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TAPS 11N: Dramatic Tensions: Theater and the Marketplace

Preference to freshmen. The current state of the American theater and its artists. Conventional wisdom says that theater is a dying art, and a lost cause, especially in an age of multi-media entertainment. But there are more young playwrights, actors, and directors entering the field today than at any other time in American history. Focus is on the work of today's theater artists, with an emphasis on an emerging generation of playwrights. Students read a cross-section of plays from writers currently working in the US and UK, covering a spectrum of subjects and styles from serious to comic, from the musical to the straight play. Hits and misses from recent seasons of the New York and London stages and some of the differences of artistic taste across the Atlantic. Hands-on exploration of the arts and skills necessary to make a play succeed. Students develop their own areas of interest, in guided projects in design, direction or performance. Conversations with playwrights, designers ,and directors. Labs and master classes to solve problems posed in areas of creative production. Class meets literary managers and producers who are on the frontlines of underwriting new talent. Class trips include two plays at major Bay Area Stages.
Terms: Win | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: ; Freed, A. (PI)

TAPS 11Q: Art in the Metropolis (ARTSINST 11Q, ARTSTUDI 11Q, ENGLISH 11Q, FILMEDIA 11Q, MUSIC 11Q)

This seminar is offered in conjunction with the annual "Arts Immersion" trip to New York that takes place over the spring break and is organized by the Stanford Arts Institute (SAI). Enrollment in this course is a requirement for taking part in the spring break trip. The program is designed to provide a group of students with the opportunity to immerse themselves in the cultural life of New York City guided by faculty and SAI staff. Students will experience a broad range and variety of art forms (visual arts, theater, opera, dance, etc.) and will meet with prominent arts administrators and practitioners, some of whom are Stanford alumni. In the seminar, we will prepare for the diverse experiences the trip affords and develop individual projects related to particular works of art, exhibitions, and performances that we'll encounter in person during the stay in New York. Class time will be divided between readings, presentations, and one studio based creative project. The urban setting in which the various forms of art are created, presented, and received will form a special point of focus. A principal aim of the seminar will be to develop aesthetic sensibilities through writing critically about the art that interests and engages us and making art. For further details please visit the Stanford Arts Institute website: https://arts.stanford.edu/for-students/academics/arts-immersion/new-york/
Terms: Win | Units: 3 | UG Reqs: WAY-A-II
Instructors: ; Berlier, T. (PI)

TAPS 22N: Culture, Conflict, and the Modern Middle East

In this course, you will encounter the Middle East through places, peoples, and performances, beyond the basic study of identifying the region and learning its history. The main question that we will contend with is: how can one achieve an ideal encounter with a people? Through experience and experimentation, we will attempt to approach the region from different angles, perspectives, and disciplines. You can expect to be surprised again and again as we find ways to see, hear, touch, smell, and taste the Middle East through carefully curated readings, viewings, practices, assignments, and events, each teaching us a different way of thinking, creating, and living. Yet, in all these encounters, the theme of performance will return to remind us that knowledge of ourselves and the other is but a tangible exhibit of performances of everyday life. From virtually visiting architectural wonders such as Petra and the Pyramids, to encountering classic literatures such as the Arabian Nights, to finding the best Shawarma in town, to performing the Middle East, to confronting political realities and investigating historical myths, you can expect to immerse yourself with a region and its people. In our search for an ideal encounter, we will be sure to shed some fantasies, experience some realities, imagine some possibilities, and find a version of ourselves.
Terms: Win | Units: 3 | UG Reqs: WAY-A-II

TAPS 28: Makeup for the Stage

Techniques of make-up application and design for the actor and artist including corrective, age, character, and fantasy. Emphasis placed on utilizing make-up for development of character by the actor. Limited enrollment.
Terms: Win | Units: 2
Instructors: ; Bodurtha, R. (PI)

TAPS 29: TAPS Production Units: Acting

Students cast in department productions receive credit for their participation as actors; 1-2 units for graduate directing workshop projects and 1-3 units for major productions (units determined by instructor). May be repeated for credit. Prerequisite: consent of instructor.
Terms: Aut, Win | Units: 1-3 | Repeatable for credit

