Course Descriptions
ACTING
Acting Foundations (AFO.101)
Using techniques and practices from a range of theatrical pedagogies, Acting Foundations provides the student with a variety of entry points into the craft. The in-studio work consists of training presence, reactivity, impulse, imagination, mind-body connection, and their complicity as an ensemble, coupled with readings on the evolution theatre, acting and actor training. Acting Foundations is considered a CORE course. Students must obtain a minimum of 65% to move forward.
Scene Study
Scene Study is a core course and students must obtain 65% or more to move forward.
Scene Study I (SCS.101)
This course is designed to facilitate an actor’s growth with a fundamental approach to working on a scene. In-Class exercises will offer an opportunity to explore and expand the choices that impact interpretation of a scene founded in given circumstances. Exercises will also offer an opportunity for students to further expand the notion of the components of performing a scene based on an understanding and exploration of human behaviour. The elements of presence, reactivity, and awareness are explored through imagination, play, movement, and physical expressiveness. Scene Study 1 is considered a CORE course. Students must obtain a minimum of 65% to move forward.
Scene Study 2 (SCS.102)
This course deepens the understanding of concepts learned in Scene Study 1 by inviting students to expand the vocabulary of possible choices in each scene or monologue. (Moving beyond first impulse/thought/idea.) They will expand their tactical vocabulary to work with a wider range of possibilities for believability, conviction, and comfort. This course further focusses on text work and deepens an understanding of the tools actors have at their disposal to build character within a given set of circumstances (relationship, intention, tactics, obstacles, stakes, moment before etc. Students learn to rehearse on their own to establish professional work habits. Scene Study 2 is a core course. Students must achieve 65% to progress to the next term.
Scene Study 3 (SCS.203)
This studio course focuses on furthering the skills developed in the previous two terms with a focus on actioning and integrating text analysis skills, relationship, character development and personal actor's process in rehearsal and performance. The students will prepare and perform a contemporary monologue and will all work on the same three-person contemporary scene from a Canadian play. The focus of this course is to learn effective tools in the rehearsal process. Scene Study 3 is considered a CORE course. Students must obtain a minimum of 65% to move forward.
Scene Study 4 (SCS.204)
A studio class focused on ensuring that students have achieved full comprehension of basic techniques of character and text work, intention, given circumstances and the world of the play. Students work on two scenes. Scenes are presented in a final open class to assess work ethic, professionalism, talent, commitment, and technique. Passing the jury is required for entrance to Term 5. Students learn to apply technique to the whole of a play through arc work. Scene Study 4 is considered a CORE course. Students must obtain a minimum of 65% to move forward.
Scene Study 5 (SCS.305)
A studio course focused on Audition Technique through workshops, exercises, and the continued building of audition material. Students will perform three new monologues throughout the term and several auditions, including cold reads and improvisations.
Scene Study 6 (SCS.306)
A studio course designed to prepare students for professional industry panels. Each student will prepare two monologues and participate in rehearsal process-developing exercises. They will also receive an individual coaching session working with their chosen piece prior to their panel presentation. At the culmination of the course, immediately following their presentations, students will receive feedback from their instructor and the professional panel which usually includes casting directors, agents, artistic directors, and professional performers.
Improvisation
Improvisation I: Clown (IMP.101)
An introduction to the form and skills of Gaulier Clown, the study of showing up, being open, sensitive, vulnerable, human, and ridiculous.
Improvisation 2: Scenic Improv (IMP.102)
Improvisation fundamentals including the power of observation, risk-taking, giving and receiving offers while creating character, environment, and narrative from a place of impulse.
Voice and Text
The voice must be flexible and responsive to realize the rigorous demands of acting. In Voice and Text, students will explore techniques that amalgamate vocal, physical, and emotional expression with text. Students will expand their range of emotional expression using both physical technique and vocal development.
