I. ASCRC General Education Form (revised 9/15/09)
Use to propose new general education courses (except writing courses), to change existing
gen ed courses and to remove designations for existing gen ed courses.
Note: One-time-only general education designation may be requested for experimental courses
(X91-previously X95), granted only for the semester taught. A NEW request must be
submitted for the course to receive subsequent general education status.
Group
III. Language
VII: Social Sciences
(submit
X III Exception: Symbolic Systems * VIII: Ethics & Human Values
separate forms
IV: Expressive Arts
IX: American & European
if requesting
V: Literary & Artistic Studies
X: Indigenous & Global
more than one
VI: Historical & Cultural Studies
XI: Natural Sciences
general
w/ lab  w/out lab 
education
group
*Courses proposed for this designation must be standing requirements of
designation)
majors that qualify for exceptions to the modern and classical language
requirement
Dept/Program School of Theatre and Dance: BFA in
Course #
U THTR 210
Theatre, Acting Specialization
Course Title
Voice and Speech I
Prerequisite
Credits
THTR 120A/121A (DRAM 111A/112A):
2
Introduction to Acting I/II or 221 (DRAM
215): Acting I
II. Endorsement/Approvals
Complete the form and obtain signatures before submitting to Faculty Senate Office
Please type / print name Signature
John Kenneth DeBoer
x2018
john.deboer@umontana.edu
Program Chair Mark Dean
x2879
Dean
Dr. Stephen Kalm
x4970
III. Type of request
New
One-time Only
X
Reason for Gen Ed inclusion, change or deletion
Date
Instructor
Phone / Email
Change
Remove
As the first course in a sequence of Voice
and Speech training already required of
students pursuing the BFA in Theatre with an
Area of Specialization in Acting, we request
that the sequence also function as a Group III
Symbolic Systems exception.
Description of change
IV. Description and purpose of new general education course: General Education courses
must be introductory and foundational within the offering department or within the General
Education Group. They must emphasize breadth, context, and connectedness; and relate course
content to students’ future lives: See Preamble:
http://www.umt.edu/facultysenate/gened/GEPreamble_final.htm
The first course in a three-semester sequence of Voice and Speech offered in the autumn semester of the
second year of training in the BFA acting program. The purpose of this course is broadening the student
actor’s craft through communication, presentation, and empathy. These goals are achieved by studying
voice production, speech phonetics, and poetic scansion for the stage. At the end of the semester,
students complete the course with an increased kinesthetic awareness of how abstract combinations of
movement, breath, voice, and articulation combine to create intellectual and emotional meaning in acting.
V. Criteria: Briefly explain how this course meets the criteria for the group. See:
http://www.umt.edu/facultysenate/ASCRCx/Adocuments/GE_Criteria5-1-08.htm
1. Rigorously presents a mapping between a
Actors apply voice and speech techniques to
real-world system and a human abstraction of
interpret the meaning of text on both an
the system.
intellectual and emotional level. The process of
reading text aloud connects the listener to only its
intellectual meaning. The actor in performance
must go further and conduct a thorough
investigation of the need to speak within the text
and the physiological process necessary to fulfill
said needs as a character. The tools of phonetic
transcription and poetic scansion taught in this
sequence actor’s tool for mapping and recording
the emotional meaning and its connection to
intellectual information as it is discovered through
this process.
2. Applies analysis, reasoning and creative
In this course the student-actor will interpret
thinking in the understanding and manipulation intellectual text provided by the playwright in
of symbolic codes.
order to guide the listener—the audience—to the
emotional needs of the drama and the
psychological depth of the character. They then
use the tools of phonetic transcription and poetic
scansion, to document these discoveries as
reference guides for later performance.
3. Utilizes alternative methods of
A successful professional actor in performance
communication, perception, and expression in
interprets the emotional and imaginative poetry of
order to encourage rigorous thinking.
everyday spoken language in pursuit of audience
empathy. The student-actor in this sequence
must learn this process of elevating everyday
language using vocal dynamics, poetic scansion,
and the International Phonetic Alphabet, to
pursue audience empathy.
