, flexibility and strength of your body in dance, acting and vocalisation.

University Graduate Attributes

This course will provide students with an opportunity to develop the Graduate Attribute(s) specified below:

University Graduate Attribute	Course Learning Outcome(s)
Attribute 1: Deep discipline knowledge and intellectual breadth Graduates have comprehensive knowledge and understanding of their subject area, the ability to engage with different traditions of thought, and the ability to apply their knowledge in practice including in multi-disciplinary or multi-professional contexts.	1, 3, 4, 6
Attribute 2: Creative and critical thinking, and problem solving Graduates are effective problems-solvers, able to apply critical, creative and evidence-based thinking to conceive innovative responses to future challenges.	2, 3, 4, 5
Attribute 3: Teamwork and communication skills Graduates convey ideas and information effectively to a range of audiences for a variety of purposes and contribute in a positive and collaborative manner to achieving common goals.	1, 4
Attribute 4: Professionalism and leadership readiness Graduates engage in professional behaviour and have the potential to be entrepreneurial and take leadership roles in their chosen occupations or careers and communities.	4, 6
Attribute 7: Digital capabilities Graduates are well prepared for living, learning and working in a digital society.	3
Attribute 8: Self-awareness and emotional intelligence Graduates are self-aware and reflective; they are flexible and resilient and have the capacity to accept and give constructive feedback; they act with integrity and take responsibility for their actions.	2, 4, 6

Learning Resources

Required Resources

Euripides. Medea, edited by Michael Collier, and Georgia Machemer, Oxford University Press

Stanislavski, C. “An Actor Prepares”. (Bloomsbury Academic, 2016), p 47-61. Imagination

Moss, L. “The Intent to Live: Achieving your true potential as an Actor”. (Bantam Dell, 2006), p19-30. Superobjective and Objective

Chekhov, M. “To The Actor”. (Routledge, 2002), p 63-76. The Psychological Gesture

Donnellan, D. “The Actor and the Target”. (Nick Hern Books, 2002), p 17-30. The Target

Recommended Resources

Hagen, U. “Respect for Acting”. (Macmillan, 1973)

Johnstone, K. “Impro: Improvisation and the Theatre”. (Methuen Drama, 1981)

Brook, P. “The Empty Space”. (Touchstone/Simon and Schuster, 1996)

Online Learning

All tutorials will be delieverd in person, but virtual particpation is acceptable for all lecture style sessions.
Learning & Teaching Activities

Learning & Teaching Modes

All music theatre students must undertake the Music Theatre Performance course. It is a skills-based practical course focussed on the three areas of acting technique, voice production and dance skills. This includes key areas of BALLET, TAP and JAZZ dance, ACTING technique as well as scene work, VOICE theory and production. As such, all classes are workshop style where attendance is critical for skills development.

Workload

The information below is provided as a guide to assist students in engaging appropriately with the course requirements.

Acting: 2 x 2 hour workshop each week
Voice: 1 x 2 hour workshop each week
Tap Dance: 1 x 1 hour workshop each week
Ballet Dance: 1 x 1 hour workshop each week
Jazz Dance: 1 x 1 hour workshop each week

In addition to the listed contact hours per week, It is anticipated that students would spend 4-6 hours per week in preparing for workshops, preparing assignments and undertaking required readings.

Learning Activities Summary

Students are expected to maintain 100% attendance at all classes. See below for penalties.

Independent Practice
Students must prepare and practise all repertoire, technical exercises and other material assigned by their lecturers and arrive for each session fully prepared

Class Activity
All classes are practically based skill development. It is essential for growth and development that there is active participation at each session.

Out of Class Activity
Acting and Voice will require students to present to the University community a showing of their semester’s work. These showings usually take place in the final week of classes or in Week 13.

Specific Course Requirements

Specific dance wear and rehearsal ‘blacks’ will be quired for all classes. Students will be given this information prior to the first class with clear instructions and guidelines.

The University's policy on Assessment for Coursework Programs is based on the following four principles:

Assessment must encourage and reinforce learning.
Assessment must enable robust and fair judgements about student performance.
Assessment practices must be fair and equitable to students and give them the opportunity to demonstrate what they have learned.
Assessment must maintain academic standards.

Assessment Summary

Assessment Task	Task Type	Weighting	Learning Outcome
Acting: 1. Reflective Essay 2. Rigorous session engagement and inquiry 3. Final Presentation	Formative & Summative	40%	2,3,4,5
Dance: 1. Ballet Assessment A (Research) 2. Ballet Assessment B (Technique) 3. Tap Dance Assessment 4. Jazz Dance Assessment	Summative	40%	1,2,4,5,6
Voice: 1. Ensemble Performance 2. Rigorous weekly participation 3. Accountability: Reflective Questionnaire	Formative & Summative	20%	3,4,5,6

Assessment Related Requirements

Participation:
Active and positive participation in 100% of workshops is expected.
Students will need to seek approval from the Head of Music Theatre for any absence. This process is clearly explained in the Music Theatre Handbook in MyUni.

