Autumn and Spring Terms

Practice Research provides a forum for the research, preparation and contextual discussion that is essential to the practice of musical theatre at an advanced level. 
The module begins with research into the theories and practices of musical theatre within an historical context. A chronology of musical theatre is observed, from a starting-point of 19th century operetta up to the present day. Social and economic influences on the creation of musical theatre are researched and discussed, together with demands of style, genre and period, and the subsequent implications for the performer. This research will be applied, reflected upon and critiqued in the Rehearsed Performance module. 
Additionally, students will examine a range of historically significant work either by musical theatre practitioners (singers, dancers, actors) or creative artists (composers, writers, directors, choreographers) and their related philosophies and practices. 
Students will consider their own learning experiences and processes and will identify areas of personal interest they may pursue and develop in their professional career. Guidance and tuition will be given on the creation of the student working journal, including any annotated scripts and the analytical and critically reflective written submissions that they will produce in the course of the training.   

Practice Research begins with contextual research processes that will support not only the Rehearsed Performance module but will also enable an advanced contextual awareness of practical work in Professional Development classes.  The history and development of musical theatre (taking as a starting-point European operetta in the mid-19th century) is investigated in individual and group research projects and presentations. These presentations will require evidence of contextual research, including annotated scripts, character notes and, if appropriate, performance of excerpts to illustrate the research.

Study skills seminars and individual academic tutorials will prepare students for the creation of a student working journal that documents their overall progress and learning on the course and the generation of a critical evaluation that ensures reflective practice . 

Additionally, there are lectures, seminars and practical workshops on contemporary practitioners and theorists, that enhance and develop the students’ understanding of the chronological development of 20th century performance practices and theories. Students will also consider the current trends in musical theatre, new work and emerging practices.

Required Reading
Bolton, Gillie, Reflective Practice (Paul Chapman Publishing, 2001)
Aristotle, Poetics transl M. Heath (London: Penguin, 1996)
Everett William A. & Paul R. Laird, eds. The Cambridge Companion To The Musical(Cambridge: Cambridge University Press, 2002)

Recommended Reading
Ferencz George J. ed. The Broadway Sound: The Autobiography and Selected Essays of Robert Russell Bennett. (University of Rochester Press: 2002)
Fernandes, C;   Pina Bausch and the Wuppertal Tanz Theatre.  The Aesthetics of Repetition and Transformation (New York: Peter Lang, 2001)
Fraleigh, S. Dance and the lived body (Pittsburg, University of Pittsburg Press, 1987)
Frankel, Aaron Writing The Broadway Musical (Da Capo Press, 2000)
Ganzl, Kurt The Encyclopedia of Musical Theatre (New York: Schirmer Books, 2001)
Goodhart, Sandor, Reading Stephen Sondheim (New York: Garland Publishing Inc., 2000)
Gordon, Joanne. Art Isn’t Easy - The Theater Of Stephen Sondheim (Da Capo Press, 1992)
Greenberg, R, George Gershwin (London: Phaidon Press, 1998)
Harwood, R, All the World’s a Stage (London, Secker and Warburg, 1984)
Horowitz, Mark Eden. Sondheim On Music: Minor Details and Major Decisions : Minor Details and Major Decisions (Scarecrow Press, 2003)
Knapp, Raymond The American Musical And The Formation Of National Identity
Larkin, C The Guinness Who’s Who of Stage Musicals (London: Guinness Publishing, 1994)
Lerner, Alan Jay, The Musical Theatre, A Celebration London: Collins, 1986)
Lister, Dorothy Daniels & Svetlana McLee Grody. Conversations With Choreographers
Long Robert Emmet, Broadway, The Golden Years: Jerome Robbins And The Great Choreographer-Directors 1940 To The Present. (Continuum International Publishing Group, 2003)
Malone, J. Steppin’ on the Blues: The Visible Rhythm of African American Dance (Urbana: University of Illinois Press, 1996)
Miller, Scott, Rebels With Applause — Broadway’s Groundbreaking Musicals. (Greenwood Press, 2001)
Newhore, J. Laban for actors and dancers (London: Nick Horn Books, 1993)
Prince, Harold, From Pajama Game to Phantom of the Opera (Michigan: UMI Research Press, 1989)
Platt Len, Musical Comedy On The West End Stage, 1890-1939.
Riddle, Peter H. The American Musical — History & Development
States, Bert O. Great Reckoning in Little Rooms (Berkeley: University of California Press, 1985)
Steyn, Mark, Broadway Babies Say Goodnight (London: Faber and Faber Ltd 1997)
Swain, Joseph P. THE BROADWAY MUSICAL — A Critical And Musical Survey.
Symons, A. The Ideas of Richard Wagner (1925)Thelen, Lawrence. The Show Makers: Great Directors of the American Musical Theatre
Weintraud, L. Making contemporary art:How todays artists think and work (London: Thames & Hudson, 2003)
Whitmore, J. Directing the Post Modern Theatre: Shaping Significance in Performance (Ann Arbour: University of Michigan Press, 1994)
Winer, Deborah Grace, On The Sunny Side Of The Street: The Life and Lyrics of Dorothy Fields. (Schirmer Books, 2000)
Wolf,  Stacy A Problem Like Maria — Gender And Sexuality In The American Musical. (University of Michigan Press 2002)
Woll, Allen, Black Musical Theatre:  From Countdown To Dreamgirls. (Louisiana State University Press, 1989)
Traubner, R, Operetta, A Theatrical History  (London, Victor Gollancz, 1984)
Zadan, C,  Sondheim & Co  (New York: Harpers & Row, 1974)