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141 - 150 of 170 results for: TAPS

TAPS 120D: Studio Performance

Rehearsal and development of a studio performance project for an end of quarter presentation. Emphasis is on development of acting skills with minimal technical support. Material chosen from classic plays, American realism, world theater, or created group ensemble pieces.

TAPS 131: Lighting Design

Hands-on laboratory projects in lighting and designing stage productions and other live performances. The content and format of lighting plots. Prerequisite DRAMA 31.

TAPS 137: Hand Drafting for Designers

Fundamentals of hand-drafting. Standard drawing conventions; the use of line weight, color, composition, and graphic style. Creation of construction documents for real-world applications.May be repeated for credit.
| Repeatable 2 times (up to 6 units total)

TAPS 151H: ID21 STRATLAB: Interdisciplinary Approaches to Improvising Identities (AMSTUD 151H, CSRE 151H, DANCE 151H, DANCE 251H, TAPS 351H)

A quarter-long exploration of improvisation in relationship to identity and race in the 21st century in which students investigate new dynamics of doing and thinking identities through the arts. Panel discussions, performances, and talks that engage critically with the theme, concept, and practice of improvising identity across a variety of contexts and genres such as jazz music, modern dance, contemporary art, race comedy, food, and hip-hop poetry/freestyle. Strategies that artists/scholars have used to overturn essentializing notions of identity in theory and practice.

TAPS 152H: Food and Performance: Meals, Markets, Maize and Macaroni

Come hungry to learn! This course serves as an introduction to food and performance culture. We will engage ethical and aesthetic questions about factory farms, feminist performance art and futuristic cooking. Emphasis is on original research, interdisciplinary analysis and doing performance. We will attend events, have guest speakers, create our own mini-performances around the broad themes of the course, write critical reviews and conduct archival research. We begin by studying the work of anthropologists of food and then move on to contemplate the way food and performance converge in modern thought and art. We will vary our approaches to the texts and debate a broad range of topics. For example, we will discuss: food¿s connection to sexuality, memory, race, embodiment, colonialism, violence, protest, public policy and science. The parameters of the course have been limited to food movements in the U.S. in the 20th and 21st centuries; however the opportunity to work on topics beyond this geopolitical and historical scope is possible and encouraged. Texts may include works by Yayoi Kusama, Dwight Conquergood, Mary Douglas, Karen Finley, Psyche Williams, Alice Waters, Jonathan Foer, Michael Pollan, Julia Child, Lauren Berlant, Laura Esquival, Douglas Sirk, Coco Fusco, Nao Bustamante, Doris Witt and more.

TAPS 153S: Japanese Theater: Noh to Contemporary Performance

This course will provide a historical overview of Japanese theater from traditional (Noh, Kabuki, Bunraku) to contemporary (Angura, Butoh, and performance art). We will focus on the relationship between Japanese theaters and its audiences, exploring the contexts in which theater forms developed and how these forms themselves reflect Japanese culture and society.

TAPS 154S: Theater and Legal Regulation

This course examines how legal statutes, lawsuits, and contracts police theatrical practice, particularly in Britain and the United States in the nineteenth and twentieth centuries. Three particular forms of legal intervention will concern us: ownership of theaters and plays, government censorship and authorial control, and health and safety laws. We will explore how, despite their apparently different aims, these manifestations of the law pursue closely related ends.

TAPS 155T: Theatre of War

Military personnel and politicians alike use the phrase ¿the theatre of war¿ to refer to the geographical area of a military conflict and the more intangible concerns of battle. The primary concern of this class is the intersection between performance and war. Our inquiry will focus on drama, film, the media, and role-playing scenarios as a military training tool, and we will approach these objects through critical theories of justice, performance theory, and trauma.

TAPS 158H: Proximity and Temporality in Performance (TAPS 358H)

This course considers the relationship between proximity and temporality in live performance, looking quite literally at the distance in space and time between performers and audiences. Alongside case studies of performance works, class readings will be drawn from current Performance Studies scholarship as well as discourses in postmodern geographies and anthropological studies of `proxemics¿ as well as key philosophic works such as Lefebvre¿s The Production of Space and Heidegger¿s The Concept of Time.

TAPS 162: Performance and the Text (TAPS 262)

Formal elements in Greek, Elizabethan, Noh, Restoration, romantic, realistic, and contemporary world drama; how they intersect with the history of performance styles, character, and notions of action. Emphasis is on how performance and media intervene to reproduce, historicize, or criticize the history of drama.
| UG Reqs: GER:DB-Hum
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