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MUSTHEAT 2001 - Music Theatre Performance 2A

North Terrace Campus - Semester 1 - 2025

Dance: An emphasis on more advanced technical work is addressed along with a greater understanding of style, along with the encouragement of more rapid and accurate learning of basic choreographic combinations. Greater strength and flexibility is also addressed along with stylistic accuracy. Pas de deux continues with a focus on ensuring students are capable of dancing in harmony with a partner in different styles, and able to perform moves such as lifts and turns safely. Voice/Movement: Second year voice brings students to a practical awareness of the way they use themselves as actors: working towards greater physical freedom and relaxation; increased breath capacity and control; more effective resonance; increased pitch range; and greater articulatory agility. The second year of voice production is largely exercise oriented, focusing on heightened language while connecting to vocal presence and action. Character voice is the primary focus, while resonance, vocal placement and support continue to be addressed. Student?s connection to language, the importance of oracy, the deeper need of words and rhetoric, and awareness of the three-dimensional physical muscularity of body/vocal tract and language/image. Using Shakespeare?s text, students will learn to trust the instincts and needs of the character rather than the intellectual presentation of the language, poetry and style of the play. Acting: This course builds on the foundational skills achieved throughout the first year of study by focussing on the issue of performance 'style'. Specifically, Non-Naturalistic text - material with a strong sense of heightened theatricality and overt poeticism - and is designed to increase the musical theatre performer's ability to adapt the performing self to the demands of text in a heightened style. Students will be asked to explore text from a variety of stylistic genres, examining each with a mind to formulating work methods and rehearsal strategies that might accommodate performance demands.

  • General Course Information
    Course Details
    Course Code MUSTHEAT 2001
    Course Music Theatre Performance 2A
    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
    Prerequisites MUSTHEAT 1002
    Restrictions Available to BMusTheatre students only
    Assessment Continuous criteria based observations within the classroom situation 10%, Voice: practical presentation 20%, Ballet/Pas de deux technical assess 20%, Tap technical assess 10%, Jazz technical assess 10%, Acting text analysis & showing 30%
    Course Staff

    Course Coordinator: Erin James

    Course Coordinator

     George Torbay

     E-mail: george.torbay@adelaide.edu.au

     Phone: 0421 245 665

     Location: Schulz Building (Level 11, Room 11.16)

     Availability: M-F, 0900-1700

     

    Course Tutors

     Craig Behenna

     E-mail: craigbehenna@gmail.com

     Phone: 0402 321 076

     Availability: M, W, Class times only

     

    Carla Centofanti

     E-mail: carla.cento@live.com.au

     Phone: 0403 196 942

     Availability: M, 0900-1300

     

     Martin Cheney

     E-mail: martin.cheney@gmail.com

     Phone: 0422 609 357

     Availability: M-F, 0900-1700

     

     Dr. Terry Crawford

     E-mail: terrycrawford61@gmail.com

     Phone: 0434 331 061

     Availability: Tues 0900 - 1330, Thurs 1330 - 1700, Fri 0900 - 1300

     

     Deanna Farnell

     E-mail: deannafarnell@gmail.com

     Phone: 0424 044 043

     Availability: W 0900 - 1430, F 0900 - 1700

     

     Rosie Hosking

     E-mail: rosie@roomtwo.com.au

     Phone: 0419 822 890

     Availability: T, 1600 - 1800

     

     Erin James

     E-mail: erinjames@icloud.com

     Phone: 0415 352 304

     Availability: F, 1400-1700

     

      Peter Johns

     E-mail: peter.johns@adelaide.edu.au

     Phone: 0408 286 894

     Availability: M-F, 0900-1700

     

     Alexander Kermond

     E-mail: alexanderkermond@gmail.com

     Phone: 0417 764 970

     Availability: W 9am - 11:30am

     

     Zoë Komazec

     E-mail: zoe.komazec@gmail.com

     Phone: 0431 418 421

     Availability: Wednesdays 9am - 11:30am

     

     Dale March

     E-mail: dalesimonmarch@gmail.com

     Phone: 0413 221 546

     Availability: Wednesdays 1pm - 6pm, Thursdays 9am - 1pm

     

     Martine Quigley

     E-mail: m@stylestation.com.au

     Phone: 0437 143 153

     Availability: M & W, 0900-1300

     

     Joseph Simons

     E-mail: j.simons@adelaide.edu.au

     Phone: 0432 498 020

     Availability: M-F, 0900-1700

     

     Paul Sinkinson

     E-mail: paul.sinkinson@yahoo.com.au

     Phone: 0413 011 964

     Availability: Tues 0900 - 1330, Thurs 1330 - 1700, Fri 0900 - 1300

     

     Anna Steen

     E-mail: anna.s.steen@gmail.com

     Phone: 0418 863 587

     Availability: Tuesdays 0900 - 1330, Thursdays 1330 - 1700

     

     Roel Vorrbij

     E-mail: voorbijroel@gmail.com

     Phone: 0450 225 231

     Availability: W, F, 1300-1730

     

     Dr. James Whiting

     E-mail: james_whiting@live.com

     Phone: 0417 764 970

     Availability: W, F, 1300-1730

     

    Course Timetable

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

  • Learning Outcomes
    Course Learning Outcomes
    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. 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, 2, 3, 4, 5

    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.

