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Course Outlines

MUSTHEAT 2002 - Music Theatre Performance 2B

North Terrace Campus - Semester 2 - 2024

Dance: This course extends skills and techniques learnt in the first three semesters. The dance stream continues incorporating techniques of various dance and physical theatre forms. The dance styles taught will include: jazz/contemporary dance, tap, classical ballet and pas de deux. Dance as a soloist, collaborative creation and variety in style and form will feature more distinctively. Skills covered will include stretching techniques, turning, isolation and complementary movement as well as the interpretation of various historic and contemporary dance pieces to an advanced level. Voice/Movement: Students continue to integrate neutral awareness and physical release within space, time, body and text. An exploration of a variety of texts as a means to integrate an authentic body/voice connection to naturalistic and heightened language. A sound theoretical and practical grasp of voice and speech along with text analysis underpin this process and students continue to develop appropriate technical skills that support a spontaneous, flexible and muscular voice. The student actor will develop a rigorous daily voice practice regime that is designed to support work being undertaken in rehearsals and presentations. This course introduces a variety of naturalistic texts as a means to integrate an authentic body/voice connection to naturalistic language. Acting: This Course builds on the foundational skills achieved throughout the first three semesters of study by focussing on the issue of performance 'style'. Students will be asked to explore text with a mind to formulating a range of work methods and personal rehearsal strategies pertaining to the specific style of naturalism. The course will begin with an examination of theatre forms developed in the late Nineteenth and early Twentieth Centuries, primarily in the mode of naturalism, before moving forward to a study of more contemporary material. The focus will be on both deepening an understanding of the possibilities of performance and further developing the range and repertoire of personal rehearsal strategies available to the musical theatre performer.

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  • General Course Information
    Course Details
    Course Code MUSTHEAT 2002
    Course Music Theatre Performance 2B
    Coordinating Unit Elder Conservatorium of Music
    Term Semester 2
    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 2001
    Restrictions Available to BMusTheatre students only
    Assessment Continuous criteria based observations within the classroom situation 10%, Practical presentation: voice 20%, Ballet/Pas de deux technical assess 20%, Tap technical assess10%, Jazz technical assess 10%, Acting text analysis & showing 30%
    Course Staff

    Course Coordinator: Mr George Torbay AM

    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. Demonstrate understanding of technical elements and physical characteristics of Jazz, Ballet and Tap dance styles;
    2. Exhibit increased strength, flexibility, stamina and coordination in the body;
    3. Combine technical accuracy with professional-level performance quality;
    4. Choose and apply intuitive physical and vocal character choices;
    5. Access a concise toolkit to meet the directorial prompts for key character ‘types’;
    6. Apply character exploration, dramaturgical research and director’s feedback to scenes in performance;
    7. Identify idiosyncratic, habituated physical and vocal patterns and establish an understanding of vocal physiology and its application to performance;
    8. Recognise and apply improvisational techniques to develop imagination, the principles of play, developing spontaneity and stimulating an awareness of others;
    9. 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, 6, 7, 8, 9

    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, 4, 5, 6, 7, 8, 9

    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.

    		 5, 6, 8

    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, 6, 7, 8, 9

    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.

    		 9

    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, 6, 7, 8, 9
  • Learning Resources
    Required Resources
    1 Ewan, V. and K. Sagovsky (2018). Laban’s Efforts in Action: A Movement Handbook for Actors. London; New York; Oxford; New Delhi; Sydney, Methuen Drama
    2 Miller, A. (1952). The Crucible. New York, Dramatists Play Services
    3 Frankel, H. and U. Hagen (2008). Respect for Acting (2nd ed) John Wiley & Sons
    4 Chamberlain, F. (2010). Michael Chekhov on the technique of acting: ‘Was Don Quixote true to life?’. Actor Training (2nd edition). Hodge. New York, Routledge
    5 Euripides. Medea, edited by Michael Collier, and Georgia Machemer, Oxford University Press
    6 Jazz Dance: A History of the Roots and Branches by Lindsay Guarino & Wendy Oliver (2015)
    7 Big Deal: Bob Fosse and Dance in the American Musical by Kevin Winkler (2018)
    8 Dance Anatomy 1st Edition (2010) & 2nd Edition (2017) by Jacqui Haas
    Recommended Resources

