BTEC Level 3 National Performing Arts Unit 14 Musical ... · PDF fileActivity sheet AS1, AS2,...

Unit 14 Musical Theatre Performance

BTEC Level 3 National Performing Arts

1 © Pearson Education Ltd 2010. Copying permitted for purchasing institution only. This material is not copyright free.

Unit overview Credits: 10 Cert/Subsid Dip/Dip/Ext Dip This unit will allow learners to investigate and research roles from specific musical theatre repertoire, and develop the technical skills needed to realise these roles in performance work.

This is a 10 credit unit and can be taught in 60 guided learning hours, with learners expected to complete around 40 hours’ individual learning.

On completion of this unit, learners will:

LO1 Understand a role or roles in a musical theatre work LO2 Be able to apply the appropriate performance skills LO3 Be able to rehearse for a role in a musical LO4 Be able to perform a role in a musical.

Unit contents The scheme of work for this unit links to the following resources to help you deliver Unit 14.

LO1 LO2 LO3 LO4

Lesson plan Week 4 Activity sheet AS1, AS2, AS3a,

AS3b, AS3c, AS4a, AS4b, AS5

AS6 AS7, AS8, AS9

AS10

Stretch and support S1, S2 Presentation PPT PPT

Video 906794_u14_vid.flv

All of these resources can be found on the accompanying @Work CD-ROM, as well as an editable version of the scheme of work and answers to questions in the student book.

Links to other units Unit 19 Principles of Acting

Unit 30 Singing for Actors and Dancers

Unit 47 Jazz Dance



How to deliver the unit This unit should be delivered through a series of practical sessions in which learners consider the skills and techniques required of the successful realisation of a role in a musical theatre performance and develop the required skills through workshops and rehearsals. The unit should culminate in a performance which could be of a complete musical or a showcase of extracts from shows.

Assessment Unit 14 should be assessed through a centre-devised assignment or series of assignments that involve research and exploration into roles from the musical theatre repertoire, the development of acting, music performance and dance skills and the rehearsal and performance of musical theatre work. Tutors may decide to provide a vocational context for the assignments that reflect the professional practice or approaches within the performing arts industry. Vocational contexts for this unit could include the preparation of audition material, the performance of a full-scale musical for a public audience or the performance of a musical theatre showcase for an invited or public audience.

It is important to remember that each learner must be afforded an opportunity to demonstrate their skills and understanding. Using a full-scale musical with only a limited number of principal roles may not always allow all learners an appropriate assessment opportunity.

Evidence for assessment

The assessment evidence for the units may include the following formats:

• a process portfolio – this might include diary entries, research notes and notes from discussions and rehearsals

• videos of practical work, rehearsals and performances. Tutors should be selective about the sessions they video and are encouraged to include a piece to camera that explains the context of the activity being recorded. Where possible, learners should introduce themselves. Grading

Assessment of the grading criteria will be through research activities, practical workshops, rehearsals and performances. Understanding of the interpretation and realisation of a role can be evidenced through a research log and a presentation, in written or oral form, of findings. Evidence of the development of skills and role/s and contribution to the rehearsal process can be captured by tutors through observing learners working, and also by requesting that learners chart their own progress in a process log; this might be a written document, but it could also be an audio or visual recording.

Student book activities The student book provides a logical sequence of activities that will allow learners to progress through the four learning outcomes for the unit.



Answers to activity sheet questions AS3c Songbook musicals

Match the songbook musicals with the artist or group whose music is used in the score.

Mamma Mia Boney M

Sunshine on Leith Queen

Daddy Cool ABBA

Jersey Boys Take That

We Will Rock You Buddy Holly

Buddy The Proclaimers

Never Forget Dolly Parton

Nine to Five

Frankie Valli & the Four Seasons



The key features of the musical

Musicals are as popular today as they have ever been, but what is it that makes them so enduring?

Work with a partner to create a mind map to illustrate the key features of the musical.

Oklahoma!

AS1


AS2



Watch a production of Oklahoma!

Choose two contrasting musical numbers from the show and comment on the style of singing and dance used.

Consider the characters of Laurey and Ado Annie or Curly and Jud. How do the musical numbers they perform in reflect their different characters?

How do the musical numbers relate to the plot of the show? Which numbers are reflective and which move the plot along?

