151 - 160 of 170 results for: TAPS

What do seventeenth-century choreography and dramaturgy contribute to (mean to) choreographic and theatrical modernity? How can we explain the recurrent baroque phenomenon across the twentieth century -- becoming particularly prominent in the 1980s -- beyond the historicist accounts of theatrical reconstruction? How does the baroque locate itself within cultural modernity?nnThis seminar asks this question of choreography at several junctures: The analysis of seventeenth century baroque spectacle that fashioned dance and theatre into political tools of monarchical sovereignty; Twentieth-century literature on the Baroque that destabilizes received notions of subjectivity and political sovereignty; Twentieth-century choreography and film that deploys baroque figures and techniques.nnThus, our material shall range from seventeenth-century dance and theater to contemporary dance, film and literature.

Goal is to design an undergraduate theater history class. Standard theater history textbooks, alternative models of theater history scholarship, and critical literature engaging historiography in general.

A structured, creative environment for students working toward the realization of Senior Projects and 2nd year graduate productions. Instructors will work with students to develop the relationships between the content and the form of their productions using critical and creative tools to develop and reflect on the work. There will be a staged class showing at the end of the quarter followed by critiques designed to help students as they begin preparing for their final public performances (beyond the class).

We can find meaning in life's struggles through narrative ways of healing. The self-reflective, dynamic process of finding, telling, and living our stories connects us with our whole selves as well as with others. We find our stories through vulnerability and courage; tell them with humility and honesty; and live them authentically and responsibly. Our shared stories will focus on gratitude, acceptance, reconciliation, forgiveness and compassion, empowering us to overcome personal, community, and historical traumas and wounds. In a respectful, caring community we will discover our hidden wholeness by improvising with various experiential and embodied means of finding our stories; telling our stories in diverse ways, including writing, storytelling, music, and art; and living our stories by putting values into action.

This course emphasizes the study and practice of personal memoir writing and literary journalism. The class will explore those writings that contain a public and private story, navigating an intimate and institutional world. Student writers will serve as public chroniclers whose subjective point of view and experience attempt to provide a truth greater than what ¿the facts¿ can offer.

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.

SOPHOMORE SEMINAR: This course looks at the `performance¿ of personal truths in political contexts, challenging inequalities of race, gender, sexual orientation and class through performance, visual art and activism. Students will engage in seminar discussions and writing on case studies such as the Occupy Movement and the works of key artists as well as working individually and in groups to think creatively about strategies for putting their own personal truths into political/public contexts to draw attention to issues they are passionate about.

No Class on January 8th. Class meets 7:00-8:50 every Tuesday beginning January 15th through March 12th, with a 10th and final required class during finals week on March 19th from 7:00-8:50. Also, students will be joined in the classroom by Continuing Studies students. Life is a performance of gestures. Dance is any conscious movement. Based on a "choreography of the everyday," this course invites participants to experience the subtle surprise of performing oneself. Working with our own gestures, words, thoughts, and perceptions, and drawing upon the basic elements of composition in performance, music, and choreography, we will develop a performance work in the mode of a "chamber piece." Building individual movement-based portraits, and then weaving them together as a whole, this gestural performance "chamber piece" will reflect the community of class participants and the Stanford community as a whole.nnConsiderations of time, space, and quality of motion will be at the forefront of our work together. We will investigate the cultural identity and history of our gestures, as well as trace the evolution of this type of performance work in art, dance, and performance history. Participants can expect to find inspiration, delight, refreshment, and renewal through this performance process. No experience is necessary, just a willingness to move and reflect upon having a life in a body at this moment in history.nnThe work of this course is the springboard of a larger performance work, "The Symphonic Body," which is scheduled to be performed at the new Bing Concert Hall in May 2013.nnCourse participants have the option to perform in the larger work.

By audition only, for members of the improvisation troupe. Special project work. Prerequisite: 103.