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21 - 30 of 47 results for: TAPS

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)

TAPS 154G: Black Magic: Ethnicity, Race, and Identity in Performance Cultures

In 2013, CaShawn Thompson devised a Twitter hashtag, #blackgirlmagic, to celebrate the beauty and intelligence of black women. Twitter users quickly adopted the slogan, using the hashtag to celebrate everyday moments of beauty, accomplishment, and magic. In contrast, #blackmagic is used to describe everything from the uncanny to the personal. This course examines the discursive phenomenon of "black magic" and its permutations throughout Anglo-American histories. We will investigate the binaries of black/dark, white/light magic that has entered our contemporary lexicon, reading material on religion, magic performance, and theater.
Terms: Spr | Units: 3-4 | Grading: Letter or Credit/No Credit
Instructors: Robinson, A. (PI)

TAPS 154I: Who Lives, Who Dies, Who Tells the Story: Identity and Representation in American Musical Theater (MUSIC 151G)

Throughout the twentieth century and into the present day, musicals have sought to tell stories about a broad range of American experiences and engage with complex social issues. Foremost among these themes are the topics of race and cultural appropriation, immigration and citizenship, and LGBT lives and queer identity. Even as they seek to represent diverse perspectives and facilitate progressive social change, musicals just as often can reinforce and replicate troubling conceptions surrounding gender, race, sexual identity. This course will examine works of musical theater from the 1920s to the present day in order to understand how each of these individual works, and the musical as a genre and institution, navigates this forward-and-backward tension surrounding these three topics. Our focus will be on commercially successful stage and screen musicals that cover the span of almost a hundred years, from The Jazz Singer (1927) to Hamilton (2015). In the course of lectures and discussio more »
Throughout the twentieth century and into the present day, musicals have sought to tell stories about a broad range of American experiences and engage with complex social issues. Foremost among these themes are the topics of race and cultural appropriation, immigration and citizenship, and LGBT lives and queer identity. Even as they seek to represent diverse perspectives and facilitate progressive social change, musicals just as often can reinforce and replicate troubling conceptions surrounding gender, race, sexual identity. This course will examine works of musical theater from the 1920s to the present day in order to understand how each of these individual works, and the musical as a genre and institution, navigates this forward-and-backward tension surrounding these three topics. Our focus will be on commercially successful stage and screen musicals that cover the span of almost a hundred years, from The Jazz Singer (1927) to Hamilton (2015). In the course of lectures and discussions we will build a working vocabulary for analyzing the musical's salient components including music and lyrics, staging, libretto, choreography, and cinematography and engage with key scholarship from musicology, performance studies, film studies, and American studies. The final week of class will examine current and planned musical theater productions on campus using the tools and perspectives from the previous three parts.
Terms: Spr | Units: 4 | Grading: Letter or Credit/No Credit

TAPS 156V: Vital Signs: Performance in the 21st Century (ARTSTUDI 256V, TAPS 256V)

The first decade and a half of the 21st century have been transformative for performance art. On the one hand, it brought an unprecedented cultural acceptance of this art form, which is now featured in most prestigious museums and art festivals; on the other, the most recent generation of performance artists is showing a great awareness of the historicity and complexity of this form. In this class, we will try to recognize and investigate these and other prominent features of performance art produced since the turn of the millennium. We will use as our primary case studies performances that will be featured in the series Vital Signs: Contemporary Performance Art Series, hosted by TAPS in 2017-2018.nnThe primary objective of the series is to highlight and showcase underrepresented performance forms such as experimental performance art, durational art, and body art, among others, by artists from communities that remain invisible or underrepresented in mainstream performing arts. The seri more »
The first decade and a half of the 21st century have been transformative for performance art. On the one hand, it brought an unprecedented cultural acceptance of this art form, which is now featured in most prestigious museums and art festivals; on the other, the most recent generation of performance artists is showing a great awareness of the historicity and complexity of this form. In this class, we will try to recognize and investigate these and other prominent features of performance art produced since the turn of the millennium. We will use as our primary case studies performances that will be featured in the series Vital Signs: Contemporary Performance Art Series, hosted by TAPS in 2017-2018.nnThe primary objective of the series is to highlight and showcase underrepresented performance forms such as experimental performance art, durational art, and body art, among others, by artists from communities that remain invisible or underrepresented in mainstream performing arts. The series is curated by the Los Angeles-based artist Cassils, who has been listed by the Huffington Post as ¿one of ten transgender artists who are changing the landscape of contemporary art¿ and has achieved international recognition for a rigorous engagement with the body as a form of social sculpture. Cassils¿s curatorial vision is to present established performance artists alongside emerging artists. Each quarter, a pair of artists will visit Stanford for two days (Thursday-Friday). On day one of their visit they will offer a workshop or a public performance, and on the second day they will engage in a public dialogue. The class will meet each quarter for three weeks: before, during, and after the artists¿ visit. This way, the students will have an opportunity to prepare for the visit, engage with the visiting artists, and reflect on their work. They will receive their grades upon completion of the class, in the spring of 2018.
Terms: Aut, Win, Spr | Units: 1 | Grading: Satisfactory/No Credit

