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TAPS 1: Introduction to Theater and Performance Studies

What brings together a contemporary company such as Google and an experimental theater such as The Wooster Group? What sets them apart? Approaching theater as presentational form of organization, this class shifts study of theater from the context of literature to that of performance. It offers an overview of performance across disciplines: from theater and other performing arts, to law, management, sports, and new technologies. In this interdisciplinary exploration, performance emerges as a model that cuts across diverse branches of contemporary culture, from sports events, to social dances, to political protests, to the organization of a workplace. It is designed to serve students who may go on to major or minor in Theater and Performance Studies including the Dance division and also students for whom this knowledge is a general contribution to their liberal arts education or to their own field of study. It integrates scholarly research and practical use of performance. No previous performing arts training or skills are required.
Terms: Aut, Spr | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II

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: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: ; Freed, A. (PI)

TAPS 20: Acting for Non-Majors (TAPS 124D)

Creative play, ensemble work in a supportive environment. Designed for the student to experience a range of new creative skills, from group improvisation to partner work. Introductory work on freeing the natural voice and physical relaxation. Emphasis on rediscovering imaginative and creative impulses. Movement improvisation, listening exercises, and theater games release the energy, playfulness and willingness to take risks that is the essence of free and powerful performance. Course culminates with work on dramatic text.
Terms: Aut, Win, Spr, Sum | Units: 1-3 | UG Reqs: WAY-CE, way_ce
Instructors: ; Amarotico, K. (PI)

TAPS 22: Scene Work

For actors who complete substantial scene work with graduate directors in the graduate workshop.
Terms: Aut, Win, Spr | Units: 1-2 | Repeatable for credit

TAPS 29: Theater Performance: 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, Spr | Units: 1-3 | Repeatable for credit

TAPS 30: How Theater is Designed

Team-taught. An introduction to theatrical set, costume and lighting design. Emphasis on balancing practical skill with conceptual ideas for live stage performance. Hands-on projects.
Terms: Aut | Units: 4 | UG Reqs: WAY-CE

TAPS 34: Stage Management Techniques (TAPS 334)

The production process, duties, and responsibilities of a stage manager. Skills needed to stage manage a production.
Terms: Aut, Spr | Units: 3
Instructors: ; Apperson, L. (PI)

TAPS 39: Theatre Crew

Under faculty guidance, working backstage on Drama Department productions. Open to any student interested in gaining back stage experience. Night and weekend time required.
Terms: Aut, Win, Spr, Sum | Units: 1-3 | Repeatable 4 times (up to 15 units total)

TAPS 39D: Theater Performance: Prosser Stage Management

For students stage mananging a Department of Drama Senior Project or Assistant Staage managing a Department Drama production
Terms: Aut, Win, Spr | Units: 2-4 | Repeatable for credit
Instructors: ; Apperson, L. (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.
Terms: Aut, Win, Spr | Units: 3 | UG Reqs: WAY-CE

TAPS 112: Creative Expression: Musical Theater (MUSIC 112)

Students begin to create pieces that are fresh and innovative forms of musical theater that do not necessarily appeal to specifically popular audiences but perhaps to audiences more associated with high art, opera, or even contemporary independent music. Musical theater is an untapped resource of potential artistic innovation and has unfortunately become stuck in an ideal of universal accessibility. In present popular culture and the culture of contemporary art forms, musical theater almost exclusively refers to popular productions such as Phantom of the Opera, Rent, Wicked, Jesus Christ Superstar. Although excellent pieces of art in their own way, both dramaturgically and in their ability to evoke emotion through catchy melodies, for the most part each of them have their basis in popular and traditional musical idioms and theatrical forms, seldom exploring more advanced or avant-garde and experimental compositional and theatrical techniques.
Terms: Aut, Win | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Halvorson, B. (PI)

TAPS 120A: Acting I: Scene Study

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 | Units: 1-3 | UG Reqs: WAY-CE

TAPS 120V: Vocal Production and Audition (TAPS 210V)

An introductory study of the vocal mechanism and the development of voice and articulation for the stage. Students will be introduced to the actor's tools of phonetics, verbal action and text analysis. Vocal technique will then be applied to the actor's process in preparation for audition. Actors will fully participate in the audition process, from beginning to end. Emphasis will be on relaxation, selection of appropriate material, and versatility to show contrast and range.
Terms: Aut | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 2 times (up to 6 units total)
Instructors: ; Amarotico, K. (PI)