TAPS 34: Stage Management Techniques

TAPS 34 examines the role and responsibilities of the Stage Manager within a live performance production organization. This includes exploring and creating methods for documenting, recording and 'calling' a production. The purpose of TAPS 34 is to provide an understanding of the complex and collaborative process involved in mounting a live production, the relationship of the stage manager to this process, and the basic skills and techniques of a stage manager.
Terms: Win | Units: 3
Instructors: ; Kumaran, L. (PI)

TAPS 39: Theater Crew

Class for students working on TAPS department productions in the following role: backstage/run crew, scenic technician, or costume technician. Night and weekend time possible. Pre-approval from Tyler Osgood (tosgood@stanford.edu) is required for enrollment. Read the information below to determine enrollment section. TAPS has a variety of roles available. No experience is necessary; this is a class and we will train you to fill any assigned position. Section 01 - BACKSTAGE/RUN CREW: will need light board operators, sound board operators, camera operators, deck crew and dressers. Section 02 - SCENE SHOP: Students will be immersed in the utilization of tools and equipment to construct scenery and install theatrical audio/visual systems. Sections 03 & 04 - COSTUME SHOP: Students will learn hands-on costuming techniques including hand sewing, machine sewing, safety standards, costume construction and costuming crafts. (Section 03 meets on Weds. Section 04 meets on Thurs.) Note: Scenic- and costume-shop appropriate clothing and closed-toed shoes are required for this class. Securely fasten long hair/loose clothing/jewelry to protect catching it in machine parts/when using machines. Project specific clothing may be suggested occasionally for work with paints, dyes or when in storage spaces. Aprons, masks, gloves, goggles and other PPE will be provided and available.
Terms: Aut, Win, Spr | Units: 1-3 | Repeatable 4 times (up to 15 units total)

TAPS 99: Kinesthetic Delight: Movement and Meditation (LIFE 99, WELLNESS 99)

The words meditation and mindfulness often conjure images of people sitting quietly in peaceful contemplation. However, as contemplatives and scholars from various fields have argued, though the brain resides in the cranium, the mind functions throughout the body. Students in this class will playfully explore embodied and dynamic forms of meditation and mindfulness through movement in an effort to integrate the mind and body. Examples of modalities include Lisa Nelson's Tuning Scores, Barbara Dilley's Contemplative Dance Practices, and other movement practices including qigong, laughter yoga, and psychogeography. Students will work in teams to develop their own movement-meditation scores inspired by these practices.
Terms: Win | Units: 1-2 | UG Reqs: WAY-CE | Repeatable 2 times (up to 4 units total)
Instructors: ; Otalvaro, G. (PI)

TAPS 100: Introduction to Theater Practice (TAPS 211)

Two-time OBIE-winning instructor Young Jean Lee has written and directed ten shows with her theater company, toured her work to over thirty cities around the world, and directed three short films that showed at festivals including Sundance and Locarno. In this class, students will be given space and support to research and experiment with areas of interest in theater and performance practice that are relatively new to them. Potential subjects for study include acting, directing, designing, choreographing, and writing. You can choose to focus a little on everything, investigate one new area, or try out a few different things. In-class work will include collaboration on projects to practice new skills. If interested, please email the instructor at yjl@stanford.edu on or after December 14 (any request sent sooner will not be considered) with the following: 1) Your year of study; 2) Your major/prospective major; 3) Your previous theater and performance practice experience; 4) Potential area/s of interest for this class.
Terms: Aut, Win | Units: 1-4 | UG Reqs: WAY-CE | Repeatable 6 times (up to 24 units total)
Instructors: ; Lee, Y. (PI)

