SRJC Course Outlines

5/22/2024 5:15:30 AMTHAR 81A Course Outline as of Fall 2019

Changed Course

Discipline and Nbr:  THAR 81ATitle:  OPERA PERFORMANCE 1  
Full Title:  Opera and Related Forms in Performance 1
Last Reviewed:10/22/2018

UnitsCourse Hours per Week Nbr of WeeksCourse Hours Total
Maximum5.00Lecture Scheduled017.5 max.Lecture Scheduled0
Minimum2.00Lab Scheduled06 min.Lab Scheduled0
 Contact DHR15.00 Contact DHR262.50
 Contact Total15.00 Contact Total262.50
 Non-contact DHR0 Non-contact DHR Total0

 Total Out of Class Hours:  0.00Total Student Learning Hours: 262.50 

Title 5 Category:  AA Degree Applicable
Grading:  Grade Only
Repeatability:  34 - 4 Enrollments Total
Also Listed As:  MUSCP 81A

Catalog Description:
Untitled document
Preparation and presentation of a role in an opera or related work (such as Broadway opera, light opera, pocket operas, and concert presentations) in production for public performance.


Recommended Preparation:

Limits on Enrollment:
By Audition

Schedule of Classes Information
Description: Untitled document
Preparation and presentation of a role in an opera or related work (such as Broadway opera, light opera, pocket operas, and concert presentations) in production for public performance.
(Grade Only)

Limits on Enrollment:By Audition
Transfer Credit:CSU;
Repeatability:34 - 4 Enrollments Total


Associate Degree:Effective:Inactive:
CSU GE:Transfer Area Effective:Inactive:
IGETC:Transfer Area Effective:Inactive:
CSU Transfer:TransferableEffective:Fall 2013Inactive:
UC Transfer:Effective:Inactive:
 CID Descriptor: THTR 191 Rehearsal and Performance in Production SRJC Equivalent Course(s): THAR11.1 OR THAR11.2 OR THAR81A

Certificate/Major Applicable: Both Certificate and Major Applicable


Student Learning Outcomes:
At the conclusion of this course, the student should be able to:
Untitled document
1. Upon completion of this course, the student will be able to fulfill the responsibilities
of an actor in the preparation, rehearsal, and performance of a role in performance
of an opera or related work produced for a public audience.

Objectives: Untitled document
At the conclusion of this course, the student should be able to:
1.   Independently analyze a musical score and a libretto (when applicable) from
      a character's point of view and conduct research in preparation for a role
      within a work of opera or related form.
2.   Locate the work within its historical and cultural context and the impact of that
      context on the character being portrayed.
3.   Create and sustain the physical, vocal, and behavioral components of a
      character within the style of the work.
4.   Develop the singing voice appropriate to the requirements of the role, applying
      techniques of tonal quality, stylistic interpretation, diction, and phrasing, while
      expanding agility and range.
5.   Revise, experiment with, and enhance acting and vocal choices as instructed
      by the Director and Vocal Director during the rehearsal process.
6.   Prioritize and fulfill performance responsibilities, while striving to maintain other
      academic, employment, and personal responsibilities.
7.   Work cooperatively and effectively as an ensemble member within a high-
      stress environment to produce a collaborative work of art.
8.   Contribute to one or more production support areas, recognizing each
      area's relationship to the performer's work and the production as a whole.
9.   Adhere to proper theatre protocol and apply correct theatre terminology
      during the production process.
10.  Incorporate the musical elements of singing, movement, and dancing (when
      applicable) with the character's dramatic throughline so that the portrayal is
      cohesive and seamless.
11. Adapt to the stimulation and input of live audiences while maintaining
       focus and concentration.
12. Reproduce a successful characterization in multiple performances
      presented over a period of time.