    Acting & Voice

    • Bogart, A. and T. Landau (2005). The Viewpoints Book: A Practical Guide to Viewpoints and Composition. New York, Theatre Communications Group
    • Chekhov, M. (2002). To the Actor: on the Technique of Acting. New York, Routledge
    • Hodge, A. (2010). Actor Training (Second Edition). Oxon, New York, Routledge
    • Johnstone, K. (1981). Impro: Improvisation and the Theatre. London, Methuen Drama
    • Laban, R. (1980). The Mastery of Movement. Plymouth, Macdonald and Evans Ltd
    • LeCoq, J. (2000). The Moving Body. London, Methuen
    • Newlove, J. (1993). Laban for Actors and Dancers. London, Nick Hern Books



    JAZZ

     Choreographer Andy Blankenbuehler teaches and explains ‘My Shot’ combination from Hamilton

     Emblematic Broadway dances of 20th Century

     BALLET

    Original cast of Carousel perform ‘Louise’s Ballet’

    Matthew Ball & Mayara Magri perform Kenneth McMillian’s choreography of pas de deux from ‘Louise’s Ballet’ of Carousel

     TAP

    2021 revival cast of Anything Goes perform ‘Anything Goes’

    2017 revival cast of 42nd Street perform choreographic excerpts for ‘TONIGHT at the London Palladium’
    Online Learning

    Course documents, including the Course Profile and assignments will be available on MyUni.

  • 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. Weekly practical exercises
    2. Research presentation
    3. Character monologue
    4. Final Presentation
    		 Formative and Summative 40% 3,4,5,6,8,9

    Dance:

    1. Ballet Assessment A (Research)
    2. Ballet Assessment B (Technique)
    3. Tap Dance Assessment
    4. Jazz Dance Assessment
    		  Summative 40% 1,2,3,5,7,9

    Voice:

    1. Accountability sessions
    2. Written task: Questionnaire 700 - 1000 words
    3. Performance: solo performance of a monologue
    		 Formative and Summative 20% 3,4,5,6,7,8,9
    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

    DANCE: Jazz Assessment A

    Weighting:

    20%

    Due date:

    Week 8

    Task description:

    Title:                Two Video Dance Calls

    Instructions:   You will be provided with audition briefs for mock-dance calls for two contrasting shows. There will be four routines provided. Choose TWO (2) of the routines – one from each show - and use the instructional video to learn the choreography. You do not need to audition for the same track in each show (ie: you may audition as a Strong Mover in one show, and as a Dancer in the other)

    At the start of each video, present a ‘slate’ which includes your name, age, base city, height, and which track (ie: Dancer or Strong Mover) you are auditioning for. Consider clothing, lighting, and location for your self-tapes.

    Submit to My Uni two self-tape videos presenting the dance routines for consideration by the panel. Do this by pasting two links in the COMMENTS section of the submission page.

    Marking:        

    Performance for Camera 50%

    Choreographic Accuracy 40%

    Professionalism of Self-tape 10%

    DANCE: Jazz Assessment B

    Weighting:

    20%

    Due date:

    Week 12

    Task description:

    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 prior in class time.

    You will also learn a new (unseen) choreographic combination to perform. This combination will include optional elements with varying degrees of difficulty.

    Marking:        

    Technique 40%

    Style 25%

    Performance and Presentation 20%

    Musicality 15%

    DANCE: Ballet Assessment

    Weighting:

    30%

    Due date:

    Week 12

    Task description:

    Title:                Technique Examination

    Instructions:   Each student (regardless of level) will learn and execute a series of exercises and choreographic enchainment. These will be rehearsed prior in class time.

