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141 - 150 of 212 results for: TAPS

TAPS 334: Stage Management Techniques (TAPS 34)

The production process, duties, and responsibilities of a stage manager. Skills needed to stage manage a production.
Terms: Aut, Spr | Units: 3
Instructors: Apperson, L. (PI)

TAPS 336: Comprehensive 1st Year Exam

Required course for first-year Ph.D. students in Theater & Performance Studies. Credits for work toward the Comprehensive 1st-year Exam taken in late February or Early March.
Terms: Win | Units: 2

TAPS 341E: English Drama Before Shakespeare (ENGLISH 314E)

English dramatic and theatrical culture from the mystery cycles of the late medieval period to the establishment of professional playhouses in late sixteenth-century London. Different dramatic genres (interludes, moralities, farces, tragedies, comedies, histories, pastoral plays), performance venues (streets, households, inns, schools, universities, court, playhouses), and dramatic traditions (classical, native, continental European) will be represented. Authors (of those who have names) range from Medwall, Skelton, Heywood, Preston, and Edwards to Lyly, Kyd, Greene, Peele, and Marlowe.
Terms: Win | Units: 5
Instructors: Lupic, I. (PI)

TAPS 344: Puppetry with a Twist (TAPS 144)

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.
Terms: Win | Units: 3-4
Instructors: Twist, B. (PI)

TAPS 345: Choreography and Corporeality

In this course, we explore American-derived theoretical praxes for analyzing organized movement. How has dance studies been constituted as a field? What theoretical lines of inquiry have served it, and how have they fared over time? What tools do scholars bring to bear on the study of dance, choreography, and corporeality, and where have these tools been most effective? Weekly parings of creative works and theoretical approaches to considerations of dance practice and performance. Special emphasis on practices of writing about bodies in motion and dance.
Terms: Aut | Units: 4
Instructors: DeFrantz, T. (PI)

TAPS 351: Great Books: Dramatic Traditions (COMPLIT 151B, COMPLIT 351B, TAPS 151T)

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: Spr | Units: 4
Instructors: Menon, J. (PI)

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

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.
Last offered: Autumn 2013

TAPS 357: World Drama and Performance (TAPS 157)

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

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

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.
Terms: Aut | Units: 4

TAPS 359: The Other Body/The Body Other

Writing creatively through critical thinking. Writing critically through creative imagination. Advanced Creative/Critical Writing course, designed for those "other" creative writers and thinkers who want to use language in original, innovative and embodied introspective ways to respond to (and from) non-dominant cultures, themes and identities. All genres. Readings, performances, films assigned to provoke an(other) response. Permission of Instructor.
Terms: Win | Units: 4
Instructors: Moraga, C. (PI)
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