Rodgers and Hammerstein

AS3a




Research one of the following musicals written by Rodgers and Hammerstein: • The Sound of Music

• South Pacific

• The King and I

• Carousel.

Summarise your investigation by producing:

• a brief synopsis of the plot

• a brief description of the lead and supporting characters

• a list of musical numbers (indicating if they are solos, duets or chorus numbers)

• an account of any interesting features, e.g. extended dance pieces.

British musical theatre

Notable musical theatre productions by British writers include:

• The Boyfriend

AS3b




• Oliver

• Blood Brothers

• The Rocky Horror Show

• Billy Elliot.

Research one of these musicals and answer the following questions.

What are the constituent features for the show, e.g. style of the music, use of movement and dance, plot, characters, other interesting characteristics?

What are the show-stopping numbers?



What is the musical about?

Write a brief synopsis of the plot.



Songbook musicals

Match the songbook musicals with the artist or group whose music is used in the score.

Mamma Mia Boney M

Sunshine on Leith Queen

Daddy Cool ABBA

Jersey Boys Take That

We Will Rock You Buddy Holly

Buddy The Proclaimers

Never Forget Dolly Parton

Nine to Five

Frankie Valli & the Four Seasons

Vocal music

AS3c


AS4a



1. Numbers and types of voices

Match the terms in the left column with the descriptions on the right by pointing arrows.

Solo Low female voice

Bass Piece for two voices

Duet Piece for many voices

Alto High female voice

Quartet Low male voice

Tenor Piece for four voices

Chorus High male voice

Trio Piece for three voices

Soprano

Piece for one voice

2. Styles of singing

Suggest the name of a musical that includes the following style of singing.

Style Musical

Pop

Rock

Operatic

Jazz

Listening exercise

BTEC Level 3 National Performing Arts Unit 14 Musical Theatre Perfomance

AS4b




Your tutor will play three different musical numbers from a range of different musicals.

Comment on the following features of each using the table below:

a. The number and types of voices that can be heard, e.g. duet for a soprano and a tenor.

b. The style of singing, e.g. operatic, pop, rock.

c. The type of musical accompaniment, e.g. full orchestra, small ensemble.

d. The overall effect of the vocal work and the accompaniment, e.g. What mood is created?

Piece 1

a

b

c

d

Piece 2

a

b

c

d



Piece 3

a

b

c

d

Support

Question 1

Which piece did you like best and why?

Stretch

Question 2

How did the style of the vocal performance and the accompaniment help to convey the meaning and mood of the song?

West End musicals AS5




What musical theatre productions are currently being staged in London’s West End?

Are any touring productions visiting your region?

Make a fact sheet about a chosen production.

You should include the following information:

• Who wrote the music/lyrics?

• When was the show written?

• Is the production a ‘new’ show (e.g. Wicked) or a revival (e.g. The Sound of Music)?

• What are the ‘show-stopping numbers’?

• Write a brief synopsis of the plot.

Musical theatre performers AS6




What makes a successful music theatre performer?

The following performers have (or have had) successful careers in musical theatre:

• Julie Andrews

• Nathan Lane

• Hugh Jackman

• Elaine Paige

• Liza Minnelli

• Maria Friedman

• Ruthie Henshall

• Michael Ball.

Undertake Internet research to create a profile of one of these performers.

• If possible include information about their training, their career, the live shows and/or filmed musicals they have performed in, etc.

• Find out about the performance skills they are known for, e.g. are they known mainly for their singing or as a dancer or comedy performer?

• Try to find out how they first became involved in musical theatre.

• Share your findings with the class and discuss the similarities and differences between the performers you have researched.

Vocal exercises

AS7




Try some vocal exercises under the guidance of your tutor. Here are some to get you started.

Projection and tone Start by humming the consonant ‘Mmm…’ When the voice has moved into the sinuses (you will feel a buzzing on the face when this happens), open the sound into a vowel sound ‘Aah…’

Repeat this on different notes and using different vowel sounds.

Flexibility Scales and arpeggios (sometimes called broken chords) are great for improving the flexibility of the voice. Start with a note that feels comfortable then sing up and down a five-note scale. Use different vowel sounds and vary the exercise by starting on different notes and altering the tempo (speed).

Breath control Practise breathing with the diaphragm and expanding your floating ribs. Breathe in, and as you do imagine that the air is travelling down into the bottom of your stomach. If you rest your hands just above your waist at the bottom of your ribcage you should be able to feel the lower ribs pushing out. Release the air slowly.

