Monroe Township Schools - monroe.k12.nj.us · Monroe Township Schools Administration and Board of...

Monroe Township Schools

Curriculum Management System

Musical Theatre

Grades 10-12

May 2007

* For adoption by all regular education programs Board Approved: August 2007 as specified and for adoption or adaptation by all Special Education Programs in accordance with Board of Education Policy # 2220.

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Table of Contents

Monroe Township Schools Administration and Board of Education Members Page 3 Acknowledgments Page 4 District Mission Statement and Goals Page 5 Introduction/Philosophy/Educational Goals Pages 6 National and State Standards Page 7 Scope and Sequence Page 8-11 Goals/Essential Questions/Objectives/Instructional Tools/Activities Pages 12-45 Benchmarks Page 46

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MONROE TOWNSHIP SCHOOL DISTRICT

ADMINISTRATION

Mr. Joseph King, Interim Superintendent

Dr. Christopher H. Tienken, Assistant Superintendent Dr. Veronica Geyer, Assistant Superintendent

BOARD OF EDUCATION

Ms. Amy Antelis, President Mr. Lew Kaufman, Vice President

Mr. Marvin Braverman Mr. Ken Chiarella

Ms. Kathy Kolupanowich Mr. John Leary

Ms. Kathy Leonard Mrs. Rita Ostrager

Mr. Ira Tessler

JAMESBURG REPRESENTATIVE

Ms. Patrice Faraone

Student Board Members

Ms. Melissa Bonamici Ms. Nidhi Bhatt

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Acknowledgments

The following individuals are acknowledged for their assistance in the preparation of this Curriculum Management System: Writers Name: Jennifer Alagna Supervisor Name: Robert Mele, Supervisor of Arts and Careers Technology Technology Staff: Al Pulsinelli Reggie Washington Bill Wetherill Secretarial Staff: Debby Gialanella Geri Manfre Gail Nemeth

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MMoonnrrooee TToowwnnsshhiipp SScchhoooollss Mission and Goals

Mission

The mission of the Monroe Township School District, a unique multi-generational community, is to collaboratively develop and facilitate programs that pursue educational excellence and foster character, responsibility, and life-long learning in a safe, stimulating, and challenging environment to empower all individuals to become productive citizens of a dynamic, global society.

Goals

To have an environment that is conducive to learning for all individuals. To have learning opportunities that are challenging and comprehensive in order to stimulate the intellectual, physical, social and emotional development of the learner. To procure and manage a variety of resources to meet the needs of all learners. To have inviting up-to-date, multifunctional facilities that both accommodates the community and is utilized to maximum potential. To have a system of communication that will effectively connect all facets of the community with the Monroe Township School District. To have a staff that is highly qualified, motivated, and stable and that is held accountable to deliver a safe, outstanding, and superior education to all individuals.

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INTRODUCTION, PHILOSOPHY OF EDUCATION, AND EDUCATIONAL GOALS

Philosophy

The philosophy of the music program is to ensure that every student receives a well-rounded education. Part of this

education includes a study of the performing arts, and thus a detailed study of the art form of musical theatre. Since its introduction into

the United States in the late 19th Century, musical theatre has entertained and enlightened people of every age and race. The purpose

of this course is to educate students in the techniques of combining singing, acting, and movement in order to create a performance.

This course will broaden the students’ musical and theatrical awareness and ability, and illuminate the students’ overall understanding

of this universal art form.

Educational Goals

Upon completion of this course all students will be able to:

combine music, acting, and movement/dance to create a musical theatre performance

identify the relationships amongst singing, acting, and stage movement

develop audition, rehearsal, and performance techniques

critique musical theatre of different decades

realize the impact that musical theatre has had on American culture.

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New Jersey State Department of Education Core Curriculum Content Standards

A Note About Performing Arts Standards and Cumulative Progress Indicators. The New Jersey Core Curriculum Content Standards for Visual and Performing Arts were revised in 2004. The Cumulative Progress Indicators (CPI's) referenced in this curriculum guide refer to these new standards and may be found in the Curriculum folder on the district servers. A complete copy of the new Core Curriculum Content Standards for Visual and Performing Arts may also be found at: http://www.education.state.nj.us/cccs

http://www.education.state.nj.us/cccs

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MUSICAL THEATRE

Scope and Sequence

Quarter I I. The Audition Process a. The introduction— Develop the ability to set the tone for an audition

through language and dialogue b. Creating a “book”— Develop an introductory set of repertoire that is age

appropriate c. Focus— Develop a comfortable focal point during an audition and discuss

the “fourth wall” d. Character— Develop and utilize tools for creating a character during an

audition e. Preparing the body— Understand and demonstrate good techniques for

preparing the voice and body for an audition f. Critique— Develop the ability to effectively critique an audition

II. Vocal Technique a. Breathing— Demonstrate an understanding of affective breathing technique b. Tone— Demonstrate an understanding of “room vs. ring” and the raising of

the soft palate for efficient tone c. Projection— Utilize proper breathing and principles of tone together to

project to an audience d. The body and singing— Develop the ability to both relax and engage the

body at the same time while singing e. Vocal Styles— Develop an understanding of the several different vocal

styles utilized in musical theatre

III. Acting Technique a. Sense-memory— recall certain “moments” and react to them in order to

access the deepest part of one’s nature; use this knowledge to later react to fictional circumstances in a believable way

b. Control of body and voice— Discuss tensions and blocks that inhibit control and expression, and utilize techniques to break them down

c. Observation and Imagination— Develop observation and imagination skills as the groundwork for creating a character

d. Concentration— Develop the ability to concentrate when working with a specific fictional behavior

e. Beginning improvisation— Understand beginning improvisational skills in order to develop a general comfort level when working with a partner

f. “Living on Stage”— Begin to develop the ability to “live on stage”; to behave on stage as truly and as effortlessly as we do in real life

IV. History of Musical Theatre Through the 1920’s a. Gilbert and Sullivan— Discuss and analyze the operettas of Gilbert and

Sullivan and the transition of musical theatre from England to America b. “The Jazz Age”— Discuss and analyze the age of jazz and its impact on

American musical theatre c. The Girshwins— Discuss and analyze the music of George and Ira

Girshwin d. Operetta into musical theatre— Discuss and analyze the similarities and

differences between operetta and musical theatre e. “Showboat”—discuss and analyze the transition from early musical theatre

into musical theatre with realistic characters having realistic problems, both personal and social