Topics and Scope
Untitled document
Depending on the nature and production style of the particular opera or related work
to be performed, the following topics will be studied:
I.  Historical Context of the Score, Libretto, Plot and Character
II. Theatre Professionalism, Communication, and Procedures
    A. Theatre etiquette and protocol
    B. Basic theatre terminology
    C. Location of facilities and resources
    D. Theatrical hierarchy and communication
    E. Production framework
         1. Scheduling
         2. Types of rehearsals
    F. Managing time, health, and personal responsibilities
    G. General safety and emergency procedures
    H. Interacting with others as a cast member
         1. Respectful interpersonal communications
              a. Techniques
              b. Institutional and legal responsibilities
         2. Support resources and grievance procedures
         3. Appropriate behavior at production-related events
         4. Use of social media as a cast member
         5. Responsibilities as a show's representative
III. Staging and Blocking
    A. Blocking procedures
    B. Sight lines and upstaging
    C. Rehearsal costumes and props
    D. Working with props
    E. Working with the floorplan
IV. Reading and Analyzing a Score (and Libretto, when applicable)
    A. Musicianship
         1. Identifying rhythm and pitch
         2. Form and structure of musical elements
              a. Recitative
              b. Aria
              c. Ensemble numbers (of different sizes)
         3. Relationship of word to music
    B. Character Demands
         1. Vocalism and diction
              a. Working with other languages (when applicable)
              b. Working with accents/dialects (when applicable)
         2. Character details
              a. Given circumstances
              b. Physical characteristics from the score/libretto
              c. Vocal characteristics from the score/libretto
              d. Behavior traits from the score/libretto
              e. Objectives and tactics
V. Vocal Techniques - Singing
    A. Vocal requirements of the role
    B. Tonal quality appropriate to style
    C. Breathing and phrasing
    D. Vocal agility and range
    E. Projection and articulation
         1. Working without a microphone
         2. Working with a microphone
    F. Musicianship
         1. Singing with other vocalists
         2. Singing a solo role with an ensemble
         3. Singing as part of an ensemble  
VI. Physical Techniques
    A. Characterization
    B. Movement and timing
    C. Stylization (period movement, etc.)
    D. Supporting and maintaining the singing voice in motion
    E. Movement restrictions (if not using a microphone)
    F. Telling the story
VII. Vocal Techniques - Speaking Dialogue (when applicable)
    A. Articulation
    B. Projection
    C. Characterization
    D. Stylization (verse, rhyme, etc.)
    E. Pronunciation and dialect/accent
VIII. Incorporation of Production Elements Specific to Opera/Related Forms
    A. Transition from working with a rehearsal pianist to working with
         an orchestra
    B. Following a conductor
    C. Transition from working in a rehearsal hall to working in the actual
         performance space
         1. Adjustment to the acoustic experience
         2. Movement adaptations
IX. Incorporation of Other Production Elements
    A. Choreography
    B. Dialogue (when applicable)
    C. Movement to music (non-dance)
    D. Working with multiple directors (vocal, choreographer,
          musical, etc.)
    E. Sustaining dramatic throughline
X. Special Skills and Techniques
    A. Stage combat, circus skills, etc.
    B. Specialized acting techniques
    C. Specialized rehearsal techniques
    D. Specialized staging techniques
XI. Working with Technical/Design Elements and Staff
    A. Orchestra/Band and Conductor
    B. Props
    C. Costumes
    D. Makeup
    E. Lights
    F. Sets
    G. Sound
    H. Stage management
    I. Technical rehearsal procedures
    J. Dress rehearsal procedures
XII. Performance Techniques
    A. Maintaining consistency and focus
    B. Handling nerves and working calmly under stress
    C. Handling audience responses
    D. Handling the unexpected
    E. Personal and group warm-ups
XIII. Basic Makeup Application
    A. Purchasing a kit (skin tone, type, etc.)
     B. Related supplies
    C. Skin preparation and makeup removal techniques
    D. Self-application versus working with a makeup artist
XIV. Production Support Techniques - May include one or more of the following:
    A. Basic scenic, properties, and costume construction techniques
    B. Publicity distribution and/or display techniques
    C. Ushering
    D. Special events and/or public relations
XV. Performance Procedures and Protocol
    A. Arrival and departure procedures
         1. Stage door
         2. Signing in and signing out
         3. Storing personal objects
    B. Greenroom guidelines
         1. Food and drink when in costume
         2. Using monitors
         3. Use of cell phones and other devices
    C. Backstage behavior
         1. Communication
         2. Staying out of view
         3. Quick changes
         4. Prop tables
         5. Keeping wings clear
         6. Preparing for entrances
    D. Dressing Room
         1. Respecting privacy
         2. Working with dressers
This is a variable unit course, with unit value based on the number of hours
of instruction the student will receive, due to the demands of their assigned
role and scope of the production.
The number of units is assigned by the instructor  based on the following criteria
and communicated to the student at the point of enrollment following casting:
I. Demands of the role
    A. Required number of rehearsal hours, based on role
    B. Additional workload, based on complexity of the role
II. Scope of the production
    A. Required number of technical rehearsals and dress rehearsals
         required of the student, based on production elements (e.g. a one-act
         opera might have1-2 technical rehearsals and 1 dress rehearsal, whereas
         a mainstage production will have 5-6 technical rehearsals and 3-4 dress
    B. Required number of performances (e.g. a one-act opera might have
         2-4 performances, whereas a mainstage production will have 9-14
All students successfully completing the course will be able to attain the outcomes
and objectives, and all topics are covered for all students, regardless of assigned
number of units.
2 units:  105 hours of rehearsal, production hours, and performance
3 units:  157.5 hours of rehearsal, production hours, and performance
4 units:  210 hours of rehearsal, production hours, and performance
5 units:  262.5 hours of rehearsal, production hours, and performance

