121 - 130 of 165 results for: TAPS

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.

Formal elements in Greek, Elizabethan, Noh, Restoration, romantic, realistic, and contemporary world drama; how they intersect with the history of performance styles, character, and notions of action. Emphasis is on how performance and media intervene to reproduce, historicize, or criticize the history of drama.

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

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.

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.

Instructor Young Jean Lee is a playwright and director who will have two plays premiering on Broadway in 2018-2019. In this workshop, students will collaborate on the creation of one of these plays, which explores the intersection of class and race. The point of this class will be to replicate as closely as possible Lee's process for developing a new play in a professional setting. Students will "learn by doing" as they serve as actors, assistant directors, and dramaturgs in the same way that her actual actors, assistant directors, and dramaturgs would do. Please note that this is not designed to be an acting class with lots of fun moving around. There is no guarantee that every student will have a chance to perform. Also, Lee's new play development process is challenging, slow, and often requires sitting around a table having gruelingly intense conversations for hours at a time. This class is designed to teach students skills they need to succeed in a professional theater environment. Please contact the instructor ASAP at yjl@stanford.edu for an application, which will be be due on March 1, with notifications being sent out on March 15. If you find out about this class after the application deadline and send the instructor an email asking her to allow you to apply late, you must present a convincing explanation for why an exception should be made in your case. Nobody who misses the first class will be permitted to take the course.

Course introduces students to the basic elements of playwriting and creative experimentation for the stage. Topics include: character development, conflict and plot construction, staging and setting, and play structure. Script analysis of works by contemporary playwrights may include: Marsha Norman, Patrick Shanley, August Wilson, Suzan-Lori Parks, Paula Vogel, Octavio Solis and others. Table readings of one-act length work required by quarter's end.

Instructor Young Jean Lee is a playwright and director who will have two plays premiering on Broadway in 2018-2019. In this workshop, students will help to collaboratively perform, direct, and rewrite the script of one of these plays, which is about the intersection of class and race. The class will involve acting for students who want to act, directing for students who want to direct, and writing for students who want to write. The current character breakdown is as follows: 2 black women, 1 Asian-American woman, 1 Colombian woman, 1 Mexican-American man, 2 black men, 2 white women, 2 white men.

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.