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141 - 150 of 173 results for: TAPS

TAPS 319: Modern Theatre (GERMAN 119, GERMAN 319, TAPS 119)

Modern theatre in Europe and the US, with a focus on the most influential works from roughly 1880 to the present. What were the conventions of theatrical practice that modern theatre displaced? What were the principal innovations of modern playwriting, acting, stage design, and theatrical architecture? How did modern theatrical artists wrestle with the revolutionary transformations of the modern age? Plays by Büchner, Ibsen, Strindberg, Shaw, Chekhov, Wilde, Wedekind, Treadwell, Pirandello, Brecht, O¿Neill, Beckett, Smith, Parks, and Nottage.
Terms: Spr | Units: 1-5
Instructors: Smith, M. (PI)

TAPS 332: Performance and Ethnography

This graduate seminar explores the relationship between performance and ethnography. We will discuss different critical perspectives on ethnographic methods and data gathering, and learn about participant-observation fieldwork and interview techniques, with an emphasis on developing ethical, generative research approaches that are beneficial to the subject as well as to the scholar. This course purposefully blends theory and practice, connecting philosophical discussions to concrete case studies, field trips, and your own research practices.
Terms: Win | Units: 3-4
Instructors: Looser, D. (PI)

TAPS 335: Introduction to Graduate Production

This course introduces first-year TAPS PhD student to the TAPS production process and resources. Meetings will be scheduled ad hoc.
Terms: Spr | Units: 1

TAPS 336: Comprehensive 1st Year Exam

Required course for first-year Ph.D. students in Theater & Performance Studies. Credits for work toward the Comprehensive 1st-year Exam taken in late February or Early March.
Terms: Win | Units: 2
Instructors: Ross, J. (PI)

TAPS 341E: English Drama Before Shakespeare

English dramatic and theatrical culture from the mystery cycles of the late medieval period to the establishment of professional playhouses in late sixteenth-century London. Different dramatic genres (interludes, moralities, farces, tragedies, comedies, histories, pastoral plays), performance venues (streets, households, inns, schools, universities, court, playhouses), and dramatic traditions (classical, native, continental European) will be represented. Authors (of those who have names) range from Medwall, Skelton, Heywood, Preston, and Edwards to Lyly, Kyd, Greene, Peele, and Marlowe.
Last offered: Winter 2015

TAPS 344: Puppetry with a Twist

Creative course is an introduction to puppetry with a survey of important styles and techniques from around the world including Twist's own. Hands on and individualized experience with the aim of each student creating or contributing to a puppet or object/figure performance. Course is as broad as the individual's creative expression.
Last offered: Winter 2015

TAPS 344A: Gender and Performance (FEMGEN 434, FILMSTUD 434, MUSIC 434)

This seminar seeks to investigate relationships between performance, gender, and the body politic through a discussion of embodiment, body cultures, queerness, desire, representation. Through a weekly engagement with film texts from across the world as well as theoretical perspectives on gender and performance in various geo-political contexts, we will explore the intersections of gender with race, class, national discourse, and performance traditions. The seminar is conceived to be interdisciplinary and participants are encouraged to introduce and work with texts from other disciplines, including visual arts, theatre, dance, literature etc. No prior engagement with film studies is required. Screening times may range from 90 to 180 minutes.
Terms: Win | Units: 5
Instructors: Iyer, U. (PI)

TAPS 345: Choreography and Corporeality

In this course, we explore American-derived theoretical praxes for analyzing organized movement. How has dance studies been constituted as a field? What theoretical lines of inquiry have served it, and how have they fared over time? What tools do scholars bring to bear on the study of dance, choreography, and corporeality, and where have these tools been most effective? Weekly parings of creative works and theoretical approaches to considerations of dance practice and performance. Special emphasis on practices of writing about bodies in motion and dance.
Last offered: Autumn 2014

TAPS 350V: The Idea of Virtual Reality (TAPS 150V)

What is virtual reality and where is it heading? Was there VR before digital technology? What is the value of the real in a virtual culture? How, where, and when do we draw the line between the virtual and the real, the live and the mediated today? Concentrating on three aspects of VR simulation, immersion, and interactivity this course will examine recent experiments alongside a long history of virtual performance, from Plato's Cave to contemporary CAVEs, from baroque theatre design to Oculus Rift.

TAPS 351: Great Books: Dramatic Traditions (COMPLIT 151B, COMPLIT 351B, TAPS 151T)

The most influential and enduring texts in the dramatic canon from Sophocles to Shakespeare, Chekhov to Soyinka. Their historical and geopolitical contexts. Questions about the power dynamics involved in the formation of canons. This course counts as a Writing in the Major course for TAPS in 2016-17.
Terms: Spr | Units: 4
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