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41 - 50 of 56 results for: TAPS

TAPS 234: Advanced Stage Management Project

For students stage managing a Department of Drama production. Prerequisite: 134.
Terms: Aut, Win, Spr, Sum | Units: 2-9
Instructors: Kumaran, L. (PI)

TAPS 260: Performance and History: Rethinking the Ballerina (DANCE 160, FEMGEN 160, TAPS 160)

The ballerina occupies a unique place in popular imagination as an object of over-determined femininity as well as an emblem of extreme physical accomplishment for the female dancer. This seminar is designed as an investigation into histories of the ballerina as an iconographic symbol and cultural reference point for challenges to political and gender ideals. Through readings, videos, discussions and viewings of live performances this class investigates pivotal works, artists and eras in the global histories of ballet from its origins as a symbol of patronage and power in the 15th century through to its radical experiments as a site of cultural obedience and disobedience in the 20th and 21st centuries.
Terms: Win | Units: 4

TAPS 268H: Poor Theater (TAPS 168H)

The goal of this class is not to offer a survey of Happenings and other happening-related art of the late twentieth century. Instead, we will use Happenings as a paradigm of "poor theater" and "poor art" - umbrella terms for a number of experimental performance and art practices that emerged in the aftermath of the WWII. We will use the idea of poor theater as an organizing principle in our investigation of the main currents in the experimental performance in the last five decades. The class has a tripartite structure. First we will outline the paradigm of happenings, then trace the origins of Happenings in music, visual arts and theater of the mid twentieth century, and finally look at Happenings' immediate impact, as well as at its ripple effects that continued to reverberate long after the disappearance of this new art form. This course counts as a Writing in the Major course for TAPS in 2016-17.
Terms: Win | Units: 4

TAPS 279F: Flor y Canto: Poetry Workshop (CHILATST 179F, CSRE 179F, NATIVEAM 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: 4 | UG Reqs: WAY-CE

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: Looser, D. (PI)

TAPS 313: Performance and Performativity (ENGLISH 313, FEMGEN 313)

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: Menon, J. (PI)

TAPS 332: Performance and Ethnography

This graduate seminar explores the relationship between performance and ethnography. We will discuss different critical perspectives on ethnographic methods and data gathering, and learn about participant-observation fieldwork and interview techniques, with an emphasis on developing ethical, generative research approaches that are beneficial to the subject as well as to the scholar. This course purposefully blends theory and practice, connecting philosophical discussions to concrete case studies, field trips, and your own research practices.
Terms: Win | Units: 3-4
Instructors: Looser, D. (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
Instructors: Ross, J. (PI)

TAPS 344A: Gender and Performance (FEMGEN 434, FILMSTUD 434, MUSIC 434)

This seminar seeks to investigate relationships between performance, gender, and the body politic through a discussion of embodiment, body cultures, queerness, desire, representation. Through a weekly engagement with film texts from across the world as well as theoretical perspectives on gender and performance in various geo-political contexts, we will explore the intersections of gender with race, class, national discourse, and performance traditions. The seminar is conceived to be interdisciplinary and participants are encouraged to introduce and work with texts from other disciplines, including visual arts, theatre, dance, literature etc. No prior engagement with film studies is required. Screening times may range from 90 to 180 minutes.
Terms: Win | Units: 5
Instructors: Iyer, U. (PI)

TAPS 356A: Warhol: Painting, Photography, Performance (ARTHIST 156A, ARTHIST 356A, TAPS 156A)

This course focuses on the career of Andy Warhol as a means to consider the broader history of American art and culture since 1950. It examines little-studied aspects of Warhol¿s visual production (e.g. his career as a commercial artist in the 1950s and his everyday photographs of the 1970s and 1980s) alongside his now-canonical Pop paintings of the 1960s. Warhol?s critical and scholarly reception will be scrutinized in detail, as will published interviews of and writings by the artist. Finally, we will consider Warhol¿s legacy and wide-ranging influence on American culture in the decades since his death in 1987.
Terms: Win | Units: 4
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