TAPS 103: Beginning Improvising

The improvisational theater techniques that teach spontaneity, cooperation, team building, and rapid problem solving, emphasizing common sense, attention to reality, and helping your partner. Based on TheatreSports by Keith Johnstone. Readings, papers, and attendance at performances of improvisational theater. Limited enrollment. Improv, Improvisation, creativity and creative expression. Limited enrollment. 20 students enrolled on first come, first served basis. Remaining available filled by students on the waitlist, with priority given to TAPS majors/minors and those who have been unable to take the class previously due to limited capacity. In order to claim your spot off the waitlist, please attend the first day of class.
Terms: Aut, Win, Spr, Sum | Units: 3 | UG Reqs: WAY-CE

TAPS 104: Intermediate Improvisation

This class is the continued study of improvisational theater with a focus on stage skills, short and long form performance formats, and offstage applications of collaborative creativity. It is open to any students who have taken TAPS 103 or have previous onstage improv experience AND consent of the instructor. May be repeat for credit.
Terms: Win | Units: 3 | Repeatable 2 times (up to 6 units total)

TAPS 120A: Acting I: Fundamentals of Acting

A substantive introduction to the basics of the craft of acting, this course gives all incoming students the foundation of a common vocabulary. Students will learn fundamental elements of dramatic analysis, and how to apply it in action. Topics include scene analysis, environment work, psychological and physical scoring, and development of a sound and serviceable rehearsal technique. Scene work will be chosen from accessible, contemporary, and realistic plays. Outside rehearsal time required.
Terms: Aut, Win, Spr | Units: 4 | UG Reqs: WAY-CE

TAPS 122M: Main Stage Theater Project (MUSIC 122M)

The Main Stage Theater Project provides students the opportunity to receive units for participating in a TAPS Main Stage Show. About the Autumn 2023-24 show: Performance maker, director, and choreographer Erika Chong Shuch will return to TAPS to engage a group of student collaborators to develop a new performance work that will premiere through TAPS in Fall 2023. Leaning into Jenny Odell's book How To Do Nothing as a springboard, the cast will devise playful, performative structures that invite audiences into a contemplation of time, memory, and stillness.
Terms: Aut, Win | Units: 3-5 | Repeatable 4 times (up to 20 units total)

TAPS 122V: Voice II: Shakespeare and Greeks

How does the actor authentically meet a passionate text that goes beyond everyday speech? In this course, students will practice bringing to life the language of Shakespeare and classical Greek playwrights. Students will explore passionate thought, including metaphor, argument, rhythm, imagery, and sound to realize these powerful texts fully and joyfully. The course will involve discovering the structures in the speeches and scenes which provide clues to the actor as to how to perform them. Using the voice safely with full breath support (so as to avoid injury) while releasing extended sounds like laughing, wailing, crying, and screaming will be explored. Various translations of the Greek texts will be used including those of Luis Alfaro, Declan Donnellan, Anne Carson, Timberlake Wertenbaker, Rush Rehm, Ellen McLaughlin, and others. This class is designed to be the natural next class after taking Voice for the Actor (Voice 1). Students will leave the class with at least one classical monologue suitable to use for auditions. Pre-requisite: Voice for the Actor (TAPS 121V) or approval of the instructor
Terms: Win | Units: 3
Instructors: ; Hunt, S. (PI)

TAPS 127W: Introduction to Clown

This course is an introduction to the world and play of the theatrical clown, constructed for actors to explore truth in size, vulnerability, and a personal sense of humor. Students will develop their ability to play with the audience, a greater capacity for freedom and abandon onstage, and a healthier relationship to failure and human idiocy. Areas of study include partnership and status play, comic rhythm and timing, the structure and development of comic material, and the beginnings of a personal eccentric Clown character. All coursework will be experiential and practical. Some stage experience is recommended but not required. Some outside rehearsal/investigation time required.
Terms: Win | Units: 3 | UG Reqs: WAY-CE
Instructors: ; Chapman, M. (PI)

TAPS 131M: Light in Art & Architecture

This course will introduce students to light artists working historically and today. We will also cover basic architectural lighting concepts and the relationship between installation light art and architecture. Students will create several light art pieces and a site-specific architectural re-design of a building on campus.
Terms: Win | Units: 3
Instructors: ; Mejia, C. (PI)

