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11 - 20 of 101 results for: TAPS ; Currently searching offered courses. You can also include unoffered courses

TAPS 28: Makeup for the Stage

Techniques of make-up application and design for the actor and artist including corrective, age, character, and fantasy. Emphasis placed on utilizing make-up for development of character by the actor. Limited enrollment.
Terms: Win | Units: 2
Instructors: Bodurtha, R. (PI)

TAPS 29: TAPS Production Units: Acting

Students cast in department productions receive credit for their participation as actors; 1-2 units for graduate directing workshop projects and 1-3 units for major productions (units determined by instructor). May be repeated for credit. Prerequisite: consent of instructor.
Terms: Aut, Win | Units: 1-3 | Repeatable for credit

TAPS 30: Introduction to Theatrical Design

Introduction to Theatrical Design is aimed at students interested in exploring the fundamentals of design for the stage. Students are introduced to the practical and theoretical basics of design and are challenged to answer the question: What makes good design? Students should expect to try their hand at communicating their ideas visually through research, drawing, sketching and model making. Readings, field trips, guest lecturers and class discussion will complement these projects. This course is intended as a gateway to more specialized courses in set, costume and lighting design and is also an excellent primer for actors, directors and scholars who wish to know more about design. Collaboration will be emphasized. No prior experience in these areas is necessary.
Terms: Spr | Units: 4 | UG Reqs: WAY-CE
Instructors: Bodurtha, R. (PI)

TAPS 31: Introduction to Lighting and Production

Good visual storytelling begins and ends with good lighting. All visual storytelling forms--from photos to films to stage productions--provide a canvas in which lighting paints the scene. Lighting sets a mood, a tone, and can shape character and stories. This course teaches critical thinking, how to conduct thorough research, practical skills, and a mindfulness for live artforms.
Terms: Spr | Units: 4 | UG Reqs: WAY-CE, WAY-A-II
Instructors: Mejia, C. (PI)

TAPS 34: Stage Management Techniques

TAPS 34 examines the role and responsibilities of the Stage Manager within a live performance production organization. This includes exploring and creating methods for documenting, recording and 'calling' a production. The purpose of TAPS 34 is to provide an understanding of the complex and collaborative process involved in mounting a live production, the relationship of the stage manager to this process, and the basic skills and techniques of a stage manager.
Terms: Win | Units: 3
Instructors: Kumaran, L. (PI)

TAPS 39: Theater Crew

Class for students working on TAPS department productions in the following role: backstage/run crew, scenic technician, or costume technician. Night and weekend time possible. Pre-approval from Tyler Osgood (tosgood@stanford.edu) is required for enrollment. Read the information below to determine enrollment section. TAPS has a variety of roles available. No experience is necessary; this is a class and we will train you to fill any assigned position. Section 01 - BACKSTAGE/RUN CREW: will need light board operators, sound board operators, camera operators, deck crew and dressers. Section 02 - SCENE SHOP: Students will be immersed in the utilization of tools and equipment to construct scenery and install theatrical audio/visual systems. Sections 03 & 04 - COSTUME SHOP: Students will learn hands-on costuming techniques including hand sewing, machine sewing, safety standards, costume construction and costuming crafts. (Section 03 meets on Weds. Section 04 meets on Thurs.) Note: Scenic- and more »
Class for students working on TAPS department productions in the following role: backstage/run crew, scenic technician, or costume technician. Night and weekend time possible. Pre-approval from Tyler Osgood (tosgood@stanford.edu) is required for enrollment. Read the information below to determine enrollment section. TAPS has a variety of roles available. No experience is necessary; this is a class and we will train you to fill any assigned position. Section 01 - BACKSTAGE/RUN CREW: will need light board operators, sound board operators, camera operators, deck crew and dressers. Section 02 - SCENE SHOP: Students will be immersed in the utilization of tools and equipment to construct scenery and install theatrical audio/visual systems. Sections 03 & 04 - COSTUME SHOP: Students will learn hands-on costuming techniques including hand sewing, machine sewing, safety standards, costume construction and costuming crafts. (Section 03 meets on Weds. Section 04 meets on Thurs.) Note: Scenic- and costume-shop appropriate clothing and closed-toed shoes are required for this class. Securely fasten long hair/loose clothing/jewelry to protect catching it in machine parts/when using machines. Project specific clothing may be suggested occasionally for work with paints, dyes or when in storage spaces. Aprons, masks, gloves, goggles and other PPE will be provided and available.
Terms: Aut, Win, Spr | Units: 1-3 | Repeatable 4 times (up to 15 units total)

TAPS 89SI: The Last Great American Songwriter: Storytelling with Taylor Swift through the Eras