TAPS 121C: Physical Characterization

Workshop incorporating styles of movement and characterization for the stage. Tools to aid in theatrical transformation. Triggers include psychological gesture, shifting centers, full face photographs, collected live studies, vocal shifts, and rhythmic and metabolic changes.
Terms: Aut | Units: 3 | UG Reqs: WAY-CE
Instructors: ; bihr, j. (PI)

TAPS 121P: Period and Style:Acting

This course is designed for the actor and theater-lover who has completed 120a or an equivalent basic acting class. Students will develop their acting skills towards the ability to perform in some of the major classics of the theater, from Shakespeare's plays through the fast-paced physical comedies of twentieth-century farce. Acting in "big" plays without damaging the voice, working physically with safety, how to research like an artist, and rehearse like a professional are all topics that will be covered. Class culminates in an open Scene Showing of Period Plays.
Terms: Aut, Spr | Units: 3
Instructors: ; Freed, A. (PI)

TAPS 121S: Shakespeare Performance Intensive

This course explores the unique demands of playing Shakespeare on the stage. Through deep exploration of language and performance techniques in sonnets, speeches and scenes in (an edited) full-length play, the student will learn how to bring Shakespeare's passions to life through research, analysis, and a dynamic use of voice, body and imagination.nnnThis course is designed to increase the actor's physical, vocal, emotional, and intellectual responsiveness to the demands, challenges and joys of playing Shakespeare.
Terms: Aut | Units: 4 | UG Reqs: WAY-CE | Repeatable 2 times (up to 8 units total)
Instructors: ; bihr, j. (PI)

TAPS 122P: Undergrad Performance Project: Attempts on Her Life by Martin Crimp

The Undergraduate Performance Project provides students the opportunity to study and perform in major dramatic works. The Fall 2013 Undergraduate Acting Project presents the edgy, satirical play: `Attempts on Her Life¿ by the acclaimed contemporary British playwright Martin Crimp. Students learn to form an artistic ensemble, develop dramaturgical materials, learn professional arts protocols and practice, devise within the ensemble, and develop live performance ability. Audition required. Preference to majors/minors. Maybe repeated for credit.
Terms: Aut | Units: 2-9 | UG Reqs: WAY-CE | Repeatable 3 times (up to 15 units total)

TAPS 124D: Acting for Non-Majors (TAPS 20)

Creative play, ensemble work in a supportive environment. Designed for the student to experience a range of new creative skills, from group improvisation to partner work. Introductory work on freeing the natural voice and physical relaxation. Emphasis on rediscovering imaginative and creative impulses. Movement improvisation, listening exercises, and theater games release the energy, playfulness and willingness to take risks that is the essence of free and powerful performance. Course culminates with work on dramatic text.
Terms: Aut, Win, Spr, Sum | Units: 1-3 | UG Reqs: WAY-CE, way_ce
Instructors: ; Amarotico, K. (PI)

TAPS 130: ReDesigning Theater: Live & Digital Performance (ME 288)

This quarter¿s version of ReDesigning Theater looks at Live and Digital Performance. We will examine the use of digital technology in collaboration with live performance. Students will learn and employ the design thinking process as well as improv and theatrical techniques. We aim to create user-centric, interactive experiences where technology enables the audience to become part of and/or influence the outcome of the story or its presentation. Student projects will begin with the concepts enabled by personal technology such as smart phones and expand to animation, video projection, and other media. Students will work in small groups to investigate and experiment with formats that blur the lines between live and digital, performer and audience, and physical and virtual platforms. This project-based course is accessible to students of all backgrounds interested in exploring and transforming the frontiers of technology, art, and live performance.
Terms: Aut | Units: 3 | UG Reqs: WAY-CE

TAPS 134: Stage Management Project

For students stage managing a Department of Drama production.
Terms: Aut, Win, Spr, Sum | Units: 3-5 | Repeatable for credit
Instructors: ; Apperson, L. (PI)

TAPS 140: Projects in Theatrical Production

A seminar course for students performing significant production work on Drama Department or other Stanford University student theatre 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, Linda AppersonnPrerequisite: consent of instructor.
Terms: Aut, Win, Spr | Units: 1-4 | Repeatable for credit

