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1 - 10 of 170 results for: TAPS

TAPS 1: Introduction to Theater and Performance Studies

What brings together a contemporary company such as Google and an experimental theater such as The Wooster Group? What sets them apart? Approaching theater as presentational form of organization, this class shifts study of theater from the context of literature to that of performance. It offers an overview of performance across disciplines: from theater and other performing arts, to law, management, sports, and new technologies. In this interdisciplinary exploration, performance emerges as a model that cuts across diverse branches of contemporary culture, from sports events, to social dances, to political protests, to the organization of a workplace. It is designed to serve students who may go on to major or minor in Theater and Performance Studies including the Dance division and also students for whom this knowledge is a general contribution to their liberal arts education or to their own field of study. It integrates scholarly research and practical use of performance. No previous performing arts training or skills are required.
Terms: Aut, Spr | Units: 4 | UG Reqs: WAY-A-II, GER:DB-Hum

TAPS 11N: Dramatic Tensions: Theater and the Marketplace

Preference to freshmen. The current state of the American theater and its artists. Conventional wisdom says that theater is a dying art, and a lost cause, especially in an age of multi-media entertainment. But there are more young playwrights, actors, and directors entering the field today than at any other time in American history. Focus is on the work of today's theater artists, with an emphasis on an emerging generation of playwrights. Students read a cross-section of plays from writers currently working in the US and UK, covering a spectrum of subjects and styles from serious to comic, from the musical to the straight play. Hits and misses from recent seasons of the New York and London stages and some of the differences of artistic taste across the Atlantic. Hands-on exploration of the arts and skills necessary to make a play succeed. Students develop their own areas of interest, in guided projects in design, direction or performance. Conversations with playwrights, designers ,and directors. Labs and master classes to solve problems posed in areas of creative production. Class meets literary managers and producers who are on the frontlines of underwriting new talent. Class trips include two plays at major Bay Area Stages.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Freed, A. (PI)

TAPS 11SC: Learning Theater: From Audience to Critic at the Oregon Shakespeare Festival

Who doesn't love going to a play: sitting in the darkened theater, an anonymous member of the audience waiting to be entertained, charmed, and challenged? But how many of us know enough about the details of the plays, their interpretation, their production, and acting itself, to allow us to appreciate fully the theatrical experience? In this seminar, we will spend 13 days in Ashland, Oregon, at the Oregon Shakespeare Festival (OSF), where we will attend these plays: Shakespeare's Much Ado About Nothing, Pericles, and Antony and Cleopatra; the U.S. premiere of Stan Lai's Secret Love in Peach Blossom Land; Frank Loesser's Guys and Dolls; the world premiere of Lynn Nottage's ,Sweat; Quiara Alegría Hudes' The Happiest Song Plays Last; Charles Fechter's adaptation of Alexandre Dumas' The Count of Monte Cristo; Eugene O'Neill's Long Days Journey into Night; and the world premiere of Jeff Whitty's Head Over Heels. (To read more about these productions, go to www.osfashland.org). We will also spend time backstage, meeting with actors, designers, and artistic and administrative directors of OSF. Students will read the plays before the seminar begins. In Ashland, they will produce staged readings and design a final paper based on one of the productions. These reviews will be delivered to the group and turned in on Thursday, September 17. Note: This seminar will convene in Ashland on Monday, August 31, and will adjourn to Stanford on Sunday, September 13. Students must arrive in Ashland by 4:00 p.m. on August 31. Room and board in Ashland and transportation to Stanford will be provided and paid for by the program. Sophomore College Course: Application required, due noon, April 7, 2015. Apply at http://soco.stanford.edu
Terms: Sum | Units: 2

TAPS 12N: To Die For: Antigone and Political Dissent (CLASSGEN 6N)

Preference to freshmen. Tensions inherent in the democracy of ancient Athens; how the character of Antigone emerges in later drama, film, and political thought as a figure of resistance against illegitimate authority; and her relevance to contemporary struggles for women's and workers' rights and national liberation. Readings and screenings include versions of Antigone by Sophocles, Anouilh, Brecht, Fugard/Kani/Ntshona, Paulin, Glowacki, Gurney, and von Trotta.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-EDP, WAY-ER
Instructors: Rehm, R. (PI)

TAPS 13N: Law and Drama

Preference to Freshmen.Beyond the obvious traits that make a good (court room) drama, theater and jurisprudence have much more in common. Just as drama is engaged not only in entertainment but also in examination of social conventions and mechanisms, so law is not only concerned with dispensing justice but with shaping and maintaining a viable human community. In this class we will read and discuss a series of plays in which court proceedings are at the center of dramatic action and concluding with an investigation of the new genre of documentary drama.
Terms: Spr | Units: 4 | UG Reqs: WAY-ER, WAY-A-II

TAPS 14SC: Law and Drama

Theater and courtroom are, arguably, two among very few institutions within western culture which privilege live adversarial process as their principal expressive and truth-finding technique. Even though at the beginning of the 21st century new media technologies became an integral part of court proceedings and theater performances, both theater and law stake their legitimacy on live proceedings with uncertain outcomes. In this class, we will pay special attention to transformative instances of exchange between these two ancient civil institutions. In other words, we will be asking not only what aspects of legal procedure can theater dramatize, but also at which points the court can (and does) come to resemble theater. n We will investigate the intricate relationship between law and drama by analyzing a wide range of dramatic works (from Aeschylus¿s Oresteia to current theater productions that use legal transcripts as their source texts) and accounts of real-life cases. We will consider how law is presented through film and popular entertainment depictions of the legal system, take field trips to local courtrooms to compare dramatized to real-life trials, observe simulcasts from international war crimes tribunals, and try to analyze forum theater techniques though their enactment in the class.
Terms: Sum | Units: 2 | UG Reqs: WAY-CE

TAPS 20: Acting for Non-Majors (TAPS 124D)

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.
Terms: Aut, Win, Spr, Sum | Units: 1-3 | UG Reqs: WAY-CE, way_ce

TAPS 20A: Acting for Non-Majors

A class designed for all interested students. 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.
Terms: Sum | Units: 2 | UG Reqs: WAY-CE

TAPS 21: StoryCraft

Workshop on Performance in Storytelling. Meets on these dates:nThursdays, April 24, May 1 and May 8 - 6:30-9:00pm in RobleGym room 33.nThursday, May 15 from 6-10:30pm in The Nitery for a final performance.
Terms: Win, Spr | Units: 1 | UG Reqs: WAY-CE
Instructors: Klein, D. (PI)

TAPS 22: Scene Work

For actors who complete substantial scene work with graduate directors in the graduate workshop.
Terms: Aut, Win, Spr | Units: 1-2 | Repeatable for credit
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