Untitled document
This is a variable unit course.  All applicable assignments will be completed by
each student, regardless of the number of units they will receive upon
1. Prepare rehearsal material in a timely manner as required by the
    production schedule:
    a. Independently complete score analysis, script analysis (when
         applicable) and character analysis; complete research work,
         revising as needed during the rehearsal process.
    b. Record, review, and retain blocking.
    c. Accurately memorize music, lyrics, lines and cues by the
         scheduled deadline.
    d. Memorize and safely review special skills required by the
         production:  dialects/accents, stage combat, circus skills,
         dance, movement, puppetry, mask, mime, etc.
2. Attend all scheduled rehearsals for which the actor is called.
    Communicate potential schedule conflicts prior to final casting.
    Conflicts communicated after casting may be turned down by the
    director or may result in removal from the production.
3. Adhere to the standards of professionalism:
    a. Arrive promptly and prepared for all rehearsals,
        costume/makeup calls, and performances.
    b. Maintain an amiable, respectful, and supportive attitude when
          interacting with other members of the production company -
          fellow actors, director, stage manager, technicians, and designers.
    c. Respectfully follow the director's and vocal director's  instructions
         in the preparation of the role and maintain that direction in
    d. Perform assigned role in a conscientious and dedicated manner.
    e. Do not alter physical appearance in any manner without
    f. Strive to maintain good personal health and safety practices
        throughout the rehearsal and performance process.
    g. Follow the terms of the Actor's Contract and course syllabus for
         the production.
    h. Participate in all aspects of the rehearsal and performance process,
         including strike.
4. Respond dependably to time commitments outside of rehearsals:
    a. Costume fittings
    b. Photo shoots
    c. Makeup conferences
5. Provide personal stage makeup supplies (makeup kit) as per the
      requirements of the actor's role determined by the makeup designer.
6. Production Support Hours: Contribute to the production process by
    completing 10-12 Production Support Hours in one or more of the
    following areas:
    a. in the scene shop
    b. in the costume shop
    c. by participating in lighting hang and focus (requires training)
    d. ushering for other Theatre Arts productions
    e. assisting with rehearsal set-up/cleanup
    f. helping with publicity (distributing posters and flyers, helping
        with lobby display, appearing at promotion events, etc.)
    While it is preferred that the majority of hours be spent on the production in
    which the actor is cast, hours may be obtained by completing these tasks for
    other SRJC productions in the same semester (deadline determined by the
    student's director).
7. Performance(s):  Reproduce a successful characterization in two or more
     public performances, per the performance schedule of the production.

Methods of Evaluation/Basis of Grade.
Writing: Assessment tools that demonstrate writing skill and/or require students to select, organize and explain ideas in writing.Writing
0 - 0%
This is a degree applicable course but assessment tools based on writing are not included because skill demonstrations are more appropriate for this course.
Problem solving: Assessment tools, other than exams, that demonstrate competence in computational or non-computational problem solving skills.Problem Solving
0 - 0%
Skill Demonstrations: All skill-based and physical demonstrations used for assessment purposes including skill performance exams.Skill Demonstrations
60 - 80%
Rehearsals and performances
Exams: All forms of formal testing, other than skill performance exams.Exams
0 - 0%
Other: Includes any assessment tools that do not logically fit into the above categories.Other Category
20 - 40%
Professionalism; Production support hours

Representative Textbooks and Materials:
Untitled document
Score and libretto for selected production
Theatre Arts Actor's Handbook
Instructor prepared materials

Print PDF