TAPS 133: Set Design

This class introduces students to the creative and collaborative process of Scenic Design. The course covers an overview of basic design theory and its applications and explores how styles in art, architecture and design have evolved over time. The class provides a vocabulary for the discussion, appreciation, participation and evaluation of theatrical design specifically as it relates to the scenic elements of the production. Students will become comfortable with expressing ideas and relaying information through sketching, storyboarding, and rendering- both by hand and using available digital tools. This is a project-based class and course work involves engaging with readings, lecture material, research, critical analysis, and rendering with basic digital tools and physical prototyping.
Terms: Win | Units: 3-4 | UG Reqs: WAY-CE | Repeatable 2 times (up to 8 units total)
Instructors: ; Ball, N. (PI)

TAPS 134: Stage Management Project

For students assigned to a Stage Management team for productions in the Department of Theater and Performance Studies. TAPS 34 is a prerequisite.
Terms: Aut, Win, Spr | Units: 3-8 | Repeatable for credit
Instructors: ; Kumaran, L. (PI)

TAPS 135M: Introduction to Multimedia Production

Students will learn filmmaking basics and apply them by creating a number of short multimedia projects to be shown and discussed in class. Hands-on practical instruction will cover the fundamentals of story, cinematography, sound recording, picture and sound editing, directing for camera, and producing. Critical analysis will focus on a variety of uses of prerecorded sound and video in theater productions, podcasts, web series and other digital media, as well as film and television.
Terms: Win | Units: 3-4 | UG Reqs: WAY-CE
Instructors: ; Bresenham, D. (PI)

TAPS 139: Pacific Ocean Worlds: A Sea of Islands (HUMCORE 139)

How do we think about the modern Pacific Ocean world? Here in California, we border this vast waterscape, which is larger than all the world's remaining oceans combined and which could easily fit all of the planet's landmasses within it. What lessons can we learn from the region's diverse and dynamic island cultures, its entangled histories, and its urgent contemporary issues? How has the Pacific impacted ideas about modernity elsewhere in the world? And what unique Oceanian modernities are emerging from the region? Engaging with a rich array of literary and performance texts, films, and artworks from the 19th to the 21st centuries, we will consider different ways in which the Pacific has been imagined. We will further explore how Pacific Islander scholars, artists, and activists have drawn on their cultural traditions and knowledge systems to create new works that respond to current challenges facing the region, including colonialism, globalization, tourism, migration, climate change, militarization, and nuclearization. This course is part of the Humanities Core: https://humanitiescore.stanford.edu.
Terms: Win | Units: 3
Instructors: ; Looser, D. (PI)

TAPS 140: Introduction to Projects in Theatrical Production

A seminar course for students performing significant production work on Theater and Performance Studies Department or other Stanford University student theater projects. Students serving as producers, directors, designers or stage managers, who wish mentorship and credit for their production work sign up for this course and contact the instructor, Laxmi Kumaran. nPrerequisite: consent of instructor.
Terms: Aut, Win, Spr | Units: 1-4 | Repeatable for credit
Instructors: ; Kumaran, L. (PI)

TAPS 151D: Ethical STEM: Race, Justice, and Embodied Practice (AFRICAAM 151, ARTSINST 151C, CSRE 151C, ETHICSOC 151C, STS 51D, SYMSYS 151D)

What role do science and technology play in the creation of a just society? How do we confront and redress the impact of racism and bias within the history, theory, and practice of these disciplines? This course invites students to grapple with the complex intersections between race, inequality, justice, and the STEM fields. We orient to these questions from an artistically-informed position, asking how we can rally the embodied practices of artists to address how we think, make, and respond to each other. Combining readings from the history of science, technology, and medicine, ethics and pedagogy, as well as the fine and performing arts, we will embark together on understanding how our STEM practices have emerged, how we participate today, and what we can imagine for them in the future. The course will involve workshops, field trips (as possible), and invited guests. All students, from any discipline, field, interest, and background, are welcome! This course does build upon the STS 51 series from 2020-21, though it is not a prerequisite for this course. Please contact the professor if you have any questions!
Terms: Win | Units: 4-5

