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31 - 37 of 37 results for: TAPS

TAPS 302: The Interruption of the Machine: Introduction to Sound Studies through Literature (COMPLIT 333, ENGLISH 303A, ITALIAN 302, MUSIC 303)

This course will introduce students to the field of Sound Studies (methodology, vocabulary, main claims) with a focus on the various sonic articulations of human-machine interactions in literature. The world of fiction as a sonic machine that articulates noise, sound, music, voice, or silence offers an excellent archive. We will read works by Nathaniel Hawthorne, Eça de Queirós, Mark Twain, the Italian Futurists, Zora Neale Hurston, and Luigi Pirandello. Secondary readings will include seminal contributions by R. Murray Schafer (the soundscape), Leo Marx (U.S. industrialization), Jacques Attali (noise and music), Mladen Dolar (philosophy and voice), Adriana Cavarero (gender, voice, and the body), Jonathan Crary (culture, aesthetics, and perception), Friedrich Kittler (media), and Daphne Brooks (black feminist sound).
Terms: Aut | Units: 3-5

TAPS 311: Performance and Historiography

This graduate seminar focuses on questions of historiography and the archive as they relate to studies of theater, dance, and performance. It blends rigorous discussion and theoretical exploration with practical experience in libraries, museums, and other local archival repositories. Throughout the course, we will explore representation, memory, repertoire, and narrative through examples in theatre and performance history. We will examine how events have been historicized, how absence has been represented, and how individuals are remembered and refigured. Important principles and practices of documentation will also be addressed throughout our discussions and activities. Our discussions and field trips will examine the status of data and various forms of evidence in constructing critical performance history (including prompt scripts, set designs, costumes, publicity material and other ephemera, actorly life-writing, video and digital documents, artifacts, visual material, and embodied traces). TAPS 311 also functions as a gateway course for TAPS PhD students in your first quarter of study at Stanford, familiarizing you with resources at the university and in the broader Bay Area.
Terms: Aut | Units: 4

TAPS 321: Proseminar

Prepares PhD students for the academic profession by honing skills in presenting and publishing research, navigating the job market, and managing a career.
Terms: Aut | Units: 3
Instructors: Phelan, P. (PI)

TAPS 371P: Theater and Performance Making (TAPS 101P)

A creative workshop offering a range of generative exercises and techniques in order to devise, compose and perform original works. Students will explore a variety of texts (plays, poems, short stories, paintings) and work with the body, object and site. Students will be encouraged to think critically about various compositional themes and ideas including: the relationship between form and content, aesthetics, space, proximity, and audience. Students will work independently and collaboratively creating original performances.
Terms: Aut | Units: 4

TAPS 376: Projects in Performance

Creative projects to be determined in consultation with Drama graduate faculty and production advisor
Terms: Aut | Units: 4 | Repeatable 2 times (up to 10 units total)
Instructors: Rau, M. (PI)

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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