    Marking:        

    Technical Accuracy                              50%  

    Coordination                                        20%

    Choreographic Comprehension           20%

    Style and Presentation                         10%

    DANCE: Tap Assessment

    Weighting:

    30%

    Due date:

    Week 12

    Task description:

    Title:                Practical Examination including unseen choreography

    Instructions:   Each student (regardless of level) will present choreographic content accumulated from a semester of class work. You will be required to learn and present a new (unseen) choreographic combination at this assessment.

    Marking:         Technique & Quality of Sound 50%

                            Musicality 30%

                            Performance Style 20%

    ACTING: Weekly Practical Exercises

    Weighting:

    55%

    Due date:

    Week 12

    Task description:

    Students will be assessed on their preparation, class engagement and development as a performer.  Criteria include:

    • The ability to prepare, memorise and perform selected scenes.
    • The ability to make clear, emotionally connected, brave, and imaginative choices.
    • The ability to engage in and communicate dramaturgical research.
    • The capacity to embody characters emotionally, vocally, and physically.
    • The capacity to receive and apply direction in a professional manner.
    • The ability to retain and build on notes through the rehearsal process.
    • The willingness to offer insightful contributions to group discussions in response to required readings.
    • The ability to engage in productive, insightful observations during the rehearsal process.
    • The delivery of all tasks/homework with deep engagement.
    • The ability to use all class time productively and show respect for others and the process.

    ACTING: Reflective Essay

    Weighting:

    20%

    Due date:

    Week 13

    Task description:

    Instructions:

    You will compose a 1000 word essay reflecting on your experience, insight and perceived utility of ‘character work’. This will articulate how specific transformational tools resonated with you in class exercises or scene work. One or more of the following four questions can be addressed.

    1: Transformation. Go into depth about a tool (or combination of tools) which made you feel as if you were inhabiting a character. Did physicality, rhythm or vocal choices unlock psychology and or behaviour?

    2: Empathy. Share specific emotional/psychological experiences that made you feel different from your daily self. How did engagement with the tools impact your empathy for the character you were playing? Did your research make the character feel ‘closer’ or ‘further away’ from your daily self?

    3: Imagination. What significant imaginative leaps did you need to make in order to inhabit the character’s point of view with conviction?

    4: There’s no such thing as character. Articulate why you believe the idea of ‘character’ is a delusion and of no value to the actor’s craft.

    NOTE: This writing task should be guided by clarity and specificity. It should include quotations from at least two of our readings and two of your journal entries with citations.

    ACTING: Scene Presentation

    Weighting:

    25%

    Due date:

    Week 12

    Task description:

    Instructions:

    You will perform a scene from a contemporary American play. Scenes will be selected and cast by the lecturer and will be rehearsed in class over the final 6 weeks of the semester.  Students will be assessed during a by-invitation workshop performance for staff and students. 

    VOICE: Accountability Sessions

    Weighting:

    20%

    Due date:

    Week 13

    Task description:

    Instructions: Record your own personal experience of the exercises and findings in class. This should contain a written exploration of your challenges, struggles, successes and epiphany’s resulting in a personal reflection of your journey throughout the semester. Not simply what you did, but how you experienced. 

    VOICE: Questionnaire

    Weighting:

    20%

    Due date:

    Week 13

    Task description:

    Instructions: Record your own personal experience of the exercises and findings in class. This should contain a written exploration of your challenges, struggles, successes and epiphany’s resulting in a personal reflection of your journey throughout the semester. Not simply what you did, but how you experienced. 

    At the end of the semester you will be asked to answer a simple reflective questionnaire about your vocal journey and experience in voice class thus far.

    VOICE: Performance Monologue

    Weighting:

    60%

    Due date:

    Week 12

    Task description:

    Instructions: Perform a monologue, self chosen. You will be assessed on your performed expressive interpretation, clarity of speech, projection, embodied emotional connection, use of breath and ability to ground the voice in present felt sense awareness.

     

    Submission

    No information currently available.

    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.
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