Numerous voice, text, and movement techniques are examined including the work of Moshe Feldenkrais, Jacques Lecoq, Etienne Decroux, Rudolf Laban, Moshe Johnstone, Viola Spolin, Anne Dennis, Linda Putnam, Jerzy Grotowski, Erika Batdorf, Jill Courtney, Paula Thompson, David Smukler, Patsy Rodenburg, Cicely Berry, Kristin Linklater, Alexander Technique, Arthur Lessac, Edith Skinner, Evangeline Machlin, and the Roy Hart Theatre.
Voice and Text I (TXT.101)
An introduction to physical anatomy, focus, breath, and voice for stage. Students will apply physical techniques in connection with articulation and an increased ability to communicate emotions through text.
Voice and Text 2 (TXT.102)
An introduction to vocal anatomy. Students will continue to refine diction, breath, and vocal technique with a concentration on stamina and focus as it relates to performance. There will also be self-assessment and a more detailed examination of emotional expression.
Voice and Text 3 (TXT.203)
This course will consist in reading aloud and analyzing given texts drawn from outstanding works of English literature, historic and modern, with a view to "catching" at sight the gist of a passage, discovering the meaning, and realizing the excitement in the moment. The process will involve coaching, rehearsing, staging, and ultimately performance, with an emphasis on text analysis, with attention to English sentence structure, the parts of speech, the verb system, roots, and methods of vocabulary building, while utilizing critical techniques and embodied performance practices.
Voice, Text, and Movement 4 (TXT.204)
Physical and vocal techniques are applied directly to text and creation. Students will explore diverse techniques utilizing the body and voice as entry points into character and ensemble-based creation. The course will utilize techniques for a diverse range of pedagogies that utilize a holistic physical approach to voice/movement/text and creation.
Voice, Text, and Movement 5 (TXT.305)
A coaching course that explores the use of voice and text in the context of a rehearsal process and formal performances. The voice component is tailored to the vocal requirements of the show, including, but not exclusive to, warm-up, projection, vocal support of character choices, exploration of registers, pace, accent, intonation, articulation, and clarity. Students will delve into textual clues to discover meaning, clarity of thought, punctuation, and idea development.
Voice, Text, and Movement 6 (TXT.306)
Students will continue to pursue healthy use of body and voice for character analysis, concluding with the panel audition experience. In preparation for a professional career, students will write a paper summarizing their current warm up, including knowledge of their own approaches and skills in application to their overall performances.
Movement
Movement I (MOV.101)
In this course students will deepen their kinesthetic sense and emotional expression through basic principles of improvised and impulse created movement and Stage Combat. Using various approaches, students will learn and experience a vocabulary of movement that will introduce principles of self-expression, body awareness, and dynamic range of movement. Exercises will draw on the spontaneous interaction between people interacting with weight, momentum, gravity, and intuition.
Movement 2 (MOV.102)
This course is an introduction to unarmed stage combat and stage intimacy for the actor. The student will develop a kinesthetic understanding of how to portray the illusion of physical conflict, force, and impact, while protecting themselves and their partner. This course will also teach an introduction to performing choreographed intimacy to carry into their current and future creative and professional work in theatre and film.
Movement 3 (MOV.203)
Students will explore their inner impulses to move, deepening their kinesthetic sense and emotional expressions through improvised individual and ensemble work. Rudolf Laban's concepts, the Chekhov technique, Grotowski work, contact improv and others will be used as a framework. Students will learn and experience a vocabulary of movement that will enable them to learn more about their personal preferences in movement and how they move in relationship to the world around them. Students will apply and align their new skills with aspects of Shakespeare 3 to deepen their connection to character. Through exercises and assignments, students will be encouraged to use their new observational skills to ignite their imaginations.
Film and Television
Film and Television 3 (FTV.203)
An introduction to acting for the camera. Students learn how to create believable characters for a camera-sized performance and are introduced to the technical terminology of the film and television industry.
