printer friendly pageTAPS 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 279C: Chroniclers of Desire: Creative Non-Fiction Writing Workshop (CSRE 179C, CSRE 279C, TAPS 179C)
This course emphasizes the study and practice of personal memoir writing and literary journalism. The class will explore those writings that contain a public and private story, navigating an intimate and institutional world. Student writers will serve as public chroniclers whose subjective point of view and experience attempt to provide a truth greater than what ¿the facts¿ can offer.
TAPS 279G: Indigenous Identity in Diaspora: People of Color Art Practice in North America (CSRE 179G, CSRE 279G, TAPS 179G)
This "gateway" core course to the IDA emphasis in CSRE offers a 21st century examination of people of color aesthetics and related politics, drawing from contemporary works (literature, music, visual and performing arts) in conversation with their native (especially American Indigenous and African) origins. Issues of gender and sexuality in relation to cultural identity are also integral to this study. Students will be required to produce a final work, integrating critical writing with a creative project.
TAPS 300A: Critical Styles I
Literary criticism and theory, emphasizing style as evidence of historical, cultural, and ideological concerns. Assumptions about written texts by authors such as Coleridge, Bradley, and Burke. How style reveals context. Students write in the style of authors discussed.
TAPS 300B: Critical Styles II
This seminar follows on from Critical Styles I in which students were grounded in the rigors of critical writing. In this sequel seminar, the emphasis will be on the overtones and undertones of critical thought in performance making and performance analysis. Students will generate weekly critical and creative responses to readings from contemporary writers and artists such as Jacques Rancière, Amelia Jones, Guillermo Gómez-Peña and Marina Abramovic. Workshop activities and performances will take place alongside seminar discussions of readings.
TAPS 304: Historiography of Theater (TAPS 166H)
Goal is to design an undergraduate theater history class. Standard theater history textbooks, alternative models of theater history scholarship, and critical literature engaging historiography in general.
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.
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.
TAPS 368S: Understanding and Staging Molière Theatre (FRENCH 316)
Devoted to an in depth analysis of Molière's major plays, as well as a study of contemporary productions of his work. Taught in French.
TAPS 375: Main Stage Production
Production of a full-length play as part of the Department of Drama season. Public performance.
| Repeatable
for credit
Filter Results: