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51 - 60 of 170 results for: TAPS

TAPS 13AX: Musical Theater

Have you ever seen a great musical and wondered, "How do the actors do it?" In this workshop we will explore the mechanics of acting in musicals as we practice solos and scene work from contemporary and classic musicals.nnMaterial will range from the "golden age¿ of musicals of the 1930¿s to new releases. Possible choices are: Gypsy, Company, My Fair Lady, Sweeney Todd, Oklahoma!, Guys and Dolls, Cabaret, West Side Story, A Chorus Line, Ragtime, Urinetown, Dreamgirls, Hair, Avenue Q, South Pacific, Damn Yankees, Anything Goes, Hedwig and the Angry Inch, Caroline, or Change, Ain¿t Misbehavin¿, Next to Normal, Hairspray, and others. Students are encouraged to suggest their own material in their application for the program.nnThe class will be accessible to both beginners and experienced actors/singers and will include in-depth work on vocal technique, utilization of action, specificity of language, personalization, emotional truth, character, and given circumstance. Students will develop an awareness of the demands of the performance experience in a safe and supportive environment. They will be encouraged to work to expand their range and will study and perform a solo and a scene from a musical. These assignments will require a minimum of 2 two-hour sessions with a scene partner during a scene rehearsal week. Commitment and responsibility to scene partners is a crucial component to successful work in the theater. In addition to required readings, students will be expected to conduct some research on the world of the playwright, librettist, and composer. We will end our workshop with a final performance of the work in a showcase for an invited audience. nnAll levels welcome!

TAPS 13SC: Journeying In and Out: Creative Writing and Performance in Prison

The United States imprisons more people than any other nation. Including those on probation or parole, over seven million adults are currently under correctional supervision in the U.S. - that's 1 in every 50 Americans. The United States also incarcerates more youth than all other countries. Each year approximately 500,000 young people are brought to detention centers, and an estimated 250,000 young people are tried, sentenced, or incarcerated as adults, the majority for non-violent offenses. On any given night in America, 87,000 children are housed in juvenile residential placements, and 10,000 children are held in adult jails and prisons. Despite the magnitude of these numbers, prisons and juvenile detention centers are uniquely closed and sequestered institutions. nThis class works collaboratively with a local juvenile hall to use literature, writing, and performance to explore the lives of incarcerated youth. In the process, students gain an understanding of incarceration on an immediate and personal scale. Stanford students will work directly with students serving sentences at Hillcrest Juvenile Hall, using collaborative writing and performance projects to share their individual experiences and voices. Stanford students will also engage in writing exercises and discussion groups on campus in order to explore their own relationship to freedom and punishment, choices, changes, and mercy. Class readings, screenings, and discussions will foreground the legal, social, and historical contexts surrounding incarceration as well as the social and behavioral changes made possible through arts programming in prisons. In addition to sustained collaborations with incarcerated youth, the class includes workshops with formerly incarcerated artists, authors, and advocates as well as visits to historic and active prison facilities. Taught jointly by a fiction writer and a dance studies historian, and using the template of the hero¿s journey as our guide, we will consider how writing and performance might mediate understandings of crime, punishment, and rehabilitation.

TAPS 140: Projects in Theatrical Production

A seminar course for students performing significant production work on Drama Department or other Stanford University student theatre projects. Students serving as producers, directors, designers or stage managers, who wish mentorship and credit for their production work sign up for this course and contact the instructor, Linda AppersonnPrerequisite: consent of instructor.
Terms: Aut, Win, Spr | Units: 1-4 | Repeatable for credit

TAPS 144: Puppetry with a Twist (TAPS 344)

Creative course is an introduction to puppetry with a survey of important styles and techniques from around the world including Twist's own. Hands on and individualized experience with the aim of each student creating or contributing to a puppet or object/figure performance. Course is as broad as the individual's creative expression. Concludes with a class showing/performance of the student's work.
Terms: Spr | Units: 3-4 | UG Reqs: WAY-CE

TAPS 151T: Great Books: Dramatic Traditions (TAPS 351)

The most influential and enduring texts in the dramatic canon from Sophocles to Shakepeare, Chekhov to Soyinka. Their historical and geopolitical contexts. Questions about the power dynamics involved in the formation of canons.
Terms: Win | Units: 4 | UG Reqs: WAY-A-II

TAPS 156: Performing History: Race, Politics, and Staging the Plays of August Wilson (AFRICAAM 156, TAPS 356)

This course purposefully and explicitly mixes theory and practice. Students will read and discuss the plays of August Wilson, the most celebrated and most produced contemporary American playwright, that comprise his 20th Century History Cycle. Class stages scenes from each of these plays, culminating in a final showcase of longer scenes from his work as a final project.
Terms: Aut | Units: 4 | UG Reqs: WAY-CE, WAY-EDP

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: Aut | Units: 4 | UG Reqs: WAY-A-II, WAY-EDP
Instructors: Menon, J. (PI)

TAPS 158L: The Ethics of Storytelling: The Autobiographical Monologue in Theory, in Practice, and in the World (ETHICSOC 201R, TAPS 358L)

Recently a theatrical monologuist gained notoriety when it was revealed that key aspects of one of his "autobiographical" stories had been fabricated. In this class another autobiographical monologuist -- who has himself lied many times in his theater pieces, without ever getting caught -- will examine the ethics of telling our life stories onstage. Does theatrical "truth" trump factual truth? We will interrogate several autobiographical works, and then -- through autobiographical pieces created in class -- we will interrogate ourselves.
Last offered: Winter 2013 | UG Reqs: WAY-CE

TAPS 159: Introduction to Game Studies

Games are not new; they are older than civilization. But in the past 50 years or so, we have seen an explosion of creativity in the development of new games, many of which, especially video games, complicate older understandings of what games are. This explosion of creativity has been matched by the increasing visibility and ubiquity of new games and ways of seeing games: as video games, televised professional sports, and even distributed urban events.n nGames are not a simple object of study. There are many ways to understand them: as social practices, as formal systems, as representative artwork, as modes of learning, and many more. We will start by considering games as a mode of performance, considering games in relation to theater and other forms of aesthetic performance. However, we will take a deeply interdisciplinary approach to the study of games, and will draw on perspectives from design, philosophy, education, and the emerging discipline of video game studies. We will also, of course, draw on a variety of games, both online and offline. As we bring in these perspectives, we will begin to consider games in at least two other fundamental ways: as designed experiences and as composed systems or artworks.nnThis course is less an attempt to provide a survey of the entire field of games. It is more an attempt to provide a basic toolbox for critically examining and analyzing games. These tools are potentially useful for anyone who interacts with games: whether as a consumer of entertainment, a critical analyst of play, a user of serious games, or a game designer.
Terms: Aut, Win | Units: 4 | UG Reqs: WAY-A-II

TAPS 160: Rethinking the Ballerina (DANCE 160, TAPS 260)

The ballerina occupies a unique place in popular imagination as an object of over-determined femininity as well as an emblem of extreme physical accomplishment for the female dancer. This seminar is designed as an investigation into histories of the ballerina as an iconographic symbol and cultural reference point for challenges to political and gender ideals. Through readings, videos, discussions and viewings of live performances this class investigates pivotal works, artists and eras in the global histories of ballet from its origins as a symbol of patronage and power in the 15th century through to its radical experiments as a site of cultural obedience and disobedience in the 20th and 21st centuries.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-EDP
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