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Quarter II

V. Scene Study/Rehearsal a. Researching scenes and songs— Research and choose musical theatre

songs and scenes to be rehearsed and performed b. Research and analysis of composers— Discuss and analyze various

composers’ music in order to choose a particular artist’s work c. Scene study— Analyze and discuss the development of dramatic action in

a scene d. Study of music/lyrics— Learn and rehearse the music for notes and rhythm e. Marrying acting and music— Develop and rehearse techniques to

communicate intent through both acting and singing

VI. The Specific Language of Musical Theatre a. Stage vocabulary— Learn and utilize stage vocabulary in the rehearsal

process in order to understand blocking b. Lyrics and music— Understand and critique the specific ways in which a

melodic line combines with a lyric for specific intent c. Musical theatre as its own art form— Notice the ways in which musical

theatre differs from opera and straight theatre d. Ensemble playing— Demonstrate an understanding of the importance of

“ensemble playing” in musical theatre e. “Coping”— Discuss the various ways in which performers deal with creative

blocks, vocal fatigue, rejection and other situations specific to performing

VII. Beginning Character Study a. Continuing to “live on stage”— Continuing development of performing

familiar and unfamiliar tasks comfortably on stage as “oneself” b. “I am-as if”— Develop the ability to begin the transition from the actor as

“oneself” to the actor “living” in a fabricated situation c. Subtext— Develop a subtext for use as a tool to analyze and develop

character d. Observation— Develop an awareness of characterization as it relates to

real life: observe and imitate e. Investigate—Investigate biological, sociological, psychological, and ethical

qualities of a character f. Vocal Characteristics— learn to apply specific vocal characteristics to the

character

VIII. History of Musical Theatre of the 1930s and 1940s a. Hollywood— Develop an understanding of the birth of “talkies” and the

burgeoning popularity of Hollywood Musicals b. American Folk Opera— Study the transition from operetta to the American

Folk Opera with “Porgy and Bess” c. The Composers—understand, analyze and critique the music of Irving

Berlin, Cole Porter, and Rodgers and Hart d. Rodgers and Hammerstein— Understand, analyze, and critique the shows

of Rodgers and Hammerstein e. Dance/Choreography— Study the choreography of Agnes De Mille, and of

dance as an important part of furthering the plot f. “Oklahoma” and “Carousel”— Develop an understanding of the ways in

which songs began to portray the characters’ personalities, and of music as an expression of atmosphere and feelings

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Quarter III

IX. Rehearsal Techniques/Etiquette a. Vocal warm-ups— Learn and use techniques for warming up the voice

which are also specific to chosen repertoire b. Physical warm-ups— Learn and use physical warm-ups during rehearsals

to prepare for performance c. Taking direction— learn to communicate with the director and take direction

so that the roles of director and actor coming to produce art d. Memorization— Develop the ability to memorize music, lines, and lyrics as

well as blocking and stage business e. Practice— practice and refine scenes during rehearsal through “running the

scene” and trying and re-trying specific techniques f. Respect—Through cooperation and support, develop as singer/actors a

respect for one another during the rehearsal process which carries through into daily life

X. Elements of Dress Rehearsal and Performance a. Costume—Learn how costume enhances character and performance b. Make-up— Learn how make-up enhances character and performance c. Set design— Discuss and analyze the role of the set designer and those

techniques used by the set designer to transport the audience d. Lighting— Discuss and analyze the role of the lighting designer and those

techniques used, through lighting, to enhance mood and overall performance

e. Sound— Discuss and analyze the role of the sound designer and those techniques used by the sound designer to enhance the performance

XI. Advanced Vocal and Character Study a. Vocal style— Discuss and demonstrate different styles of singing which

define different characters b. Advanced vocal technique— Develop the ability to sing in the many

different vocal styles of musical theatre c. Activating intentions— Discuss and discover ways to actively prepare for a

specific character and for communication of intent d. Here and now/Then and there— Develop and practice techniques for

continuing to “live on stage” which allow the actor to be both “here and now” while being “then and there”

e. Group numbers— Discover ways to communicate music, lyric, and action while performing in group numbers

XII. History of Musical Theatre of the 1950s and 1960s a. The Early 50s— Study transitional shows, such as “South Pacific”, which

connect social awareness with post-war “fun” b. Rodgers and Hammerstein— Discuss and analyze the partnership of

Rodgers and Hammerstein and the impact their shows had on musical theatre

c. Lerner and Lowe— Discuss and analyze the partnership of Lerner and Lowe and the impact their shows had on musical theatre

d. “West Side Story”— Discuss and analyze Leonard Bernstein and “West Side Story” and their impact on musical theatre

e. Hollywood and Broadway— Analyze the link between Hollywood and Broadway, studying actors such as Gene Kelly and Carol Channing, and shows such as “My Fair Lady” and “Fiddler on the Roof”

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Quarter IV

XIII. Movement and Dance a. Movement vs. Dance— Discuss and understand the difference in musical

theatre between “singers who move” and “singers who dance” b. The ability to “move”— Study techniques for developing the ability to move

comfortably without breaking character c. Basic jazz/choreography— Learn to achieve the basic jazz steps most often

used in musical theatre choreography d. Tap— Learn to achieve the basic tap steps most often used in musical

theatre tap shows e. Arm position— Learn the proper arm and upper body positions that

accompany simple dance steps f. Dance rehearsal— Develop the ability to participate in group dance

rehearsal

XIV. Preparation and Performance a. Preparing the stage— Learn to prepare a stage for specific scenes

throughout a performance, and to set a stage for the next performance b. Stage manager— Understand the role of the stage manager in preparation

for performance c. Backstage— Learn to prepare the backstage area and to set props d. Focus— Use focus and warm-up techniques to prepare the mind and body

for performance e. Finding your “light”— Master the ability to find the proper place to stand in

order to be seen with lighting f. Perform— Successfully perform songs and scenes from American musical

theatre

XV. Performance Etiquette and Critique a. Chain of command— understand and fulfill the role of “actor”, and the chain

of command within the theatre experience; actors don’t give other actors notes, etc.

b. Wing position— Understand the need for actors to be behind an audience’s line of sight and to be out of the way of set movement

c. Not “breaking character— Learn techniques for not breaking character on stage, even if something seriously pulls focus

d. Respect— Develop a respect during performance and critique that will carry through into daily life; achieve a sense of cooperation and mutual support while working towards a common goal

e. Critique of self— Constructively discuss and critique student’s own performance as well as that of his/her fellow actors

f. General Critique— Discuss and critique different levels of musical theatre, both live and on DVD

XVI. History of Contemporary Musical Theatre a. The Rock Opera— Discuss and analyze the Rock Opera and 1970s

musicals, including “Jesus Christ Superstar” and “Godspell” b. Andrew Lloyd Weber— Discuss and analyze the music and shows of

Andrew Lloyd Weber form the 1970s to the present c. Boublil and Schoenberg— Discuss and analyze the music and shows of

Alain Boublil and Claude Michel Schoenberg d. Maltby and Shire— Discuss and analyze the music and shows of Richard

Maltby and David Shire e. Stephen Schwartz— Discuss and analyze music and shows of Stephen

Schwartz f. Specific trends— Discuss and analyze the different trends of contemporary

musical theatre, their affect on society, and ways in which they change from year to year

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Grade Level/Subject:

10-12/MUSICAL THEATRE

Big Idea: Character

Topic: The Audition Process

Goal 1: The student will develop knowledge of the entire audition process, and will use this information to carry out an effective audition.