TAPS 156: Performing History: Race, Politics, and Staging the Plays of August Wilson (AFRICAAM 156, TAPS 356)

This course purposefully and explicitly mixes theory and practice. Students will read and discuss the plays of August Wilson, the most celebrated and most produced contemporary American playwright, that comprise his 20th Century History Cycle. Class stages scenes from each of these plays, culminating in a final showcase of longer scenes from his work as a final project.
Terms: Aut | Units: 4 | UG Reqs: WAY-CE, WAY-EDP

TAPS 157: World Drama and Performance (TAPS 357)

This course takes up a geographically expansive conversation by looking at modern and contemporary drama from nations including Ghana, Egypt, India, Argentina, among others. Considering influential texts from the Global South will also enable us to explore a range of themes and methodologies that are radically re-shaping the field of Performance Studies. We will examine the relationship between colonialism and globalization, empire and capital, cosmopolitanism and neoliberalism. Re-situating our perspective from the Global South and the non-western world, we will 'provincialize Europe' and probe the limits of its universalizing discourses.
Terms: Aut | Units: 4 | UG Reqs: WAY-A-II, WAY-EDP
Instructors: ; Menon, J. (PI)

TAPS 159: Introduction to Game Studies

Games are not new; they are older than civilization. But in the past 50 years or so, we have seen an explosion of creativity in the development of new games, many of which, especially video games, complicate older understandings of what games are. This explosion of creativity has been matched by the increasing visibility and ubiquity of new games and ways of seeing games: as video games, televised professional sports, and even distributed urban events.n nGames are not a simple object of study. There are many ways to understand them: as social practices, as formal systems, as representative artwork, as modes of learning, and many more. We will start by considering games as a mode of performance, considering games in relation to theater and other forms of aesthetic performance. However, we will take a deeply interdisciplinary approach to the study of games, and will draw on perspectives from design, philosophy, education, and the emerging discipline of video game studies. We will also, of course, draw on a variety of games, both online and offline. As we bring in these perspectives, we will begin to consider games in at least two other fundamental ways: as designed experiences and as composed systems or artworks.nnThis course is less an attempt to provide a survey of the entire field of games. It is more an attempt to provide a basic toolbox for critically examining and analyzing games. These tools are potentially useful for anyone who interacts with games: whether as a consumer of entertainment, a critical analyst of play, a user of serious games, or a game designer.
Terms: Aut, Win | Units: 4 | UG Reqs: WAY-A-II
Instructors: ; St. Clair, M. (PI)

TAPS 161H: Dance, History and Conflict (DANCE 161H)

This seminar investigates how moving bodies are compelling agents of social, cultural, and political change.Through readings, videos, discussions and viewings of live performances this class questions the impact of social conflict and war on selected 20th and 21st century dances and dance practices. This class asks to what extent dance, in its history as well as contemporary development, is linked to concepts of the political and conflict.
Terms: Aut | Units: 4

TAPS 171: Performance Making (TAPS 371)

A studio course focused on creative processes and generating original material. Students will be encouraged to think critically about the relationship between form and content exploring the possibilities of site specific, gallery and theatre settings. Students will reflect throughout on the types of contact and communication uniquely possible in the live moment, such as interaction or the engagement of the senses. The emphasis is on weekly experimentation in the creation of short works rather than on a final production.
Terms: Aut | Units: 4 | UG Reqs: WAY-CE

TAPS 172: Out of Place: (W)riting Home (CSRE 172, TAPS 272)

A creative writing workshop; all genres. This course will introduce students to the fundamentals of a productive creative writing practice, including ¿the beginner¿s mind¿ (as founded in Eastern spiritual practices); and, an indigenous approach to ¿authenticity¿ in one¿s work and one¿s words. Through w(riting), one returns to the body of home-knowledges, languages, and geographies to uncover what is profoundly original in us as artists, writers and thinkers.¿
Terms: Aut | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Moraga, C. (PI)

TAPS 180P: Color (ARTSTUDI 180)

Hands-on study of color to develop color sensitivity and the ability to manipulate color to exploit its expressive potential. Guided experimentation and observation. Topics include color relativity, color and light, color mixing, color harmony, and color and content. (lower level)
Terms: Aut | Units: 3-4 | UG Reqs: WAY-CE
Instructors: ; Edmark, J. (PI)

TAPS 190: Special Research

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

TAPS 191: Independent Study

Individual supervision of off-campus internship. Prerequisite: consent of instructor.
Terms: Aut, Win, Spr, Sum | Units: 1-18 | Repeatable for credit

TAPS 200: Senior Project

See "Undergraduate Programs" for description. (Staff)
Terms: Aut, Win, Spr, Sum | Units: 2-9 | Repeatable for credit

TAPS 201A: Honors Colloquium

See "Undergraduate Programs" for description.
Terms: Aut, Win, Spr, Sum | Units: 1
Instructors: ; Jakovljevic, B. (PI)

TAPS 201B: Honors Colloquium

See "Undergraduate Programs" for description.
Terms: Aut, Win, Spr, Sum | Units: 1
Instructors: ; Jakovljevic, B. (PI)

TAPS 201C: Honors Colloquium

See "Undergraduate Programs" for description.
Terms: Aut, Win, Spr, Sum | Units: 1
Instructors: ; Jakovljevic, B. (PI)

TAPS 201D: Honors Colloquium

See "Undergraduate Programs" for description.
Terms: Aut, Win, Spr, Sum | Units: 1
Instructors: ; Jakovljevic, B. (PI)

TAPS 202: Honors Thesis

See "Undergraduate Programs" for description. May be repeated for credit. (Staff)
Terms: Aut, Win, Spr, Sum | Units: 2-9 | Repeatable for credit

TAPS 210V: Vocal Production and Audition (TAPS 120V)

An introductory study of the vocal mechanism and the development of voice and articulation for the stage. Students will be introduced to the actor's tools of phonetics, verbal action and text analysis. Vocal technique will then be applied to the actor's process in preparation for audition. Actors will fully participate in the audition process, from beginning to end. Emphasis will be on relaxation, selection of appropriate material, and versatility to show contrast and range.
Terms: Aut | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 2 times (up to 6 units total)
Instructors: ; Amarotico, K. (PI)

TAPS 231: Advanced Stage Lighting Design

Individually structured class in lighting mechanics and design through experimentation, discussions, and written reports. Prerequisite: 131 or consent of instructor.
| Units: 1-5 | Repeatable 55 times

TAPS 232: Advanced Costume Design

Individually structured tutorial for costume designers. May be repeated for credit. Prerequisite: 132 or consent of instructor.
Terms: Aut, Win, Spr, Sum | Units: 1-5 | Repeatable for credit
Instructors: ; Strayer, C. (PI)

TAPS 233: Advanced Scene Design

Individually structured workshop. May be repeated for credit. Prerequisite: 133 or consent of instructor.
| Units: 1-5 | Repeatable for credit

TAPS 234: Advanced Stage Management Project

For students stage managing a Department of Drama production. Prerequisite: 134.
Terms: Aut, Win, Spr, Sum | Units: 2-9
Instructors: ; Apperson, L. (PI)

TAPS 236: Directing Scenes: The Director's Toolkit

This first half of this course, a practicum, introduces you to basic concepts in directing live theatre, such as creating strong spatial relationships on stage or in a performance space, interpreting and building a concept for a scene, and beginning to work with actors. You will then spend the second half of the course directing 2-3 modern and contemporary scenes, with actors.
Terms: Aut | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Hunter, M. (PI)

TAPS 248: Family Drama: American Plays about Families (ENGLISH 148)

Plays written by 20th century writers that concentrate on the family as the primary source of dramatic conflict and comedy. Writers include Williams, O'Neill, Wilder, Albee, Vogel, Parks, Lindsay-Abaire, and Hwang.
Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II

TAPS 262S: The Total Work of Art (GERMAN 262)

Frequently associated with the work of Richard Wagner, The Total Work of Art (or Gesamtkunstwerk) is a genre that aims to synthesize a range of artistic forms into an organic unity, a unity that both models and helps to forge an ideal state. This seminar will examine the history of the Gesamtkunstwerk from its roots in German Romanticism to the present day, focusing on the genre's relations with technology and mass culture across a wide range of media. Creations we will consider include Wagner's Festival Theatre at Bayreuth, Walter Gropius' plans for a Totaltheater, Bertolt Brecht and Kurt Weill's radio-oratorio The Lindbergh Flight, Leni Riefenstahl's Triumph of the Will, Walt Disney's theme parks, Andy Warhol's Exploding Plastic Inevitable, and Bill Gates' "home of the future." Taught in English.
Terms: Aut | Units: 5 | UG Reqs: WAY-A-II
Instructors: ; Smith, M. (PI)

