31 - 40 of 173 results for: TAPS

Learn how to expand character work, beyond what is immediately familiar. Continuing basic practices from the first part of the sequence, in this quarter they will look beyond the strictly contemporary, and may begin to approach roles drawn from more challenging dramatic texts. This might include plays chosen from mid-century American classics, World Theater, or other works with specific historic or cultural requirements. Actors begin to learn how a performing artist researches and how that research can be used to enrich and deepen performance. Prerequisite: 120A or consent of instructor.

Workshop. Open to graduate and undergraduate students. Prepares PhD students for the academic profession by honing skills in conference presentations, job market, and scholarly publications. Also offered to undergraduates to help prepare them for careers in theater.

A practical course in movement, acting and character development for stage or screen. This course is appropriate for all artists; no prior movement training is required. We will explore expressive possibilities in the body in order to build characters with nuanced physicality and rich emotional life. Students will learn strategies for awakening the body, find a greater range of expression, and widen the variety of characters they can inhabit. We will conduct live observations and take inspiration from photographs, memories, dramatic texts and other sources to build vivid portraits of character in performance. Actors will work independently and as an ensemble, learning techniques derived from Michael Chekhov. We will also practice physical conditioning for the actor through a daily warm-up sequence that improves strength, flexibility and alignment.

This course is designed for the actor and theater-lover who has completed 120a or an equivalent basic acting class. Students will develop their acting skills towards the ability to perform in some of the major classics of the theater, from Shakespeare's plays through the fast-paced physical comedies of twentieth-century farce. Acting in "big" plays without damaging the voice, working physically with safety, how to research like an artist, and rehearse like a professional are all topics that will be covered. Class culminates in an open Scene Showing of Period Plays.

The Undergraduate Performance Project provides students the opportunity to study and perform in major dramatic works. The Winter 2017 Undergraduate Performance Project presents The Tempest. Students learn to form an artistic ensemble, develop dramaturgical materials, learn professional arts protocols and practice, devise within the ensemble, and develop live performance ability. Audition required. Preference to majors/minors. Maybe repeated for credit.

Formerly TAPS 20. Creative play, ensemble work in a supportive environment. Designed for the student to experience a range of new creative skills, from group improvisation to partner work. Introductory work on freeing the natural voice and physical relaxation. Emphasis on rediscovering imaginative and creative impulses. Movement improvisation, listening exercises, and theater games release the energy, playfulness and willingness to take risks that is the essence of free and powerful performance. Course culminates with work on dramatic text.

This course explores the unique demands of playing Shakespeare on the stage. Through deep exploration of language and performance techniques in sonnets, speeches and scenes, the student will learn how to bring Shakespeare's passions to life through research, analysis, and a dynamic use of voice, body and imagination. This course is designed to increase the actor's physical, vocal, emotional, and intellectual responsiveness to the demands, challenges and joys of playing Shakespeare.

This special seminar is designed for students interested in creating stories for radio, podcast, and other sound media. Students will learn both the core principles of telling strong stories, whatever the medium, and the strategies of telling entertaining, persuasive stories for the ear. Just like film or the novel, sonic stories offer a fascinating mix of constraints and opportunities, and you'll learn how to invite listeners into an experience or insight that combines theories, facts and feelings into a single space of empathy. This is a hybrid class - equal parts classic seminar and creative workshop - and students will create stories from start to finish and learn skills from pitching and interviewing to writing, editing, and digital production. Students will work in small groups to document places through the stories that inhabit them - from the Menlo Park Police department to local shelters and community centers. Recommended for students interested in creative nonfiction, documentary, film, and even sound art. No prior experience necessary. Students wishing to enroll in this course must complete the following survey: n http://web.stanford.edu/~jwarga/S17TAPS126.fb (Cardinal Course certified by the Haas Center)

This course is an exploration of movement techniques for the actor, designed to provide a foundation for performance practice. Students will develop a more grounded sense of ease and breath onstage, learn fundamentals of physical partnership, and acquire an expanded physical vocabulary. Areas of study include Laban movement analysis, observation and embodiment, basic contact improvisation, and physical characterization. Students will also engage a personalized warmup process for rehearsal and performance. All coursework will be entirely experiential, practical, and participatory. No previous experience necessary. Some outside rehearsal/investigation time required.