Objectives / Cluster Concepts /

Cumulative Progress Indicators (CPI's)

The student will be able to:

Essential Questions

Sample Conceptual Understandings

Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model

6 1.1 The introduction— Develop the ability to set the tone for an audition through language and dialogue (1.1.B2, 1.2.C1) 1.2 Creating a “book”— Develop an introductory set of repertoire that is age appropriate (1.1.B2, 1.2.B4, 1.2.C2, 1.2.C4) 1.3 Focus— Develop a

comfortable focal point during an audition and discuss the “fourth wall” (1.3.C1)

What different types of music should be in your “book”?

When is it appropriate or not to break the “fourth wall” in an audition?

What are some ways that body language can affect an audition?

NOTE: The assessment models provided in this document are suggestions for the teacher. If the teacher chooses to develop his/her own model, it must be of equal or better quality and at the same or higher cognitive levels (as noted in parentheses).

Depending upon the needs of the class, the assessment questions may be answered in the form of essays, quizzes, performances, games, or other formats of measurement used by the teacher.

Assessment Models: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through exercises in class, warm-up and rehearsal techniques, acting games, scene study, and performance,

Students will gain an understanding of the key players and elements of musical theatre. Students will demonstrate their knowledge of vocal and acting technique, and will be assessed on their ability to master and combine these techniques sequentially throughout the rehearsal and performance process.

Sample Assessment Model: Student will do an audition monologue from beginning to end. Teacher will comment on the monologue and the ways in which the student’s lack of focus took away from the comfort level of the character. Student will then be given a Snapple bottle, and the teacher will ask the student to repeat the audition monologue, only this time the student must do the monologue, IN CHARACTER, while peeling off the label on the bottle cleanly. The exercise will show that when we have a good focal point, and when we keep that focal point, it allows us to be more alive as our character. When we have some purpose, something to “do”, we can “be who we are” without getting in our own way.

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Big Idea: Character

Topic: The Audition Process

Goal 1: The student will develop knowledge of the entire audition process, and will use this information to carry out an effective audition.




Essential Questions



1.4 Character— Develop and

utilize tools for creating a character during an audition (1.2.C1, 1.3.C1)

1.5 Preparing the body—

Understand and demonstrate good techniques for preparing the voice and body for an audition (1.2.B1)

1.6 Critique— Develop the ability

to effectively critique an audition (1.4.A2, 1.4.B1)

Students are recalling their character and intent. (Knowledge and Analysis)

Students are focusing on a task while maintaining character. (Synthesis)

Students are helping themselves by critiquing others. (Evaluation and Critique))

Technology:

http://www.musicaltheatreaudition.com

www.artslynx.org

www.musicals101.com

http://TheGuideToMusicalTheatre.com

http://www.musicaltheatreaudition.com/

http://www.artslynx.org/

http://www.musicals101.com/

http://theguidetomusicaltheatre.com/

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Big Idea: Creativity

Topic: Vocal Technique

Goal 2: Students will develop a working knowledge of the vocal mechanism and the ability to use efficient vocal technique in an audition, rehearsal, and performance.




Essential Questions



8 2.1 Breathing— Demonstrate an understanding of effective breathing technique (1.3.B2)

2.2 Tone— Demonstrate an

understanding of “room vs. ring” and the raising of the soft palate for efficient tone (1.2.B1, 1.3.B2)

2.3 Projection— Utilize proper

breathing and principles of tone together to project to an audience (1.2.B1, 1.3.B2)

What effect does breathing have on vocal quality?

What are the elements of efficient tone quality?

What are the different vocal styles in musical theatre?



Sample Assessment Model: Students will lie on their backs on the floor and place a small book on top of their stomachs. Teacher will then talk to them about the air in the room, about the feel of the air around them, the smell, etc., and will finally ask the students to notice what is happening with the book. They will notice that the book is moving up when they inhale and back down when they exhale. Teacher will discuss this low breath, and then have students stand and try it, using their own hand as the “book”. Students will discuss why it is easier to take an effective singing breath while lying down than while standing. Students will then be encouraged to keep trying until they can produce the breath while standing, working alone and with a partner.

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Topic: Vocal Technique

Goal 2: Students will develop a working knowledge of the vocal mechanism and the ability to use efficient vocal technique in an audition, rehearsal, and performance.




Essential Questions



2.4 The body and singing—

Develop the ability to both relax and engage the body at the same time while singing (1.2.B1, 1.3.B2)

2.5 Vocal Styles— Develop an

understanding of the several different vocal styles utilized in musical theatre (1.3.B1, 1.3.B2)

Students are noticing involuntary breathing and comparing it to voluntary breathing. (Evaluation)

Students are learning to control their singing breath. (Knowledge and Synthesis)

Students are helping one another develop good breathing technique (Analysis)

Technology:

www.artslynx.org

www.musicals101.com





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Topic: Acting Technique

Goal 3: The student will learn basic principles of acting to be applied to their continuing work throughout the course.




Essential Questions



10 3.1 Sense-memory— recall certain “moments” and react to them in order to access the deepest part of one’s nature; use this knowledge to later react to fictional circumstances in a believable way (1.2.C1, 1.3.C1)

3.2 Control of body and voice—

Discuss tensions and blocks that inhibit control and expression, and utilize techniques to break them down (1.1.A1, 1.4.B1)

3.3 Observation and

Imagination— Develop observation and imagination skills as the groundwork for creating a character (1.2.C1, 1.2.C2)

What role does sense memory play in beginning acting?

What are the essential beginning elements of acting technique?

How does “living onstage” help an actor to develop his/her craft?



Sample Assessment Model: Teacher will work with one student at a time in this exercise. Students will be given an assignment to bring in a task that they MUST complete. It must be a familiar task, of importance (i.e. counting and wrapping coins), and must be something they can do in the classroom. When the student is ready, he/she will complete the task in front of the class as naturally as if he/she were at home. This exercise teaches students how to “live” on stage as we “live” offstage, as ourselves. Living as oneself is one of the most important building blocks in creating a believable character. Class will discuss.

Students will have to think in order to come up with an activity that fits the purpose

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Topic: Acting Technique

Goal 3: The student will learn basic principles of acting to be applied to their continuing work throughout the course.




Essential Questions



3.4 Concentration— Develop the

ability to concentrate when working with a specific fictional behavior (1.2.C4, 1.3.C1)

3.5 Beginning improvisation—

Understand beginning improvisational skills in order to develop a general comfort level when working with a partner (1.3.C3, 1.3.C4)

3.6 “Living on Stage”— Begin to

develop the ability to “live on stage”; to behave on stage as truly and as effortlessly as we do in real life (1.2.C1, 1.2.C4, 1.3.C1)

(Comprehension and Analysis)

Students will learn to concentrate on the task at hand, which will help them with focus (Knowledge)

Technology:

www.artslynx.org

www.musicals101.com





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Big Idea: Evolution

Topic: History of Musical Theatre Through the 1920s

Goal 4: The student will discuss and analyze the earliest American musical theatre and its roots in American culture.




Essential Questions



8 4.1 Gilbert and Sullivan— Discuss

and analyze the operettas of Gilbert and Sullivan and the transition of musical theatre from England to America (1.1.A1-3, 1.1.B2, 1.3.B1, 1.3.C2, 1.4 A&B)

4.2 “The Jazz Age”— Discuss and

analyze the age of jazz and its impact on American musical theatre (1.1.A1-3, 1.1.B2, 1.3.B1, 1.3.C2, 1.4 A&B, 1.5 A&B)

4.3 The Girshwins— Discuss and

analyze the music of George and Ira Girshwin (1.1.A1-3, 1.1.B2, 1.3.B1, 1.3.C2, 1.4 A&B)

How did Gilbert and Sullivan set the stage for American musical theatre?

What was happening culturally in America which helped pave the way for “Showboat”?

How do operetta and musical theatre differ?



Sample Assessment Model: Students will listen to the song “Old Man River” from “Showboat”. While students are listening to the piece, teacher will ask them to write words, phrases, colors, anything they want, on a sheet of paper in front of them. When the piece is over, students will discuss the exercise amongst themselves. Then teacher will hold an open discussion on the piece. What did you feel while you were listening? What colors/textures did you see? What did you think of the orchestration? The voice? The message? Teacher will play the song once more for the students, and continue the discussion of the impact of this song on American musical theatre, and of the impact that music has on us all.

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Big Idea: Evolution

Topic: History of Musical Theatre Through the 1920s

Goal 4: The student will discuss and analyze the earliest American musical theatre and its roots in American culture.




Essential Questions



4.4 Operetta into musical

theatre— Discuss and analyze the similarities and differences between operetta and musical theatre (1.1.A1-3, 1.1.B2, 1.3.B1, 1.3.C2, 1.4 A&B)

4.5 “Showboat”—discuss and

analyze the transition from early musical theatre into musical theatre with realistic characters having realistic problems, both personal and social (1.1.A1-3, 1.1.B2, 1.3.B1, 1.3.C2, 1.4 A&B, 1.5 A&B)

Students will experiment with spouting out ideas without thinking, a precursor to improvisation. (Evaluation and Analysis))

Students will be able to brainstorm and discuss their thought process before answering. (Analysis and Evaluation)

Students will discuss the social impact that “Showboat” had on American society.

(Analysis and Comprehension)

Technology:

www.artslynx.org

www.musicals101.com





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Big Idea: Evolution

Topic: Scene Study/Rehearsal

Goal 5: The student will analyze scenes from musical theatre and will begin to develop them for rehearsal and performance.




Essential Questions



10 5.1 Researching scenes and songs— Research and choose musical theatre songs and scenes to be rehearsed and performed (1.2.B2, 1.2.C4)

5.2 Research and analysis of

composers— Discuss and analyze various composers’ music in order to choose a particular artist’s work (1.1.A2, 1.2.B2, 1.3.B1, 1.3.C1-3, 1.4)

5.3 Scene study— Analyze and

discuss the development of dramatic action in a scene (1.2.C2, 1.2.C3, 1.3.C2)

What are some criteria in researching appropriate songs and scenes for rehearsal?

What are some of the ways in which one composer’s work differs from another?

What are some methods for analyzing a scene or monologue?

How can a performer rehearse communication of intent through music and lyric?



Sample Assessment Model: Students will do an exercise disecting a song in order to communicate intent; students will work in groups of three. One student will simply say the lyrics in real time, and communicate the intent as if it were a story that had no set melody or rhythm. Once it is believable, and the intent is clear and has been spoken about during discussion, student will apply the exact rhythm to the verse (more difficult). Group will work together to make it believable. Finally, they will add the melody as well. In working together, students will learn to help one another “tell a story” and communicate intent believably by combining acting and singing.

Students use differentiated learning to work

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Big Idea: Evolution

Topic: Scene Study/Rehearsal

Goal 5: The student will analyze scenes from musical theatre and will begin to develop them for rehearsal and performance.




Essential Questions



5.4 Study of music/lyrics— Learn

and rehearse the music for notes and rhythm (1.2.B1, 1.2.B2, 1.3.B2)

5.5 Marrying acting and music—

Develop and rehearse techniques to communicate intent through both acting and singing 1.2.B1, 1.2.C1, 1.3.B2, 1.3.C1-3)

together in order to achieve a common goal. (Comprehension and Analysis)

Students will continue to break down performance inhibitions.

(Synthesis)

Students will think about cause and effect. (Analysis)

Technology:

www.artslynx.org

www.musicals101.com





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Big Idea: Connections

Topic: The Specific Language of Musical Theatre

Goal 6: The student will become familiar with the musical and theatrical language, style, and process specific to musical theatre.




Essential Questions



10 6.1 Stage vocabulary— Learn and utilize stage vocabulary in the rehearsal process in order to understand blocking (1.3.C4)

6.2 Lyrics and music—

Understand and critique the specific ways in which a melodic line combines with a lyric for specific intent (1.1.A1, 1.1.B2, 1.3.B2, 1.4.A2, 1.4.B1)

6.3 Musical theatre as its own art

form— Notice the ways in which musical theatre differs from opera and straight theatre (1.1.A1, 1.1.A3, 1.3.B1)

What is “blocking” and why is it important to understand stage vocabulary?