TAPS 157: World Drama and Performance (TAPS 357)

This course takes up a geographically expansive conversation by looking at modern and contemporary drama from nations including Ghana, Egypt, India, Argentina, among others. Considering influential texts from the Global South will also enable us to explore a range of themes and methodologies that are radically re-shaping the field of Performance Studies. We will examine the relationship between colonialism and globalization, empire and capital, cosmopolitanism and neoliberalism. Re-situating our perspective from the Global South and the non-western world, we will ¿provincialize Europe¿ and probe the limits of its universalizing discourses.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit
Instructors: Menon, J. (PI)

TAPS 160M: Introduction to Representations of the Middle East in Dance, Performance, & Popular Culture (CSRE 160M, DANCE 160M, FEMGEN 160M)

This course will introduce students to the ways in which the Middle East has been represented and performed by/in the 'West' through dance, performance, and popular culture in both historical and contemporary contexts. A brief look through today's media sources exposes a wide range of racialized and gendered representations of the Middle East that shape the way the world imagines the Middle East to be. As postcolonial theorist Edward Said explains, the framework we call Orientalism establishes the ontological character of the Orient and the Oriental as inherently `Other'. Starting with 19th century colonialism and continuing into the post-9/11 era, this course will trace the Western production, circulation, and consumption of representations of the Middle East as 'Other' in relation to global geopolitics. We will further examine dance forms produced in mid-twentieth century Iran and Egypt, with particular attention to nation-state building and constructions of gender. Finally, we will more »
This course will introduce students to the ways in which the Middle East has been represented and performed by/in the 'West' through dance, performance, and popular culture in both historical and contemporary contexts. A brief look through today's media sources exposes a wide range of racialized and gendered representations of the Middle East that shape the way the world imagines the Middle East to be. As postcolonial theorist Edward Said explains, the framework we call Orientalism establishes the ontological character of the Orient and the Oriental as inherently `Other'. Starting with 19th century colonialism and continuing into the post-9/11 era, this course will trace the Western production, circulation, and consumption of representations of the Middle East as 'Other' in relation to global geopolitics. We will further examine dance forms produced in mid-twentieth century Iran and Egypt, with particular attention to nation-state building and constructions of gender. Finally, we will examine artistic productions and practices from the Middle East and Middle Eastern diasporic communities that respond to colonialism, war, displacement, secularism, and Euro-American Empire. Using dance studies, postcolonial feminist, and critical race theoretical frameworks, we will consider the gender, racial, political, and cultural implications of selected performance works and practices in order to analyze how bodies produce meaning in dance, performance art, theater, film, photography, and new media. Students will engage in multiple modes of learning; the course will include lectures, engaged group discussions, viewing of live and recorded performance, embodied participation in dance practice, student oral presentations, and a variety of writing exercises. Course assignments will culminate in a final research project related to class themes and methods.
Terms: Spr | Units: 3-4 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit

TAPS 174V: Staging Change: from A Doll's House to Votes for Women!

A practice-led exploration of women in theater at the rise of feminism and realism: 75% workshop 25% seminar with 2 public table reads and a class production (play TBD depending on class size and constituency) to be staged in Roble or Pigott theater at the end of Fall quarter. Students will use Hill's new book Sex, Suffrage and the Stage (2017) for historical context in their readings and scene work on 12 iconic plays that transformed stage representations of women, including A Doll's House, The Notorious Mrs Ebbsmith, A Woman of No Importance, Mrs Warren's Profession and Votes for Women!
Terms: Spr | Units: 4 | UG Reqs: WAY-CE | Grading: Letter or Credit/No Credit

TAPS 180Q: Noam Chomsky: The Drama of Resistance

Preference to sophomores. Chomsky's ideas and work which challenge the political and economic paradigms governing the U.S. Topics include his model for linguistics; cold war U.S. involvements in S.E. Asia, the Middle East, Central and S. America, the Caribbean, and Indonesia and E. Timor; the media, terrorism, ideology, and culture; student and popular movements; and the role of resistance.
Terms: Spr | Units: 3 | UG Reqs: GER:DB-Hum, WAY-ER, WAY-SI | Grading: Letter (ABCD/NP)
Instructors: Rehm, R. (PI)

TAPS 190: Special Research

Individual project on the work of a playwright, period, or genre. Prerequisite: consent of instructor.
Terms: Aut, Win, Spr, Sum | Units: 1-5 | Repeatable for credit | Grading: Letter or Credit/No Credit

TAPS 191: Independent Study

Individual supervision of off-campus internship. Prerequisite: consent of instructor.
Terms: Aut, Win, Spr, Sum | Units: 1-18 | Repeatable for credit | Grading: Letter or Credit/No Credit
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