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 #
UG THTR 310
Theatre, Acting Emphasis
Course Title
Voice and Speech III
Prerequisite
Credits
THTR 211
3
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 final course in a sequence of Voice
and Speech training already required of
students pursuing the BFA in Theatre with an
Emphasis 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 final 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 an advanced continuation of the work in THTR 210
and 211: Voice and Speech I and II, the purpose of this course is to broaden the student actor’s craft
through Stanislavski-based acting techniques; poetic scansion; and the application of the International
Phonetic Alphabet (IPA) to standard speech, character voice, accents, and dialect acquisition.
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 an
real-world system and a human abstraction of
advanced vocal and phonetic investigation of how
the system.
an actor creates specific professional and
character-based standards of speaking that can
be applied to vocal performance and the creation
of intellectual and emotional meaning in drama.
2. Applies analysis, reasoning and creative
The student-actor investigates and documents
thinking in the understanding and manipulation how their personal speech habits, those of
of symbolic codes.
“standard speech,” real-life speakers, and a
playwright’s organization of speech sounds for a
character can be examined and analyzed through
linguistic, geographic, and cultural traditions of
the individual being performed.
3. Utilizes alternative methods of
To achieve accurate performances of character,
communication, perception, and expression in
the previous generalized lexical model of
order to encourage rigorous thinking.
American Speech documented using International
Phonetic Alphabet (IPA) is adapted to the
accepted models of Standard Speech taught in
American acting conservatories. From this
“neutral” speech, the actor can then use his/her
phonetic “ear-training” to observe and replicate
the speech patterns of individuals and their
specific character tendencies, “regionalisms,”
dialects of English, and foreign accents.
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 his/her previous training in poetic scansion
and IPA to his/her personal performance of
speech and its refinement and adaptation to a
successful stage career while maintaining the
color and dynamics of the student’s personal
identity. This self-awareness will allow each
student to recognize and replicate the vocal
subtleties—psychological and physical—of
others when creating characters for the stage.
Students will apply scansion and the
International Phonetic Alphabet to the descriptive
transcription of specific individual speech
patterns to achieve a deeper understanding of
how voice can be used to create a character of
depth rather than simple impersonation.
3. Apply creative thinking using the symbolic
This expanded dramaturgy of character work and
system in order to solve problems and
descriptive transcription will also be applied to
communicate ideas.
cultural dialect studies, specifically to the
phonetic lexical-sets of Standard British,
Cockney, Irish, and the boroughs of New York
City. By semester’s end, the student will be
proficient in the skill of dialect acquisition. These
skills will aid the pre-professional student actor in
performing characters written in and for specific
cultures and tongues thoughtfully,
empathetically, and accurately.
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 course that carries a pre-requisite, is an upperdivision course, and that it be offered as part of a Group III Symbolic System sequence that also includes
THTR 210 and THTR 211. 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). As the required upper-division
capstone of the Voice and Speech training sequence and as a direct continuation of THTR 210 and 211,
the pre-requisite is necessary to insure students have the foundation work required to complete this
rigorous mix of studio training and written documentation of discoveries made through poetic scansion
and phonetic transcription.
2. Relay and interpret information in terms of
the given symbolic system.
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 and Speech III—THTR 310—Section 01
3 Credits—MW 11:10 am-1:00 pm —McGill Hall 125
Instructor: John Kenneth DeBoer
Email:
john.deboer@umontana.edu
Phone:
x2018
Office:
Office hours:
Prerequisite:
McGill 212A
TR 11:30-1pm
THTR 210 & 211
Aim
As the purpose of this course is to broaden the student actor’s craft through
Stanislavski-based acting techniques; poetic scansion; and the application of the
International Phonetic Alphabet (IPA) to standard speech, character voice, accents,
and dialect acquisition.
