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161 - 170 of 235 results for: TAPS

TAPS 248: Family Drama: American Plays about Families

Plays written by 20th century writers that concentrate on the family as the primary source of dramatic conflict and comedy. Writers include Williams, O'Neill, Wilder, Albee, Vogel, Parks, Lindsay-Abaire, and Hwang.
Last offered: Autumn 2013 | UG Reqs: GER:DB-Hum, WAY-A-II

TAPS 250T: Transnational Sexualities (CSRE 150T, FEMGEN 150T, FEMGEN 250T, TAPS 150T)

Transnational Sexualites is an inter-disciplinary course that considers the aesthetic, social, and political formation of sexual subjectivities in a global world. How does the transnational traffic of people, media, images, finance, and commodities shape the force-fields of desire? What is the relationship between political economies and libidinal economies? The course will explore the erotics of race and religion, neoliberalism and globalization within a wide range geo-political contexts including Indonesia, China, Egypt, India, South Africa, US, among others.
Terms: Spr | Units: 4

TAPS 251A: Theater of the Asia-Pacific Region (TAPS 151A)

This course offers a historical and cultural exploration of theatre forms and performance cultures from various countries that border the Pacific Ocean, as well as from island communities within Oceania. Taking the term 'Asia-Pacific' as a provocation and point of interrogation, we will assess how theatrical production from this broad area can help us think through questions of nationalism, regionalism, interculturalism, and diaspora, while deepening our appreciation of world theatre history. The first part of the course focuses on theatre in specific sites, covering classical forms from China, Japan, and Indonesia, as well as indigenous theatre and performance from several Pacific Islands, including the Cook Islands, S'moa, Aotearoa/New Zealand, and Hawai`i. The second part of the course centers on the ocean as a dynamic space of mobility, examining a range of recent plays and performances that trace identities on the move and across borders, and which reveal how various Asian and Pacific Islander communities have engaged with each other in locations from Australia to the west coast of the United States. In so doing, our course will chart connections and divergences that enable fresh insights into the geographical and cultural dimensions of global theatre.
Last offered: Spring 2015

TAPS 253D: Performing Digital Technologies (TAPS 153D)

This class is about collaboration: between live performers and digital images, between artists and engineers, and between scholars and artists. It emphasizes conceptual work and creativity in the integration of new and old media. We will take a rigorous but fundamentally hands-on approach to the uses of a wide range of screen technologies - from smart phones to digital projections - in live performance. The class will start with a survey of successful uses of screens in recent theater and performance work, then move to finding novel solutions for particular dramatic scenes.
Last offered: Winter 2015

TAPS 254: Stage and Spectacle : an Aesthetics of Conflict and Complementarity

The aim of this class is to explore different ways in which cinema has been using theatre as an art to explore its own aesthetical, political or philosophical dimensions. For this exploration, we will use different films in which theatre plays a major role, each of them offering a different perspective on life and art. Amongst the films considered, one can expect : 'To be or not to be' by Ernst Lubitsch (1942) ; 'Children of Paradise' by Marcel Carné (1944) ; 'The Golden Coach' by Jean Renoir (1953) ; 'Torn Curtain' by Alfred Hitchcock (1966) ; 'The Most important thing : Love' by Andrzej Zulawski (1975) ; 'The Travelling Players' by Theodoros Angelopoulos (1975) ; 'The Last métro' by François Truffaut (1980) ; 'Fanny and Alexander' by Ingmar Bergman (1982) ; 'Shakespeare in love' by John Madden (1998) ; 'Birdman' by Alejandro Iñárritu (2014).
Last offered: Spring 2015

TAPS 259: Game Studies

A 1-unit class for graduate students. Games are not new; they are older than civilization. But in the past 50 years or so, we have seen an explosion of creativity in the development of new games, many of which, especially video games, complicate older understandings of what games are. This explosion of creativity has been matched by the increasing visibility and ubiquity of new games and ways of seeing games: as video games, televised professional sports, and even distributed urban events.n nGames are not a simple object of study. There are many ways to understand them: as social practices, as formal systems, as representative artwork, as modes of learning, and many more. We will start by considering games as a mode of performance, considering games in relation to theater and other forms of aesthetic performance. However, we will take a deeply interdisciplinary approach to the study of games, and will draw on perspectives from design, philosophy, education, and the emerging discipline of video game studies. We will also, of course, draw on a variety of games, both online and offline. As we bring in these perspectives, we will begin to consider games in at least two other fundamental ways: as designed experiences and as composed systems or artworks.nnThis course is less an attempt to provide a survey of the entire field of games. It is more an attempt to provide a basic toolbox for critically examining and analyzing games. These tools are potentially useful for anyone who interacts with games: whether as a consumer of entertainment, a critical analyst of play, a user of serious games, or a game designer.
Last offered: Winter 2014

TAPS 259M: Movement and Meaning: Dance Studies in Global Comparative Context (CSRE 159M, DANCE 23, TAPS 159M)

This course introduces students to various approaches to studying dance in a humanities context. We will explore how people create meaning through dance and how dance, in turn, shapes social norms, political institutions, and cultural practices across time and space. The course's structure challenges the Western/non-Western binary that still pervades many academic disciplines by comparing dance forms across the globe on the basis of functional similarities. At the same time, we will keep in mind the unequal power hierarchies shaping our modern world, and therefore we will examine how and why certain forms have become delineated as 'Western' and others as 'world' or 'ethnic,' despite similarities in movement, meaning, or purpose.
Last offered: Autumn 2014

TAPS 260: Performance and History: Rethinking the Ballerina (DANCE 160, FEMGEN 160, TAPS 160)

The ballerina occupies a unique place in popular imagination as an object of over-determined femininity as well as an emblem of extreme physical accomplishment for the female dancer. This seminar is designed as an investigation into histories of the ballerina as an iconographic symbol and cultural reference point for challenges to political and gender ideals. Through readings, videos, discussions and viewings of live performances this class investigates pivotal works, artists and eras in the global histories of ballet from its origins as a symbol of patronage and power in the 15th century through to its radical experiments as a site of cultural obedience and disobedience in the 20th and 21st centuries.
Terms: Win | Units: 4

TAPS 262: Performance and the Text (TAPS 162)

Formal elements in Greek, Elizabethan, Noh, Restoration, romantic, realistic, and contemporary world drama; how they intersect with the history of performance styles, character, and notions of action. Emphasis is on how performance and media intervene to reproduce, historicize, or criticize the history of drama.

TAPS 262S: The Total Work of Art (GERMAN 262)

Frequently associated with the work of Richard Wagner, The Total Work of Art (or Gesamtkunstwerk) is a genre that aims to synthesize a range of artistic forms into an organic unity, a unity that both models and helps to forge an ideal state. This seminar will examine the history of the Gesamtkunstwerk from its roots in German Romanticism to the present day, focusing on the genre's relations with technology and mass culture across a wide range of media. Creations we will consider include Wagner's Festival Theatre at Bayreuth, Walter Gropius' plans for a Totaltheater, Bertolt Brecht and Kurt Weill's radio-oratorio The Lindbergh Flight, Leni Riefenstahl's Triumph of the Will, Walt Disney's theme parks, Andy Warhol's Exploding Plastic Inevitable, and Bill Gates' "home of the future." Taught in English.
Last offered: Autumn 2013 | UG Reqs: WAY-A-II
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