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41 - 50 of 53 results for: TAPS

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

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 275T: Collaborative Theater-Making (TAPS 175T)

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

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 290: Special Research

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

TAPS 292: Nitery Board Practicum (TAPS 192)

Credit given for student board members of the Experimental Nitery Studio. Undergraduate students should enroll in TAPS 192. Ph.D. students should enroll in TAPS 292.
Terms: Aut, Win, Spr | Units: 1 | Repeatable for credit | Grading: Satisfactory/No Credit
Instructors: Hill, L. (PI)

TAPS 314: Performing Identities (CSRE 314, FEMGEN 314)

This course examines claims and counter-claims of identity, a heated political and cultural concept over the past few decades. We will consider the ways in which theories of performance have offered generative discursive frameworks for the study of identities, variously shaped by vectors of race, gender, sexuality, religion, class, nation, ethnicity, among others. How is identity as a social category different from identity as a unique and personal attribute of selfhood? Throughout the course we will focus on the inter-locking ways in which certain dimensions of identity become salient at particular historical conjunctures. In addition, we will consider the complex discourses of identity within transnational and historical frameworks. Readings include Robin Bernstein, Ann Pellegrini, Tavia Nyong¿o, Jose Munoz, Michael Taussig, Wendy Brown, Talal Asad, Jasbir Puar, among others.
Terms: Spr | Units: 4 | Grading: Letter (ABCD/NP)
Instructors: Brody, J. (PI)

TAPS 315: Dramaturgy

In this seminar, we will take the conventional idea of dramaturgy for narrative performance as developed in Western European theater since the enlightenment, and investigate its relation to non-narrative forms of performance in 20th and 21st (performance art, conceptual dance). Further, we will use dramaturgical procedures to explore the ideological content of performance and position of art institutions in our society. Finally, the students will get acquainted with production dramaturgy and get necessary tools to take the role of dramaturgs in actual performance productions.
Terms: Spr | Units: 4 | Grading: Letter (ABCD/NP)

TAPS 335: Introduction to Graduate Production

This course introduces first-year TAPS PhD student to the TAPS production process and resources. Meetings will be scheduled ad hoc.
Terms: Spr | Units: 1 | Grading: Satisfactory/No Credit

TAPS 356T: Intro to Psychoanalysis as a Critical Method (ENGLISH 356T)

Primary reading in Freud, Lacan, Laplanche, Irigaray and Kristeva. Secondary readings in film theory (Mulvey to Silverman), art history (Bryson, Bersani) and poststructuralism (Derrida, Foucault, Butler).
Terms: Spr | Units: 3-5 | Grading: Letter (ABCD/NP)
Instructors: Phelan, P. (PI)

TAPS 357: World Drama and Performance (TAPS 157)

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 | Grading: Letter or Credit/No Credit
Instructors: Menon, J. (PI)
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