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11 - 20 of 235 results for: TAPS

TAPS 13N: Law and Drama

Preference to Freshmen.Beyond the obvious traits that make a good (court room) drama, theater and jurisprudence have much more in common. Just as drama is engaged not only in entertainment but also in examination of social conventions and mechanisms, so law is not only concerned with dispensing justice but with shaping and maintaining a viable human community. In this class we will read and discuss a series of plays in which court proceedings are at the center of dramatic action and concluding with an investigation of the new genre of documentary drama.
Terms: Aut | Units: 4 | UG Reqs: WAY-A-II, WAY-ER

TAPS 13SC: Journeying In and Out: Creative Writing and Performance in Prison

The United States imprisons more people than any other nation. Including those on probation or parole, over seven million adults are currently under correctional supervision in the U.S. - that's 1 in every 50 Americans. The United States also incarcerates more youth than all other countries. Each year approximately 500,000 young people are brought to detention centers, and an estimated 250,000 young people are tried, sentenced, or incarcerated as adults, the majority for non-violent offenses. On any given night in America, 87,000 children are housed in juvenile residential placements, and 10,000 children are held in adult jails and prisons. Despite the magnitude of these numbers, prisons and juvenile detention centers are uniquely closed and sequestered institutions. nThis class works collaboratively with a local juvenile hall to use literature, writing, and performance to explore the lives of incarcerated youth. In the process, students gain an understanding of incarceration on an immediate and personal scale. Stanford students will work directly with students serving sentences at Hillcrest Juvenile Hall, using collaborative writing and performance projects to share their individual experiences and voices. Stanford students will also engage in writing exercises and discussion groups on campus in order to explore their own relationship to freedom and punishment, choices, changes, and mercy. Class readings, screenings, and discussions will foreground the legal, social, and historical contexts surrounding incarceration as well as the social and behavioral changes made possible through arts programming in prisons. In addition to sustained collaborations with incarcerated youth, the class includes workshops with formerly incarcerated artists, authors, and advocates as well as visits to historic and active prison facilities. Taught jointly by a fiction writer and a dance studies historian, and using the template of the hero¿s journey as our guide, we will consider how writing and performance might mediate understandings of crime, punishment, and rehabilitation.
Last offered: Summer 2013

TAPS 14N: Imagining India: Art, Culture, Politics in Modern India (COMPLIT 14N, CSRE 15N, FEMGEN 14N)

This course explores history via cultural responses in modern India. We will examine a range of fiction, film and drama to consider the ways in which India emerges through its cultural productions. The course will consider key historical events such as the partition of the subcontinent, independence from British rule, Green Revolution, Emergency, liberalization of the Indian economy, among others. We will reflect on epochal historical moments by means of artisticnresponses to these events. For example, Ritwik Ghatak's experimental cinema intervenes into debates around the Bengal partition; Rohinton Mistry's novel, A Fine Balance grapples with the suspension of civil liberties during the emergency between 1975-77; Rahul Varma's play Bhopal reflects on the Bhopal gas tragedy, considered the world's worst industrial disaster. Students willnread, view and reflect on the aesthetic and historical texts through their thoughtful engagement in class discussions and written e ssays. They will also have opportunities to imaginatively respond to these texts via short creative projects, which could range from poems, monologues, solo pieces, web installations, etc. Readings will also include Mahashweta Devi, Amitav Ghosh, Girish Karnad, Jhumpa Lahiri, Manjula Padmanabhan, Salman Rushdie, Aparna Sen, among others.
Terms: Aut | Units: 3 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-EDP
Instructors: Menon, J. (PI)

TAPS 15AX: Spring Awakening The Musical

Spring Awakening The MusicalnOct. 27-29 & Nov. 3-5, 2016 nnA Production of TAPS Department in collaboration with Arts Intensive: The Next Stage Premier Performance in brand new Roble Gym Theater! Auditions in April, TBA. nExecutive Produced by Professor and Vice Provost for Undergraduate Education, Harry J. Elam, Jr. Based on Frank Wedekind's controversial 1891 play of the same name, Spring Awakening is an electrifying contemporary musical with a pop/rock score and a rebellious spirit. Winner of 8 Tony Awards, the musical follows the interweaving lives of a group of adolescents as they navigate issues of sexuality, morality, and adulthood. With book and lyrics by Steven Sater and music by Duncan Sheik, Spring Awakening is a touching expose of lost innocence and coming of age. nnThis production serves as the launching pad into Stanford's next theatrical evolution, as both the first production in the new Roble Gym Theater and the inaugural event for Arts Intensive: The Next Stage.nnStudents will be cast through the audition process in April 2016. Cast members and other key creative roles will be offered 2 units credit through the Arts Intensive program and will be housed on campus for rehearsals during the Arts Intensive program period: September 5-16, 2016. (Students with an Autumn Housing Assignment will move to their assigned residence on Sept. 16th).
Terms: Sum | Units: 2
Instructors: Elam, H. (PI)