What are some differences between the “actor” and the “ensemble”?

What are some ways to “cope” in order to maintain a strong backbone in the business of performing?



Sample Assessment Model: Teacher will have cut up as many as 40 stage vocabulary words to be understood and used by successful performers. Game will be played by 6 students at a time. When the tone sounds, each student is to run up and take one paper, then go to the spot/do what it says, etc. Ex., if the card says “STAGE LEFT”, the student is to go stand stage left. If a student does not know, they should stay where they are. After each of the seven students is in place, the class will take turns guessing what their card says. Class will help out the students who don’t know the terms, and direct them to the correct spot. Game repeats as long as there are terms left.

Students will learn stage vocabulary while

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Topic: The Specific Language of Musical Theatre

Goal 6: The student will become familiar with the musical and theatrical language, style, and process specific to musical theatre.




Essential Questions



6.4 Ensemble playing—

Demonstrate an understanding of the importance of “ensemble playing” in musical theatre (1.2.C3)

6.5 “Coping”— Discuss the

various ways in which performers deal with creative blocks, vocal fatigue, rejection and other situations specific to performing (1.1.A1)

using it. (Comprehension)

Students will use their personal knowledge to help other students (Comprehension)

Technology:

www.artslynx.org

www.musicals101.com





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Big Idea: Absorb and Reflect

Topic: Beginning Character Study

Goal 7: The student will engage in character study in order to create, develop, and define a specific character.




Essential Questions



6 7.1 Continuing to “live on stage”— Continuing development of performing familiar and unfamiliar tasks comfortably on stage as “oneself” (1.2.C1, 1.2.C4, 1.3.C1)

7.2 “I am-as if”— Develop the

ability to begin the transition from the actor as “oneself” to the actor “living” in a fabricated situation (1.2.C1, 1.2.C4, 1.3.C1)

7.3 Subtext— Develop a subtext

for use as a tool to analyze and develop character (1.2.C2, 1.2.C4, 1.3.C2)

What is an unfamiliar task that can be completed as part of “living on stage”?

How can an actor naturally switch from behaving as himself onstage to behaving “as if”, as the character?

What are some ways to investigate one’s character?



Sample Assessment Model: Students will be given an assignment to observe a certain person in the school (preferably a teacher/principal whom everyone knows). They are to observe and notice everything they can about the person, including the way they talk, walk, speak, move, etc. Students will practice behaving like this person in small groups while receiving constructive critique from teacher and students. Students will practice the way they walk, smile, etc. The culmination of the exercise will be for students to recite the “Pledge of Allegiance” in front of the class as that person.

Students will focus on observing behavior as part of building a character (Analysis))

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Big Idea: Absorb and Reflect

Topic: Beginning Character Study

Goal 7: The student will engage in character study in order to create, develop, and define a specific character.




Essential Questions



7.4 Observation— Develop an

awareness of characterization as it relates to real life: observe and imitate (1.2.C1, 1.3.C1)

7.5 Investigate—Investigate

biological, sociological, psychological, and ethical qualities of a character (1.2.C1, 1.3.C2)

7.6 Vocal Characteristics— learn

to apply specific vocal characteristics to the character (1.2.B1, 1.2.B3, 1.3.B2)

Students will practice and perform (Comprehension, Synthesis)

Students will begin to explore moving from the “I Am” to the “As If” (Comprehension, Synthesis)

Technology:

www.artslynx.org

www.musicals101.com





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Big Idea: Evolution

Topic: History of Musical Theatre of the 1930s and 1940s

Goal 8: The student will discuss and analyze the shows, composers, and lyricists of the 30s and40s.




Essential Questions



6 8.1 Hollywood— Develop an

understanding of the birth of “talkies” and the burgeoning popularity of Hollywood Musicals (1.1.A1-3, 1.1.B2, 1.3.B1, 1.3.C2, 1.4.A&B)

8.2 American Folk Opera— Study

the transition from operetta to the American Folk Opera with “Porgy and Bess” (1.1.A1-3, 1.1.B2, 1.3.B1, 1.3.C2, 1.4.A&B, 1.5 A&B)

8.3 The Composers—Understand,

analyze and critique the music of Irving Berlin, Cole Porter, and Rodgers and Hart (1.1.A1-3, 1.1.B2, 1.3.B1, 1.3.C2, 1.4.A&B)

What were some of the effects of Hollywood musicals on the stage musicals of Broadway?

Describe some of the characteristics of the music of Rogers and Hammerstein, and how it differed from the music of their contemporaries.

In what ways did dance begin to contribute to American musical theatre during this decade?



Sample Assessment Model: Students will begin to explore movement and dance as furthering the plot and establishing the mood of a piece. First, students will watch the “Quintet” from “West Side Story”, noticing the movement. Students will discuss the movements and the ways in which they contribute to furthering of plot/intent. Then students will break into groups of 6, and each group will be assigned a short folk song to sing. Students will work within their specific groups, coming up with easy choreography/movement for their particular song. The rest of the class will be the audience as each group performs their song—first without movement and then with movement. Class discussion will follow.

Students will use their own prior knowledge of movement to communicate intent.

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Big Idea: Evolution

Topic: History of Musical Theatre of the 1930s and 1940s

Goal 8: The student will discuss and analyze the shows, composers, and lyricists of the 30s and40s.




Essential Questions



8.4 Rodgers and Hammerstein—

Understand, analyze, and critique the shows of Rodgers and Hammerstein (1.1.A1-3, 1.1.B2, 1.3.B1, 1.3.C2, 1.4.A&B)

8.5 Dance/Choreography— Study

the choreography of Agnes De Mille, and of dance as an important part of furthering the plot (1.1.A1-3, 1.1.B2, 1.3.B1, 1.3.C2, 1.4.A&B)

8.6 “Oklahoma” and “Carousel”—

Develop an understanding of the ways in which songs began to portray the characters’ personalities, and of music as an expression of atmosphere and feelings (1.1.A1-3, 1.1.B2, 1.3.B1, 1.3.C2, 1.4.A&B, 1.5.A&B)

(Knowledge, Application, Synthesis)

Students will work together to achieve a common goal. (Synthesis)

Students will understand and appreciate the importance of movement/dance in the genre of musical theatre. (Knowledge, Comprehension)

Technology:

www.artslynx.org

www.musicals101.com





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Topic: Rehearsal Techniques and Rehearsal Etiquette

Goal 9: The student will learn effective rehearsal techniques and rehearsal etiquette to be used throughout the rehearsal process.