TAPS 153P: Black Artistry: Strategies of Performance in the Black Diaspora (AFRICAAM 153P, CSRE 153P, TAPS 353P)

Charting a course from colonial America to contemporary London, this course explores the long history of Black performance throughout an Atlantic diaspora. Defining performance as "forms of cultural staging," from Thomas DeFrantz and Anita Gonzalez's Black Performance Theory, this course takes up scripted plays, live theatre, devised works, performance art, and cinematic performance in its survey of the field. We will engage with theorists, performer, artists, and revolutionaries such as Ignatius Sancho, Maria Stewart, William Wells Brown, Zora Neale Hurston, Derek Walcott, Danai Gurira, and Yvonne Orji. We will address questions around Black identity, history, time, and futurity, as well as other essential strategies Black performers have engaged in their performance making. The course includes essential methodological readings for Black Studies as well as formational writings in Black performance theory and theatre studies. Students will establish a foothold in both AAAS (theory & methodology) and in performance history (plays and performances). As a WIM course, students will gain expertise in devising, drafting, and revising written essays.
Terms: Win | Units: 3-5

TAPS 165: Introduction to Comparative Studies in Race and Ethnicity (CSRE 100, EDUC 166C, ENGLISH 172D, PSYCH 155, SOC 146)

Race and ethnicity are often taken for granted as naturally occurring, self-evident phenomena that must be navigated or overcome to understand and eradicate the (re)production of societal hierarchies across historical, geopolitical, and institutional contexts. In contrast, this transdisciplinary course seeks to track and trouble the historical and contemporary creation, dissolution, experiences, and stakes of various ethnoracial borders. Key topics include: empire, colonialism, capital/ism, im/migration, diaspora, ideology, identity, subjectivity, scientism, intersectionality, solidarity, resistance, reproduction, and transformation. Cardinal Course certified by the Haas Center for Public Service . (Formerly CSRE 196C)
Terms: Win | Units: 5 | UG Reqs: GER:DB-SocSci, GER:EC-AmerCul, WAY-EDP, WAY-SI | Repeatable 2 times (up to 10 units total)
Instructors: ; Rosa, J. (PI)

TAPS 167: Introduction to Greek Tragedy: Gods, Heroes, Fate, and Justice (CLASSICS 112)

Gods and heroes, fate and free choice, gender conflict, the justice or injustice of the universe: these are just some of the fundamental human issues that we will explore in about ten of the tragedies of Aeschylus, Sophocles, and Euripides.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: ; Kim, H. (PI); McCall, M. (PI)

TAPS 169R: Reality TV and American Society

Class will explore the ways reality tv over the past 25 years has affected the way Americans see and relate to one another, then consider what comes next. Students will analyze and discuss seminal reality tv shows and print criticism thereof, and in groups will conceive and develop reality show ideas to effect social change.
Terms: Win | Units: 4 | UG Reqs: WAY-A-II, WAY-EDP

TAPS 173: Making Your Solo Show (TAPS 273)

Are you tired of the classics? Were you frustrated by casting choices in the past? Sometimes, you have to step away from the canon and create your own work. Do you have something to say about race, class, gender, ethnicity, nationalism, sexuality, yourself, or any other issues? Did you ever want to create and perform your own show but didn't know how to start? This is your chance. In this course, you will learn techniques for creating your own solo show. nnThe contemporary solo performer is descended from a long line that includes the griots of Africa, the troubadours of medieval Europe, and the solo performance artists of the twentieth century. In this course, we will view examples of historical and contemporary live solo performance and uncover principles and practices that will help us develop our own solo shows.nnThrough exercises in acting, writing, and embodied contemplation, students will learn to discover the stories within and around them, and to give voice(s) to their burning issues in a theatrical form that is intimate, idiosyncratic, and deeply personal. The course will culminate in a workshop performance of solo pieces developed by the students.
Terms: Win | Units: 3 | UG Reqs: WAY-CE
Instructors: ; Agbabiaka, R. (PI)