Repeat the exercise, but this time hold a piece of paper horizontally in front of your mouth. As you blow the air out the paper will bend over. Try to keep the stream of air steady. If it is, the paper will bend over then remain reasonably still.

Tongue twisters are great for improving articulation. They can be spoken or sung. For example, try singing ‘Twinkle Twinkle, Little Star’ using the words ‘Red Lorry, Yellow Lorry’ over and over instead of the usual words. Start slowly and increase the tempo gradually.

Some general advice It is always best to perform the exercises while standing. Good posture is vital so make sure you stand with your feet shoulder-width apart. Your shoulders should be relaxed and your arms should be by your sides.

Over the remaining sessions for this unit, take turns in leading a short vocal warm-up that includes a range of exercises.

Being in the chorus

AS8




Watch a scene from a musical that includes a chorus number as well as a scene with principals where the chorus is on stage.

Pick out a member of the chorus and pay particular attention to their performance.

Comment on their performance:

a when they are in the thick of the action

b when they are required to ‘melt’ into the background while the principals are centre-stage

Rehearsing a movement piece

Unit 14 Musical Theatre Perfomance

AS9

BTEC Level 3 National Performing Arts Unit 14 Musical Theatre Perfo



Work with a choreographer on an ensemble routine with the aim of learning the piece quickly but accurately. Remember that much musical theatre work will include sections of unison movement and it will be vital that the company can work as one.

Video a performance of the piece and watch it back as a class.

Discuss and make notes on how well members of the company:

Reproduced the routine accurately

Made use of the performance space

Performed using appropriate stylistic qualities

Maintained their focus and concentration throughout

Communicated the mood piece, e.g. through facial expression

Now re-rehearse the piece making corrections and adjustments as required.

Curtain call

AS10




As a class, discuss the rehearsal and performance process in terms of what went well and what could have gone better.

After the discussion make a note of your own feelings about the performance, responding to the questions below.

How well did you develop and improve your dance skills during the project?

How well did you develop and improve your acting skills during the project?

How well did you develop and improve your music performance skills during the project?

How well did you manage to integrate in the performance?

How well did your class operate as a company during rehearsals and



performances?

What lessons have been learned about rehearsing and performing a piece of musical theatre?

How successful was the final performance piece?

Video activity sheet



Task 1

Give a definition for each of the following terms that Ellis Smith refers to in the video.

• musical score

• tone

• phrase

• dynamics

• melody

• articulation

• accompaniment

• vocal range

• pitching

• intonation

• timing

Task 2

Although you may not be required to sing from a musical score, it is never the less important to understand the composer’s intentions in terms of how the piece should be performed. These performance instructions are traditionally written into the score using Italian terms.

Find out what the following terms mean:

Term Meaning

fortissimo

moderato

dolce

pianissimo

presto

crescendo

accelerando



diminuendo

lento

con fuoco

legato

maestoso

Task Three

Now sort the Italian terms into the following table depending on whether they refer to speed, the volume required or the style of performance.

The speed of the performance

The volume of the performance

The style of the performance

Unit X <Unit title here>

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Stretch and support

The nature of this unit is practical, and different outcomes will show the learners’ level of competence. Tutors should carefully consider how they divide learners into pairs or small groups for activities. On some occasions more able learners may be mixed with ones that are less able to allow them to provide support within a group. On other occasions, however the more able could be stretched by being allowed to work together.

S1 – AS3a Rodgers and Hammerstein

More able learners should be asked to compare the musical they research with Oklahoma!, listing and describing any similarities and differences.

S2 – AS4b Listening exercise

Less able learners should complete extension question 1 only.

More able learners should be asked to also complete extension question 2.


1 1 ©

Pearson E

ducation Ltd 2010. Copying perm

itted for purchasing institution only. This material is not copyright free.

Unit 14

Musical Theatre P

erformance

Scheme of work Unit 14: Musical Theatre Performance Broad aim: To understand the nature of musical theatre and take part in the performance

of musical theatre work.

Tutor(s):

SB = Student Book

AS = Activity Sheet

S = Stretch and support

PPT = PowerPoint®

R = Research

NS = Non-supervised individual study time

Academic year:

Number of weeks: 20

Duration of session: 3 hours (These sessions may be split into one-hour blocks if the

tutor wishes.)