TAPS 15N: Food and Performance: Meals, Markets, Maize and Macaroni

Come hungry to learn! This course serves as an introduction to food and performance culture. We will engage ethical and aesthetic questions about factory farms, feminist performance art and futuristic cooking. Emphasis is on original research, interdisciplinary analysis and doing performance. We will attend events, have guest speakers, create our own mini-performances around the broad themes of the course, write critical reviews and conduct archival research. We begin by studying the work of anthropologists of food and then move on to contemplate the way food and performance converge in modern thought and art. We will vary our approaches to the texts and debate a broad range of topics. For example, we will discuss: food¿s connection to sexuality, memory, race, embodiment, colonialism, violence, protest, public policy and science. The parameters of the course have been limited to food movements in the U.S. in the 20th and 21st centuries; however the opportunity to work on topics beyond this geopolitical and historical scope is possible and encouraged. Texts may include works by Yayoi Kusama, Dwight Conquergood, Mary Douglas, Karen Finley, Psyche Williams, Alice Waters, Jonathan Foer, Michael Pollan, Julia Child, Lauren Berlant, Laura Esquival, Douglas Sirk, Coco Fusco, Nao Bustamante, Doris Witt and more.
Last offered: Winter 2015

TAPS 15SC: Courtroom Theater

In the new millennium, the popularity of TV courtroom drama has been staggering: according to a weekly Nielsen ratings conducted a few years ago, 30 million people watched CSI: Crime Scene Investigation in one night, 70 million watched at least one of the CSI shows, and 40 million watched two other forensic dramas ( Without a Traceand Cold Case). These widely popular shows offer a somewhat distorted image of American criminal courtroom. In this class we will go "behind the scenes" to engage in a hands-on investigation of performances in the criminal trials. nWe will begin by visiting Bay Area courthouses to investigate the courtroom as a "set" for powerful legal dramas that are happening there on a daily basis. In these field trips we will also observe the courtroom proceedings and talk to judges and other legal professionals. After this introduction to the real-life courtroom, we will investigate landmark theatrical court dramas. Using mock trial techniques, we will approach playtexts as legal "cases." We will try to identify weaknesses and strengths of these cases, and then use them as mock trial scenarios. Ultimately, this class engages the questions of what does it take to build a solid courtroom case and how does it differ from a powerful piece of theater. While getting acquainted with both courtroom and theater techniques, we will keep a critical eye on (mis)representations of criminal courtroom in the popular media. No previous experience in acting or mock trials is necessary. The class satisfies the WAYS Creative Expression requirement. Sophomore College Course: Application required, due noon, April 5, 2016. Apply at http://soco.stanford.edu.
Terms: Sum | Units: 2 | UG Reqs: WAY-CE

TAPS 16AX: Personal Narrative: Crafting Performances from the Material of Your Life

In Personal Narrative, students will gain their own rigorous training in storytelling techniques, while both engaging in the New York theater community's deep and rich reservoir of personal storytellers and exploring the ways in which stories from their own lives can become powerful performances. Seminar discussions inspired by encounters with other artists' approaches to storytelling will set the stage for guided technical exercises, which will in turn introduce new questions for reading and analysis. In addition to readings, viewings, field trips, and exercise participation, students will be keep a journal reflecting on each day's work and the process of creating their personal narrative pieces. The Intensive will culminate in 1) a performance showcasing the original, fully crafted personal stories of all the participants, 2) the written text of each student's piece for future development, and 3) a short essay reflecting on the process of developing a personal narrative performance and critically assessing the different tools, techniques, and influences that helped in that journey.
Terms: Sum | Units: 2 | UG Reqs: WAY-CE
Instructors: Taubman, G. (PI)

TAPS 16N: Masterpieces of Modern Drama

What is modern theatre and how is it created? In this course, we will explore some of the most important works of the last century and a half. These plays, by writers such as Ibsen, Beckett, and Brecht, will be a springboard for our own leap into the art of the theatre. This course stresses that the theatre truly lives when performed. In addition to reading plays, we will watch productions (recorded and live), and stage some scenes informally ourselves. No theatrical experience is required¿only an openness to creative and intellectual challenge.
Terms: Aut | Units: 4

TAPS 20A: Acting for Non-Majors

A class designed for all interested students. Creative play, ensemble work in a supportive environment. Designed for the student to experience a range of new creative skills, from group improvisation to partner work. Introductory work on freeing the natural voice and physical relaxation. Emphasis on rediscovering imaginative and creative impulses. Movement improvisation, listening exercises, and theater games release the energy, playfulness and willingness to take risks that is the essence of free and powerful performance. Course culminates with work on dramatic text. This version of the class is offered in summer only. During the year, students should register for TAPS 124D.
Terms: Sum | Units: 2 | UG Reqs: WAY-CE

TAPS 21: StoryCraft

StoryCraft is a hands-on, experiential workshop offering participants the opportunity, structure and guidance to craft compelling personal stories to be shared in front of a live audience. The class will focus on several areas of storytelling: Mining (how do you find your stories and extract the richest details?); Crafting (how do you structure the content and shape the language?); and Performing (how do you share your stories with presence, authenticity and connection?).
Terms: Aut, Spr | Units: 2 | UG Reqs: WAY-CE
Instructors: Klein, D. (PI)
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