TAPS 272: Out of Place: (W)riting Home (CSRE 172, TAPS 172)

A creative writing workshop; all genres. This course will introduce students to the fundamentals of a productive creative writing practice, including ¿the beginner¿s mind¿ (as founded in Eastern spiritual practices); and, an indigenous approach to ¿authenticity¿ in one¿s work and one¿s words. Through w(riting), one returns to the body of home-knowledges, languages, and geographies to uncover what is profoundly original in us as artists, writers and thinkers.¿
Terms: Aut | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Moraga, C. (PI)

TAPS 290: Special Research

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

TAPS 311: Analyzing Performance

Literary criticism and theory, emphasizing style as evidence of historical, cultural, and ideological concerns. Assumptions about written texts by authors such as Coleridge, Bradley, and Burke. How style reveals context. Overtones and undertones of critical thought in performance making and performance analysis. Students will generate weekly critical and creative responses to readings from contemporary writers and artists such as Jacques Rancière, Amelia Jones, Guillermo Gómez-Peña and Marina Abramovic. Workshop activities and performances will take place alongside seminar discussions of readings.
Terms: Aut | Units: 4
Instructors: ; Jakovljevic, B. (PI)

TAPS 314: Performing Identities

This course focuses on contemporary South Asian and Black diasporic art work that concerns itself with questions of atrocity and activism. We will ask how artists engage world-historical events and what constitutes activism. Theoretical work will be wide-ranging as will the kinds of art and topics studied: indeed, we will discuss everything from Agamben to AIDS, Ai Wei-Wei to feminist punk in Russia, female circumcision in Sweden to U.N. aid workers in Afghanistan, queer subjects and global ideas freedom.
Terms: Aut, Win | Units: 4

TAPS 321: Proseminar

Workshop. Skills needed to participate in the academic profession including abstract, conference presentation, and dissertation or book chapter.
Terms: Aut | Units: 3-5

TAPS 334: Stage Management Techniques (TAPS 34)

The production process, duties, and responsibilities of a stage manager. Skills needed to stage manage a production.
Terms: Aut, Spr | Units: 3
Instructors: ; Apperson, L. (PI)

TAPS 356: Performing History: Race, Politics, and Staging the Plays of August Wilson (AFRICAAM 156, TAPS 156)

This course purposefully and explicitly mixes theory and practice. Students will read and discuss the plays of August Wilson, the most celebrated and most produced contemporary American playwright, that comprise his 20th Century History Cycle. Class stages scenes from each of these plays, culminating in a final showcase of longer scenes from his work as a final project.
Terms: Aut | Units: 4

TAPS 357: World Drama and Performance (TAPS 157)

This course takes up a geographically expansive conversation by looking at modern and contemporary drama from nations including Ghana, Egypt, India, Argentina, among others. Considering influential texts from the Global South will also enable us to explore a range of themes and methodologies that are radically re-shaping the field of Performance Studies. We will examine the relationship between colonialism and globalization, empire and capital, cosmopolitanism and neoliberalism. Re-situating our perspective from the Global South and the non-western world, we will 'provincialize Europe' and probe the limits of its universalizing discourses.
Terms: Aut | Units: 4
Instructors: ; Menon, J. (PI)

TAPS 371: Performance Making (TAPS 171)

A studio course focused on creative processes and generating original material. Students will be encouraged to think critically about the relationship between form and content exploring the possibilities of site specific, gallery and theatre settings. Students will reflect throughout on the types of contact and communication uniquely possible in the live moment, such as interaction or the engagement of the senses. The emphasis is on weekly experimentation in the creation of short works rather than on a final production.
Terms: Aut | Units: 4

TAPS 374: Practice Based Research

A structured, creative environment for students working toward the realization of 2nd year graduate productions. Instructors will work with students to develop the relationships between the content and the form of their productions using critical and creative tools to develop and reflect on the work. There will be a staged class showing at the end of the quarter followed by critiques designed to help students as they begin preparing for their final public performances (beyond the class).
Terms: Aut | Units: 4
Instructors: ; Hill, L. (PI); Paris, H. (PI)