Guided learning hours: 60 hours

Credits: 10

Week Outcome/topic Content Learner activity Resources Assessment and PLTS

Stretch and support

1 Introduction to unit, learning outcomes and assessment

LO1: Understand a role or roles in a musical theatre work

Introduction to the structure of the unit

Form and structure – early examples of the genre

Listening to tutor input

Discussing the key features of the musical

Creating a mind map to illustrate the features

Watching and discussing examples of early musical theatre – follies and operetta

SB Introduction and how you will be assessed, pages 87-88

SB Student voice/Starter stimulus, pages 89-90

AS1 The key features of the musical

SB 14.1.1 Form and structure, page 90

SB Activity – Operettas and follies

Recorded extracts of an operetta and a follies show

PPT Video


PLTS IE


Performing Arts

Early musical theatre – operetta ● 1 April 1908 – 8 June 1970● Operetta (or light opera) borrows some of the features of opera and

treats them in a light manner. ● Plots are comic and tend to focus on the tribulations of two young

lovers.● A cast of supporting characters and a chorus are commonly used.


Performing Arts

Early musical theatre – operetta

● Operettas are commonly structured in two acts, each with a continuous scene.

● A range of musical numbers are used, including solos, duets, small ensembles and rousing chorus pieces.

● Musical numbers are linked by sections of spoken dialogue.


Performing Arts

Early examples – operetta

● Gilbert and Sullivan created the best known examples, including:- The Pirates of Penzance - The Mikado - HMS Pinafore● Other examples include:- The Student Prince by Sigmund Romberg - Merry England by Edward German


Performing Arts

Mid-20th century – the classic American musical Living in fear may prevent an individual from developing healthily.

For example:● The mid-20th century was the era of the classic American musical.● Examples include Oklahoma!, The Sound of Music, Guys and Dolls,

My Fair Lady, South Pacific, Calamity Jane and Fiddler on the Roof.


Performing ArtsComparisonsOperetta● Two acts, with one

continuous scene/setting per act.

● Comic central plot involving a pair of young lovers.

● A range of supporting characters including a comic role for a middle-aged/elderly male.

● A range of musical numbers including solos, duets, small ensembles and rousing chorus pieces.

Mid 20th-century American musicals.

● Most musicals have two acts, however, these may be broken down into several scenes. More than one setting is often used in an act.

● The central plot of most musicals written at this time involves the fortunes of a pair of young lovers.

● Musicals also include a range of supporting characters, some of which will be comic characters providing a lighter sub-plot.

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Unit 14

Musical Theatre P

erformance

Lesson plan – Week 14 Aims To provide learners with alternative approaches to presenting research findings

To support learners in developing practical explorations of research and performance material

SB = Student Book

S = Stretch and support

AS = Activity sheet

PPT = PowerPoint® presentation

This is a 180-minute lesson.

Learning outcomes All learners will be able to communicate research findings

Timing/ Content

Tutor activity Learner activity Resources Individualised activity/differentiation

PLTS Functional Skills

5 min Introduction to the session

Recap last session

Listen, discuss Whiteboard/smartboard

PC

15 min Lead presentation on approaches to presenting research

Listen, read and tak notes

PPT Smartboard/whiteboard

PC

English

20 min Facilitate discussion on approaches

Discuss alternatives

Mak decisions on medium to be used

Present ideas to group

Pens, paper Stretch:

Lead discussion in group/take notes/speak on behalf of group

SM

TW

English

20 min Lead warm-up Tak part in warm-up Music CT

15 min Preparatory exercises Take part in exercises Music

Scripts

Support:

Guidance offered during exercises

CT English

10 min Explain group activity based on the exercises of chosen practitioner

Listen

Ask questions if appropriate

CT English

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TEC Level 3 N

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rts

Timing/ Content

Tutor activity Learner activity Resources Individualised activity/differentiation

PLTS Functional Skills

50 min Facilitate group exploration and development of ideas

Take part in group activities

Music

Scripts

Stretch:

Lead, cooperate, and support others during activities

SM

TW

CT

English

30 min Explain activity

Lead activity

Listen to instructions

Perform activity in large group using rehearsed elements

Music SM

TW

CT

10 min Discuss outcomes of performed work

Listen and respond to feedback

TW English

5 min Summarise lesson Listen

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TEC Level 3 N


rts


Stretch and support

2 LO1: Understand a role or roles in a musical theatre work

Form and structure – American musicals

Watching and discussing a production of Oklahoma!