Essential Questions



6 9.1 Vocal warm-ups— Learn and use techniques for warming up the voice which are also specific to chosen repertoire (1.2.B1, 1.3.B2)

9.2 Physical warm-ups— Learn

and use physical warm-ups during rehearsals to prepare for performance (1.3.B1)

9.3 Taking direction— learn to

communicate with the director and take direction so that the roles of director and actor coming to produce art (1.2.C3, 1.3.C3, 1.3.C4)

How do warm-ups effect a rehearsal, and what are some good vocal and physical warm ups that contribute to an effective rehearsal?

What is the role of the director and the actor, and what are some specific characteristics that make up those roles?

Why is it important to memorize as quickly as possible?

How do cooperation and mutual respect contribute to an effective rehearsal process?



Sample Assessment Model: At this point in the course, students understand the ways in which their bodies and voices need to be warmed up, but they might be getting tired of the same old vocal and body warm-ups. Class will discuss the goals of warm-ups, and students will break into small groups and create their own warm-up (one per group). Students will rejoin as a large group, and one student from each group will teach the larger group their warm-up (two vocal, two body). The goal is to be creative and to get away from what we normally do.

Students will use prior knowledge to create something completely new. (Comprehension & Application)

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Topic: Rehearsal Techniques and Rehearsal Etiquette

Goal 9: The student will learn effective rehearsal techniques and rehearsal etiquette to be used throughout the rehearsal process.




Essential Questions



9.4 Memorization— Develop the

ability to memorize music, lines, and lyrics as well as blocking and stage business (1.2.C4)

9.5 Practice— practice and refine

scenes during rehearsal through “running the scene” using various techniques (1.2.C4)

9.6 Respect—Through

cooperation and support, develop as singer/actors a respect for one another during the rehearsal process which carries through into daily life (1.2.C3, 1.4.B1, 1.5.A2)

Students will use differentiated learning. (Knowledge, Synthesis))

Technology:

www.artslynx.org

www.musicals101.com





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Topic: Elements of Dress Rehearsal and Performance

Goal 10: The student will develop an understanding of the ways in which costume, make-up, set design, lighting, and performance etiquette combine to enhance rehearsal and performance.




Essential Questions



6 10.1 Costume—Learn how costume enhances character and performance (1.1.A1, 1.3.C4)

10.2 Make-up— Learn how

make-up enhances character and performance (1.1.A1, 1.3.C4)

10.3 Set design— Discuss and

analyze the role of the set designer and those techniques used by the set designer to transport the audience (1.1.A1, 1.3.C4)

When is it appropriate to question the creativity of a costume or make-up artist, and how should it be done?

How does the design of a set contribute to the overall effect of the performance?

How do lighting and sound contribute to the overall effect of the performance?



Sample Assessment Model: Seven students (picked randomly) are given a card on which is written one of the following: costume designer, make-up designer, set designer, lighting designer, sound designer, director, and stage manager. They are not to look at the card, but instead stick it on their forehead so that the others can read it. The rest of the class serves as the “audience”, and they are to observe the development of the exercise. The group will be given a topic to discuss by the teacher (ex. “Discuss the concerns of putting on “Oklahoma”), and a time limit of 15 min. The object is for each student to not only guess what he/she is, but to then speak as that person and continue the discussion. Class will gain a deeper understanding of the specific roles, and complete a role-playing exercise at the same time. Entire class will discuss

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Topic: Elements of Dress Rehearsal and Performance

Goal 10: The student will develop an understanding of the ways in which costume, make-up, set design, lighting, and performance etiquette combine to enhance rehearsal and performance.




Essential Questions



10.4 Lighting— Discuss and

analyze the role of the lighting designer and those techniques used, through lighting, to enhance mood and overall performance (1.1.A1, 1.3.C4)

10.5 Sound— Discuss and

analyze the role of the sound designer and those techniques used by the sound designer to enhance the performance (1.1.A1, 1.3.C4)

the exercise when it’s over.

Students will gain a deeper understanding of the people behind the scenes. (Knowledge, Comprehension)

Students understand the roles and have insight into the lines of communication that must exist between them. (Analysis, Comprehension)

Students will practice improvisational skills. (Synthesis))

Technology:

www.artslynx.org

www.musicals101.com





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Big Idea: Character and Creativity

Topic: Advanced Vocal and Character Study

Goal 11: The student will continue to develop his/her vocal and acting skills as he/she engages in more advanced vocal and character study.




Essential Questions



10 11.1 Vocal style— Discuss and demonstrate different styles of singing which define different characters (1.1.A1, 1.2.B1, 1.2.B2, 1.4.A2)

11.2 Advanced vocal

technique— Develop the ability to sing in the many different vocal styles of musical theatre (1.1.A1, 1.2.B1, 1.2.B2, 1.4.A2)

11.3 Activating intentions—

Discuss and discover ways to actively prepare for a specific character and for communication of intent (1.2.C1, 1.2.C2, 1.2.C4, 1.3.C1)

What is the vocal pedagogy behind achieving specific vocal qualities in order to enhance character?

How can one work with specific, real objects in order to communicate intent?

What is the link between “Here and Now” and “Then and There”? How can we find that link?

How does each performer singularly contribute to a group number?



Sample Assessment Model: Students will play “The Dating Game”. The object is to express characterization. There are four students per group, and each exercise takes ten minutes (the rest of the class is the “audience”). Player 1 will leave the room, and the other three will be given specific characters (ex. Football Coach, Computer Geek, etc.). Player 1 comes back in and sits in chair off to the side, while Players 2,3, & 4 sit next to one another. Game can be played so Player 1 can’t see others, or not. Player 1 asks questions of the others that would allow them to give clues about themselves, and others will answer in character. Player 1 must choose a “date”, but also must reveal what he/she thinks are the identities of the other players.

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Big Idea: Character and Creativity

Topic: Advanced Vocal and Character Study

Goal 11: The student will continue to develop his/her vocal and acting skills as he/she engages in more advanced vocal and character study.




