MUSTHEAT 2002 - Music Theatre Performance 2B
North Terrace Campus - Semester 2 - 2024
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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:
0402 321 076
Phone: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:Phone: 0434 331 061
Availability: Tues 0900 - 1330, Thurs 1330 - 1700, Fri 0900 - 1300
Deanna Farnell E-mail:
Phone: 0424 044 043
Availability: W 0900 - 1430, F 0900 - 1700
Rosie Hosking E-mail:
Phone: 0419 822 890
Availability: T, 1600 - 1800
Erin James E-mail:
Phone: 0415 352 304
Availability: F, 1400-1700
Peter Johns
Alexander Kermond E-mail:
Phone: 0417 764 970
Availability: W 9am - 11:30am
Zoë Komazec E-mail:
Phone: 0431 418 421
Availability: Wednesdays 9am - 11:30am
Dale March E-mail:
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: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:
0450 225 231
Phone:Availability: W, F, 1300-1730
Dr. James Whiting E-mail:
Phone: 0417 764 970
Availability: W, F, 1300-1730
Course Timetable
The full timetable of all activities for this course can be accessed from .
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Learning Outcomes
Course Learning Outcomes
- Demonstrate understanding of technical elements and physical characteristics of Jazz, Ballet and Tap dance styles;
- Exhibit increased strength, flexibility, stamina and coordination in the body;
- Combine technical accuracy with professional-level performance quality;
- Choose and apply intuitive physical and vocal character choices;
- Access a concise toolkit to meet the directorial prompts for key character ‘types’;
- Apply character exploration, dramaturgical research and director’s feedback to scenes in performance;
- Identify idiosyncratic, habituated physical and vocal patterns and establish an understanding of vocal physiology and its application to performance;
- Recognise and apply improvisational techniques to develop imagination, the principles of play, developing spontaneity and stimulating an awareness of others;
- 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
JAZZChoreographer 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.
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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.
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Assessment
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(s) Acting:
- Weekly practical exercises
- Research presentation
- Character monologue
- Final Presentation
Formative and Summative 40% 3,4,5,6,8,9 Dance:
- Ballet Assessment A (Research)
- Ballet Assessment B (Technique)
- Tap Dance Assessment
- Jazz Dance Assessment
Summative 40% 1,2,3,5,7,9 Voice:
- Accountability sessions
- Written task: Questionnaire 700 - 1000 words
- 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 .
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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.
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