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201 - 210 of 235 results for: TAPS

TAPS 345: Choreography and Corporeality

In this course, we explore American-derived theoretical praxes for analyzing organized movement. How has dance studies been constituted as a field? What theoretical lines of inquiry have served it, and how have they fared over time? What tools do scholars bring to bear on the study of dance, choreography, and corporeality, and where have these tools been most effective? Weekly parings of creative works and theoretical approaches to considerations of dance practice and performance. Special emphasis on practices of writing about bodies in motion and dance.
Terms: not given this year | Units: 4 | Grading: Letter or Credit/No Credit

TAPS 351: Great Books: Dramatic Traditions (COMPLIT 151B, COMPLIT 351B, TAPS 151T)

The most influential and enduring texts in the dramatic canon from Sophocles to Shakepeare, Chekhov to Soyinka. Their historical and geopolitical contexts. Questions about the power dynamics involved in the formation of canons.
Terms: not given this year | Units: 4 | Grading: Letter or Credit/No Credit

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

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.
Terms: not given this year | Units: 4-5 | Grading: Letter or Credit/No Credit

TAPS 353: Representation and Theatre Culture in 20th Century France (FRENCH 210)

This course will examine some major French playwrights such as Alfred Jarry, Eugene Ionesco, Samuel Beckett, Jean Genet, Jean Tardieu, Albert Camus or Jean Anouilh in their global cultural environment. Discussion in English; French majors read in French.
Terms: Win | Units: 5 | Grading: Letter or Credit/No Credit

TAPS 354: The Nervous Age: Neurosis, Neurology, and Nineteenth-century Theatre (GERMAN 284, HUMBIO 162)

The nineteenth century witnessed profound developments in neurological and psychological sciences, developments that fundamentally altered conceptions of embodiment, agency, and mind. This course will place these scientific shifts in conversation with theatrical transformations of the period. We will read nineteenth-century neuropsychologists such as Charles Bell, Johannes Müller, George Miller Beard, Jean-Martin Charcot, and Hippolyte Bernheim alongside artists such as Percy Shelley, Georg Büchner, Richard Wagner, Émile Zola, and August Strindberg.
Terms: Spr | Units: 5 | Grading: Letter or Credit/No Credit
Instructors: Smith, M. (PI)

TAPS 354D: The Chorus & The Digital Crowd: Representing Groups from Ancient Greece to the Arab Spring (TAPS 154D)

The Chorus & The Digital Crowd is an interdisciplinary workshop in Theater, Visual and Digital Arts, where students will learn from, and collaborate with, professional artists in a dramatic and conceptual exploration of what it means to be a "chorus" from its early representations in Greek Tragedy to its emerging online character (tweeting, posting, liking, and sharing). Reckoning with the reemergence of the crowd in the public sphere, enabled and reinforced by its online counterpart, The Chorus & The Crowd will examine how we imagine and represent collective action. Whether in the same room, at the same website, or on the same planet, what happens when "I" becomes "we"?
Terms: Spr | Units: 4 | Grading: Credit/No Credit
Instructors: Taubman, G. (PI)

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

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.
Terms: not given this year | Units: 4 | Grading: Letter or Credit/No Credit

TAPS 357: World Drama and Performance (TAPS 157)

This course takes up a geographically expansive conversation by looking at modern and contemporary drama from nations including Ghana, Egypt, India, Argentina, among others. Considering influential texts from the Global South will also enable us to explore a range of themes and methodologies that are radically re-shaping the field of Performance Studies. We will examine the relationship between colonialism and globalization, empire and capital, cosmopolitanism and neoliberalism. Re-situating our perspective from the Global South and the non-western world, we will ¿provincialize Europe¿ and probe the limits of its universalizing discourses.
Terms: not given this year | Units: 4 | Grading: Letter or Credit/No Credit

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

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.
Terms: not given this year | Units: 4-5 | Grading: Letter (ABCD/NP)

TAPS 358L: The Ethics of Storytelling: The Autobiographical Monologue in Theory, in Practice, and in the World (ETHICSOC 201R, TAPS 158L)

Recently a theatrical monologuist gained notoriety when it was revealed that key aspects of one of his "autobiographical" stories had been fabricated. In this class another autobiographical monologuist -- who has himself lied many times in his theater pieces, without ever getting caught -- will examine the ethics of telling our life stories onstage. Does theatrical "truth" trump factual truth? We will interrogate several autobiographical works, and then -- through autobiographical pieces created in class -- we will interrogate ourselves.
Terms: Spr | Units: 4 | Grading: Letter (ABCD/NP)
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