TAPS 178C: Dramatic Writing Workshop (TAPS 278C)

Instructor Young Jean Lee is the first Asian-American woman to have had a play produced on Broadway. This workshop will guide you through the process of creating a script for a full-length play, musical, or screenplay, and will focus on helping you to make significant progress on and/or complete a draft. You will be required to write every week and give feedback on each others' work. You can be anywhere in your process, from having no idea what you want to do to being close to a final draft. This class is open to a wide range of approaches and styles, including adaptations and devised work. If interested, please email the instructor at yjl@stanford.edu on or after December 15 (any request sent sooner will not be considered) with the following: 1) Your year of study; 2) Your major/prospective major or field of study; 3) Your previous writing and/or theater experience, and your experience level with watching and/or reading plays; and 4) Whether or not you already have a project. If you do have a project, please also include: 5) How far along it is; and 6) A brief description of it. Preference given to second years and above.
Terms: Aut, Win | Units: 1-4 | UG Reqs: WAY-CE | Repeatable for credit
Instructors: ; Lee, Y. (PI)

TAPS 183C: Interpretation of Musical Theater Repertoire (MUSIC 183C)

By audition only: Contact instructor prior to enrolling (mlcats@stanford.edu). Ability to read music expected, but students with experience singing in musical theater can be accepted. For singers and pianists as partners. Performance class in a workshop setting along with lecture/discussion of important eras of musical theater history. Composers include Kern, Porter, Gershwin, Rodgers, Sondheim, Lloyd Weber, Jason Robert Brown and others. May be repeated for credit a total of 2 times. Enrollment limit: 20 (ten singers maximum). Prerequisite: consent of instructor. Recommended prerequisite: 170 (pianists).
Terms: Win | Units: 1-2 | UG Reqs: WAY-CE | Repeatable 2 times (up to 4 units total)
Instructors: ; Catsalis, M. (PI)

TAPS 184B: Topics on the Musical Stage (MUSIC 184B)

This course is a practical workshop in vocal repertoire for the stage. Each quarter's offering emphasizes a specific genre or period, therefore the course can be repeated with permission of the instructor. In addition to broadening the student's knowledge of vocal repertoire, the following skills are developed: text preparation, foreign language translation and diction; rehearsal etiquette for performance and/or recording. Enrollment by audition only. Prerequisite: vocal or instrumental instruction, as the class is open to singers or collaborative artists. May be repeated for credit a total of 4 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 4 times (up to 12 units total)

TAPS 190: Special Research

Individual project on the work of a playwright, period, or genre. Prerequisite: consent of instructor.
Terms: Win | Units: 1-5 | Repeatable for credit

TAPS 200: Senior Project

All TAPS Majors must complete a Senior Project that represents significant work in any area of theater and/or performance. The project must be an original contribution and can consist of any of the following: devising a performance, choreographing a dance, stage managing a production, designing a large theater work, performing a major role, writing a play, directing a show, or researching and writing a senior essay. Work for this project normally begins in Spring Quarter of the junior year and must be completed by the end of the senior year. Students receive credit for senior projects through TAPS 200. A minimum of 4 units is required, but additional units are available for larger projects. Students pursuing senior projects must submit a two-page proposal to a faculty advisor of their choice, which must be approved by the Undergraduate Advisor and the department faculty no later than the end of Spring Quarter of the junior year.
Terms: Aut, Win, Spr | Units: 1-4 | Repeatable 2 times (up to 4 units total)

TAPS 202: Honors Thesis

An advanced written project to fulfill the requirements for the Honors degree in TAPS. There are two ways to undertake an honors thesis. The first is to write a 40-50 page essay, which presents research on an important issue or subject of the student's choice. The second option is a 30-page essay that takes the student's capstone project as a case study and critically analyzes the creative work. Students are expected to work consistently throughout the year with their advisor, whom they identify at the time of application. Advisors can be selected from Academic Council faculty or artists-in-residence. Students should enroll in TAPS 202 each quarter during the senior year (1 unit in Autumn; 1 unit in Winter; 2 units in Spring).
Terms: Win, Spr | Units: 1-2 | Repeatable for credit