VI. Student Learning Goals: Briefly explain how this course will meet the applicable learning
goals. See: http://www.umt.edu/facultysenate/ASCRCx/Adocuments/GE_Criteria5-1-08.htm
In order introduce the basic concepts of voice
and speech for the stage, the student actor is
exposed to vocal anatomy; the articulatory
abilities possible in performance; and the safe
breath, voice, and speech practices necessary
for maintaining a healthy instrument. This means
that the student understands the system/process
by which meaning is conveyed vocally, fostering
a kinesthetic awareness of the whole acting body
necessary to support movement, breath, voice,
and speech. The student will learn to identify
vocal habits that inhibit this process using the
work of Patsy Rodenburg in The Right to Speak
and writing reflectively on their own abilities at
the onset of the class.
2. Relay and interpret information in terms of
Once the student has mastered the basics of
the given symbolic system.
vocal production, the relationship between the
lexical sets of American vowel sounds
represented by International Phonetic Alphabet
(IPA) symbols and emotional, need-based selfexpression is addressed. Through vocalic
transcription of texts, the student will document
the connection between sounds and the
emotional needs being communicated by the
speaker.
3. Apply creative thinking using the symbolic
By exploring the fundamentals of emotional
system in order to solve problems and
vocalic resonance and its connection to human
communicate ideas.
communication and interaction, students learn
and apply the vocabulary and conventions of
poetic language and its oral interpretation,
focusing specifically on the written scansion and
phonetic transcription of complex imagery and
emotional need in Shakespearean sonnets.
VII. Justification: Normally, general education courses will not carry pre-requisites, will carry
at least 3 credits, and will be numbered at the 100-200 level. If the course has more than one
pre-requisite, carries fewer than three credits, or is upper division (numbered above the 200
level), provide rationale for exception(s).
1. Demonstrate an understanding of the symbols
and the transformations of the system.
We ask that an exception be granted for this course as a two-credit course, a course that carries a
prerequisite, and that it be offered as part of a Group III Symbolic System Sequence that also includes
THTR 211 and THTR 310. The Board of Regents has approved the BFA in Theatre, Area of
Specialization in Acting as an extended major with 72 credit hours required of undergraduates and
accredited by the National Association of Schools of Theatre (NAST). This sequence of Voice and
Speech training is required of all students pursuing the BFA in Theatre with an emphasis in Acting. The
total credit hours for the sequence adds up to seven credits over three semesters, with a rigorous mix of
studio training and symbolic scansion and transcription to document discoveries made in performance.
This sequences begins in the second year of training and the requirement of THTR 120A/121A:
Introduction to Acting I/II (DRAM 111A/112A), or THTR 221: Acting II (DRAM 215) is necessary to insure
students have a foundation in the craft of acting before attempting the sequence.
VIII. Syllabus: Paste syllabus below or attach and send digital copy with form.  The syllabus
should clearly describe how the above criteria are satisfied. For assistance on syllabus
preparation see: http://teaching.berkeley.edu/bgd/syllabus.html
Voice & Speech I - THTR 210 – 01
2 Credits TR 1:10 – 2:30 PM McGill 125
Instructor: John Kenneth DeBoer
Email:
john.deboer@umontana.edu
Phone:
x2018
Office:
Office hours:
Prerequisite:
McGill 212A
TR 11:30-1pm
THTR 120/121 or 221
Aim:
The purpose of this course is broadening the student actor’s craft through
communication, presentation, and empathy. These goals are achieved by studying
voice production, speech phonetics, and poetic scansion for the stage. At the end of
the semester, students complete the course with an increased kinesthetic awareness
of how abstract combinations of movement, breath, voice, and articulation combine to
create intellectual and emotional meaning in acting.
Objectives
 To introduce the basic concepts of voice and speech for the stage: Who is a
vocal coach? Why study voice and speech?
 To introduce the actor to vocal anatomy pursuant of an awareness of the variety
of vocal and articulatory abilities possible in the performers body
 To introduce the actor to safe breath, voice and speech practices necessary for
maintaining healthy voice usage both within and outside of class and
performance
 To create a personal vocal regimen that integrates the skills already learned
regarding healthy vocal habits into a personalized vocal warm-up
 To foster the kinesthetic awareness of the whole acting body necessary to
support movement, breath, voice, and speech
 To introduce controlled phonation and its connection to emotional selfexpression as vowel sounds
 To explore the fundamentals of vocal resonance and its connection to human
communication and interaction


To introduce the student to the vocabulary and conventions of poetic language
and its oral interpretation, focusing specifically on the scansion of
Shakespearean sonnets
To introduce the need for phonetics, and the vocabulary and anatomy of the
International Phonetic Alphabet (IPA) and the vowel sounds of American
Speech
Required Materials
 The Right to Speak, by Patsy Rodenburg
 Scansion and IPA worksheets to be provided by the Instructor
 A water bottle for every class
 A Three-ringed Binder to be brought to every class
Attendance and Promptness
Acting is participatory: there is no way to learn without doing, no adequate substitute
for a missing partner, and no way to “make up” missed experience. Departmental
policies will be enforced strictly. Only documented absences will be excused. Missing
more than 1 week of class will drop your grade one full letter for each
successive absence.
