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41 - 50 of 53 results for: TAPS

TAPS 263: Introduction to Dance and History: From Postwar to the Present (DANCE 163, FEMGEN 163D, TAPS 163)

This course explores the cultural and historical unfolding of the genre of contemporary performance known as postmodern dance over the past six decades. It begins with the formative influence of the émigré Bauhaus artists of the 1930s, then the postwar experiments of the Beat artists in the 1950s, to Merce Cunningham, the Judson Dance Theatre, postmodern formalism, neo-expressionism, dance theatre and through to the global, spectacle-rich, cross-genre dance work of the early 21st century as the most recent extended legacy of this history. This course uses dance history to trace with special emphasis the effects of these visual art and movement experimentalists on gender representation and nationalist identity construction in the negotiation of boundaries between dance and life.
Terms: not given this year | Units: 4 | Grading: Letter or Credit/No Credit

TAPS 277: Writing for Performance: The Fundamentals (CSRE 177, FEMGEN 177, TAPS 177)

Course introduces students to the basic elements of playwriting and creative experimentation for the stage. Topics include: character development, conflict and plot construction, staging and setting, and play structure. Script analysis of works by contemporary playwrights may include: Marsha Norman, Patrick Shanley, August Wilson, Suzan-Lori Parks, Paula Vogel, Octavio Solis and others. Table readings of one-act length work required by quarter's end.
Terms: Aut, 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 311: Performance, Historiography, and Ethnography

This graduate seminar introduces you to advanced methodologies in two key areas of theatre and performance studies research: historiography and ethnography. The course is divided into two sections. The first concentrates on questions of historiography and the archive as they relate to studies of theater, dance, and performance. We will think about how events have been historicized, how absence has been represented, and how bodies are re-figured and remembered, and we will investigate important principles and best practices of performance documentation and historiography. The second part of the course explores the relationship between performance and ethnography. We will discuss different critical perspectives on ethnographic methods and data gathering, including participant-observation fieldwork and interview techniques. This course purposefully blends theory and practice, connecting philosophical discussions to concrete case studies, field trips, and your own research practices. In this spirit, you will also be encouraged to conduct research and present findings in different modes and media.
Terms: Aut | Units: 4 | Grading: Letter (ABCD/NP)

TAPS 321: Proseminar (TAPS 121)

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.
Terms: Aut | Units: 3-5 | Grading: Letter (ABCD/NP)
Instructors: Menon, J. (PI)

TAPS 333: Performance and Migration

This seminar examines an array of works from various gloabl sites to explore how artists have used performance to raise vital questions about location, citizenship, identity, community, and human agency in migrant contexts. By considering a range of examples from international commercial collaborations to the crisis-ridden narratives of asylum seekers, the course stages theoretical, practical, and ethical inquiries into art's role in relaying local concerns beyond national boundaries while extending students' appreciation of approaches in comparative theatre and performance studies.
Terms: Aut | Units: 4 | Grading: Letter (ABCD/NP)
Instructors: Looser, D. (PI)

TAPS 334: Stage Management Techniques (TAPS 34)

The production process, duties, and responsibilities of a stage manager. Skills needed to stage manage a production. Ph.D students should enroll in 2 units. Undergraduates should enroll in 3 units.
Terms: Aut, Spr | Units: 2-3 | Grading: Letter (ABCD/NP)
Instructors: Kumaran, L. (PI)

TAPS 371: Performance Making (TAPS 171)

A studio course focused on creative processes and generating original material. Students will be encouraged to think critically about the relationship between form and content exploring the possibilities of site specific, gallery and theatre settings. Students will reflect throughout on the types of contact and communication uniquely possible in the live moment, such as interaction or the engagement of the senses. The emphasis is on weekly experimentation in the creation of short works rather than on a final production.
Terms: Aut | Units: 4 | Grading: Letter (ABCD/NP)

TAPS 373: Theater Production Lab: Dramaturgy and Development (TAPS 173D)

This course explores dramaturgy and directing in the research and production of theatre primarily through practical creative projects with secondary readings on dramaturgy as a discipline. In this course we will consider the role of the dramaturg in its broadest sense, running across theatrical production from research to playwriting, adaptation, choreography, devising and directing. Students will work individually and in small groups researching, adapting, crafting and workshopping material.
Terms: Aut | Units: 4 | Grading: Letter or Credit/No Credit

TAPS 377: Graduate Directors' Staged Reading Project

Presentation of a new or newly adapted work for the stage, in a mode employed in professional theater for the development of new plays. Two to four rehearsals. Public performance.
Terms: Aut, Win, Spr, Sum | Units: 2 | Repeatable for credit | Grading: Letter or Credit/No Credit
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