Film and Television 4 (FTV.204)
An intermediate level of acting for the camera. Students explore scene study work using master, medium and close-up shots. Students are also introduced to the more technical aspects of the filmmaking process.
Film and Television 5 (FTV.305)
Voiceover will introduce students to the skills necessary to excel in the world of voiceover. It will focus on microphone technique, breaking down scripts, and audition etiquette. The goal will be to give students an opportunity to familiarize themselves and experiment with approaches to commercial and web voiceover, animation, narration, and audio books.
Film and Television 6 (FTV.306)
Building upon principles acquired in Film 3 and 4, this class facilitates the actor’s transition to auditioning for work in the Film and TV industry. The focus is on recreating a real audition scenario in which students are given “breakdowns and sides” in preparation for a mock in-class audition. Auditions for film/TV (TV series, film, webisodes, Movies of the Week, etc.) are included.
VOCAL
RCPA vocal instructors teach a healthy singing technique that is based on the same principles of breath, support, placement, and vocal health that is taught widely in opera schools where the repertoire is exclusively classical. We then add the elements of style particular to musical theatre and pop repertoire, such as healthy mixing (AKA belting).
Students are encouraged to work on repertoire that suits their natural vocal talent and style. We always begin with a more traditional musical theatre repertoire that is closely aligned with the classical vocal music of the same decade. Note: All music must be brought to each class.
Singing Lessons 1–6 (SGL.101, 102, 203, 204, 305, 306)
Singing lessons focus on the basic functioning of the human voice. Students are taught, through vocal exercises, how to identify and train the muscle systems that control the vocal folds to develop a healthy instrument. Previous vocal misuse will be identified, and correction initiated. Breathing, posture, vowel production and diction will be addressed. As the voice develops, the student will work at transferring the healthy sounds he/she makes in vocalizing to repertoire.
Each student in Terms 1–4 receives eleven half-hour weekly lessons; in Term 5, eight half-hour weekly lessons and in Term 6, six half-hour weekly lessons. Students also receive coaching sessions with pianists who assist with learning repertoire.
Singing lessons are not programmed during rehearsals for the Term 6 musical due to intense rehearsal schedules. That said, students are welcome to continue working with their assigned singing teachers during this time at their expense. We do not permit working with outside singing instructors until after graduation.
Musical Theatre Presentation (MTP)
Music Theatre Presentation (MTP) is a core course and students must obtain 65% or more to move forward. In MTP, both acting and vocal presentational skills are combined. Students are required to have selected songs prior to the commencement of each of MTP 2, 3, 4, 5. They must then show their choices to both their tutorial and MTP instructors who must reach consensus before a song is further developed. Students may carry forward or change songs not worked on in MTP to the next term.
MTP I (MTP.101)
MTP1 is an introduction to acting through song. Students will develop a basic method for song preparation, and fundamental acting techniques. Physical and vocal warm-up, breath, alignment, monologuing, and the basics of song analysis will be explored via in-class discussion, demonstration, and practise. Students will learn and present 1 assigned song, and 1-2 individual songs from early musical theatre (1927-1965). Rep. is selected in collaboration with their singing teacher. MTP 1 is considered a CORE course. Students must obtain a minimum of 65% to move forward.
MTP 2 (MTP.102)
This course is a continuation of MTP1. The focus of this class is for students to get to know themselves in song and begin to learn how to make performance choices. Students will learn how to enter a space and interact with the pianist, create a credible moment before, show a relationship to a scene partner and travel the arc of an emotional journey. Students will learn how to analyze music and lyrics for performance clues and make actor choices. Students must have repertoire approved by their vocal tutorial teacher. MTP 2 is considered a CORE course. Students must obtain a minimum of 65% to move forward.