Furthermore, besides adversely affecting your own learning, arriving late for class
disrupts the learning process of your fellow students, therefore tardiness in excess of
10 minutes will be considered a complete absence, and every two instances of
tardiness—of whatever duration—will equate to one absence for grading purposes. In
addition, every acting teacher reserves the right to declare a “no lateness” policy
should the need arise. Briefly put, this means that if the door to the class is shut and
you are not inside by the time class begins, you are absent: no exceptions.
If an illness should cause you to excessively miss class to the point of failing, it is up to
the student to pursue a medical withdrawal so that the course can be attempted again
once the student has recovered.
Grading Scale and Breakdown
A
100 – 90%
B
89 – 80%
C
79 – 70 %
D
69 – 60%
F
59 and Below
Participation:
Subject Growth:
Writing/Research:
Performances
30%
10%
30%
30%
Participation
In addition to the class attendance policy stated earlier, for each class (excluding labs
although your attendance is taken) you will receive a grade for the day on a scale from
zero to ten on the following scale.
10-8
7-6
5-0
The student was actively participating in class, obviously well
prepared, and positively engaged with the material and fellow
classmates.
The student was present, somewhat prepared, but not participating
fully
The student was unprepared, disruptive, disrespectful or absent
A solid work ethic is expected in this class so high marks should be the norm. Poor
work will stand out. Students who are consistently receiving low marks for
participation by the fourth week of class will be asked to meet with the instructor to
discuss the problem and how it can be resolved. Fortunately I am confident that all of
you will have no problem triumphing in this portion of the class!
Subjective Professional Growth
This portion of your grade is based on professional growth throughout the entire
semester. While it goes hand in hand with the participation grade, it is also my
evaluation of your technical skills and how they have developed through the course of
the semester. For your subjective growth and the rubric is as follows:
A
Superb work. The student has transcended craft past the point of
intellectual preparation and was truly living in the moment
B
Good work. The student has mastered the intellectual preparation
necessary to move on to more advanced acting work, but is not yet
truly living in the moment
C
Fair work. The student is somewhat prepared intellectually for the
work, but it is evident that stronger choices could be made
D
Poor work. The student has not prepared fully for the work and it is
painfully obvious to the audience.
F
Failure. The student has not prepared at all, made no specific
choices and is wasting the audiences time.
Hopefully most of you will develop the tools for effective vocal performance and will
receive full marks, however participation is often not enough, and the student is
expected to show some growth in technical skill by the semester’s conclusion.
Text Presentations and Writing Assignments
The main performance pieces and writing assignments for the class will be:


Monologue – A one-minute familiar piece of text to be used when working on in
class voice exercises
Melodrama Scene from The Vampyre, or the Bride of the Isles






Sonnet 60 Scansion
A Sonnet of your choosing, performance, scansion, and transcription
Reading Journal
Vocal Habits Assessment
Eurydice Paper
Hamlet Paper
Presentation and Formatting
All written work must be MLA format, typed, and STAPLED. I will not accept it
otherwise. Journals may be written in longhand if your writing is legible. Written
assignments are due at the beginning of class on the day if full credit is to be earned.
Assignments may be turned in late for half credit. Performances must take place on
the date noted in the schedule or assigned in class by the instructor. Due to a tight
schedule and limited class time, they may not be made up without prior permission
from the instructor.
Production Attendance
All students will be required to write two-page evaluations of Eurydice and Hamlet on
the main-stage this semester. Papers should address the voice and speech of the
actors as it applies to our work in class. Papers will be due one week after the show
closes.
Midterm and Final Exam
There will two open-journal exams in this class. The exams will cover the readings,
class projects, and any handout supplied by the instructor.
Reading Assignments, Handouts, and Journaling
This semester you will read The Right to Speak by Patsy Rodenburg as well as many
handouts provided by the instructor. After reading the assigned materials and trying
out the concepts therein, please reflect on the material and your experiences.




What works?
What doesn’t work? Why?
