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1 - 10 of 47 results for: TAPS

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 more »
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 fi more »
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 more »
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
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