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11 - 20 of 51 results for: TAPS

TAPS 115: Musical Theater (MUSIC 183D)

In this workshop we will traverse the landscape of world of Musical Theater. It will serve as an introduction for the beginning actor and singer, and expand the more experienced performer's range in this genre. The world of Musical Theater is filled with stories of love, passion, joy, violence, heartbreak and rage. The class will include an introduction to vocal and movement skills for musical theater, beginning with exercises to build an ensemble and encourage a sense of play and relaxation in supportive environment. Our class must be a place where everyone feels safe. As ensemble members, we will be responsible for each other in this environment. nnStudents will choose one solo song, and perform in a group number from this exciting discipline. The instructor will work with the actors on technique, utilization of action, specificity of language, personalization, and emotional truth. A professional coach from the theater community will conduct vocal coaching. Physical warm-ups and chor more »
In this workshop we will traverse the landscape of world of Musical Theater. It will serve as an introduction for the beginning actor and singer, and expand the more experienced performer's range in this genre. The world of Musical Theater is filled with stories of love, passion, joy, violence, heartbreak and rage. The class will include an introduction to vocal and movement skills for musical theater, beginning with exercises to build an ensemble and encourage a sense of play and relaxation in supportive environment. Our class must be a place where everyone feels safe. As ensemble members, we will be responsible for each other in this environment. nnStudents will choose one solo song, and perform in a group number from this exciting discipline. The instructor will work with the actors on technique, utilization of action, specificity of language, personalization, and emotional truth. A professional coach from the theater community will conduct vocal coaching. Physical warm-ups and choreography will be suited for both the dancer and non-dancer.nnThe class will culminate in the last week with live performance for friends and family.nnSTUDENTS ARE ENCOURAGED TO BRING THEIR OWN SUGGESTIONS. (Isn't there a role you've always wanted to sing?)nnRequired text: Broadway Musicals Show by Show: Sixth Edition - Stanley Green; Paperback
Terms: Spr | Units: 1-3 | UG Reqs: WAY-CE | Grading: Letter or Credit/No Credit

TAPS 120B: Acting II: Advanced Acting

Learn how to expand character work, beyond what is immediately familiar. Continuing basic practices from the first part of the sequence, in this quarter they will look beyond the strictly contemporary, and may begin to approach roles drawn from more challenging dramatic texts. This might include plays chosen from mid-century American classics, World Theater, or other works with specific historic or cultural requirements. Actors begin to learn how a performing artist researches and how that research can be used to enrich and deepen performance. Prerequisite: 120A or consent of instructor.
Terms: Spr | Units: 1-3 | UG Reqs: WAY-CE | Grading: Letter or Credit/No Credit
Instructors: Freed, A. (PI)

TAPS 124D: Acting for Non-Majors

Formerly TAPS 20. 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.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Grading: Satisfactory/No Credit

TAPS 125C: Acting Chekhov

Playwright Anton Chekhov helped revolutionize the theater with his naturalistic representation of life onstage. In this course, students will explore the creation of character and ensemble by doing scenes from Chekhov's plays with a particular focus on relationship, subtext, sensory life, and Russian history and culture in 1900. Students will practice the improvisational technique of Active Analysis to connect with and embody characters and events, as well as exploring various exercises of Michael Chekhov's such as the Psychological Gesture, and exercises involving tempo-rhythm, physical centers, and archetypes. Prerequisite: Acting 120A.
Terms: Spr | Units: 3 | Grading: Letter (ABCD/NP)

TAPS 127W: Introduction to Clown

This course is an introduction to the world and play of the theatrical clown, constructed for actors to explore truth in size, vulnerability, and a personal sense of humor. Students will develop their ability to play with the audience, a greater capacity for freedom and abandon onstage, and a healthier relationship to failure and human idiocy. Areas of study include partnership and status play, comic rhythm and timing, the structure and development of comic material, and the beginnings of a personal eccentric Clown character. All coursework will be experiential and practical. Some stage experience is recommended but not required. Some outside rehearsal/investigation time required.
Terms: Spr | Units: 3 | Grading: Letter (ABCD/NP)
Instructors: Chapman, M. (PI)

TAPS 132: Costume Design

This course introduces the goals, directives and techniques of designing costumes for performance. From the first reading of the script to opening night, all aspects will be covered including director/designer relationships, design approach, research, rendering, fabric selection, procurement or construction of costumes, fittings and final dress rehearsals. Each student will work on, or be assigned one main project of their choice. This class can coincide or be taken in advance of a student¿s involvement in a campus show, utilizing the campus project as their main project in the class. Smaller exercises will be given throughout the quarter to emphasize principles and invigorate design discussions. All students will be required to attend the performances of their peers¿ projects. One field trip to a professional theater may be planned.
Terms: Spr | Units: 4 | UG Reqs: WAY-CE | Grading: Letter or Credit/No Credit
Instructors: Strayer, C. (PI)

TAPS 134: Stage Management Project

For students stage managing a production in the Department of Theater and Performance Studies.
Terms: Aut, Win, Spr, Sum | Units: 3-5 | Repeatable for credit | Grading: Letter or Credit/No Credit
Instructors: Kumaran, L. (PI)

TAPS 135C: Theory & Craft of the Scenographic Model

Students learn studio techniques for constructing dimensional models for stage designs. Students will work with their hands using common materials such as cardboard, paint and wood. Use of Stanford's Product Realization Lab encouraged for specialty items such as miniature furniture depending on departmental coordination.
Terms: Spr | Units: 3 | Grading: Satisfactory/No Credit
Instructors: Flatmo, E. (PI)

TAPS 140: Introduction to Projects in Theatrical Production

A seminar course for students performing significant production work on Theater and Performance Studies Department or other Stanford University student theater projects. Students serving as producers, directors, designers or stage managers, who wish mentorship and credit for their production work sign up for this course and contact the instructor, Laxmi Kumaran. nPrerequisite: consent of instructor.
Terms: Aut, Win, Spr | Units: 1-4 | Repeatable for credit | Grading: Letter or Credit/No Credit
Instructors: Kumaran, L. (PI)

TAPS 150G: Performing Race, Gender, and Sexuality (CSRE 150G)

This theory and practice-based course will examine performances by and scholarly texts about artists who critically and mindfully engage race, gender, and sexuality. Students will cultivate their skills as artist-scholars through written assignments and the creation of performance-based works in response to the assigned material. Attendance and written reflection on the TAPS Vital Signs: Performance Art in the 21st Century performance art series are required. The practical component of the class will also incorporate meditation into the process of preparing for, making, and critiquing performance. We will approach mindfulness as method and theory in our own practice, as well in relation to the works studied, while attending to the ethics and current debates concerning its use. Examples of artists studied include James Luna, Nao Bustamante, William Pope.L, Yoko Ono, Cassils, Adrian Piper, Guillermo Gomez-Peña, Nikki S. Lee, and Ana Mendieta.
Terms: Spr | Units: 4 | Grading: Letter or Credit/No Credit
Instructors: Otalvaro, G. (PI)
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