How might these techniques have helped a performance you participated in
or saw?
How might an exercise be modified to better suit your needs?
These reflections may be hand-written in the three-ring binder you will keep as your
Voice and Speech journal this semester. Bring it to class with you every day, as you
are expected to keep and file every handout and worksheet provided to you by the
instructor. Do not keep any materials other than those for Voice and Speech in this
binder, as your journals will be collected from time to time to insure that you are
keeping up.
In addition you will write a short refection paper that will be handed in before the
midterm regarding your own vocal process and the learned habits that inhibit it. These
habits will be addressed further in The Right to Speak as well as during class. A more
detailed rubric will be provided closer to the due date.
Tentative Schedule
This semester we will work within the following generalized schedule in order to have
enough room for flexibility.
Weeks 1-3
The Fundamentals
Anatomy, Physiology, Warm-ups, and Vocal Health
Weeks 4-8
Vocal Production
The Body, Alignment, Breath, and Phonation
Midterm
Thursday, October 20
Weeks 9-12
Vowel Sounds and Resonators
Emotion, Monologues, Melodrama, Extremes
Weeks 13-15
Scanning Text and Operative Structure
Scansion, Poetry, Sonnets
Final Exam
Tuesday, December 15, 3:20-5:20PM
Procedure/Policy
You are expected to abide by the following departmental regulations. There is no
eating, drinking, or gum chewing during the class. Please let me know if in writing if
you have a medical exception to this policy. Water in a capped container is
acceptable. Absolutely no weapons, real or fake, are allowed in the classroom. Late
work is not accepted; this includes late or unprepared performances. Students are
encouraged to wear appropriate movement attire to class. There is inherent risk
involved in many Theatre & Dance classes as they are very physical in nature. Please
proceed through class, shop time, or rehearsal with caution. Always be mindful of your
personal safety and the safety of others. Students participating in
class/shop/rehearsal/performance do so at their own risk.
Cell Phones
Please turn off your cell phone in class. I will have my phone on vibrate in case an
emergency text message should be sent by the university. If your phone rings during
class, please silence it as QUICKLY AS HUMANLY POSSIBLE. Don’t be
embarrassed, just turn it off and all will be forgiven. Having said that anyone caught
text messaging in class will be immediately dismissed from class, resulting in a
complete absence for the day. I’M NOT KIDDING.
Movement Clothes
Please wear clothes that you can move in to class: tight-fitting and restrictive clothing
and anything too revealing (showing skin) will not be acceptable. No hats will be
permitted in class. Hooded sweatshirts, hats and hair that covers the face are
detrimental to proper evaluation by the instructor, so remove them before work
commences. Please be sure to clean your shoes appropriately before you enter the
building to keep our floors as clean as possible.
Personal Comfort
The study of voice and movement often requires the instructor or peers to touch each
other or be in close proximity in order to adjust or align the body and voice. We all
have bad days when we do not want such contact. Feel free to bow out of a particular
exercise if you are having a “Wounded Warrior” day. However, frequent sitting out is a
sign that you might not be ready to advance in your training. If deemed necessary by
the instructor, any student with such issues will be asked to meet with the head of
performance and the instructor to discuss how we might better facilitate you through
the course.
Sacred Space
In order to foster an appropriate environment for our work, we will treat B072 as a
sacred space. Please remove your shoes and socks before crossing the curtain into
the classroom and cease all conversation when you arrive in the space. If you arrive
early, use this time for silent reflection, meditation, and stretching. If you must speak,
speak only of the work we will do in Voice and Speech and stow your things neatly off
to the side. This does not mean we will not have fun and be able to laugh and enjoy
our ensemble, but we must remain focused on our tasks. Treating B072 as a sacred
space will provide us the freedom to explore and grow as artists.
Departmental Handbook
All Theatre & Dance students must have an in-depth knowledge of the practices and
procedures outlined in the School of Theatre & Dance Handbook. The Handbook is
available online at
http://www.sfa.umt.edu/drama/index.html
Academic Misconduct and the Student Conduct Code
All students must practice academic honesty. Academic misconduct is subject to an
academic penalty by the course instructor and/or disciplinary sanction by the
University. All students need to be familiar with the Student Conduct Code. The Code
is available for review online at
www.umt.edu/SA/VPSA/Index.cfm/page/1321.
Please note: Approved general education changes will take effect next fall.
General education instructors will be expected to provide sample assessment items and
corresponding responses to the Assessment Advisory Committee.