TAPS 374A: Performance Making: Production (TAPS 174A)

A structured, creative environment for students working toward the realization of Senior Projects and 2nd year graduate productions. Instructors will work with students to develop the relationships between the content and the form of their productions using critical and creative tools to develop and reflect on the work. There will be a staged class showing at the end of the quarter followed by critiques designed to help students as they begin preparing for their final public performances (beyond the class).
| Units: 5

TAPS 376: Projects in Performance

Creative projects to be determined in consultation with Drama graduate faculty and production advisor
Terms: Aut, Win, Spr, Sum | Units: 4 | Repeatable 2 times (up to 10 units total)

TAPS 377: Graduate Directors' Staged Reading Project

Presentation of a new or newly adapted work for the stage, in a mode employed in professional theater for the development of new plays. Two to four rehearsals. Public performance.
Terms: Aut, Win, Spr, Sum | Units: 2 | Repeatable for credit

TAPS 390: Directed Reading

(Staff) 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, Sum | Units: 1-6 | Repeatable 2 times (up to 6 units total)

TAPS 399: Dissertation Research

(Staff)
Terms: Aut, Win, Spr, Sum | Units: 1-9 | Repeatable for credit

TAPS 801: TGR Project

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

TAPS 802: TGR Dissertation

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

TAPS 114: Designing Wonder: Creating "everyday audiences"

Flash Mobs, Concerts, Amusement Parks, Bakeries. Art and Theater does not need to be confined to a stage, and audiences do not need to be confined to comfy red velvet seats. In this course, students will explore and create unexpected and engaging experiences in everyday spaces. Sidewalks, Parks, Stanford Dining Halls. All of the work will seek to make the world a more WONDERous place in which moments of amazement and delight are possible around every corner. Class time will frequently be substituted for off-campus excursions including Great America, The Exploratorium, House of Air, Alcatraz Island, and Outdoor Movie Screenings. This is a hands-on, creative course.
| Units: 4
Instructors: ; Evans, A. (PI)

TAPS 174A: Performance Making: Production (TAPS 374A)

A structured, creative environment for students working toward the realization of Senior Projects and 2nd year graduate productions. Instructors will work with students to develop the relationships between the content and the form of their productions using critical and creative tools to develop and reflect on the work. There will be a staged class showing at the end of the quarter followed by critiques designed to help students as they begin preparing for their final public performances (beyond the class).
| Units: 5

TAPS 176S: Finding Meaning in Life's Struggles: Narrative Ways of Healing (CSRE 176S)

We can find meaning in life's struggles through narrative ways of healing. The self-reflective, dynamic process of finding, telling, and living our stories connects us with our whole selves as well as with others. We find our stories through vulnerability and courage; tell them with humility and honesty; and live them authentically and responsibly. Our shared stories will focus on gratitude, acceptance, reconciliation, forgiveness and compassion, empowering us to overcome personal, community, and historical traumas and wounds. In a respectful, caring community we will discover our hidden wholeness by improvising with various experiential and embodied means of finding our stories; telling our stories in diverse ways, including writing, storytelling, music, and art; and living our stories by putting values into action.
| Units: 5

TAPS 184Q: The Personal is Political: Art, Activism and Performance

SOPHOMORE SEMINAR: This course looks at the `performance¿ of personal truths in political contexts, challenging inequalities of race, gender, sexual orientation and class through performance, visual art and activism. Students will engage in seminar discussions and writing on case studies such as the Occupy Movement and the works of key artists as well as working individually and in groups to think creatively about strategies for putting their own personal truths into political/public contexts to draw attention to issues they are passionate about.
| Units: 4-5

TAPS 213: Stanford Improv Ensemble

By audition only, for members of the improvisation troupe. Special project work. Prerequisite: 103.
| Units: 1-2 | Repeatable for credit

TAPS 300A: Critical Styles I

Literary criticism and theory, emphasizing style as evidence of historical, cultural, and ideological concerns. Assumptions about written texts by authors such as Coleridge, Bradley, and Burke. How style reveals context. Students write in the style of authors discussed.
| Units: 5

TAPS 375: Main Stage Production

Production of a full-length play as part of the Department of Drama season. Public performance.
| Units: 3-5 | Repeatable for credit
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