MTP 3 (MTP.203)
Students will demonstrate the ability to: analyze texts (songs, libretti, etc.) to support an active interpretation and presentation; identify a clear objective, and the use of tactics; and engage with their scene partner (real or imagined). Through detailed analysis of context, character and situation, rhetorical and dramatic structure of lyrics will be explored in relation to the musical structure of the song. Songs of varied periods and genres will be presented in the class, as each student builds a personal repertoire. Each student will explore a complex song this term. MTP 3 is considered a CORE course. Students must obtain a minimum of 65% to move forward.
MTP 4 (MTP.204)
MTP 4 is a continuation of MTP 3. The goal is to expand the audition book and continue the journey towards developing a well-rounded repertoire of 4-6 audition pieces. Students will learn how to develop and play a clear intention, moment before/after, and emotional/ tactical journey for each song. Students must bring their audition book to EVERY class and be ready to sing at every class. Students must have repertoire approved by their singing teacher including one pop song. MTP 4 is considered a CORE course. Students must obtain a minimum of 65% to move forward.
MTP 5 (MTP.305)
A continuation of MTP 4, this course will focus on Audition Technique. The slate, interacting with the casting panel, appropriate material choice, and the audition “book” are all discussed as they relate to the professional audition experience. All students will have explored a complex piece (Stephen Sondheim, Jason Robert Brown, etc.) and a pop song by the end of this term. The appropriate repertoire for the auditions for the Sixth Term musical will be addressed. CARD work from MTP 4 will be continued. A complete audition book with at least five contrasting songs is required by the end of term.
MTP 6 (MTP.306)
This course should serve as a final preparation for the students' emergence into the arena of professional auditions. Each student will perform at least three times for the class. Each student will finalize repertoire for their audition book to include only material which is appropriate for professional auditions. It is encouraged that some previously studied repertoire from earlier terms be revisited with respect to the process of making changes in the performance, which reflect increased skill and performance techniques as well as the advantage of increased performing repertoire. The class culminates in a Panel audition, adjudicated by internal faculty and external professionals. MTP 6 is considered a CORE course. Students must obtain a minimum of 65% to graduate.
Chorale/Musicianship (CHO.101, 102, 203, 204, 305, 306 / MSC .101, 102, 203)
Choral singing provides singers the opportunity to develop their skills in an ensemble experience. Musicianship, part singing, and group blend of the ensemble is emphasized, in addition to healthy vocal production.
Choirs explore the fundamentals of choral singing, with an emphasis on the practical application of music theory in sight and ear training. Students work on advancing their music reading skills. Students will learn how to break down and count rhythms in simple and compound time and mark music accordingly, as well as apply all tempo, dynamic, and articulation markings as indicated on printed music. Ongoing attention will be paid to the blend and balance of the ensemble, as well as to dynamics and diction.
Musicianship 1 provides students with elementary skills in theory, ear training and sight reading. The course follows units 1, 2, 3, 4 and 6 of Alfred's Essentials of Music Theory, including all basic aspects of musical notation: staff, clefs, notes, note values, time signatures and basic Italian terms. Students will also be expected to explore the fundamentals of elementary choral singing (unison and 2-part) and apply basic music theory knowledge to sight singing and ear training, including rhythm (in simple and compound time) and interval recognition (identifying all intervals within a major scale). Students must bring materials to each class. Minimum passing grade to move to Musicianship 2 is 70%.
Musicianship 2 provides students with intermediate skills in theory, ear training and sight reading. Students must pass Musicianship 1 with a minimum mark of 70% or complete a placement test at the appropriate level as a prerequisite.
The course follows units 7-11 of Alfred's Essentials of Music Theory, including major and chromatic scales, key signatures, interval notation, more complex note values & rhythms, melodic transposition, and additional Italian terms.
Students will also be expected to explore intermediate choral singing (3-4 part) and apply intermediate music theory knowledge to sight singing and ear training, including rhythm (in simple and compound time) and interval recognition (identifying all intervals within a major scale). Students must bring materials to each class. The minimum passing grade to move to Musicianship 3 is 70%.
Musicianship 3 provides students with advanced skills in theory, ear training and sight reading. Students must pass Musicianship 2 with a minimum mark of 70% or complete a placement test at the appropriate level as a prerequisite.