Essential Questions



11.4 Here and now/Then and

there— Develop and practice techniques for continuing to “live on stage” which allow the actor to be both “here and now” while being “then and there” (1.2.C1, 1.2.C4, 1.3.C1)

11.5 Group numbers—

Discover ways to communicate music, lyric, and action while performing in group numbers (1.2.C3)

Promotes listening, creative thinking, strategic thinking. (Comprehension)

Students will practice improvisation. (Synthesis))

Students will practice “I Am As If” (Knowledge, Synthesis))

Technology:

www.artslynx.org

www.musicals101.com





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Big Idea: Evolution

Topic: History of Musical Theatre of the 1950s and 1960

Goal 12: The student will discuss and analyze the shows, composers, and lyricists of the 1950s and 1960s




Essential Questions



10 12.1 The Early 50s— Study transitional shows, such as “South Pacific”, which connect social awareness with post-war “fun” (1.1.A1-3, 1.1.B2, 1.3.B1, 1.3.C2, 1.4.A&B)

12.2 Rodgers and

Hammerstein— Discuss and analyze the partnership of Rodgers and Hammerstein and the impact their shows had on musical theatre ” (1.1.A1-3, 1.1.B2, 1.3.B1, 1.3.C2, 1.4.A&B)

12.3 Lerner and Lowe—

Discuss and analyze the partnership of Lerner and Lowe and the impact their shows had on musical theatre (1.1.A1-3, 1.1.B2, 1.3.B1, 1.3.C2, 1.4.A&B)

What were some of the social attitudes which contributed to and/or were changed by the subject matter of “South Pacific” and “West Side Story”?

How did the music and shows of Lerner and Lowe differ from the work of Rogers and Hammerstein?

Who were the more famous performers during this time, and what were the characteristics of their work?



Sample Assessment Model: This exercise should be used towards the end of this unit, when students have had a chance to understand the qualities of and differences between the different composer/lyricist teams. Class will separate into groups of four, and each group will be given a composer/lyricist team. The object of the lesson is for each group to work with a familiar song (Happy Birthday, Mary Had a Little Lamb, etc) and re-compose it in the style of the different composer/lyricist teams. They may change whatever they wish, and they must also put some kind of movement/dance in it. At the end of the exercise, class will perform for one another and will have to guess the composer/lyricist team for each group.

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Big Idea: Evolution

Topic: History of Musical Theatre of the 1950s and 1960

Goal 12: The student will discuss and analyze the shows, composers, and lyricists of the 1950s and 1960s




Essential Questions



12.4 West Side Story”—

Discuss and analyze Leonard Bernstein and “West Side Story” and their impact on musical theatre (1.1.A1-3, 1.1.B2, 1.3.B1, 1.3.C2, 1.4.A&B)

12.5 Hollywood and

Broadway— Analyze the link between Hollywood and Broadway, studying actors such as Gene Kelly and Carol Channing, and shows such as “My Fair Lady” and “Fiddler on the Roof” (1.1.A1-3, 1.1.B2, 1.3.B1, 1.3.C2, 1.4.A&B)

Students will have a chance to perform specific roles within the group.(Synthesis)

Students will perform in a low-stress environment. (Knowledge, Synthesis)

Students will discuss what the specific differences were, and how easy or difficult it was to notice those differences. (Evaluation, Analysis)

Technology:

www.artslynx.org

www.musicals101.com





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Topic: Movement and Dance

Goal 13: The student will develop the ability both to “move” and “dance”, and to understand the difference between the two.




Essential Questions



8 13.1 Movement vs. Dance— Discuss and understand the difference in musical theatre between “singers who move” and “singers who dance” (1.1.A1, 1.2.B2, 1.2.C5, 1.3.B2&3, 1.4.A2)

13.2 The ability to “move”—

Study techniques for developing the ability to move comfortably without breaking character (1.2.C4)

13.3 Basic jazz/choreography—

Learn to achieve the basic jazz steps most often used in musical theatre choreography (1.2.A1, 1.2.A2)

What is the difference between “moving” and “dancing” as it pertains to musical theatre?

What are the three basic tap moves on which tap is based?

Why is arm position very important in pulling off a group dance number?



Sample Assessment Model: Students will assemble on stage as a group. This exercise can be used as a warm-up or an introduction to movement. Students will begin walking around one another, just using the space. As teacher calls out a character, students will begin to walk as that character, even interacting with other students on stage. Examples are any animal, any specific person or profession, etc. Teacher should change the character often. Object is for students to “move”, to begin to break out of the fear of creating and moving in front of others and as a character.

Students will overcome their fear of movement. (Knowledge, Synthesis)

Students will allow themselves to be

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Topic: Movement and Dance

Goal 13: The student will develop the ability both to “move” and “dance”, and to understand the difference between the two.




Essential Questions



13.4 Tap— Learn to achieve

the basic tap steps most often used in musical theatre tap shows (1.2.A1, 1.2.A2)

13.5 Arm position— Learn the

proper arm and upper body positions that accompany simple dance steps (1.2.A1, 1.2.A2)

13.6 Dance rehearsal—

Develop the ability to participate in group dance rehearsal (1.2.A1, 1.2.A2, 1.2.A3)

creative without judgment.

(Synthesis, Evaluation)

Students will analyze their change in movement as it related to a specific character. (Comprehension, Analysis)

Technology:

www.artslynx.org

www.musicals101.com





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Topic: Preparation and Performance

Goal 14: The student will learn to prepare for an upcoming performance and to successfully perform scenes and songs from American musical theatre.




Essential Questions



8 14.1 Preparing the stage— Learn to prepare a stage for specific scenes throughout a performance, and to set a stage for the next performance (1.2.C4, 1.3.C4)

14.2 Stage manager—

Understand the role of the stage manager in preparation for performance (1.2.C5, 1.3.C4)

14.3 Backstage— Learn to

prepare the backstage area and to set props (1.3.C4)

What are the duties of the stage manager, and why is this one of the most important jobs in theatre?

What are the rules of the backstage area, and how does following those rules contribute to an effective and safe performance?

What are some of the rules of performance, and how does following those rules contribute to an effective and safe experience?



Sample Assessment Model: Students will make a list of props to be used in the scene on which they are working. After making the list, students will prepare a prop table, labeling it correctly. Students will practice running the scene with the props, and then students will practice setting the table back up in preparation for the next time the scene is done. Students will discuss the importance of the prop table and the different methods used during the exercise.

What are the key reasons for a clearly labeled prop table? Comprehension)

In what ways did the scene run differently because of the prop list/table? (Analysis)

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Topic: Preparation and Performance

Goal 14: The student will learn to prepare for an upcoming performance and to successfully perform scenes and songs from American musical theatre.




