printer friendly pageTAPS 140: Projects in Theatrical Production
A seminar course for students performing significant production work on Drama Department or other Stanford University student theatre projects. Students serving as producers, directors, designers or stage managers, who wish mentorship and credit for their production work sign up for this course and contact the instructor, Linda AppersonnPrerequisite: consent of instructor.
Terms: Aut, Win, Spr
| Units: 1-4
| Repeatable
for credit
Instructors:
Apperson, L. (PI)
;
Ramsaur, M. (PI)
TAPS 144: Puppetry with a Twist (TAPS 344)
Creative course is an introduction to puppetry with a survey of important styles and techniques from around the world including Twist's own. Hands on and individualized experience with the aim of each student creating or contributing to a puppet or object/figure performance. Course is as broad as the individual's creative expression.
Terms: Win
| Units: 3-4
| UG Reqs: WAY-CE
Instructors:
Twist, B. (PI)
TAPS 150: British Theatre Then and Now: 1890s-present
This introductory course covers some of the `golden ages¿ of British Theatre from 1890 to the present: the stylish and witty `New Drama¿ of the Edwardian era with writers such as George Bernard Shaw and Oscar Wilde exploring sex and politics in the wake of Ibsen¿s A Doll¿s House; the artistic innovations of the 1950s and 60s from seminal writers such as Samuel Beckett, Harold Pinter and Tom Stoppard; and more recent works by modern legends Caryl Churchill, David Hare, Alan Ayckbourn, and immersive or interactive theatre by companies such as Punch Drunk. We will also look at the ever changing relationship with Shakespeare across generations of British theatre artists, including directors such as Peter Brook and Deborah Warner.nIn this class students will explore the relationship between theatre, politics and culture across fascinating eras in British history as well as thinking about the role of theatre in our own lives and social contexts. We will ask the questions: What is theatre for? What meaning does it have for a contemporary audience? How can it reflect our times? Has the communal audience experience of going to the theatre changed in an age that is dominated by social media and broadcast technology? Has this changed the way that people make theatre? What do we as audiences want from the theatre? What do we as theatre makers want from audiences?nStudents will read plays weekly and also see screenings of several excellent film versions of the plays as well as participating in staged readings of scenes and class discussions. The class will also attend at least one live theatre event. This is a perfect class for students who enjoy active learning, approaching the texts as scholars and historians, but also working with the plays creatively, engaging the imagination as potential actors, directors, designers and/or dramaturgs.
Terms: Win
| Units: 4-5
| UG Reqs: WAY-A-II, WAY-CE
Instructors:
Hill, L. (PI)
TAPS 152D: Introduction to Dance in the African Diaspora (AFRICAAM 24, CSRE 24D, DANCE 24)
This course introduces students to dance as an important cultural force in the African Diaspora. From capoeira in Brazil to dance hall in Jamaica to hip hop in the United States and Ghana, we will analyze dance as a form of resistance to slavery, colonialism, and oppression; as an integral component of community formation; and as a practice that shapes racial, gendered, and national identity. We will explore these topics through readings, film viewings, and movement workshops (no previous dance experience required). Students will have the option to do a creative performance as part of their final project.
Terms: Win
| Units: 4
| UG Reqs: WAY-A-II, WAY-EDP
Instructors:
Das, J. (PI)
TAPS 153D: Performing Digital Technologies (TAPS 253D)
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.
Terms: Win
| Units: 4
Instructors:
Jakovljevic, B. (PI)
;
St. Clair, M. (PI)
TAPS 160: Rethinking the Ballerina (DANCE 160, FEMGEN 160, TAPS 260)
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
| UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-EDP
Instructors:
Ross, J. (PI)
TAPS 163D: Shakespeare: The Ethical Challenge (ENGLISH 163D)
Was the eighteenth century right in proclaiming Shakespeare to be the greatest moral philosopher? What are the ethical challenges Shakespeare's major plays still pose for us? Can we divorce ethical decisions from the contingencies of experience? We will ask a series of normative ethical questions (to do with pleasure, power, old age, self-sacrifice, and truth telling) and attempt to answer them in relation to the dramatic situation of Shakespeare's characters on the one hand and our own cultural situation on the other. The ethical challenge of Shakespearean drama will be set against selected readings in ethical theory.
Terms: Win
| Units: 5
| UG Reqs: GER:DB-Hum, GER:EC-EthicReas, WAY-A-II, WAY-ER
Instructors:
Lupic, I. (PI)
TAPS 165: Introduction to Comparative Studies in Race and Ethnicity (CSRE 196C, ENGLISH 172D, PSYCH 155, SOC 146)
How different disciplines approach topics and issues central to the study of ethnic and race relations in the U.S. and elsewhere. Lectures by senior faculty affiliated with CSRE. Discussions led by CSRE teaching fellows. Includes an optional Haas Center for Public Service certified Community Engaged Learning section.
Terms: Win
| Units: 5
| UG Reqs: GER:DB-SocSci, GER:EC-AmerCul, WAY-EDP, WAY-SI
TAPS 165C: Ancient Dance and its Modern Legacy (CLASSICS 137, CLASSICS 237, TAPS 265C)
Descriptions of dance in the Greek and Greco-Roman world; theories about dance in antiquity; dance and the senses; modern and modernist dancers and choreographers discussing ancient dance
Terms: Win
| Units: 3-5
| UG Reqs: WAY-A-II
Instructors:
Peponi, A. (PI)
TAPS 167: Introduction to Greek Tragedy: Gods, Heroes, Fate, and Justice (CLASSICS 112)
(Formerly
CLASSGEN 110.) Gods and heroes, fate and free choice, gender conflict, the justice or injustice of the universe: these are just some of the fundamental human issues that we will explore in about ten of the tragedies of Aeschylus, Sophocles, and Euripides.
Terms: Win
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II
Instructors:
McCall, M. (PI)
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