131 - 140 of 212 results for: TAPS

This "gateway" core course to the IDA emphasis in CSRE offers a 21st century examination of people of color aesthetics and related politics, drawing from contemporary works (literature, music, visual and performing arts) in conversation with their native (especially American Indigenous and African) origins. Issues of gender and sexuality in relation to cultural identity are also integral to this study. Students will be required to produce a final work, integrating critical writing with a creative project.

This lab-based class examines the ways in which various disciplines and art forms conceive of, and tell stories about, the experiences and stories of others. With permission of instructor.

Modern theatre owes an incalculable debt to two German playwrights: Georg Büchner (1813-1837) and Frank Wedekind (1864-1918). We will read their still-shocking portraits of sex, madness, and social brutality in plays such as Woyzeck and Spring's Awakening, and explore the international journeys these works have made from stage to film and from opera to musical theatre.

Individual project on the work of a playwright, period, or genre.

This course looks at recent scholarship in theater and performance studies that engages the idea of the "archive." We will also debate questions about historiography. Texts may include work by Joseph Roach, Tracy Davis, Hayden White, Jacques Derrida, Amelia Jones, Rebecca Schneider, Fred Moten, Diana Taylor, Shannon Jackson, Peggy Phelan, Akira Lippit and Susan Foster.

Performance theory through topics including: affect/trauma, embodiment, empathy, theatricality/performativity, specularity/visibility, liveness/disappearance, belonging/abjection, and utopias and dystopias. Readings from Schechner, Phelan, Austin, Butler, Conquergood, Roach, Schneider, Silverman, Caruth, Fanon, Moten, Anzaldúa, Agamben, Freud, and Lacan. May be repeated for credit.

This course focuses on "the performance of identities" as the concept pertains to U.S. women of color. The foundational text, This Bridge Called My Back (Moraga, Anzaldúa, eds.), in its 4th and 2015 edition, will serve as the basis for an intergenerational conversation on U.S. Third World and Transnational and Queer Feminisms with an emphasis on lived experience and the performance of everyday life. Theoretical work will revolve around the concept of "Theory in the Flesh," initially introduced in Bridge in 1981 and its significance to performance theory, queer and feminist theory and political practice. In addition to Bridge, texts may include recent anthologies on women of color feminisms and the writings by a variety of scholars, e.g. Norma Alarcón, Jacqui Alexander, Alicia Arrizón, Anne Cheng, E. Patrick Johnson, Chandra Mohanty, Ann Pellegrini, Ramón Rivera-Severa, Chela Sandoval & Hortense Spillers. A final project "performing identity" as "theory in the flesh," is required, along with a written 'metacommentary." As part of the class project students will help organize a campus-wide event, featuring local original contributors to Bridge and offering students the opportunity to exchange "in the flesh" with women of color performers, artists, activists and scholars.

This course-series brings together leading scholars with critically-acclaimed artists, local teachers, youth, and community organizations to consider the complex relationships between culture, knowledge, pedagogy and social justice. Participants will examine the cultural meaning of knowledge as "the 5th element" of Hip Hop Culture (in addition to MCing, DJing, graffiti, and dance) and how educators and cultural workers have leveraged this knowledge for social justice. Overall, participants will gain a strong theoretical knowledge of culturally relevant and culturally sustaining pedagogies and learn to apply this knowledge by engaging with guest artists, teachers, youth, and community youth arts organizations.