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41 - 47 of 47 results for: TAPS

TAPS 278C: Dramatic Writing Workshop (TAPS 178C)

Instructor Young Jean Lee is the first Asian-American woman to have had a play produced on Broadway. This workshop will guide you through the process of creating a script for a full-length play, musical, or screenplay, and will focus on helping you to make significant progress on and/or complete a draft. You will be required to write every week and give feedback on each others' work. You can be anywhere in your process, from having no idea what you want to do to being close to a final draft. This class is open to a wide range of approaches and styles, including adaptations and devised work. If interested, please email the instructor at yjl@stanford.edu on or after December 15 (any request sent sooner will not be considered) with the following: 1) Your year of study; 2) Your major/prospective major or field of study; 3) Your previous writing and/or theater experience, and your experience level with watching and/or reading plays; and 4) Whether or not you already have a project. If you do have a project, please also include: 5) How far along it is; and 6) A brief description of it. Preference given to second years and above.
Terms: Aut, Win | Units: 1-4 | Repeatable for credit
Instructors: Lee, Y. (PI)

TAPS 290: Special Research

Individual project on the work of a playwright, period, or genre.
Terms: Win | Units: 1-4 | Repeatable for credit

TAPS 301: World Theater History

This seminar offers a global survey of theater and performance from antiquity to 1945. Students will read plays and historical texts to broaden and enrich their knowledge of theater history and research. The course takes place during the Fall and Winter quarters, with students attending class every other week. This extended course structure is designed to allow more time for students to work through the course material. The final two sessions in each quarter will be reserved for students to present material of their own interest.nnPlease note: TAPS 301 is a required course for TAPS first-year PhD students. It is designed to prepare them for the comprehensive exam, which takes place at the end of the Winter quarter. Other students are welcome to take the course as a regular theater history seminar. Regardless, students should treat the course as one integrated sequence and enroll in both quarters (not just one or the other). nnnThe course will be graded Pass/Fail for first-year TAPS PhD students taking the exam; any other students may take the course as Pass/Fail or for a letter grade at the discretion of the instructor.
Terms: Aut, Win | Units: 2 | Repeatable 2 times (up to 4 units total)

TAPS 313: Performance and Performativity (ENGLISH 313, FEMGEN 313)

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.
Terms: Win | Units: 3-5 | Repeatable for credit
Instructors: Phelan, P. (PI)

TAPS 353P: Black Artistry: Strategies of Performance in the Black Diaspora (AFRICAAM 153P, CSRE 153P, TAPS 153P)

Charting a course from colonial America to contemporary London, this course explores the long history of Black performance throughout an Atlantic diaspora. Defining performance as "forms of cultural staging," from Thomas DeFrantz and Anita Gonzalez's Black Performance Theory, this course takes up scripted plays, live theatre, devised works, performance art, and cinematic performance in its survey of the field. We will engage with theorists, performer, artists, and revolutionaries such as Ignatius Sancho, Maria Stewart, William Wells Brown, Zora Neale Hurston, Derek Walcott, Danai Gurira, and Yvonne Orji. We will address questions around Black identity, history, time, and futurity, as well as other essential strategies Black performers have engaged in their performance making. The course includes essential methodological readings for Black Studies as well as formational writings in Black performance theory and theatre studies. Students will establish a foothold in both AAAS (theory & methodology) and in performance history (plays and performances). As a WIM course, students will gain expertise in devising, drafting, and revising written essays.
Terms: Win | Units: 3-5

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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