Musical Theatre: A Workbook

Enhanced descriptions from Syndetics:

Drawing on the history and development of Musical Theatre , this engaging workbook provides a comprehensive overview of the nuts and bolts of the discipline. Introducing students to the basics of the theory and history of musical theatre, it covers all four elements of any Musical Theatre course: dance, music, acting and performing. Acting as a guide through the entire process of preparing material for performance, this essential companion presents a number of stimulating exercises, questions, activities and topics for discussion to aid personal and professional development.

This clear, comprehensive workbook is an ideal core text for Musical Theatre students of all levels. Packed with help, ideas and guidance for teaching, it will also appeal to directors and instructors.

Table of contents provided by Syndetics

• List of Figures (p. ix)
• Acknowledgements (p. x)
• Introduction About This Book (p. 1)
• Who is it for? (p. 1)
• What levels does it assume? (p. 1)
• What previous experience is required? (p. 1)
• How we shall ask you to work (p. 2)
• How to use this workbook (p. 2)
• What if I cannot understand the terms being used? (p. 2)
• And a final thought to carry forward (p. 3)
• Part 1 Understanding Yourself (p. 5)
• Chapter 1 The Loneliness of the Young Actor-Singer in Training (p. 7)
• Laying the foundations (p. 7)
• Starting here. Starting now: Why am I here? (p. 8)
• A new way of learning? (p. 8)
• We can't teach you how to sing - We can only give you the information. It is you who must teach yourself to sing (p. 9)
• A pause for reflection (p. 9)
• You are not alone (p. 10)
• Thinking about your 'self' (p. 11)
• Speaking voice (p. 11)
• Singing voice (p. 12)
• Movement (p. 13)
• The self and the song: Compiling and developing your portfolio (p. 14)
• 2 Caring for the 'Self' (p. 17)
• Lifestyle (p. 17)
• Relaxation (p. 18)
• Warm-ups (p. 20)
• Self and the inner life (p. 21)
• Language, thought and action (p. 23)
• Part 2 Understanding Performance (p. 25)
• 3 The Beginning of the Process (p. 27)
• An initial exercise (p. 27)
• What can we learn from this? (p. 27)
• Why worry about posture? (p. 28)
• Exercise 1 (p. 29)
• Exercise 2 (p. 30)
• Exercise 3 (p. 30)
• General comment (p. 31)
• Neutral posture and breath (p. 32)
• Exercise 4 (p. 32)
• Exercise 5 (p. 33)
• Exercise 6 (p. 35)
• Exercise 7 (p. 36)
• Further exercises (p. 36)
• Points to consider (p. 38)
• Note of warning (p. 38)
• Exercise 8 (p. 38)
• A very important point to remember at this stage (p. 38)
• A further valuable exercise (p. 39)
• The actual warm-up (p. 39)
• A point of interest (p. 40)
• Warm-up exercises (p. 40)
• Warm-up 1 Gentle preparation for the vocal mechanism (p. 41)
• Warm-up 2 The gentle slide (p. 42)
• Warm-up 3 Lip buzz (p. 42)
• Warm-up 4 Tongue trill (p. 43)
• Warm-up 5 Siren or slide (p. 43)
• Warm-up 6 Humming (p. 44)
• Warm-up 7 Messa di voce (p. 44)
• Warm-up 8 Scales (p. 45)
• Warm-up 9 Staccato singing on arpeggios (p. 45)
• Cool-down exercises (p. 46)
• Reflection on the actual warm-up (p. 46)
• 4 Words, Words, Words (p. 49)
• Why speak? (p. 49)
• Dialogue (p. 50)
• Why sing? (p. 50)
• Approaching the text (p. 50)
• Preparing your portfolio (p. 51)
• Things to do (p. 53)
• Something to think about? (p. 53)
• Tasks to support focused and critical listening (p. 54)
• Process in action (p. 55)
• Reflection on the process - Have you achieved the following? (p. 56)
• Short interlude (p. 56)
• Discover the internal rhythm of the text (p. 57)
• What to do with the actual musical score? (p. 59)
• The art of using a pre-recorded piano accompaniment (published, recorded or personally prepared) (p. 59)
• How to listen effectively to the piano accompaniment (p. 60)
• Have I done enough for my next lesson? (p. 61)
• Reflection on the process (p. 67)
• Exploring the text further: Exercises and activities (p. 68)
• Part 3 Understanding the Musical (p. 71)
• 5 The Anatomy of the Musical (p. 73)
• Types of Musical Theatre (p. 73)
• Suggested activity (p. 74)
• Types of song (p. 75)
• Show ballad (p. 76)
• Narrative ballad (p. 77)
• Dramatic ballad (p. 77)
• Character song (p. 78)
• Patter song (p. 79)
• Suggested activity (p. 80)
• Standard (p. 80)
• Uptempo (p. 81)
• Waltz (p. 81)
• Torch song (p. 81)
• Duets for two women (soprano/mezzo soprano) (p. 82)
• Duets for two men (tenor/baritone/bass) (p. 82)
• Duets for a man and woman (p. 82)
• Trios (p. 82)
• So why do we need this information? (p. 82)
• 6 The Origins and Development of Musical Theatre (p. 85)
• Key events in the development of the musical, Broadway musical, 1907-1941: The Follies and the arrival of the ballad (p. 89)
• Questions and research activities (p. 89)
• 1918-1931 London: Wit and 'ragtime' (p. 90)
• Questions and research activities (p. 90)
• 1927 New York: The first, great 'serious' American musical (p. 90)
• Questions and research activities (p. 90)
• 1935-1945 London: A phenomenon (p. 91)
• Questions and research activities (p. 91)
• Broadway: The start of the Golden Age (p. 91)
• Questions and research activities (p. 92)
• The 1950s: Rock and pop (p. 92)
• Questions and research activities (p. 93)
• The 1960s and early 1970s: A unique talent, protest, censorship (p. 93)
• Questions and research activities (p. 94)
• The 1970s and 1980s: New choreography, backstage musicals, ensemble shows and the 'triple threat' (p. 94)
• Questions and research activities (p. 95)
• The 1990s: The musical as global commodity, nostalgia and high technology (p. 95)
• Questions and research activities (p. 96)
• 2000 onwards: Celebrity, revivals, cultural diversity and 'anyone can make it' (p. 96)
• Questions and research activities (p. 97)
• Musical Theatre: A Timeline (p. 97)
• Glossary of Studio Terms (p. 107)
• Geographical Tour of a Vocal Score (p. 116)
• Bibliography (p. 121)
• Index (p. 122)