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91 - 100 of 235 results for: TAPS

TAPS 155M: Dance and at the African Diaspora (DANCE 26)

Terms: not given this year | Units: 4 | Grading: Letter or Credit/No Credit

TAPS 155T: Theatre of War

Military personnel and politicians alike use the phrase ¿the theatre of war¿ to refer to the geographical area of a military conflict and the more intangible concerns of battle. The primary concern of this class is the intersection between performance and war. Our inquiry will focus on drama, film, the media, and role-playing scenarios as a military training tool, and we will approach these objects through critical theories of justice, performance theory, and trauma.
Terms: not given this year | Units: 4 | Grading: Letter or Credit/No Credit

TAPS 156: Performing History: Race, Politics, and Staging the Plays of August Wilson (AFRICAAM 156, TAPS 356)

This course purposefully and explicitly mixes theory and practice. Students will read and discuss the plays of August Wilson, the most celebrated and most produced contemporary American playwright, that comprise his 20th Century History Cycle. Class stages scenes from each of these plays, culminating in a final showcase of longer scenes from his work as a final project.
Terms: not given this year | Units: 4 | UG Reqs: WAY-CE, WAY-ED | Grading: Letter or Credit/No Credit

TAPS 156T: Movement and Digital Culture (DANCE 156T)

What is physical intelligence? How could we cultivate it? What technologies can extend sensory awareness, and which can suppress it? How can better understanding of human movement impact a creative/design process? The term 'hybrid action¿ introduces the notion of movement, expressed in both the physical and virtual worlds. Through interactive technologies, such as the Kinect and camera tracking, and literature from multiple fields, this class takes human movement as a practice-based, creative, theoretical, historical, and philosophical realm of study. The course introduces basic principles and practices of body awareness as a way to extend one¿s 'physical intelligence¿ and asks how studying movement can inform creative practices from computer programming to engineering to choreography, as well as applications in health and rehabilitation, cognitive and neuroscience, philosophy and literature. The class emphasizes hands-on, individual and collaborative projects through research and prototyping.
Terms: not given this year | Units: 4 | UG Reqs: WAY-CE | Grading: Letter or Credit/No Credit

TAPS 157: World Drama and Performance (TAPS 357)

This course takes up a geographically expansive conversation by looking at modern and contemporary drama from nations including Ghana, Egypt, India, Argentina, among others. Considering influential texts from the Global South will also enable us to explore a range of themes and methodologies that are radically re-shaping the field of Performance Studies. We will examine the relationship between colonialism and globalization, empire and capital, cosmopolitanism and neoliberalism. Re-situating our perspective from the Global South and the non-western world, we will ¿provincialize Europe¿ and probe the limits of its universalizing discourses.
Terms: not given this year | Units: 4 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit

TAPS 158H: Proximity and Temporality in Performance (TAPS 358H)

This course considers the relationship between proximity and temporality in live performance, looking quite literally at the distance in space and time between performers and audiences. Alongside case studies of performance works, class readings will be drawn from current Performance Studies scholarship as well as discourses in postmodern geographies and anthropological studies of `proxemics¿ as well as key philosophic works such as Lefebvre¿s The Production of Space and Heidegger¿s The Concept of Time.
Terms: not given this year | Units: 4-5 | Grading: Letter (ABCD/NP)

TAPS 158L: The Ethics of Storytelling: The Autobiographical Monologue in Theory, in Practice, and in the World (ETHICSOC 201R, TAPS 358L)

Recently a theatrical monologuist gained notoriety when it was revealed that key aspects of one of his "autobiographical" stories had been fabricated. In this class another autobiographical monologuist -- who has himself lied many times in his theater pieces, without ever getting caught -- will examine the ethics of telling our life stories onstage. Does theatrical "truth" trump factual truth? We will interrogate several autobiographical works, and then -- through autobiographical pieces created in class -- we will interrogate ourselves.
Terms: Spr | Units: 4 | UG Reqs: WAY-CE | Grading: Letter (ABCD/NP)

TAPS 159: Introduction to Game Studies

Games are not new; they are older than civilization. But in the past 50 years or so, we have seen an explosion of creativity in the development of new games, many of which, especially video games, complicate older understandings of what games are. This explosion of creativity has been matched by the increasing visibility and ubiquity of new games and ways of seeing games: as video games, televised professional sports, and even distributed urban events.n nGames are not a simple object of study. There are many ways to understand them: as social practices, as formal systems, as representative artwork, as modes of learning, and many more. We will start by considering games as a mode of performance, considering games in relation to theater and other forms of aesthetic performance. However, we will take a deeply interdisciplinary approach to the study of games, and will draw on perspectives from design, philosophy, education, and the emerging discipline of video game studies. We will also, of course, draw on a variety of games, both online and offline. As we bring in these perspectives, we will begin to consider games in at least two other fundamental ways: as designed experiences and as composed systems or artworks.nnThis course is less an attempt to provide a survey of the entire field of games. It is more an attempt to provide a basic toolbox for critically examining and analyzing games. These tools are potentially useful for anyone who interacts with games: whether as a consumer of entertainment, a critical analyst of play, a user of serious games, or a game designer.
Terms: not given this year | Units: 4 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit

TAPS 159G: The Theater of War: Art, Violence, and the Technologies of Death

We will read plays and study films dealing with war and the technologies of destruction, including Aeschylus' Persians, Sophocles' Philoctetes, Euripides' Trojan Women, Shakespeare's Macbeth, O'Casey's The Plough and the Stars and The Silver Tassie, Brecht's Galileo and Mother Courage, Kubrick's Paths of Glory and Dr. Strangelove, Bergman's Shame, Nichol's Catch-22, Wertmuller's Seven Beauties, Brenton's The Genius, Frayn's Copenhagen, Nottage's Ruined, among others.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit

TAPS 159M: Movement and Meaning: Dance Studies in Global Comparative Context (CSRE 159M, DANCE 23, TAPS 259M)

This course introduces students to various approaches to studying dance in a humanities context. We will explore how people create meaning through dance and how dance, in turn, shapes social norms, political institutions, and cultural practices across time and space. The course's structure challenges the Western/non-Western binary that still pervades many academic disciplines by comparing dance forms across the globe on the basis of functional similarities. At the same time, we will keep in mind the unequal power hierarchies shaping our modern world, and therefore we will examine how and why certain forms have become delineated as 'Western' and others as 'world' or 'ethnic,' despite similarities in movement, meaning, or purpose.
Terms: not given this year | Units: 4 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
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