1 - 10 of 25 results for: TAPS

Who doesn't love going to a play: sitting in the darkened theater, an anonymous member of the audience waiting to be entertained, charmed, and challenged? But how many of us know enough about the details of the plays, their interpretation, their production, and acting itself, to allow us to appreciate fully the theatrical experience? In this seminar, we will spend 13 days in Ashland, Oregon, at the Oregon Shakespeare Festival (OSF), where we will attend these plays: Shakespeare's Much Ado About Nothing, Pericles, and Antony and Cleopatra; the U.S. premiere of Stan Lai's Secret Love in Peach Blossom Land; Frank Loesser's Guys and Dolls; the world premiere of Lynn Nottage's ,Sweat; Quiara Alegría Hudes' The Happiest Song Plays Last; Charles Fechter's adaptation of Alexandre Dumas' The Count of Monte Cristo; Eugene O'Neill's Long Days Journey into Night; and the world premiere of Jeff Whitty's Head Over Heels. (To read more about these productions, go to www.osfashland.org). We will also spend time backstage, meeting with actors, designers, and artistic and administrative directors of OSF. Students will read the plays before the seminar begins. In Ashland, they will produce staged readings and design a final paper based on one of the productions. These reviews will be delivered to the group and turned in on Thursday, September 17. Note: This seminar will convene in Ashland on Monday, August 31, and will adjourn to Stanford on Sunday, September 13. Students must arrive in Ashland by 4:00 p.m. on August 31. Room and board in Ashland and transportation to Stanford will be provided and paid for by the program. Sophomore College Course: Application required, due noon, April 7, 2015. Apply at http://soco.stanford.edu

Theater and courtroom are, arguably, two among very few institutions within western culture which privilege live adversarial process as their principal expressive and truth-finding technique. Even though at the beginning of the 21st century new media technologies became an integral part of court proceedings and theater performances, both theater and law stake their legitimacy on live proceedings with uncertain outcomes. In this class, we will pay special attention to transformative instances of exchange between these two ancient civil institutions. In other words, we will be asking not only what aspects of legal procedure can theater dramatize, but also at which points the court can (and does) come to resemble theater. n We will investigate the intricate relationship between law and drama by analyzing a wide range of dramatic works (from Aeschylus¿s Oresteia to current theater productions that use legal transcripts as their source texts) and accounts of real-life cases. We will consider how law is presented through film and popular entertainment depictions of the legal system, take field trips to local courtrooms to compare dramatized to real-life trials, observe simulcasts from international war crimes tribunals, and try to analyze forum theater techniques though their enactment in the class.

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.

A class designed for all interested students. 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.

Under faculty guidance, working backstage on Drama Department productions. Open to any student interested in gaining back stage experience. Night and weekend time required.

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.

For students stage managing a Department of Drama production.

Individual project on the work of a playwright, period, or genre. Prerequisite: consent of instructor.