printer friendly pageTAPS 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
| Units: 4
| UG Reqs: WAY-CE
Instructors:
Freed, A. (PI)
;
Hecht, L. (PI)
TAPS 124D: Acting for Non-Majors
Formerly
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
| Units: 1-3
| UG Reqs: WAY-CE, way_ce
Instructors:
Amarotico, K. (PI)
;
Hecht, L. (PI)
TAPS 125: Acting Shakespeare
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, the student will learn how to bring Shakespeare's passions to life through research, analysis, and a dynamic use of voice, body and imagination. This 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: 3
| Repeatable
2 times
(up to 6 units total)
Instructors:
Hecht, L. (PI)
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:
Kumaran, L. (PI)
TAPS 136S: Hidden Gems: Bay Area Theater Architecture post 1906
An active investigation of Bay Area theater architecture through a close look at five buildings built specifically for performance and how their use has changed over time. Students uncover building histories by researching drawing plans, photographs and other contextual documents in public and university archives in addition to site visits when possible. Particular attention will be paid to understanding shifting attitudes toward the proscenium arch in American popular culture. Possible buildings to be included: California Theater (San Jose), Memorial Auditorium (Stanford), Lucie Stern Theater (Palo Alto), Fox Theater (Redwood City) and The Curran Theater (San Francisco).
Terms: Aut, Win
| Units: 3
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)
;
Ramsaur, M. (PI)
TAPS 151C: Hamlet and the Critics (ENGLISH 115C)
Focus is on Shakespeare's
Hamlet as a site of rich critical controversy from the eighteenth century to the present. Aim is to read, discuss, and evaluate different approaches to the play, from biographical, theatrical, and psychological to formalist, materialist, feminist, new historicist, and, most recently, quantitative. The ambition is to see whether there can be great literature without (a) great (deal of) criticism. The challenge is to understand the theory of literature through the study of its criticism.
Terms: Aut
| Units: 5
| UG Reqs: GER:DB-Hum, WAY-A-II
Instructors:
Lupic, I. (PI)
TAPS 151V: Controversies in US Theater: From Casting to Funding
For as long as there has been an American theatrical tradition, there have been controversies about it. From those creating theatrical performances, to those analyzing drama¿s place in society, to audiences, people have strong opinions about the purpose, nature, and impact of US theater. This course will ask questions such as: What are the best casting practices with respect to race, gender, ability, and sexuality? How has the commercialization or Disneyification of Broadway changed the theatrical landscape? Should the federal government fund the arts, and if so, does that give them the right to influence content?
Terms: Aut
| Units: 4
| UG Reqs: WAY-A-II
Instructors:
Mantoan, L. (PI)
TAPS 154M: The Broadway Musical as History
Most musicals are adaptations of pre-existing artistic material: plays, novels, films, even operas. However, some musicals draw their inspiration not from fiction, but from fact, from history. This course examines how musicals perform history, engaging with and transforming historical subjects and events. Focusing on historical musicals such as Cabaret, concept musicals such as Assassins, and biographical musicals such as Hamilton, we will ask: How do musicals teach us history? In what ways do music and narration interact with past events and people? How does music articulate a sense of time and place, connecting history to contemporary events?
Terms: Aut
| Units: 4
| UG Reqs: WAY-A-II
Instructors:
Mantoan, L. (PI)
TAPS 170A: The Director's Craft (TAPS 370A)
This workshop class guides students through the directing process from investigating the big ideas of a play and analysing the action to organizing and running rehearsals to building up the world of the play through character work and visual composition. Over the quarter we will look at the use of creative visualization and improvisation alongside working with actors on ideas, emotions, relationships, textual analysis and blocking. This course also attends to the process of communicating with designers and production teams as well as structuring rehearsals, run-throughs and technical and dress rehearsals. Each student will select a theatrical text to work from across the quarter. In many cases the student¿s text will be a play that they are planning to direct in future, such as productions for student groups like Ram¿s Head or Stanford Shakespeare Company, TAPS capstone projects, TAPS 2nd year grad shows and/or TAPS Second Stage productions. No previous directing experience in necessary.
Terms: Aut
| Units: 4
| UG Reqs: WAY-CE
Instructors:
Hill, L. (PI)
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