61 - 70 of 212 results for: TAPS

Creative course is an introduction to puppetry with a survey of important styles and techniques from around the world including Twist's own. Hands on and individualized experience with the aim of each student creating or contributing to a puppet or object/figure performance. Course is as broad as the individual's creative expression.

This introductory course covers some of the `golden ages¿ of British Theatre from 1890 to the present: the stylish and witty `New Drama¿ of the Edwardian era with writers such as George Bernard Shaw and Oscar Wilde exploring sex and politics in the wake of Ibsen¿s A Doll¿s House; the artistic innovations of the 1950s and 60s from seminal writers such as Samuel Beckett, Harold Pinter and Tom Stoppard; and more recent works by modern legends Caryl Churchill, David Hare, Alan Ayckbourn, and immersive or interactive theatre by companies such as Punch Drunk. We will also look at the ever changing relationship with Shakespeare across generations of British theatre artists, including directors such as Peter Brook and Deborah Warner.nIn this class students will explore the relationship between theatre, politics and culture across fascinating eras in British history as well as thinking about the role of theatre in our own lives and social contexts. We will ask the questions: What is theatre for? What meaning does it have for a contemporary audience? How can it reflect our times? Has the communal audience experience of going to the theatre changed in an age that is dominated by social media and broadcast technology? Has this changed the way that people make theatre? What do we as audiences want from the theatre? What do we as theatre makers want from audiences?nStudents will read plays weekly and also see screenings of several excellent film versions of the plays as well as participating in staged readings of scenes and class discussions. The class will also attend at least one live theatre event. This is a perfect class for students who enjoy active learning, approaching the texts as scholars and historians, but also working with the plays creatively, engaging the imagination as potential actors, directors, designers and/or dramaturgs.

This course offers a historical and cultural exploration of theatre forms and performance cultures from various countries that border the Pacific Ocean, as well as from island communities within Oceania. Taking the term 'Asia-Pacific' as a provocation and point of interrogation, we will assess how theatrical production from this broad area can help us think through questions of nationalism, regionalism, interculturalism, and diaspora, while deepening our appreciation of world theatre history. The first part of the course focuses on theatre in specific sites, covering classical forms from China, Japan, and Indonesia, as well as indigenous theatre and performance from several Pacific Islands, including the Cook Islands, S'moa, Aotearoa/New Zealand, and Hawai`i. The second part of the course centers on the ocean as a dynamic space of mobility, examining a range of recent plays and performances that trace identities on the move and across borders, and which reveal how various Asian and Pacific Islander communities have engaged with each other in locations from Australia to the west coast of the United States. In so doing, our course will chart connections and divergences that enable fresh insights into the geographical and cultural dimensions of global theatre.

Focus is on Shakespeare's Hamletas a site of rich critical controversy from the eighteenth century to the present. Aim is to read, discuss, and evaluate different approaches to the play, from biographical, theatrical, and psychological to formalist, materialist, feminist, new historicist, and, most recently, quantitative. The ambition is to see whether there can be great literature without (a) great (deal of) criticism. The challenge is to understand the theory of literature through the study of its criticism.

Criticism is art. It therefore must aspire to reach the heights, depths and strange in-betweens it grapples with in the art of others. Yet criticism owes a singular responsibility to these others, and to the wider culture it seeks to interrogate. Our interrogation will be generated by dance and performance criticism, with possible forays into live visual art, theater, hybrid forms and whatever else we think might suit our purposes. Various methodologies will be debated and employed throughout the semester, as students are encouraged to begin (or continue) developing personal philosophies and voices through their writing. Our meetings will be hands-on affairs, guided by student experiments. ¿Experiments¿ is a key word¿this class will function like a laboratory, an introduction to an unruly literary art form that is open to all individuals with an interest in better understanding themselves and their world through words and art.

The most influential and enduring texts in the dramatic canon from Sophocles to Shakepeare, Chekhov to Soyinka. Their historical and geopolitical contexts. Questions about the power dynamics involved in the formation of canons.

This course introduces students to dance as an important cultural force in the African Diaspora. From capoeira in Brazil to dance hall in Jamaica to hip hop in the United States and Ghana, we will analyze dance as a form of resistance to slavery, colonialism, and oppression; as an integral component of community formation; and as a practice that shapes racial, gendered, and national identity. We will explore these topics through readings, film viewings, and movement workshops (no previous dance experience required). Students will have the option to do a creative performance as part of their final project.

This class is about collaboration: between live performers and digital images, between artists and engineers, and between scholars and artists. It emphasizes conceptual work and creativity in the integration of new and old media. We will take a rigorous but fundamentally hands-on approach to the uses of a wide range of screen technologies - from smart phones to digital projections - in live performance. The class will start with a survey of successful uses of screens in recent theater and performance work, then move to finding novel solutions for particular dramatic scenes.

This course purposefully and explicitly mixes theory and practice. Students will read and discuss the plays of August Wilson, the most celebrated and most produced contemporary American playwright, that comprise his 20th Century History Cycle. Class stages scenes from each of these plays, culminating in a final showcase of longer scenes from his work as a final project.