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Course introduces students to the basic elements of playwriting and creative experimentation for the stage. Topics include: character development, conflict and plot construction, staging and setting, and play structure. Script analysis of works by contemporary playwrights may include: Marsha Norman, Patrick Shanley, August Wilson, Suzan-Lori Parks, Paula Vogel, Octavio Solis and others. Table readings of one-act length work required by quarter's end.

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.

Preference to sophomores. Chomsky's ideas and work which challenge the political and economic paradigms governing the U.S. Topics include his model for linguistics; cold war U.S. involvements in S.E. Asia, the Middle East, Central and S. America, the Caribbean, and Indonesia and E. Timor; the media, terrorism, ideology, and culture; student and popular movements; and the role of resistance.

By audition only: Contact instructor prior to enrolling (mlcats@stanford.edu). Ability to read music expected, but students with experience singing in musical theater can be accepted. For singers and pianists as partners. Performance class in a workshop setting along with lecture/discussion of important eras of musical theater history. Composers include Kern, Porter, Gershwin, Rodgers, Sondheim, Lloyd Weber, Jason Robert Brown and others. May be repeated for credit a total of 2 times. Enrollment limit: 20 (ten singers maximum). Prerequisite: consent of instructor. Recommended prerequisite: 170 (pianists).

This course is a practical workshop in vocal repertoire for the stage. Each quarter's offering emphasizes a specific genre or period, therefore the course can be repeated with permission of the instructor. In addition to broadening the student's knowledge of vocal repertoire, the following skills are developed: text preparation, foreign language translation and diction; rehearsal etiquette for performance and/or recording. Enrollment by audition only. Prerequisite: vocal or instrumental instruction, as the class is open to singers or collaborative artists. May be repeated for credit a total of 4 times. Zero unit enrollment option available with instructor permission. See website: ( http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.

Studies in stagecraft, acting and performance for singers, culminating in a public performance. Repertoire to be drawn from the art song, opera, American Songbook and musical theater genres. Enrollment by audition only. May be repeated for credit a total of 4 times. Zero unit enrollment option available with instructor permission. See website: ( http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.

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

All TAPS Majors must complete a Senior Project that represents significant work in any area of theater and/or performance. The project must be an original contribution and can consist of any of the following: devising a performance, choreographing a dance, stage managing a production, designing a large theater work, performing a major role, writing a play, directing a show, or researching and writing a senior essay. Work for this project normally begins in Spring Quarter of the junior year and must be completed by the end of the senior year. Students receive credit for senior projects through TAPS 200. A minimum of 4 units is required, but additional units are available for larger projects. Students pursuing senior projects must submit a two-page proposal to a faculty advisor of their choice, which must be approved by the Undergraduate Advisor and the department faculty no later than the end of Spring Quarter of the junior year.

An advanced written project to fulfill the requirements for the Honors degree in TAPS. There are two ways to undertake an honors thesis. The first is to write a 40-50 page essay, which presents research on an important issue or subject of the student's choice. The second option is a 30-page essay that takes the student's capstone project as a case study and critically analyzes the creative work. Students are expected to work consistently throughout the year with their advisor, whom they identify at the time of application. Advisors can be selected from Academic Council faculty or artists-in-residence. Students should enroll in TAPS 202 each quarter during the senior year (1 unit in Autumn; 1 unit in Winter; 2 units in Spring).