Abstract
To learn, acquire knowledge, and develop skills is an embodied process. In this article, the authors argue that merging the fields of song and dance is dependent on a deeper understanding of how the mind and the body interact, and they utilize the concept of enactive cognition to explain these processes. The authors maintain that students need insight into these processes in order to improve their learning and, consequently, their performance. Retrospective examples taken from three educational situations within the musical theatre context elucidate the discussion of the concepts of alignment and breathing. These frequently used concepts are often a source of confusion and misunderstanding for the student. To alleviate this, a stronger, interdisciplinary dialogue among the singing and dance teachers who are involved in the genre of musical theatre needs to be developed. The authors suggest collaborative teaching as a means to develop the teaching methods and as the pathway to attaining a common base when integrating the skills of singing and dancing.
Highlights
In 2014, the first musical theatre students graduated with a bachelor’s degree awarded by the Norwegian College of Musical Theatre (Musikkteaterhøyskolen-MTHS)
The students are trained in the disciplines of song, dance, and drama, as well as in musical theatre, which combines the three art forms
These disciplines have their history in different and separate departments or schools, and considerable research has been devoted to the teaching methods for song, dance, and theatre
Summary
In 2014, the first musical theatre students graduated with a bachelor’s degree awarded by the Norwegian College of Musical Theatre (Musikkteaterhøyskolen-MTHS). This article is an attempt to initiate debate and discussion regarding methodological options when teaching within the disciplines of song and dance, as well as to encourage increased interdisciplinary collaboration within the musical theatre field. We suggest that more effective teaching methods can be developed through collaborative teaching To this end, it is important to elucidate and discuss the use of the contrasting positions concerning the frequently used concepts of alignment and breathing in both song and dance instruction. Methodological choices, terminology, master-student relationship, cultural understanding and expectations, contexts, and musical genres all influence our teaching It is beyond the scope of this article to embrace all of these elements, but it is important to remember the complexity of teaching and the dynamic and influential processes that contribute to the teacher-student interaction It is beyond the scope of this article to embrace all of these elements, but it is important to remember the complexity of teaching and the dynamic and influential processes that contribute to the teacher-student interaction (Fuchs 2012, p. 11, 2016, p. 200; Gallagher & Lindgren, 2015, p. 394; Thurman & Welch, 2000, p. xxiii)
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