Objectives
 To explore personal performance speech and how it can be refined and
adapted for a successful career on the stage while maintaining the color and
dynamics of the actor’s personal identity
 To study the vocal subtleties—psychological and physical—of creating
characters for the stage
 To create a dynamic solo performance for children using a variety of character
voices and sound effects
 The continued application of Scansion and the International Phonetic Alphabet
(IPA) to the descriptive transcription of a specific individual’s speech patterns
 To achieve a deeper understanding of how voice can be used to create a
character of depth rather than simple impersonation
 To expand the dramaturgy of character work and descriptive phonetic
transcription to cultural dialect studies: Standard British, Cockney, Irish, and
New York
Required Materials
 Accents and Dialects for Stage and Screen, by Paul Meier
 Building a Character by Constantine Stanislavski
Attendance and Promptness
As an upper level acting course there are no un-excused absences. Missing a full
week of class will drop the grade one letter and so on. Two tardies equals one
absence.
Grading Scale and Breakdown
A
100 – 90%
B
89 – 80%
C
79 – 70 %
D
69 – 60%
F
59 and Below
Participation:
30%
Writing/Research:
30%
Performances
40%
Tentative Schedule
Weeks 1-2
The Basics and Stage Standard
Week 3
First Circle Characters
Week 4
Third Circle Characters
Week 5
Real Life Character Studies
Weeks 6-7
Children’s Story
Weeks 8-9
Received Pronunciation
Week 10-11
Cockney
Week 12-13
Irish
Week 14-15
New York
Final Project
Writing and Research
For each dialect transcription please print out your monologue in 16 point Arial font
and triple space. Transcribe the monologue phonetically using the sounds the
characters use as outline in Accents and Dialects for Stage and Screen. This should
be a relatively simple task to help you prepare. Be thorough, use pencil or type for ten
extra credit points.
You are expected to keep and file every handout and worksheet provided to you by the
instructor. Journals will be collected from time to time to insure that you are keeping
up. Please procure a three ring binder to file these materials. They will be
conveniently hole-punched for you.
Monologues
Each student will prepare several monologues throughout the semester. The
monologue should be about a minute in length. Part of this process will involve your
ability to research cultural and dialect-plays and adapt your voice, body and
performance in general accordingly. An excellent monologue will feature the distinct
slang, syntax, names, and places reflected by the culture. The projects are as follows:
Performances
When you are performing, I expect you to perform a very specific character voice. I
also expect a high level of specific acting choices and characterizations to take place
in your performances. This means that I should not have to coach your acting more
than your vocal process. The monologues are short, so come into class with bold
choices already made. Most of all have fun with it! Costumes, props, and whatever
you can think of are highly encouraged! Be CREATIVE.
This portion of your grade is also based on your 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. Grades for your performances will be based on the following rubric:
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.
Due to the extremely tight schedule this semester, performances must take place on
the date noted on the schedule. Unless you have received specific permission from
the instructor prior to the date of performance, all missed performances will be
awarded zero points. Special consideration will be made for documented excused
absences on a case-by-case basis.
Students who do not receive the grade they desire on their performance of any dialect
may arrange to meet me outside of class to repeat their performance as many times
as necessary in order to achieve an acceptable assessment.
Group Presentation
For each dialect, a small group of 3 to 4 students will give a 25-30 minute presentation
on the history and culture intrinsic to the dialect. Tell us folk tales, teach us songs,
play a game, introduce some slang and bring in food. Let your fellow students know
what makes your assigned culture tick. Presentations do not have to be written out in
full, but please provide an information packet and bibliography of at least ten sources
to hand out to the class.
Final Project
The final project of the semester will involve choosing a dialect or character voice we
have not covered in class and prepare a two-minute monologue performance and
transcription. You will work completely independently on this project with no prior
feedback from the instructor, so play to your strengths, choose wisely, and HAVE
FUN!
A Few Notes on Format and Credit
All written work must be MLA format, typed, and STAPLED. I will not accept it
otherwise. To be considered for full credit, all written assignments are due at the
beginning of class on the day listed. As stated previously, all assignments must be
turned in for a grade to be earned in the class, regardless of remaining point value.
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.
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 such a 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 instructors to discuss how we might better facilitate you through the course.
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.