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91 - 100 of 101 results for: TAPS ; Currently searching offered courses. You can also include unoffered courses

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

TAPS 353P: Black Artistry: Strategies of Performance in the Black Diaspora (AFRICAAM 153P, CSRE 153P, TAPS 153P)

Charting a course from colonial America to contemporary London, this course explores the long history of Black performance throughout an Atlantic diaspora. Defining performance as "forms of cultural staging," from Thomas DeFrantz and Anita Gonzalez's Black Performance Theory, this course takes up scripted plays, live theatre, devised works, performance art, and cinematic performance in its survey of the field. We will engage with theorists, performer, artists, and revolutionaries such as Ignatius Sancho, Maria Stewart, William Wells Brown, Zora Neale Hurston, Derek Walcott, Danai Gurira, and Yvonne Orji. We will address questions around Black identity, history, time, and futurity, as well as other essential strategies Black performers have engaged in their performance making. The course includes essential methodological readings for Black Studies as well as formational writings in Black performance theory and theatre studies. Students will establish a foothold in both AAAS (theory & methodology) and in performance history (plays and performances). As a WIM course, students will gain expertise in devising, drafting, and revising written essays.
Terms: Win | Units: 3-5

TAPS 354G: Black Magic: Ethnicity, Race, and Identity in Performance Cultures (AFRICAAM 154G, AFRICAAM 254G, CSRE 154D, FEMGEN 154G, TAPS 154G)

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. The slogan offered a contemporary iteration of an historical alignment: namely, the concept of "magic" with both Black people as well as "blackness." This course explores the legacy of Black magic--and black magic--through performance texts including plays, poetry, films, and novels. We will investigate the creation of magical worlds, the discursive alignment of magic with blackness, and the contemporary manifestation of a historical phenomenon. We will cover, through lecture and discussion, the history of black magic representation as well as the relationship between magic and religion. Our goal will be to understand the impact and history of discursive alignments: what relationship does "black magic" have to and for "black bodies"? H more »
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. The slogan offered a contemporary iteration of an historical alignment: namely, the concept of "magic" with both Black people as well as "blackness." This course explores the legacy of Black magic--and black magic--through performance texts including plays, poetry, films, and novels. We will investigate the creation of magical worlds, the discursive alignment of magic with blackness, and the contemporary manifestation of a historical phenomenon. We will cover, through lecture and discussion, the history of black magic representation as well as the relationship between magic and religion. Our goal will be to understand the impact and history of discursive alignments: what relationship does "black magic" have to and for "black bodies"? How do we understand a history of performance practice as being caught up in complicated legacies of suspicion, celebration, self-definition? The course will give participants a grounding in black performance texts, plays, and theoretical writings. *This course will also satisfy the TAPS department WIM requirement.*
Terms: Spr | Units: 3-4
Instructors: Robinson, A. (PI)

TAPS 362: Political Performance

In this graduate seminar, we will explore the relationship between performance and ideology in the "long contemporary" (20th - 21st century). In addition to asking what is political performance, we will also raise the question of the politics of performance: is there such a thing, and if so, what is it? Among other topics, we will revisit the debates about autonomous and committed art, emancipatory potential of performance, and live performance in relation to an increasingly automatized sociality. In this exploration, we will study the work of Bertolt Brecht, Walter Benjamin, Louis Althusser, Ng¿g¿ wa Thiong'o, Tania Bruguera and many others.
Terms: Spr | Units: 4

TAPS 371P: Theater and Performance Making (TAPS 101P)

A creative workshop offering a range of generative exercises and techniques in order to devise, compose and perform original works. Students will explore a variety of texts (plays, poems, short stories, paintings) and work with the body, object and site. Students will be encouraged to think critically about various compositional themes and ideas including: the relationship between form and content, aesthetics, space, proximity, and audience. Students will work independently and collaboratively creating original performances.
Terms: Aut | Units: 4

TAPS 372: Directing Workshop: The Actor-Director Dialogue (TAPS 170B)

This course focuses on the actor-director dialogue. We will work with actors and directors developing approaches to collaboration that make the actor-director dialogue in theater. TAPS Ph.D. students are required to enroll in TAPS 372 for 4 units. This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways-AII credit.
Terms: Spr | Units: 2-4 | Repeatable for credit

TAPS 376: Projects in Performance

Creative projects to be determined in consultation with Drama graduate faculty and production advisor
Terms: Aut | Units: 4 | Repeatable 2 times (up to 10 units total)
Instructors: Rau, M. (PI)

TAPS 390: Directed Reading

Students may take directing reading only with the permission of their dissertation advisor. Might be repeatable for credit twice for 6 units total.
Terms: Aut, Win, Spr | Units: 1-6 | Repeatable 4 times (up to 12 units total)

TAPS 391: Summer Research

Independent study course for TAPS PhD students conducting research as part of their preparation to complete upcoming milestone requirements during the summer quarter. Enrollment only permitted for TAPS PhD students in their first, second, or third summer who have not applied for TGR.
Terms: Sum | Units: 1 | Repeatable 5 times (up to 5 units total)

TAPS 460: Decolonization and Decoloniality: Theory, Praxis, and Pedagogy (ARTHIST 460, FILMEDIA 460)

In the past few years, campus protests and petitions have brought about a remarkable reckoning with systemic, curricular structures of inequality, underscoring the epistemic violence of the privileging of white, western, cisheteropatriarchal intellectual traditions in the academy. This seminar mobilizes multiple approaches and orientations from anti-colonial, postcolonial, and decolonial traditions to study discourses of race, caste, indigeneity, gender, and sexuality across a variety of regional and cultural contexts. We will engage with a range of materials -- written texts, films, visual and performance art. In addition to theoretical and historical engagements with decolonization and decoloniality, we will begin to explore decolonial praxis through somatic workshops (including basket-weaving and dance) and through radical pedagogy and critical university studies frameworks.
Terms: Spr | Units: 3-5
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