    1, 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.

    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.

    1, 2, 3, 4, 5

    Attribute 5: Intercultural and ethical competency

    Graduates are responsible and effective global citizens whose personal values and practices are consistent with their roles as responsible members of society.

    4

    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.

    1, 2, 3, 4, 5
  • Learning Resources
    Required Resources
    1. Donnellan, D, in The actor and the target, London, Nick Hern Books, 2002
    2. Berry, C, in The actor and the text, Rev. ed., London, Virgin, 1993
    3. Hartnoll, Phyllis, in A concise history of the theatre, London, Thames & Hudson, 1968
    4. Shapiro, James, in 1606: William Shakespeare and the year of Lear, London, England, Faber And Faber, 2015
    5. Linklater, Kristin, in Freeing the natural voice: imagery and art in the practice of voice and language, Revised and expanded edition., London: Nick Hern Books Limited, 2006
    6. Arthur Lessac, 
    The Use and Training of the Human Voice a Bio-Dynamic Approach to Vocal Life, Third edition, McGraw-Hill/Mayfield, November 1, 1996
    7. Winkler, Kevin, 
    Big deal : Bob Fosse and dance in the American musical, New York, NY:, Oxford University Press, 2018
    Recommended Resources
    1. Rodenburg, Patsy. The Actor Speaks. New York: St. Martin’s Griffin, 2002.
    2. Taylor, Millie and Symonds, Dominic. Studying Musical Theatre, Theory and Practice. London: Palgrave, 2014.
    3. Kenrick, John. Musical Theatre, A History. London: Bloomsbury Academic, 2010.
    4. Green, Stanley. Revised and updated Ginell, Cary. Broadway Musicals, Show-by-Show: Eighth Edition. Minnesota: Applause Theatre & Cinema Books, 2014.
    5. McCoy, Scott. Your Voice: An Inside View 3 – Voice Science & Pedagogy. Scott McCoy & Inside View Press, 2019
    6. Steinhauer, Kimberley, Klimek, Mary McDonald & Estill, Jo. The Estill Voice Model – Theory & Translation. Estill Voice International, 2017
    7. Chapman, Janice. L Singing and Teaching Singing – A Holistic Approach to Classical Voice Third Edition. Plural Publishing 2017.


    Online Learning

    All tutorials will be delivered in person, but virtual participation 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.

  • Assessment

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

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

    Assessment Summary
    Assessment Task Task Type Weighting %
    Learning Outcome(s)

    Acting:

    1. Engagement and inquiry
    2. Final Presentation
    Formative and Summative 40% 1,2,3,4,5

    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

    Voice:

    1. Performance: Perform a self-created Soundscape
    2. Rigorous weekly participation
    3. Accountability: Reflective Questionnaire
    Formative and Summative 20% 3,4,5
    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

    Assessment - ACTING #1: Engagement and Inquiry

    Weighting:

    70%

    Due date:

    Friday 31 May, 2024

    Task description:

    Rigorous session engagement and inquiry: This also covers punctuality, attendance, active participation, observation, discussion, punctuality and professionalism. This also covers all Task delivery, attendance and weekly progress and verbal expectations.

     Assessment - ACTING #2: Final Presentation 

    Weighting:

    30%

    Due date:

    Submission deadline:

    A final in-class performance will be given on Friday 31 May at 3pm in Lady Symon.

    Task description:

    Instructions:

    You will perform the Shakespeare monologue that you have refined during and outside of class. This will also include a memorized introduction to another student’s monologue.

    Students will be assessed during this presentation for other students and staff.

     Assessment - VOICE #1: Perform a self-created soundscape

    Weighting:

    60%

    Due date:

    Submission deadline:

    1. A final in-class performance will be given on Monday 27 May
    2. Written score must be handed in on the final session of Semester as well.

    Task description:

    Instructions: Perform your soundscape based on a self-created score

    Focused on vocal projection, resonance, placement, timing and articulation of voiced sounds. The score can be seen as a soundboard of an atmosphere or an emerging story that surfaces after guided explorations of vocal delivery during the sessions. An honest journey of sensory resonance and visceral emotional expressions. The successful student shows how to explore and broaden expressive capabilities as well as enriching emotional connections to their embodied and present vocal performance.

     Assessment - VOICE #2: Rigorous weekly participation

    Weighting:

    20%

    Due date:

    Monday 27 May, 2024

    Task description:

    Instructions: 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: Questionnaire

    Weighting:

    20%

    Due date:

    Submission deadline:

    Reflective questionnaire to be submitted after the final class at Friday 31 May 11pm

    Task description:

    Instructions:

    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.

     Assessment - DANCE #1: Jazz (Technique Examination)

    Weighting:

    30%

    Due date:

    Thursday 30 May (Week 12)

    Task description:

    JAZZ DANCE ASSESSMENT

    Title:                Practical Examination

    Instructions:   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%

     Assessment - DANCE #2: Ballet Assessment A (Research 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%

     Assessment - 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%

    Style & Presentation                            20%

    Coordination                                        20%

    Commitment & Professionalism           10%

     Assessment - DANCE #4: Tap (Technique Examination)

    Weighting:

    30%

    Due date:

    Wednesday 29 May (Week 12)

    Task description:

    Title:                Practical Examination

    Instructions:   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%

    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
  • 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.

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