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11 - 20 of 37 results for: TAPS

TAPS 124D: Acting for Non-Majors

This is a non-major studio class designed to introduce fundamental acting techniques and to provide performers with foundational exercises upon which to build an ever more sophisticated practice for performing onstage. Cooperative group exercises and close observation of human behavior in oneself and in one's environment will form the core of this course's exploration. Through psychophysical exercises, theatre games, improvisation, rehearsal, and presentation of assigned work, students will develop the actor's most valuable tools: the body as our essential instrument, point of view, imagination, relaxation, spontaneity, listening and responding truthfully, and creating with an ensemble.
Terms: Aut | Units: 1-3 | UG Reqs: WAY-CE, way_ce

TAPS 127: Movement for the Actor

This course is an exploration of movement techniques for the actor, designed to provide a foundation for performance practice. Students will develop a more grounded sense of ease and breath onstage, learn fundamentals of physical partnership, and acquire an expanded physical vocabulary. Areas of study include Laban movement analysis, observation and embodiment, basic contact improvisation, and physical characterization. Students will also engage a personalized warmup process for rehearsal and performance. All coursework will be entirely experiential, practical, and participatory. No previous experience necessary. Some outside rehearsal/investigation time required.
Terms: Aut, Spr | Units: 3 | UG Reqs: WAY-CE
Instructors: Chapman, M. (PI)

TAPS 127P: The Spirit of Play

This course is designed to liberate actors and other human beings through immersion in the 'state of play,' and by providing a set of tools for its cultivation. Awareness, availability, fun, and spontaneity are natural components of playing - but they often fade when actors step onto the stage (or when non-actors step into an important task). Students will develop their capacity to respond freely and to innovate with joyful freedom. In this course, we seek to dissolve the barriers between playfulness and our actions, in order to become more free, authentic, comfortable, and happy - onstage and off. In addition, students will learn creative methodologies for using 'play' to develop new material for the theatre. Developed specifically for Stanford students, this course takes perspectives from clown and physical theatre practice. Using games, improvisation, inquiry, and self-reflection, we will attend the capacity for 'play' like a muscle that can be strengthened. No previous experience is necessary; out-of-class investigation will be required weekly.
Terms: Aut | Units: 3 | UG Reqs: WAY-CE
Instructors: Chapman, M. (PI)

TAPS 132F: Costume in Film

Costume in Film will explore the process of costume design from the page to the screen. This course will discuss a range of period and contemporary films in order to discover how character development, storytelling and iconography relates to clothing and costume. In addition to film analysis, there will be assignments where students will explore the practical process of design and how it relates to film.
Terms: Aut | Units: 4
Instructors: Bodurtha, R. (PI)

TAPS 134: Stage Management Project

For students assigned to a Stage Management team for productions in the Department of Theater and Performance Studies. TAPS 34 is a prerequisite.
Terms: Aut, Win, Spr | Units: 3-8 | Repeatable for credit
Instructors: Kumaran, L. (PI)

TAPS 134S: Dressing the Set: Property Design for Stage and Screen

This course is a hands-on, maker-style, introduction to property design for both theatre and film. The definition of a prop is very broad and can be anything from an upholstered chair to a dagger to a severed hand. The objects on set are clues to the characters in the story and we will learn how to research, select, and create these special objects. Students will complete a variety of projects that will develop a wide array of skills. These include light construction, painting, mold making, sewing, foam carving, 3D printing and laser cutting, and special effects (blood) to name a few. We will discuss the role of a prop master as it relates to both theatre and film and learn tricks and methods for success on a tight timeline and budget.
Terms: Aut | Units: 2
Instructors: Ball, N. (PI)

TAPS 135: Drafting in Vectorworks

Every great creation starts with a single line on a page. The ability to articulate ideas in 2D and 3D space is key to communicating our design ideas and documenting our process. This course will delve into drafting techniques in Vectorworks, an industry standard CAD software for live performance, architecture, and design. Starting with foundational tools and workflow, the course will expand to include 3D modeling and previsualization for live events.
Terms: Aut | Units: 3
Instructors: Mejia, C. (PI)

TAPS 140: Introduction to Projects in Theatrical Production

A seminar course for students performing significant production work on Theater and Performance Studies Department or other Stanford University student theater projects. Students serving as producers, directors, designers or stage managers, who wish mentorship and credit for their production work sign up for this course and contact the instructor, Laxmi Kumaran. nPrerequisite: consent of instructor.
Terms: Aut, Win, Spr | Units: 1-4 | Repeatable for credit
Instructors: Kumaran, L. (PI)

TAPS 153H: History of Directing (TAPS 253H)

There is a lot of great theater out there waiting to be made, and the primary goal of this class is to help students prepare to achieve that goal. In this class, "history" is not only a narrative about the past and its interpretations, but a repository of ideas and techniques that can provide students with useful techniques and sources of inspiration for their own practice. In the graduate component of the class, we will take a historiographic approach to this art form that has often veered towards the biographical and the anecdotal. This is not a history of directors, but a history of directing. That does not mean that we won't look at the work of individual artists: we will do that, while keeping in mind the historical, social, economic as well as aesthetic circumstances under which directing evolved as a distinct profession in the theater.
Terms: Aut | Units: 4 | UG Reqs: WAY-A-II

TAPS 178C: Dramatic Writing Workshop (TAPS 278C)

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.
Terms: Aut, Win | Units: 1-4 | UG Reqs: WAY-CE | Repeatable for credit
Instructors: Lee, Y. (PI)
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