111 - 120 of 212 results for: TAPS

Individually structured class in lighting mechanics and design through experimentation, discussions, and written reports. Prerequisite: 131 or consent of instructor.

Individually structured tutorial for costume designers. May be repeated for credit. Prerequisite: 132 or consent of instructor.

Individually structured workshop. May be repeated for credit. Prerequisite: 133 or consent of instructor.

For students stage managing a Department of Drama production. Prerequisite: 134.

This first half of this course, a practicum, introduces you to basic concepts in directing live theatre, such as creating strong spatial relationships on stage or in a performance space, interpreting and building a concept for a scene, and beginning to work with actors. You will then spend the second half of the course directing 2-3 modern and contemporary scenes, with actors.

Plays written by 20th century writers that concentrate on the family as the primary source of dramatic conflict and comedy. Writers include Williams, O'Neill, Wilder, Albee, Vogel, Parks, Lindsay-Abaire, and Hwang.

This course offers a historical and cultural exploration of theatre forms and performance cultures from various countries that border the Pacific Ocean, as well as from island communities within Oceania. Taking the term 'Asia-Pacific' as a provocation and point of interrogation, we will assess how theatrical production from this broad area can help us think through questions of nationalism, regionalism, interculturalism, and diaspora, while deepening our appreciation of world theatre history. The first part of the course focuses on theatre in specific sites, covering classical forms from China, Japan, and Indonesia, as well as indigenous theatre and performance from several Pacific Islands, including the Cook Islands, S'moa, Aotearoa/New Zealand, and Hawai`i. The second part of the course centers on the ocean as a dynamic space of mobility, examining a range of recent plays and performances that trace identities on the move and across borders, and which reveal how various Asian and Pacific Islander communities have engaged with each other in locations from Australia to the west coast of the United States. In so doing, our course will chart connections and divergences that enable fresh insights into the geographical and cultural dimensions of global theatre.

This class is about collaboration: between live performers and digital images, between artists and engineers, and between scholars and artists. It emphasizes conceptual work and creativity in the integration of new and old media. We will take a rigorous but fundamentally hands-on approach to the uses of a wide range of screen technologies - from smart phones to digital projections - in live performance. The class will start with a survey of successful uses of screens in recent theater and performance work, then move to finding novel solutions for particular dramatic scenes.

The aim of this class is to explore different ways in which cinema has been using theatre as an art to explore its own aesthetical, political or philosophical dimensions. For this exploration, we will use different films in which theatre plays a major role, each of them offering a different perspective on life and art. Amongst the films considered, one can expect : 'To be or not to be' by Ernst Lubitsch (1942) ; 'Children of Paradise' by Marcel Carné (1944) ; 'The Golden Coach' by Jean Renoir (1953) ; 'Torn Curtain' by Alfred Hitchcock (1966) ; 'The Most important thing : Love' by Andrzej Zulawski (1975) ; 'The Travelling Players' by Theodoros Angelopoulos (1975) ; 'The Last métro' by François Truffaut (1980) ; 'Fanny and Alexander' by Ingmar Bergman (1982) ; 'Shakespeare in love' by John Madden (1998) ; 'Birdman' by Alejandro Iñárritu (2014).