Learning a chorus number from Oklahoma!

NS – The musicals of Rodgers and Hammerstein

SB Activity – Oklahoma!, page 92

AS2 Oklahoma!

Recording of Oklahoma!

Vocal score of Oklahoma!

AS3a Rodgers and Hammerstein

Stretch: More able learners should be asked to compare the features of the American musical with earlier examples of the form

Support: Less able learners should be given simpler repertoire to learn

S1

3 LO1: Understand a role or roles in a musical theatre work

Form and structure – Andrew Lloyd Webber

Watching and discussing a production of Evita

Learning a section from a sung-through musical

NS – British musical theatre

NS – Songbook musicals

SB Activity – Evita, page 92

Vocal score from a sung-through musical, e.g. Joseph and the Amazing Technicolor Dreamcoat, Evita, Jesus Christ Superstar

AS3b British musical theatre

AS3c Songbook musicals

PLTS RL

Support: Less able learners should be given simpler repertoire to learn

4 LO1: Understand a role or roles in musical theatre work

The book, lyrics and music

Working in groups discussing the similarities and differences between a libretto and the script

Listening to and discussing a range of different types and styles of musical numbers, e.g. solos, duets, choruses

NS – Researching a West End or touring musical

SB Activity – The book, page 93

Examples of libretti from musicals and conventional scripts

AS4a Vocal music

AS4b Listening exercise

Audio recordings of three extracts from musicals, e.g. a solo, a duet and a chorus number

AS5 West End musicals

P4 M4 D4

PLTS TW

EP

CT

LO1: Understand a role or roles in musical theatre work

S2

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Unit 14

Musical Theatre P

erformance


Stretch and support


The function of the roles within the work

Interpretation and research

Discussing the difference between leading and supporting roles

Choosing or allocating roles for research

Discussing how interpretation and research helps the performer to build a character

Learners working on assessment activities

SB Assessment activities 1a,1b, page 95 and 96

(NB assessment activities introduced – learners will continue to develop their understanding of their chosen or allocated role throughout the unit)

P1 M1 D1

PLTS IE

CT

Functional Skills

English

Support – Less able learners should be given one straightforward role to research


Response to dialogue, direction, lyrics and choreography

Reaction and relationship to other roles

Learners working on assessment activities

SB Assessment activities 1c, 1d, page 96 and 97

(NB assessment activities introduced – learners will continue to develop their understanding of their chosen or allocated role throughout the unit)

Video


P1 M1 D1

PLTS IE

CT

Functional Skills English

7–11 LO2: Be able to apply the appropriate performance skills

Developing and applying performance skills

Taking part in practical activities to develop skills in the three key areas, i.e. acting, music and dance

NS – Research into musical theatre performers

SB Assessment activities 2a, 2b, page 99 and 100

SB Activity – Acting, singing and dance styles

SB Assessment activities 2c, 2d, page 103 and 104

(NB assessment activities introduced – learners will continue to develop their performance skills throughout the remainder of the unit)

AS6 Musical theatre performers

P2 M2 D2

PLTS

CT


Stretch – More able learners should be given more challenging material to work on

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rts


Stretch and support

12–18 LO3: Be able to rehearse for a role in a musical

Rehearsing for a role in a musical

Taking part in rehearsals of a musical theatre work

Learners may take part in some or all of the activities depending on the nature of the piece being rehearsed

SB Activity – The rehearsal schedule, page 105

SB Activity – The score, page 106

SB Breathing, page 106

AS7 Vocal exercises

SB Activity – Preparing a song, page 107

SB Activity – Movement accuracy, page 107

AS9 Rehearsing a movement piece

SB Activity – Musical setting, page 107

SB Activity – Crowd control, page 108

AS8 Being in the chorus

SB Activity – Emotional register, page 109

SB Assessment activity 3, page 109

P3 M3 D3

PLTS TW


Stretch – More able learners should be given more challenging material to work on

19–20 LO4: Be able to perform a role in a musical

Performance(s) Taking part in final rehearsals and performances

Discussing and evaluating the rehearsal process and the final performance(s)

SB Assessment activity 4, page 111

AS10 Curtain call

P4 M4 D4

PLTS TW

SM


BTEC Level 3 National Performing Arts Unit 14 Musical ... · PDF fileActivity sheet AS1, AS2,...

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