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TAPS 180P: Color (ARTSTUDI 180)

Hands-on study of color to develop color sensitivity and the ability to manipulate color to exploit its expressive potential. Guided experimentation and observation. Topics include color relativity, color and light, color mixing, color harmony, and color and content. (lower level)
Terms: Aut | Units: 3-4 | UG Reqs: WAY-CE
Instructors: Edmark, J. (PI)

TAPS 203: Advanced Improvisation

Further development of improvisational skills.
Terms: Win | Units: 3 | UG Reqs: WAY-CE
Instructors: Klein, D. (PI)

TAPS 210V: Vocal Production and Audition (TAPS 120V)

An introductory study of the vocal mechanism and the development of voice and articulation for the stage. Students will be introduced to the actor's tools of phonetics, verbal action and text analysis. Vocal technique will then be applied to the actor's process in preparation for audition. Actors will fully participate in the audition process, from beginning to end. Emphasis will be on relaxation, selection of appropriate material, and versatility to show contrast and range.
Terms: Aut | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 2 times (up to 6 units total)

TAPS 236: Directing Scenes: The Director's Toolkit

This first half of this course, a practicum, introduces you to basic concepts in directing live theatre, such as creating strong spatial relationships on stage or in a performance space, interpreting and building a concept for a scene, and beginning to work with actors. You will then spend the second half of the course directing 2-3 modern and contemporary scenes, with actors.
Terms: Aut | Units: 4 | UG Reqs: WAY-CE
Instructors: Hunter, M. (PI)

TAPS 272: Out of Place: (W)riting Home (CSRE 172, TAPS 172)

A creative writing workshop; all genres. This course will introduce students to the fundamentals of a productive creative writing practice, including ¿the beginner¿s mind¿ (as founded in Eastern spiritual practices); and, an indigenous approach to ¿authenticity¿ in one¿s work and one¿s words. Through w(riting), one returns to the body of home-knowledges, languages, and geographies to uncover what is profoundly original in us as artists, writers and thinkers.¿
Terms: Aut | Units: 4 | UG Reqs: WAY-CE
Instructors: Moraga, C. (PI)

TAPS 273: Directing & Dramaturgy: Composition and Adaptation for Theatre (TAPS 373)

This course explores dramaturgy and directing in the research and production of theatre primarily through practical creative projects with secondary readings on dramaturgy as a discipline. In this course we will consider the role of the dramaturg in its broadest sense, running across theatrical production from research to playwriting, adaptation, choreography, devising and directing. Students will work individually and in small groups researching, adapting, crafting and workshopping material.
Last offered: Spring 2013 | UG Reqs: WAY-CE

TAPS 278: Intensive Playwriting (CSRE 178B, TAPS 178B)

Intermediate level study of fundamentals of playwriting through an intensive play development process. Course emphasizes visual scripting for the stage and play revision. Script analysis of works by contemporary playwrights may include: Suzan-Lori Parks, Tony Kushner, Adrienne Kennedy, Edward Albee, Maria Irene Fornes and others. Table readings of full length work required by quarter¿s end.
Terms: Win | Units: 5 | UG Reqs: WAY-CE

TAPS 279F: Flor y Canto: Poetry Workshop (CHILATST 179F, CSRE 179F, TAPS 179F)

Poetry reading and writing. The poet as philosopher and the poet as revolutionary. Texts: the philosophical meditations of pre-Columbian Aztec poetry known as flor y canto, and reflections on the poetry of resistance born out of the nationalist and feminist struggles of Latin America and Aztlán. Required 20-page poetry manuscript.
Terms: Win | Units: 3-5 | UG Reqs: WAY-CE

THINK 21: Folklore and Literature in Russia and Beyond: Vampires, Talking Cats, and Frog Princesses

What is ¿folklore¿ and what is its purpose? How do we decide if something is authentically ¿folk¿ and does it matter? Why are Eastern Europe and Russia associated with the idea of folklore?nnnFor the past two centuries, elite writers, composers, and artists have found inspiration in the stories, songs, and beliefs of their grandparents, their servants (or their slaves), and their neighbors. This class asks what ¿folklore¿ means and what purposes ¿ political and philosophical as well as artistic ¿ it can serve. We begin with examples from around the world: the German Brothers Grimm as well as the Americans Alan and John Lomax. Then we turn to Eastern Europe and the role it has played in the Western European and American imagination as the home of the archaic and the authentic, from the vampires of Transylvania to the oral epics of the Bosnian Serbs to the nostalgic idea of the Jewish shtetl to the fantasy of Soviet communism as a survival of a pre-capitalist order. Students will analyze both folk and elite texts, and will experiment with gathering oral texts and transforming them just as the writers we study did.
Terms: Win | Units: 4 | UG Reqs: College, THINK, WAY-A-II, WAY-CE

URBANST 113: Introduction to Urban Design: Contemporary Urban Design in Theory and Practice

Comparative studies in neighborhood conservation, inner city regeneration, and growth policies for metropolitan regions. Lect-disc and research focusing on case studies from North America and abroad, team urban design projects. Two Saturday class workshops in San Francisco: Jan 19 and Feb 2. Terms: Win | Units: 5 | UG Reqs: GER:DBSocSci | Grading: Letter (ABCD/NP)
Terms: Win | Units: 5 | UG Reqs: GER:DB-SocSci, WAY-CE, WAY-SI
Instructors: Glanz, D. (PI)
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