1 - 10 of 26 results for: TAPS

Have you ever seen a great musical and wondered, "How do the actors do it?" In this workshop we will explore the mechanics of acting in musicals as we practice solos and scene work from contemporary and classic musicals.nnnMaterial will range from the "golden age¿ of musicals of the 1930¿s to new releases. Possible choices are: Gypsy, Company, My Fair Lady, Sweeney Todd, Oklahoma!, Guys and Dolls, Cabaret, West Side Story, A Chorus Line, Ragtime, Urinetown, Dreamgirls, Hair, Avenue Q, South Pacific, Damn Yankees, Anything Goes, Hedwig and the Angry Inch, Caroline, or Change, Ain¿t Misbehavin¿, Next to Normal, Hairspray, and others. Students are encouraged to suggest their own material in their application for the program.nnnThe class will be accessible to both beginners and experienced actors/singers and will include in-depth work on vocal technique, utilization of action, specificity of language, personalization, emotional truth, character, and given circumstance. Students will develop an awareness of the demands of the performance experience in a safe and supportive environment. They will be encouraged to work to expand their range and will study and perform a solo and a scene from a musical. These assignments will require a minimum of 2 two-hour sessions with a scene partner during a scene rehearsal week. Commitment and responsibility to scene partners is a crucial component to successful work in the theater. In addition to required readings, students will be expected to conduct some research on the world of the playwright, librettist, and composer. We will end our workshop with a final performance of the work in a showcase for an invited audience. nnnAll levels welcome!

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.

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.

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.

Under faculty guidance, working backstage on Drama Department productions. Open to any student interested in gaining back stage experience. Night and weekend time required.

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.

For students stage managing a Department of Drama production.

Individual project on the work of a playwright, period, or genre. Prerequisite: consent of instructor.