This course delves into the art of songwriting, exploring the intricate interplay between literary references, lyricism, and storytelling techniques in Taylor Swift's discography, taking it "era by era." Students will analyze Swift's repertoire and draw parallels to classic works of literature and poetry, gaining a deep understanding of the narrative power of music. The course encourages viewing albums and songs as texts, aiming to understand how emotions and feelings are encapsulated through lyrics and how they connect with listeners. Students will explore how the structure of a song can resemble that of a novel, with the climax of the story akin to a song's bridge. This course will dissect Taylor Swift's evolution as a lyricist and her lasting impact on the music industry. We will also highlight what sets her apart from her contemporaries and her ability to influence cultural conversations beyond music. The course is capped at 20 students, so this application will be used to provide more »
This course delves into the art of songwriting, exploring the intricate interplay between literary references, lyricism, and storytelling techniques in Taylor Swift's discography, taking it "era by era." Students will analyze Swift's repertoire and draw parallels to classic works of literature and poetry, gaining a deep understanding of the narrative power of music. The course encourages viewing albums and songs as texts, aiming to understand how emotions and feelings are encapsulated through lyrics and how they connect with listeners. Students will explore how the structure of a song can resemble that of a novel, with the climax of the story akin to a song's bridge. This course will dissect Taylor Swift's evolution as a lyricist and her lasting impact on the music industry. We will also highlight what sets her apart from her contemporaries and her ability to influence cultural conversations beyond music. The course is capped at 20 students, so this application will be used to provide enrollment codes for selected students. Unfortunately, no auditing of this course will be allowed. The application is due March 1st at 12:00pm PT (noon). You will be notified by March 5th if you've been accepted into the course [enrollment opens March 6th]. Apply here: http://tinyurl.com/TaylorSwiftStanford2024.
Terms: Spr | Units: 1

TAPS 99: Kinesthetic Delight: Movement and Meditation (LIFE 99, WELLNESS 99)

The words meditation and mindfulness often conjure images of people sitting quietly in peaceful contemplation. However, as contemplatives and scholars from various fields have argued, though the brain resides in the cranium, the mind functions throughout the body. Students in this class will playfully explore embodied and dynamic forms of meditation and mindfulness through movement in an effort to integrate the mind and body. Examples of modalities include Lisa Nelson's Tuning Scores, Barbara Dilley's Contemplative Dance Practices, and other movement practices including qigong, laughter yoga, and psychogeography. Students will work in teams to develop their own movement-meditation scores inspired by these practices.
Terms: Win | Units: 1-2 | UG Reqs: WAY-CE | Repeatable 2 times (up to 4 units total)
Instructors: Otalvaro, G. (PI)

TAPS 100: Introduction to Theater Practice (TAPS 211)

Two-time OBIE-winning instructor Young Jean Lee has written and directed ten shows with her theater company, toured her work to over thirty cities around the world, and directed three short films that showed at festivals including Sundance and Locarno. In this class, students will be given space and support to research and experiment with areas of interest in theater and performance practice that are relatively new to them. Potential subjects for study include acting, directing, designing, choreographing, and writing. You can choose to focus a little on everything, investigate one new area, or try out a few different things. In-class work will include collaboration on projects to practice new skills. If interested, please email the instructor at yjl@stanford.edu on or after December 14 (any request sent sooner will not be considered) with the following: 1) Your year of study; 2) Your major/prospective major; 3) Your previous theater and performance practice experience; 4) Potential area/s of interest for this class.
Terms: Aut, Win | Units: 1-4 | UG Reqs: WAY-CE | Repeatable 6 times (up to 24 units total)
Instructors: Lee, Y. (PI)

TAPS 100C: History of World Cinema III: Queer Cinemas around the World (ARTHIST 164, ARTHIST 364, CSRE 102C, CSRE 302C, FEMGEN 100C, FEMGEN 300C, FILMEDIA 100C, FILMEDIA 300C, GLOBAL 193, GLOBAL 390, TAPS 300C)

Provides an overview of cinema from around the world since 1960, highlighting the cultural, political, and economic forces that have shaped various film movements over the last six decades. Specific topics may vary by term/year/instructor. This term's topic, Queer Cinemas around the World, engages with a range of queer cinematic forms and queer spectatorial practices in different parts of the world, as well as BIPOC media from North America. Through film and video from Kenya, Malaysia, India, The Dominican Republic, China, Brazil, Palestine, Japan, Morocco, the US etc., we will examine varied narratives about trans experience, same-sex desire, LGBTQI2S+ rights, censorship, precarity, and hopefulness. This course will attune us to regional cultural specificities in queer expression and representation, prompting us to move away from hegemonic and homogenizing understandings of queer life and media. Notes: Screenings will be held on Fridays at 1:30PM in Oshman Hall. Screening times will vary slightly from week to week.
Terms: Spr | Units: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable 2 times (up to 10 units total)
Instructors: Iyer, U. (PI)
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