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261 - 270 of 292 results for: all courses

TAPS 127: Introduction to Movement and Stage Combat

Introductory, intensive training in movement for acting and the fundamentals of unarmed stage combat. This course is for students interested in movement and dynamic storytelling; no prior training is required. We will explore the fundamentals of contact improvisation and fight performance as a means of strengthening mind-body connection and preparing the actor for more nuanced, compelling work on the stage. Drawing from a range of practices, we will explore physical improvisation and composition, examining how these can be used to make discoveries about a text, a character, one¿s ensemble and oneself. Our training consists of four main components: physical conditioning, practical technique, improvisation and the creation of two short performance pieces. The class will culminate in an open performance of scenes.
Terms: Aut | Units: 4 | UG Reqs: WAY-CE | Repeatable 2 times (up to 8 units total)
Instructors: Hazas, T. (PI)

TAPS 127S: ACTING THROUGH SONG

How does a singer develop the strategies to shape nuanced, emotional performances? What clues does the singer mine from lyrics and a score in order to communicate through song? This is a studio course in acting and movement techniques for vocal performers who want to expand their expressive range, refine multi-faceted performances, and cultivate compelling stage presence. nnThis course is suitable for any vocalist; classical singers, a cappella performers, musical theater actors and others are all welcome. The three foundational underpinnings of our work will be actor personalization technique, basic movement training and text analysis strategies. We will develop flexibility, relaxation and the freedom to follow expressive impulses while also deepening our knowledge of character, narrative and theme.nnStudents should be prepared to engage in intensive work with performance pieces, selected according to each student¿s preferred style and tradition. We will focus on close textual analysis and find connections between the ways performers use various written scores (for spoken dialogue, song lyrics and musical composition) as the blueprints for dynamic performances that tell a powerful story. The course will culminate in a public performance of material from a musical performance genre.
Terms: Win, Spr | Units: 3-4 | UG Reqs: WAY-CE
Instructors: Hazas, T. (PI)

TAPS 127X: Advanced Movement for Actors: Conditioning, Improvisation and Composition

The physical actor is ever working to develop a wider range of emotional expression, an unconscious attentiveness to fellow actors, and a compelling presence that conveys a sense of truth in action and in word. Students explore movement as a means of physical training and performance-building. For those interested in dynamic storytelling; no prior acting or physical training is required. Four main components: physical conditioning, practical technique, movement improvisation, and the creation of several short performance pieces. The fundamentals of contact improvisation for theater, which offers actors another way to explore text and make discoveries about character. Exercises in movement composition sharpen tools necessary for creating original work and crafting strong performances on stage.
Terms: Spr | Units: 3-4 | UG Reqs: WAY-CE
Instructors: Hazas, T. (PI)

TAPS 128: Acting for Film and Video

Acting techniques for working on film and with video.
Last offered: Spring 2014 | UG Reqs: WAY-CE

TAPS 130: ReDesigning Theater: Live & Digital Performance (ME 288)

This quarter¿s version of ReDesigning Theater looks at Live and Digital Performance. We will examine the use of digital technology in collaboration with live performance. Students will learn and employ the design thinking process as well as improv and theatrical techniques. We aim to create user-centric, interactive experiences where technology enables the audience to become part of and/or influence the outcome of the story or its presentation. Student projects will begin with the concepts enabled by personal technology such as smart phones and expand to animation, video projection, and other media. Students will work in small groups to investigate and experiment with formats that blur the lines between live and digital, performer and audience, and physical and virtual platforms. This project-based course is accessible to students of all backgrounds interested in exploring and transforming the frontiers of technology, art, and live performance.
Last offered: Autumn 2013 | UG Reqs: WAY-CE

TAPS 132: Costume Design

Process of designing costumes for the stage, covering script analysis, rendering techniques, character development and conceptual ideas. Project related work with smaller, pertinent exercises.Prerequisite: 30 or consent of instructor.
Terms: Aut | Units: 4 | UG Reqs: WAY-CE
Instructors: Strayer, C. (PI)

TAPS 133: Stage Scenery Design

Craft and Theory of stage scenery design including visual research, spatial organization, basic drafting, sketching and model-building. Prerequisite: 30, or consent of instructor.
Terms: Spr | Units: 3-4 | UG Reqs: WAY-CE | Repeatable 2 times (up to 8 units total)
Instructors: Flatmo, E. (PI)

TAPS 144: Puppetry with a Twist (TAPS 344)

Creative course is an introduction to puppetry with a survey of important styles and techniques from around the world including Twist's own. Hands on and individualized experience with the aim of each student creating or contributing to a puppet or object/figure performance. Course is as broad as the individual's creative expression.
Terms: Win | Units: 3-4 | UG Reqs: WAY-CE
Instructors: Twist, B. (PI)

TAPS 150: British Theatre Then and Now: 1890s-present

This introductory course covers some of the `golden ages¿ of British Theatre from 1890 to the present: the stylish and witty `New Drama¿ of the Edwardian era with writers such as George Bernard Shaw and Oscar Wilde exploring sex and politics in the wake of Ibsen¿s A Doll¿s House; the artistic innovations of the 1950s and 60s from seminal writers such as Samuel Beckett, Harold Pinter and Tom Stoppard; and more recent works by modern legends Caryl Churchill, David Hare, Alan Ayckbourn, and immersive or interactive theatre by companies such as Punch Drunk. We will also look at the ever changing relationship with Shakespeare across generations of British theatre artists, including directors such as Peter Brook and Deborah Warner.nIn this class students will explore the relationship between theatre, politics and culture across fascinating eras in British history as well as thinking about the role of theatre in our own lives and social contexts. We will ask the questions: What is theatre for? What meaning does it have for a contemporary audience? How can it reflect our times? Has the communal audience experience of going to the theatre changed in an age that is dominated by social media and broadcast technology? Has this changed the way that people make theatre? What do we as audiences want from the theatre? What do we as theatre makers want from audiences?nStudents will read plays weekly and also see screenings of several excellent film versions of the plays as well as participating in staged readings of scenes and class discussions. The class will also attend at least one live theatre event. This is a perfect class for students who enjoy active learning, approaching the texts as scholars and historians, but also working with the plays creatively, engaging the imagination as potential actors, directors, designers and/or dramaturgs.
Terms: Win | Units: 4-5 | UG Reqs: WAY-A-II, WAY-CE
Instructors: Hill, L. (PI)

TAPS 156: Performing History: Race, Politics, and Staging the Plays of August Wilson (AFRICAAM 156, TAPS 356)

This course purposefully and explicitly mixes theory and practice. Students will read and discuss the plays of August Wilson, the most celebrated and most produced contemporary American playwright, that comprise his 20th Century History Cycle. Class stages scenes from each of these plays, culminating in a final showcase of longer scenes from his work as a final project.
Last offered: Autumn 2013 | UG Reqs: WAY-CE, WAY-EDP
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