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TAPS 1 provides you with a solid foundation in Theater Studies and traces the development of the burgeoning field of Performance Studies. We will consider a range of canonical plays and emerging performance forms, and explore how ¿performance¿ can also function as an interpretive framework for analyzing a broad range of social behaviors, sites, and institutions. Through a series of close readings, discussions, written and practical exercises, and viewings of live performance, this course will help you achieve a richer understanding of the performances you see and the performances you may wish to make. This quarter, TAPS 1 will serve as the platform for the Theater & Performance Studies professionalization series. We will host several guest speakers (directors, actors, playwrights, and dance practitioners), who will give you some real connections in the theater world and will provide you with information and skills to help you build a career in the arts.

Preference to freshmen. The current state of the American theater and its artists. Conventional wisdom says that theater is a dying art, and a lost cause, especially in an age of multi-media entertainment. But there are more young playwrights, actors, and directors entering the field today than at any other time in American history. Focus is on the work of today's theater artists, with an emphasis on an emerging generation of playwrights. Students read a cross-section of plays from writers currently working in the US and UK, covering a spectrum of subjects and styles from serious to comic, from the musical to the straight play. Hits and misses from recent seasons of the New York and London stages and some of the differences of artistic taste across the Atlantic. Hands-on exploration of the arts and skills necessary to make a play succeed. Students develop their own areas of interest, in guided projects in design, direction or performance. Conversations with playwrights, designers ,and directors. Labs and master classes to solve problems posed in areas of creative production. Class meets literary managers and producers who are on the frontlines of underwriting new talent. Class trips include two plays at major Bay Area Stages.

This seminar is offered in conjunction with the annual "Arts Immersion" trip to New York that takes place over the spring break and is organized by the Stanford Arts Institute (SAI). Participation in the trip is a requirement for taking part in the seminar (and vice versa). The trip is designed to provide a group of students with the opportunity to immerse themselves in the cultural life of New York City guided by faculty and the SAI programming director. Students will experience a broad range and variety of art forms (visual arts, theater, opera, dance, etc.) and will meet with prominent arts administrators and practitioners, some of whom are Stanford alumni. For further details and updates about the trip, see http://arts.stanford.edu.

(Formerly CLASSGEN 6N.) Preference to freshmen. Tensions inherent in the democracy of ancient Athens; how the character of Antigone emerges in later drama, film, and political thought as a figure of resistance against illegitimate authority; and her relevance to contemporary struggles for women's and workers' rights and national liberation. Readings and screenings include versions of Antigone by Sophocles, Anouilh, Brecht, Fugard/Kani/Ntshona, Paulin, Glowacki, Gurney, and von Trotta.

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.

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.

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).

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.

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.