Assessment Detail

ACTING #1: Rigorous session engagement and inquiry

Weighting:	50%
Due date:	Friday 31 May, 2024
Task description:	Rigorous session engagement and inquiry: This also covers punctuality, attendance and all task delivery.

ACTING #2: Stanislavski Fundamentals Scene Work

Weighting:	25%
Due date:	Wednesday 29 May at 12.30pm in Lady Symon
Task description:	You will present a selected scene from class (roughly 5 mins). Students will be assessed during a by invitation presentation for staff and students. Submission deadline: A final in-class performance will be given on Wednesday 29 May at 12.30pm in Lady Symon. All First Years are expected to attend in order to enjoy and support the other group’s work.

ACTING #3: Essay

Weighting:	25%
Due date:	Essays will be submitted through MyUni and are due by Friday 7th June 11.59pm. The essay must be double spaced in Times New Roman.
Task description:	You will compose a 1,500 word essay covering three major areas of reflection. 1: How do the Stanislavsky fundamentals and Michael Chekhov’s basic exercises interlock as coherent tools for the actor (or not)? 2: Your personal journey of inquiry and insight with these techniques. 3: How you have begun to integrate and how you perceive this work will serve the further integration of your acting into the disciplines of Song and Dance. ie: Your individual evolving process. The essay must include material from your daily journal (at least 3 supporting reflections) and quotes from each of the key readings as source evidence. This task should be guided by the specificity of your unique experience and insight.

DANCE #1: Jazz (Technique Examination)

Weighting:	30%
Due date:	Thursday 30 May (Week 12)
Task description:	Each student (regardless of level) will present a series of technical exercises across the room demonstrating strength, flexibility, and coordination. These exercises will be rehearsed in class time and include ‘option up’ variations which the student may choose to present. You will also learn a new (unseen) choreographic combination to perform. Marking: Alignment & Control 40% Coordination 25% Style & Dynamic Range 25% Commitment & Professionalism 10%

DANCE #2: Ballet Assessment A (Research Project-Oral Presentation)

Weighting:	20%
Due date:	11:59pm Friday 5 April 2024 (Week 6)
Task description:	Instructions: Choose ONE (1) of the following choreographers: Justin Peck Agnes de Milne Gillian Lynne Jerome Robbins Christopher Wheeldon Research your chosen choreographer using videos, articles, and interviews. Include all links and hard copy sources in your biography. Create a 5-minute oral presentation on film (maximum 8-minute) speaking directly to camera. This video may be edited (ie: does not need to be a single take). Discuss the following: What about their career most interests/impresses you? What do you like/appreciate about their choreography? Select a particular piece of their choreography that you like. Could you perform it? Today? What would you need to work on in ballet class to better execute their choreography? Do you recognise any movements/shapes we execute in ballet class in their choreography? Any other discoveries or observations? Create a one- or two-page timeline for your chosen choreographer outlining their birth, important projects and death (if applicable). Include a broader look at what else was happening around the same times within the Music Theatre industry. For example: What other shows were on/being created at the same time? Do you think there was any influence? If they or their work was nominated for an award, but didn’t win, who beat them? Who else was nominated that year? Had they worked with the same director/creative team before? Did any of their projects overlap? Have any of their work been revived? Include a biography with your timeline that lists your research sources. Marking: Quality of Research 30% Ability to Self-evaluate 20% Presentation 30% Timeline 20%

DANCE #3: Ballet Assessment B (Technique Examination)

Weighting:	20%
Due date:	Tuesday 28 May (Week 12)
Task description:	Instructions: Each student (regardless of level) will present a series of Barre and Centre Practice exercises, and an Enchainment rehearsed in class time. Material includes ‘option up’ variations which the student may choose to present. Marking: Technical Accuracy 50% Coordination 20% Choreographic Comprehension 20% Musicality 10%

DANCE #4: Tap (Practical Examination - including unseen choreography)

Weighting:	30%
Due date:	Wednesday 29 May (Week 12)
Task description:	Each student (regardless of level) will learn and present an unseen choreographic combination that include ‘option up’ variations which the student may choose to present. Students will also be required to present their own 2x8-count choreographic combination without musical accompaniment incorporating dynamics and various rhythms. Students will also be tested on terminology; required to identify and/or demonstrate a selected tap step. Marking: Technique & Quality of Sound 40% Musicality 25% Performance Style 20% Commitment & Professionalism 10% Terminology 5%

VOICE #1: Ensemble performance

Weighting:	60%
Due date:	A final in-class performance will be given on Friday 31 May, 2024
Task description:	Perform as part of an ensemble, a group created text inspired by existing playwrights. The performance consists of spoken words both solo and as part of the group. The classes will guide the process of creating a choreography to support and empower the speech concepts and vocal timbre. Vocal projection, resonance, placement, timing and articulation is key. The successful student shows how to explore and broaden expressive vocal capabilities with clarity, demonstrating to both lead and follow in an ensemble.