TAPS 211: Introduction to Theater Practice (TAPS 100)

Two-time OBIE-winning instructor Young Jean Lee has written and directed ten shows with her theater company, toured her work to over thirty cities around the world, and directed three short films that showed at festivals including Sundance and Locarno. In this class, students will be given space and support to research and experiment with areas of interest in theater and performance practice that are relatively new to them. Potential subjects for study include acting, directing, designing, choreographing, and writing. You can choose to focus a little on everything, investigate one new area, or try out a few different things. In-class work will include collaboration on projects to practice new skills. If interested, please email the instructor at yjl@stanford.edu on or after December 14 (any request sent sooner will not be considered) with the following: 1) Your year of study; 2) Your major/prospective major; 3) Your previous theater and performance practice experience; 4) Potential area/s of interest for this class.
Terms: Aut, Win | Units: 1-4 | Repeatable 6 times (up to 24 units total)
Instructors: ; Lee, Y. (PI)

TAPS 231: TAPS Production Units: Lighting Design

Credit for lighting design students participating in a TAPS production. Units determined by instructor. May be repeated for credit.
Terms: Aut, Win, Spr | Units: 1-4 | Repeatable 55 times
Instructors: ; Mejia, C. (PI)

TAPS 232: TAPS Production Units: Costume Design

Credit for costume design students participating in a TAPS production. Units determined by instructor. May be repeated for credit.
Terms: Aut, Win, Spr | Units: 1-5 | Repeatable for credit
Instructors: ; Bodurtha, R. (PI)

TAPS 233: TAPS Production Units: Scenic Design

Credit for scenic design students participating in a TAPS production. Units determined by instructor. May be repeated for credit.
Terms: Aut, Win, Spr | Units: 1-4 | Repeatable for credit
Instructors: ; Ball, N. (PI)

TAPS 234: TAPS Production Units: Advanced Stage Management

Credit for advanced stage management students participating in a TAPS production. Units determined by instructor. May be repeated for credit.
Terms: Win | Units: 2-4 | Repeatable for credit

TAPS 250J: Baldwin and Hansberry: The Myriad Meanings of Love (AFRICAAM 250J, AMSTUD 250J, CSRE 250J, FEMGEN 250J)

This course looks at major dramatic works by James Baldwin and Lorraine Hansberry. Both of these queer black writers had prophetic things to say about the world-historical significance of major dramas on the 20th Century including civil rights, revolution, gender, colonialism, racism, sexism, war, nationalism and as well as aesthetics and politics.
Terms: Win | Units: 4
Instructors: ; Brody, J. (PI); Jones, T. (TA)

TAPS 273: Making Your Solo Show (TAPS 173)

Are you tired of the classics? Were you frustrated by casting choices in the past? Sometimes, you have to step away from the canon and create your own work. Do you have something to say about race, class, gender, ethnicity, nationalism, sexuality, yourself, or any other issues? Did you ever want to create and perform your own show but didn't know how to start? This is your chance. In this course, you will learn techniques for creating your own solo show. nnThe contemporary solo performer is descended from a long line that includes the griots of Africa, the troubadours of medieval Europe, and the solo performance artists of the twentieth century. In this course, we will view examples of historical and contemporary live solo performance and uncover principles and practices that will help us develop our own solo shows.nnThrough exercises in acting, writing, and embodied contemplation, students will learn to discover the stories within and around them, and to give voice(s) to their burning issues in a theatrical form that is intimate, idiosyncratic, and deeply personal. The course will culminate in a workshop performance of solo pieces developed by the students.
Terms: Win | Units: 3
Instructors: ; Agbabiaka, R. (PI)

TAPS 278C: Dramatic Writing Workshop (TAPS 178C)

