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31 - 40 of 44 results for: TAPS

TAPS 202: Honors Thesis

An advanced written project to fulfill the requirements for the Honors degree in TAPS. There are two ways to undertake an honors thesis. The first is to write a 40-50 page essay, which presents research on an important issue or subject of the student¿s choice. The second option is a 30-page essay that takes the student¿s capstone project as a case study and critically analyzes the creative work. Students are expected to work consistently throughout the year with their advisor, whom they identify at the time of application. Advisors can be selected from Academic Council faculty or artists-in-residence. Students should enroll in TAPS 202 each quarter during the senior year (1 unit in Autumn; 1 unit in Winter; 2 units in Spring).
Terms: Aut, Win, Spr | Units: 1-2 | Repeatable for credit | Grading: Letter (ABCD/NP)

TAPS 231: Advanced Stage Lighting Design

Individually structured class in lighting mechanics and design through experimentation, discussions, and written reports. Prerequisite: 131 or consent of instructor.
Terms: Aut, Win, Spr, Sum | Units: 1-5 | Repeatable for credit | Grading: Letter or Credit/No Credit

TAPS 232: Advanced Costume Design

Individually structured tutorial for costume designers. May be repeated for credit. Prerequisite: 132 or consent of instructor.
Terms: Aut, Win, Spr, Sum | Units: 1-5 | Repeatable for credit | Grading: Letter or Credit/No Credit

TAPS 233: Advanced Scene Design

Individually structured workshop. May be repeated for credit. Prerequisite: 133 or consent of instructor.
Terms: Aut, Win, Spr, Sum | Units: 1-5 | Repeatable for credit | Grading: Letter or Credit/No Credit

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 | Grading: Letter or Credit/No Credit
Instructors: Kumaran, L. (PI)

TAPS 256V: Vital Signs: Performance in the 21st Century (ARTSTUDI 256V, TAPS 156V)

The first decade and a half of the 21st century have been transformative for performance art. On the one hand, it brought an unprecedented cultural acceptance of this art form, which is now featured in most prestigious museums and art festivals; on the other, the most recent generation of performance artists is showing a great awareness of the historicity and complexity of this form. In this class, we will try to recognize and investigate these and other prominent features of performance art produced since the turn of the millennium. We will use as our primary case studies performances that will be featured in the series Vital Signs: Contemporary Performance Art Series, hosted by TAPS in 2017-2018. The primary objective of the series is to highlight and showcase underrepresented performance forms such as experimental performance art, durational art, and body art, among others, by artists from communities that remain invisible or underrepresented in mainstream performing arts. The serie more »
The first decade and a half of the 21st century have been transformative for performance art. On the one hand, it brought an unprecedented cultural acceptance of this art form, which is now featured in most prestigious museums and art festivals; on the other, the most recent generation of performance artists is showing a great awareness of the historicity and complexity of this form. In this class, we will try to recognize and investigate these and other prominent features of performance art produced since the turn of the millennium. We will use as our primary case studies performances that will be featured in the series Vital Signs: Contemporary Performance Art Series, hosted by TAPS in 2017-2018. The primary objective of the series is to highlight and showcase underrepresented performance forms such as experimental performance art, durational art, and body art, among others, by artists from communities that remain invisible or underrepresented in mainstream performing arts. The series is curated by the Los Angeles-based artist Cassils, who has been listed by the Huffington Post as 'one of ten transgender artists who are changing the landscape of contemporary art' and has achieved international recognition for a rigorous engagement with the body as a form of social sculpture. Cassils's curatorial vision is to present established performance artists alongside emerging artists. Each quarter, a pair of artists will visit Stanford for two days (Thursday-Friday). On day one of their visit they will offer a workshop or a public performance, and on the second day they will engage in a public dialogue. The class will meet each quarter for three weeks: before, during, and after the artists' visit. This way, the students will have an opportunity to prepare for the visit, engage with the visiting artists, and reflect on their work. They will receive their grades upon completion of the class, in the spring of 2018.
Terms: Aut, Win, Spr | Units: 1 | Grading: Satisfactory/No Credit

TAPS 267: Revolutions in Theater (TAPS 167H)

This course surveys the period from the turn of the 20th century until WII, during which the European avant-garde movements transformed modern art. This period in history is marked by dynamic political events that had a deep impact on experimental art and on culture in general. This interaction between poetics and politics makes the first decades of the 20th century the formative period of western and global theater.
Terms: Aut | Units: 4 | Grading: Letter or Credit/No Credit

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 | Grading: Letter or Credit/No Credit

TAPS 292: Nitery Board Practicum (TAPS 192)

Credit given for student board members of the Experimental Nitery Studio. Undergraduate students should enroll in TAPS 192. Ph.D. students should enroll in TAPS 292.
Terms: Aut, Win, Spr | Units: 1 | Repeatable for credit | Grading: Satisfactory/No Credit
Instructors: Hill, L. (PI)

TAPS 311: Performance and Historiography

This graduate seminar introduces you to advanced methodologies in two key areas of theatre and performance studies research: historiography and ethnography. The course is divided into two sections. The first concentrates on questions of historiography and the archive as they relate to studies of theater, dance, and performance. We will think about how events have been historicized, how absence has been represented, and how bodies are re-figured and remembered, and we will investigate important principles and best practices of performance documentation and historiography. The second part of the course explores the relationship between performance and ethnography. We will discuss different critical perspectives on ethnographic methods and data gathering, including participant-observation fieldwork and interview techniques. This course purposefully blends theory and practice, connecting philosophical discussions to concrete case studies, field trips, and your own research practices. In this spirit, you will also be encouraged to conduct research and present findings in different modes and media.
Terms: Aut | Units: 4 | Grading: Letter (ABCD/NP)
Instructors: Looser, D. (PI)
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