Essential Questions



14.4 Focus— Use focus and

warm-up techniques to prepare the mind and body for performance (1.2.C4)

14.5 Finding your “light”—

Master the ability to find the proper place to stand in order to be seen with lighting (1.2.C4)

14.6 Perform—Successfully

perform songs and scenes (1.2.B1, 1.2.C4, 1.3.C3)

What did you notice about working together? (Evaluation, Analysis)

Technology:

www.artslynx.org

www.musicals101.com





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Big Idea: Discovery

Topic: Performance Etiquette and Critique

Goal 15: The student will learn the proper etiquette for performance and techniques for successful constructive critique.




Essential Questions



8 15.1 Chain of command—

Understand and fulfill the role of “actor”, and the chain of command within the theatre experience; actors don’t give other actors notes, etc. (1.3.C4)

15.2 Wing position—

Understand the need for actors to be behind an audience’s line of sight and to be out of the way of set movement (1.3.C4)

15.3 Not “breaking character”—

Learn techniques for not breaking character on stage, even if something seriously pulls focus (1.2.C1, 1.3.C1-3)

15.4 Respect— Develop a

respect during performance and critique that will carry through into daily life; achieve a sense of cooperation and mutual support while working towards a common goal (1.2.C3, 1.4.B 1&21.5.A2)

How important is following the chain of command in a rehearsal and performance situation?

What are some of the techniques actors use in order not to break character onstage?

What are some effective techniques for giving constructive criticism?



Sample Assessment Model: Students will complete an exercise in maintaining focus and not breaking character. Students will work in pairs for this exercise. Both students will attempt to mimic one another’s face and arm movements. There will be one person who is the leader and one who is the follower, and the object is for the students to practice the exercise without breaking focus and to perform it for the class. While performing, they are to be good at fluid movement, focused, so that the audience does not notice who is leading and who is following. The audience should see the movements happening at exactly the same time. No matter what happens, performers should try not to break character.

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Big Idea: Discovery

Topic: Performance Etiquette and Critique

Goal 15: The student will learn the proper etiquette for performance and techniques for successful constructive critique.




Essential Questions



15.5 Critique of self—

Constructively discuss and critique student’s own performance as well as that of his/her fellow actors (1.4.A&B)

15.6 General Critique— Discuss and critique different levels of musical theatre, both live and on DVD (1.4.A&B, 1.5.B 1&2)

Students will work on maintaining focus in front of an audience. (Comprehension, Synthesis)

Students will work on concentration as an audience member. (Evaluation, Analysis)

Students will work together to perform a common goal. (Comprehension, Synthesis)

Technology:

www.artslynx.org

www.musicals101.com





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Topic: The History of Contemporary Musical Musical Theatre

Goal 16: Students will discuss and analyze the shows, composers, and lyricists of musical theatre from the 1970s to the present.




Essential Questions



8 16.1 The Rock Opera— Discuss and analyze the Rock Opera and 1970s musicals, including “Jesus Christ Superstar” and “Godspell” (1.1.A1-3, 1.1.B2, 1.3.B1, 1.3.C2, 1.4.A&B) 16.2 Andrew Lloyd Weber—

Discuss and analyze the music and shows of Andrew Lloyd Weber form the 1970s to the present (1.1.A1-3, 1.1.B2, 1.3.B1, 1.3.C2, 1.4.A&B)

16.3 Boublil and Schoenberg—

Discuss and analyze the music and shows of Alain Boublil and Claude Michel Schoenberg (1.1.A1-3, 1.1.B2, 1.3.B1, 1.3.C2, 1.4.A&B)

In what specific ways do contemporary musicals differ from musicals that paved the way for them?

In what ways has the music of Andrew Lloyd Weber changed over the years?

In comparing the musical styles of the composers of contemporary musical theatre, what are some of their trademarks? In what ways do they differ, and how have they imitated one another?



Sample Assessment Model: Students will work in pairs. Each pair will pick one piece from contemporary musical theatre. The student will download the piece or bring in a CD of the piece, and as a pair they will work in class to analyze the music, lyrics, and singing style of the performer. Each pair will present their work as a short activity in class, teaching the rest of the students what they learned about the music. Students should both be contributing to the writing, analysis, and presentation.

What are the differences in musical style between each composer? (Knowledge and Analysis)

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Topic: The History of Contemporary Musical Musical Theatre

Goal 16: Students will discuss and analyze the shows, composers, and lyricists of musical theatre from the 1970s to the present.




Essential Questions



16.4 Maltby and Shire—

Discuss and analyze the music and shows of Richard Maltby and David Shire (1.1.A1-3, 1.1.B2, 1.3.B1, 1.3.C2, 1.4.A&B)

16.5 Stephen Schwartz—

Discuss and analyze music and shows of Stephen Schwartz (1.1.A1-3, 1.1.B2, 1.3.B1, 1.3.C2, 1.4.A&B)

16.6 Specific trends— Discuss and analyze the different trends of contemporary musical theatre, their affect on society, and ways in which they change from year to year (1.1.A1-3, 1.1.B2, 1.3.B1, 1.3.C2, 1.4.A&B)

How does the instrumentation differ in music of different decades and composers? (Analysis)

Did you hear any similarities in the styles of writing? (Comprehension)

How did the performance of the singer contribute to the overall effect of the piece? (Evaluation, Analysis)

Technology:

www.artslynx.org

www.musicals101.com





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Musical Theatre

COURSE BENCHMARKS

1. The student will demonstrate an understanding of the audition process.

2. The student will be able to utilize efficient vocal technique in order to communicate a song.

3. The student will be able to utilize effective techniques for acting in a song and scene.

4. The student will develop an understanding of and an appreciation for the roots and history of American musical theatre.

5. The student will develop techniques for choosing repertoire and for effective scene study and rehearsal.

6. The student will develop the technique for successfully working in an ensemble.

7. The student will be able to learn and utilize stage vocabulary.

8. The student will develop successful techniques for character study.

9. The student will develop the ability to rehearse, both alone and in groups, in order to achieve a desired result.

10. The student will gain an understanding and appreciation for all aspects of a performance, both behind the scenes and on stage.

11. The student will investigate the importance of movement/dance, and incorporate it into their work.

12. The student will learn to prepare for and successfully complete a musical theatre performance.

13. The student will demonstrate the ability to constructively critique themselves as well as fellow performers.

14. The student will develop a respect for fellow performers as he/she works with others towards a common goal.

Monroe Township Schools - monroe.k12.nj.us · Monroe Township Schools Administration and Board of...

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