TAPS 273: Directing & Dramaturgy: Composition and Adaptation for Theatre (TAPS 373)
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.
Last offered: Spring 2013
| UG Reqs: WAY-CE
TAPS 278: Intensive Playwriting (CSRE 178B, TAPS 178B)
Intermediate level study of fundamentals of playwriting through an intensive play development process. Course emphasizes visual scripting for the stage and play revision. Script analysis of works by contemporary playwrights may include: Suzan-Lori Parks, Tony Kushner, Adrienne Kennedy, Edward Albee, Maria Irene Fornes and others. Table readings of full length work required by quarter¿s end.
Terms: Win
| Units: 5
| UG Reqs: WAY-CE
Instructors:
Moraga, C. (PI)
;
Fairfield, J. (TA)
TAPS 278: Page to Stage: Playwriting and Solo Performance (TAPS 178)
Dramatic writing: scripted and solo, and as performed by actors or by the playwright. Physical and psychological theatrical action. Development of skills in dialogue, story structure, style, and personal voice. Script readings and directed staging sessions.
Last offered: Spring 2013
TAPS 279F: Flor y Canto: Poetry Workshop (CHILATST 179F, CSRE 179F, TAPS 179F)
Poetry reading and writing. The poet as philosopher and the poet as revolutionary. Texts: the philosophical meditations of pre-Columbian Aztec poetry known as
flor y canto, and reflections on the poetry of resistance born out of the nationalist and feminist struggles of Latin America and Aztlán. Required 20-page poetry manuscript.
Terms: Win
| Units: 3-5
| UG Reqs: WAY-CE
Instructors:
Moraga, C. (PI)
;
Chakrabarti, S. (TA)
TAPS 289A: Interactive Art / Performance Design (ME 289A)
This class is for those who want the experience of designing and creating interactive art and performance pieces for public audiences, using design thinking as the method, and supported by guest speakers, artist studio visits and needfinding trips to music festivals, museums and performances.nnDrawing on the fields of design, art, performance, and engineering, each student will ideate, design, plan and lead a team to build an interactive art and/or performance piece to be showcased to audience of 5000 at the Frost Music and Art Festival held on the Stanford campus on May 17th 2014. Projects can range from interactive art to unconventional set design, and from site-specific sculpture to immersive performance.nnThis is a two-quarter long commitment during which students will first learn the design, planning, story boarding, budgeting, engineering, proposal creation and concept pitching of projects for applying for grants and presenting to funders. The second quarter will concentrate on prototyping, maquette making, testing, team forming, project management, creative leadership, construction, site installation and documentation.nPart one of a two course series:
ME 289A&B.
Terms: Win
| Units: 2
Instructors:
Leitman, S. (PI)
;
Sturtz, M. (PI)
TAPS 289B: Interactive Art / Performance Creation (ME 289B)
This class is the continuation of ME289A where students experience the designing and creating of interactive art and performance pieces for public audiences, using design thinking as the method, and supported by guest speakers, artist studio visits and needfinding trips to music festivals, museums and performances.nnDrawing on the fields of design, art, performance, and engineering, each student will ideate, design, plan and lead a team to build an interactive art and/or performance piece to be showcased to audience of 5000 at the Frost Music and Art Festival held on the Stanford campus on May 17th 2014. Projects can range from interactive art to unconventional set design, and from site-specific sculpture to immersive performance.nnDuring this second quarter students will concentrate on prototyping, maquette making, testing, team forming, project management, creative leadership, construction, site installation and documentation.nPart two of a two course series :
ME 289A&B.
Terms: Spr
| Units: 3-4
Instructors:
Leitman, S. (PI)
;
Sturtz, M. (PI)
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
Instructors:
Carlson, A. (PI)
;
Jakovljevic, B. (PI)
;
Moraga, C. (PI)
...
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Instructors:
Carlson, A. (PI)
;
Jakovljevic, B. (PI)
;
Moraga, C. (PI)
;
Paris, H. (PI)
;
Ramsaur, M. (PI)
;
Ross, J. (PI)
TAPS 311: Analyzing Performance
Literary criticism and theory, emphasizing style as evidence of historical, cultural, and ideological concerns. Assumptions about written texts by authors such as Coleridge, Bradley, and Burke. How style reveals context. Overtones and undertones of critical thought in performance making and performance analysis. Students will generate weekly critical and creative responses to readings from contemporary writers and artists such as Jacques Rancière, Amelia Jones, Guillermo Gómez-Peña and Marina Abramovic. Workshop activities and performances will take place alongside seminar discussions of readings.
Terms: Aut
| Units: 4
Instructors:
Jakovljevic, B. (PI)
TAPS 312: The Archive in the Repertoire
This course looks at recent scholarship in theater and performance studies that engages the idea of the "archive." We will also debate questions about historiography. Texts may include work by Joseph Roach, Tracy Davis, Hayden White, Jacques Derrida, Amelia Jones, Rebecca Schneider, Fred Moten, Diana Taylor, Shannon Jackson, Peggy Phelan, Akira Lippit and Susan Foster.
Terms: Spr
| Units: 4
Instructors:
Brody, J. (PI)
TAPS 313: Performance and Performativity
Performance theory through topics including: affect/trauma, embodiment, empathy, theatricality/performativity, specularity/visibility, liveness/disappearance, belonging/abjection, and utopias and dystopias. Readings from Schechner, Phelan, Austin, Butler, Conquergood, Roach, Schneider, Silverman, Caruth, Fanon, Moten, Anzaldúa, Agamben, Freud, and Lacan. May be repeated for credit.
Terms: Win
| Units: 1-4
| Repeatable
for credit
Instructors:
Phelan, P. (PI)
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