VOICE #2: Rigorous weekly participation

Weighting:	20%
Due date:	Friday 31 May, 2024
Task description:	Rigorous weekly participation: The ongoing focus and attention on the learnings at hand during the sessions towards completing tasks. Visible attitude of ongoing rigorous self-exploration, punctuality, professionalism as well as questioning and adding to the in-class discussions and conversations. When unable to attend a session, the student is responsible to obtain information from the session in question and its requirements. Contacting fellow students or teacher to attend fully prepared at the following session is expected.

Assessment - VOICE #3: Accountability: Reflective Questionnaire

Weighting:	20%
Due date:	Reflective questionnaire to be submitted after the final class. Monday 3 June 11pm
Task description:	You are encouraged to record your own personal experience of the exercises and findings in class in a journal. This should contain a written exploration of your challenges, struggles, successes and epiphanies resulting in a personal reflection of your journey throughout the semester. Not simply what you did, but how you experienced it. At the end of the semester you will be asked to answer a reflective questionnaire about your vocal journey and experience in voice class thus far. Please utilise your journal when answering these questions.

Submission

ALL MUSIC THEATRE ASSESSMENTS INCUR A 10% PER DAY PENALTY FOR LATE SUBMISSIONS. Extensions are only granted prior to the assessment due date.

Late assignment policy:
Extensions are only granted when supporting documentation can be provided and then, and only then, by arrangement with the course lecturer prior to the due date and time. Extensions will not be granted under any other circumstance. Assessed work that is submitted late (after the due date and time) will not be examined for assessment or feedback.
In the case of illness this will require a medical certificate, and in the case of personal (non-medical) circumstances you will need a letter of support from a University Student Counsellor. For further information please refer to the following website: http://www.adelaide.edu.au/counselling_centre/

Course Grading

Grades for your performance in this course will be awarded in accordance with the following scheme:

M10 (Coursework Mark Scheme)
Grade	Mark	Description
FNS		Fail No Submission
F	1-49	Fail
P	50-64	Pass
C	65-74	Credit
D	75-84	Distinction
HD	85-100	High Distinction
CN		Continuing
NFE		No Formal Examination
RP		Result Pending

Further details of the grades/results can be obtained from Examinations.

Grade Descriptors are available which provide a general guide to the standard of work that is expected at each grade level. More information at Assessment for Coursework Programs.

Final results for this course will be made available through .

Student Feedback

The University places a high priority on approaches to learning and teaching that enhance the student experience. Feedback is sought from students in a variety of ways including on-going engagement with staff, the use of online discussion boards and the use of Student Experience of Learning and Teaching (SELT) surveys as well as GOS surveys and Program reviews.

SELTs are an important source of information to inform individual teaching practice, decisions about teaching duties, and course and program curriculum design. They enable the University to assess how effectively its learning environments and teaching practices facilitate student engagement and learning outcomes. Under the current SELT Policy (http://www.adelaide.edu.au/policies/101/) course SELTs are mandated and must be conducted at the conclusion of each term/semester/trimester for every course offering. Feedback on issues raised through course SELT surveys is made available to enrolled students through various resources (e.g. MyUni). In addition aggregated course SELT data is available.
Student Support
Policies & Guidelines
This section contains links to relevant assessment-related policies and guidelines - all university policies.
Fraud Awareness

Students are reminded that in order to maintain the academic integrity of all programs and courses, the university has a zero-tolerance approach to students offering money or significant value goods or services to any staff member who is involved in their teaching or assessment. Students offering lecturers or tutors or professional staff anything more than a small token of appreciation is totally unacceptable, in any circumstances. Staff members are obliged to report all such incidents to their supervisor/manager, who will refer them for action under the university's student鈥檚 disciplinary procedures.

The 成人大片 is committed to regular reviews of the courses and programs it offers to students. The 成人大片 therefore reserves the right to discontinue or vary programs and courses without notice. Please read the important information contained in the disclaimer.

Authorised by:	Deputy Vice-Chancellor and Vice-President (Academic)
Maintained by:	Course Outlines Administrator

成人大片