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 211
Theatre, Acting Specialization
Course Title
Voice and Speech II
Prerequisite
Credits
THTR 210
2
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 second 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 Symbolic
System 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 second course in a three-semester sequence of Voice and Speech offered in the spring semester of
the second year of training in the BFA acting program as a continuation of the work in THTR 210: Voice
and Speech I, the purpose of this course is to help the student-actor broaden his/her craft through
awareness of the basic sound elements of spoken English. Using poetic scansion, operative structure,
and the International Phonetic Alphabet, as well as traditional Stanislavski techniques, the students will
develop a methodical approach to the imaginative process of vocal acting and lay the foundation for
advanced work on standard speech, character voices, dialects, and heightened text.
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
This course provides the student with a more
real-world system and a human abstraction of
advanced phonetic investigation of how an actor
the system.
interprets written language into vocal
performance in pursuit of intellectual and
emotional meaning and how the actor and vocal
coach can document discoveries using written
scansion and phonetic transcription.
2. Applies analysis, reasoning and creative
Students use a generalized lexical set American
thinking in the understanding and manipulation Speech sounds derived from the International
of symbolic codes.
Phonetic Alphabet (IPA) to descriptively analyze
and document speech and marry that work to the
poetic scansion and vocalic transcription studied
in the previous semester.
3. Utilizes alternative methods of
This process is fosters an intuitive method of
communication, perception, and expression in
decoding emotional and intellectual meaning
order to encourage rigorous thinking.
through the structure of a given text. The student
actor must use the phonetic and poetic clues
provided by the playwright or author as the
foundation of their creative and imaginative vocal
investigations of written drama.
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
1. Demonstrate an understanding of the symbols Over the course of the semester the student will
and the transformations of the system.
apply American Speech sounds and the
representative IPA symbols—vowels and
consonants—to operative structure, poetic
imagery, emotion, and thoughts of dramatic texts
performed vocally.
2. Relay and interpret information in terms of
The use of IPA and continued poetic scansion
the given symbolic system.
will foster an awareness of the co-articulatory
nature of modern speech for the stage that
creates complex emotional and intellectual
meaning from isolated phonemes and
morphemes. Students will come to understand
consonants as the intellectual building blocks
that create intellectual information from the
emotional raw material of vowel sounds.
This understanding and application of the IPA in
broad descriptive transcription—documenting
what is heard—will begin to function within the
student-actor’s craft as an acting tactic in scene
work and allow the student to begin developing a
personal “Career Speech” integral to his/her
aspirations as an actor and professional.
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).
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 210 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.
As a direct continuation of THTR 210, the pre-requisite is necessary to insure students have the
foundation work required to continue in 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 II - THTR 211 – 01
2 Credits TR 1:10 – 2:30 PM McGill 125
3. Apply creative thinking using the symbolic
system in order to solve problems and
communicate ideas.
Instructor: John Kenneth DeBoer
Email:
john.deboer@umontana.edu
Phone:
x2018
Office:
Office hours:
Prerequisite:
McGill 212A
TR 11:30-1pm
THTR 210
Aim
As a continuation of the work in THTR 210: Voice and Speech I, the purpose of this
course is to help the student-actor broaden his/her craft through awareness of the
basic sound elements of spoken English. Using poetic scansion, operative structure,
and the International Phonetic Alphabet, as well as traditional Stanislavski techniques,
the students will develop a methodical approach to the imaginative process of vocal
acting and lay the foundation for advanced work on standard speech, character voices,
dialects, and heightened text.
Objectives
 To continue applying the International Phonetic Alphabet (IPA) to operative
structure, poetic imagery, emotion, and thought
 To introduce the basic concepts of coarticulatory speech for the stage
 To further train the ear and voice through a phonetic exploration of the vowels
already explored emotionally



To explore consonants as the intellectual building blocks which create
intellectual meaning from the emotional raw material of vowel sounds.
To apply the IPA in refined descriptive transcription—what is actually heard—
and applying it to scene work as a tactic towards specific acting objectives
To begin to develop a personal “Career Speech” integral to the student in their
aspirations as an actor and professional
Required Materials
 The Actor Speaks, 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
 Pronouncing Dictionary (American)
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:
30%
Subject Growth:
10%
Writing/Research:
30%
Performances
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
The student was actively participating in class, obviously well
prepared, and positively engaged with the material and fellow
classmates.
7-6
The student was present, somewhat prepared, but not participating
fully
5-0
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:
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Sonnet 60
A Sonnet of your choosing, performance, scansion, and transcription
A Shakespearean verse monologue (one minute) and transcription
A contemporary monologue performance (one minute) and transcription
Career Speech Project and Write-up
Character Study Performance and Write-up
Tongue of a Bird Paper
Outside Performance Paper
Production Attendance
You must observe two different productions this semester. All students will be
required to evaluate a performance of Tongue of Bird in the Masquer theatre, then one
additional performance of a non-main-stage production. Please seek out performance
opportunities at Montana Rep Missoula, Montana Actors Theatre, Sunday Night Lights,
etc.
Observation papers should be two pages in length and should address the voice and
speech of the actors. Tongue of a Bird papers will be due one week after the show
closes. For the second show, please attach a ticket stub or program to your paper.
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.
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

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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.
Quizzes and Midterm
There will be three major quizzes on Scansion and IPA at the beginning of the
semester, several unannounced “spelling tests”, and a midterm. I recommend you
form study groups and quiz each other with flash cards to prepare for these exams.
Tentative Schedule
This semester we will work within the following generalized schedule in order to have
enough room for flexibility.
Weeks 1-4
Phonetics
IPA, Descriptive and Prescriptive Transcription
Weeks 5-8
Co-Articulation and Operative Structure
Monologues
Midterm
Scansion and Transcription
Weeks 9-15
Career Speech
Refining a personal career speech
Final Exam
My-Voice-My Speech Performances
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.