Instructor Young Jean Lee is the first Asian-American woman to have had a play produced on Broadway. This workshop will guide you through the process of creating a script for a full-length play, musical, or screenplay, and will focus on helping you to make significant progress on and/or complete a draft. You will be required to write every week and give feedback on each others' work. You can be anywhere in your process, from having no idea what you want to do to being close to a final draft. This class is open to a wide range of approaches and styles, including adaptations and devised work. If interested, please email the instructor at yjl@stanford.edu on or after December 15 (any request sent sooner will not be considered) with the following: 1) Your year of study; 2) Your major/prospective major or field of study; 3) Your previous writing and/or theater experience, and your experience level with watching and/or reading plays; and 4) Whether or not you already have a project. If you do have a project, please also include: 5) How far along it is; and 6) A brief description of it. Preference given to second years and above.
Terms: Aut, Win | Units: 1-4 | Repeatable for credit
Instructors: ; Lee, Y. (PI)

TAPS 290: Special Research

Individual project on the work of a playwright, period, or genre.
Terms: Win | Units: 1-4 | Repeatable for credit

TAPS 301: World Theater History

This seminar offers a global survey of theater and performance from antiquity to 1945. Students will read plays and historical texts to broaden and enrich their knowledge of theater history and research. The course takes place during the Fall and Winter quarters, with students attending class every other week. This extended course structure is designed to allow more time for students to work through the course material. The final two sessions in each quarter will be reserved for students to present material of their own interest.nnPlease note: TAPS 301 is a required course for TAPS first-year PhD students. It is designed to prepare them for the comprehensive exam, which takes place at the end of the Winter quarter. Other students are welcome to take the course as a regular theater history seminar. Regardless, students should treat the course as one integrated sequence and enroll in both quarters (not just one or the other). nnnThe course will be graded Pass/Fail for first-year TAPS PhD students taking the exam; any other students may take the course as Pass/Fail or for a letter grade at the discretion of the instructor.
Terms: Aut, Win | Units: 2 | Repeatable 2 times (up to 4 units total)

TAPS 313: Performance and Performativity (ENGLISH 313, FEMGEN 313)

Performance theory through topics including: affect/trauma, embodiment, empathy, theatricality/performativity, specularity/visibility, liveness/disappearance, belonging/abjection, and utopias and dystopias. Readings from Schechner, Phelan, Austin, Butler, Conquergood, Roach, Schneider, Silverman, Caruth, Fanon, Moten, Anzaldúa, Agamben, Freud, and Lacan. May be repeated for credit.
Terms: Win | Units: 3-5 | Repeatable for credit
Instructors: ; Phelan, P. (PI)

TAPS 353P: Black Artistry: Strategies of Performance in the Black Diaspora (AFRICAAM 153P, CSRE 153P, TAPS 153P)

Charting a course from colonial America to contemporary London, this course explores the long history of Black performance throughout an Atlantic diaspora. Defining performance as "forms of cultural staging," from Thomas DeFrantz and Anita Gonzalez's Black Performance Theory, this course takes up scripted plays, live theatre, devised works, performance art, and cinematic performance in its survey of the field. We will engage with theorists, performer, artists, and revolutionaries such as Ignatius Sancho, Maria Stewart, William Wells Brown, Zora Neale Hurston, Derek Walcott, Danai Gurira, and Yvonne Orji. We will address questions around Black identity, history, time, and futurity, as well as other essential strategies Black performers have engaged in their performance making. The course includes essential methodological readings for Black Studies as well as formational writings in Black performance theory and theatre studies. Students will establish a foothold in both AAAS (theory & methodology) and in performance history (plays and performances). As a WIM course, students will gain expertise in devising, drafting, and revising written essays.
Terms: Win | Units: 3-5

TAPS 390: Directed Reading

Students may take directing reading only with the permission of their dissertation advisor. Might be repeatable for credit twice for 6 units total.
Terms: Aut, Win, Spr | Units: 1-6 | Repeatable 4 times (up to 12 units total)

TAPS 802: TGR Dissertation

(Staff)
Terms: Aut, Win, Spr, Sum | Units: 0 | Repeatable for credit
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