The course follows units 5, 12, 13 and 14 of Alfred's Essentials of Music Theory, including major/minor/diminished & augmented triads, minor scales, scale degree names, chords (inversions, chord symbols and progressions), figured bass (indicating intervals, chord, and non-chord tones), advanced Italian terms and a 32-bar transposition project.
Students will also be expected to explore advanced choral singing (3-4 part) and apply advanced music theory knowledge to sight singing and ear training, including rhythmic, melodic, and harmonic analysis. Students must bring materials to each class. Students must achieve a passing grade of 70% (or have achieved 50% in term 5 or 6 where completion of all 22 hours may be required). Completion of Theory 3 is compulsory to graduate.
Advanced Musicianship provides students who have completed Musicianship 1, 2 and 3 with ensemble experience in ear training, sight singing and musical analysis at the professional level. Students must pass Musicianship 3 with a minimum mark of 70% as a prerequisite.
Students will already have strong sight singing skills and advanced choral experience and will apply those skills to more challenging choral music in 4-12 parts, both a cappella and accompanied. Students will explore harmonic, melodic and rhythmic structure through music analysis as well as compound intervals, cadences, hybrid time, changing time signatures and Modal/Pentatonic/Blues scales. Students must bring materials to each class.
DANCE
RCPA offers several levels of dance in ballet, tap, and jazz. A student’s skill level is assessed during orientation on the first day of their first term. Students are then placed at a skill level that matches their experience. Developing skills in the discipline of dance is not only essential to a career in the performing arts but also enhances skills in other disciplines.
Ballet (BAL.101, 102, 203, 204, 305, 306)
Ballet develops muscular control, performance presentation and discipline. Discipline is one of the most important factors of dance, and aids in the ability to focus, comprehend and digest the complete movement of the body. Students will learn ballet steps and terminology and adapt them to their body to produce not only a natural flow, but also grace of movement. Cecchetti methodology will be taught.
Tap (TAP. 203, 204, 305, 306)
Tap dance is a form of physical artistic expression that can be applied in a variety of ways. Through choreography and improvisation, students will apply tap techniques to music from classical, jazz, pop, and musical theatre genres.
Jazz (JAZ. 101, 102, 203, 204, 305, 306)
Modern jazz technique strives to achieve competence in movement, communicative possibilities, and correctness of posture. Technical requirements focus on strength, endurance and flexibility and are associated with a developed sense of movement designed to produce a variety of emotions. All varieties of jazz dance are covered, and depending on the course level, include an examination of Broadway/Musical Theatre, contemporary, lyrical, Latin/salsa, hip-hop, and urban dance.
THEORY
Musical Theatre History Lecture 1 (MTH.101)
This course explores the evolution of musicals from the early twentieth century to current leading composers and writers. (i.e., from Gershwin to Menken). Students will listen to excerpts and discuss structure, historical context, musical styles, and idioms. The course provides a comprehensive overview of the musical theatre repertoire.
Theatre History Lecture 2 (THH.102)
An exploration of Western theatre from ancient Greece to the twentieth century. Employing important dramatic texts, students will examine the evolution of Western theatre based on a variety of historic movements. Topics to be examined will include performance style, staging practices, philosophical and theoretical underpinnings, historical context, relevance to contemporary acting, etc.
Dance History Lecture 2 (DCH.102)
This course will provide students with an historical overview of theatrical dance from the Court of Louis the XIV to the present. The content focuses mostly on twentieth-century developments in dance, tracing the lineage of ballet, jazz, tap, modern dance and dance in musical theatre. In addition, discussions will include the contributions of significant choreographers, specific works, and renowned companies to the development of dance. Through lectures, readings and videos, students will learn to understand, critically examine, and appreciate the theatrical dance forms they see and practice today. The end-of-term project for this course will consist of choreographing excerpts with fellow students, from the many dance forms studied. Partnering will also be explored.
