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21 - 30 of 53 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. The 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 serie 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. The 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 175T: Collaborative Theater-Making (TAPS 275T)

In this workshop, we will collectively originate an idea for a play; create a draft together using improvisation, interviews, conversations, and source materials such as books, films, and music; and collaborate on editing it into a first-draft script while performing it in rehearsal. This class will teach students the basics of making a play, the process of theatrical collaboration, directing your own work, and the tools of devised ensemble work. Students will observe me leading the collaboration for the first half of the term and then will have the option of taking turns leading the collaboration for the second half. We will also analyze videos of collaboratively-created shows. Students will be required to read aloud and move around to stage the play, but acting and theater experience are not required. Students must apply to be considered for this course.nnAPPLICATION PROCESSnApplication materials:n1. Write a five-minute play (no longer than one page) that uses no spoken or sung words more »
In this workshop, we will collectively originate an idea for a play; create a draft together using improvisation, interviews, conversations, and source materials such as books, films, and music; and collaborate on editing it into a first-draft script while performing it in rehearsal. This class will teach students the basics of making a play, the process of theatrical collaboration, directing your own work, and the tools of devised ensemble work. Students will observe me leading the collaboration for the first half of the term and then will have the option of taking turns leading the collaboration for the second half. We will also analyze videos of collaboratively-created shows. Students will be required to read aloud and move around to stage the play, but acting and theater experience are not required. Students must apply to be considered for this course.nnAPPLICATION PROCESSnApplication materials:n1. Write a five-minute play (no longer than one page) that uses no spoken or sung words. Only stage directions/descriptions allowed. Other than that, there are no rules. You could have a cast of 100 with live elephants onstage. Don¿t worry about using proper play structure or formatting, or about making the play exactly five minutes, or anything technical. This is not about testing your knowledge of how to write a play. Write something that you personally would love to see onstage. It doesn¿t have to resemble a typical play in any way, unless you want it to. This will be the most important part of your application, because it will show me what interests you creatively.n2. Write a letter (no longer than one page) briefly describing your personal background, your artistic experience (including non-theater writing, visual arts, music, dance, etc.), and your theater background, if any. The letter should also include why you¿re interested in taking this class and what you hope to get out of it.n3. Include a photo of yourself where your face is clearly visible (no sunglasses and no full-length shots please).nPlease email your applications to yjlapplications@gmail.com, indicating in the subject line which of my classes you are applying for--WRITING A FULL-LENGTH PLAY or COLLABORATIVE THEATER-MAKING. If you are applying for both, write both class titles in your subject line and include in your letter (no longer than two pages) your reasons for wanting to take each class.
Terms: Spr | Units: 4 | Grading: Letter (ABCD/NP)

TAPS 178D: Editing a Full-Length Play (TAPS 278D)

To participate in this workshop, students must bring in a draft of a full-length play (straight plays only) for revision, which may have been written in Part One of this course, ¿Writing a Full-Length Play.¿ Students can participate in this class without having taken Part One, as long as they¿ve written a full-length play they can work on. In conjunction with a variety of other editing techniques, students will focus on editing in collaboration with others. They will learn how to edit in response to hearing their plays read aloud; how to give and solicit the most useful kinds of feedback; how to cope with harsh criticism; what to do when people are offended by what they¿ve written; how to know which notes to pay attention to and which notes to ignore; and how to let go of ideas and text that aren¿t working. We will also discuss getting your work produced vs. self-producing; directing your own work vs. working with a director; and starting your own theater company. The class will culmin more »
To participate in this workshop, students must bring in a draft of a full-length play (straight plays only) for revision, which may have been written in Part One of this course, ¿Writing a Full-Length Play.¿ Students can participate in this class without having taken Part One, as long as they¿ve written a full-length play they can work on. In conjunction with a variety of other editing techniques, students will focus on editing in collaboration with others. They will learn how to edit in response to hearing their plays read aloud; how to give and solicit the most useful kinds of feedback; how to cope with harsh criticism; what to do when people are offended by what they¿ve written; how to know which notes to pay attention to and which notes to ignore; and how to let go of ideas and text that aren¿t working. We will also discuss getting your work produced vs. self-producing; directing your own work vs. working with a director; and starting your own theater company. The class will culminate in readings of the students¿ final draft in class with invited guests. Students must apply to be considered for this course.nnAPPLICATION PROCESSnApplication materials:n1. Write a five-minute play (no longer than one page) that uses no spoken or sung words. Only stage directions/descriptions allowed. Other than that, there are no rules. You could have a cast of 100 with live elephants onstage. Don¿t worry about using proper play structure or formatting, or about making the play exactly five minutes, or anything technical. This is not about testing your knowledge of how to write a play. Write something that you personally would love to see onstage. It doesn¿t have to resemble a typical play in any way, unless you want it to. This will be the most important part of your application, because it will show me what interests you creatively.n2. If you have not taken my ¿Writing a Full-Length Play¿ class, please submit a copy of a full-length play.n3. Write a letter (no longer than one page) briefly describing your personal background, your artistic experience (including non-theater writing, visual arts, music, dance, etc.), and your theater background, if any. The letter should also include why you¿re interested in taking this class and what you hope to get out of it.n4. Include a photo of yourself where your face is clearly visible (no sunglasses and no full-length shots please).nPlease email your applications to yjlapplications@gmail.com.
Terms: Spr | Units: 4 | Grading: Letter (ABCD/NP)

TAPS 179P: Professional Development

The goal of this class will be to prepare students in their final year to launch a career in film and television. We¿ll look at ways that successful professionals got their starts, explore entry-level jobs that can lead to work as a writer, director and/or producer, examine how Hollywood recruits talent from the theater world, and discuss ways to create, distribute and publicize independent projects from shorts to features. The class will focus heavily on pitching ideas for narrative and documentary television series and films. We¿ll study the types of materials used to make pitches and each student will generate and develop three ideas for film or television, then pitch their projects in a professional setting.
Terms: Spr | Units: 3 | Grading: Satisfactory/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)
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