WORKSHOPS
Professional Development 5 (PRO.305)
A series of professional development workshops aimed at preparing the students for the business side of a career in the performing arts. Sample workshops include an introduction to Casting Workbook, Accounting for Actors, talkbacks with talent agents, lectures by performing arts unions such as CAEA and ACTRA, etc.
Guest Panel 6 (PAN.306)
The final course requirement in the sixth term is Guest Panel. This is an opportunity to introduce graduating students to industry professionals and for our students to experience and receive feedback based on professional standards. Panelists (3–6 professional actors, directors, agents, and producers from the world of film, television, and theatre) assess the work of sixth-term students who perform monologues and songs in an audition-like setting for both the faculty and the guest audition panel. The panel and faculty then meet one-on-one with the students to give each student relevant feedback on their performance for the panel. Prior to meeting the panel, the students are coached one-on-one by RCPA faculty.
PERFORMANCE PROJECTS
Musical Theatre History Rehearsal 2 (REH.102)
This course covers ensemble fundamentals—learning to work together, retain spacing, acquiring an awareness of body line, and vocal harmonies—all while performing sung, choreographed, and staged pieces that give an overview of twentieth-century musical theatre styles. The emphasis is on ensemble work. This rehearsal practicum is a core course and students must obtain 65% or more to move forward. In Terms 1 to 4, it is the process that counts rather than the final product. This project presentation will be shown at the end of term to the faculty and student body only.
Shakespeare 3 (SHK.203)
An introduction to performing Shakespeare. Students will study the work of William Shakespeare through exercises exploring text analysis and performance skills using monologues and scene study. The final presentation will demonstrate the skills that they have acquired throughout the course. This is a core course and students must obtain 65% or more to move forward.
Musical Theatre Lab 4 (MTL.204)
This course will focus on the integration of all training thus far through the development of theatrical content to be showcased at end of term, incorporating musical elements. Students/emerging creators will a) engage in the hands-on study of a variety of creation methodologies, b) explore, experiment, and develop original content both as individual creators and members of a creative ensemble; and c) cultivate selected materials towards a process presentation for a live audience. Emphasis will be placed on process, initiative, integration, professionalism, and maturity. Musical Theatre Creation Lab is considered a CORE course. Students must obtain a minimum of 65% in this course to move forward to the next term.
Play Production 5 (PLA.305)
Productions are core courses and students must obtain 65% or more to move forward.
In Play Production 5, the student participates in the mounting of a full-length stage play. Casting directors, agents and other relevant professionals will be invited to attend by the students. Students will exercise their understanding of the actor’s process. They will exhibit their skills of professionalism, their ability to take and apply director’s notes, apply character development to a specific role(s), and to demonstrate that they are able to learn blocking.
The production is selected in accordance with the specific needs of each term. Casting will be determined by the director in much the same way as in the profession, usually through an audition. Emphasis is on showcasing the strengths of the students. There is no guarantee that everyone will have a lead role.
Some additional duties assigned may include Assistant Stage Management, Production Management, Sound Design, Dance Captain, Costumes, Props, Publicity, Makeup, and Social Media.
Musical Production 6 (MUS.306)
Productions are core courses and students must obtain 65% or more to move forward.
Musical Production 6 is a five-week, full-time rehearsal process leading to a fully staged production of a musical that is presented publicly in the sixth week. Casting directors, agents and other relevant professionals will be invited to attend by the students. The process will allow students to experience all aspects of casting, rehearsing, and mounting a production which will prepare them for the professional world of musical theatre. Aspects of ensemble, personal acting work, technical production, and professional conduct will be covered as the cast is guided from day one of the rehearsal process to the final presentation. The production is selected in accordance with the specific needs of each term. Casting will be determined by the director in much the same way as in the profession, usually through an audition. Emphasis is on showcasing the strengths of the students. There is no guarantee that everyone will have a lead role.