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1 - 10 of 168 results for: TAPS

TAPS 1: Introduction to Theater and Performance Studies

TAPS 1 provides you with a solid foundation in Theater Studies and traces the development of the burgeoning field of Performance Studies. We will consider a range of canonical plays and emerging performance forms, and explore how performance can also function as an interpretive framework for analyzing a broad range of social behaviors, sites, and institutions. Through a series of close readings, discussions, written and practical exercises, and viewings of live performance, this course will help you achieve a richer understanding of the performances you see and the performances you may wish to make. This quarter, TAPS 1 will serve as the platform for the Theater & Performance Studies professionalization series. We will host several guest speakers (directors, actors, playwrights, and dance practitioners), who will give you some real connections in the theater world and will provide you with information and skills to help you build a career in the arts.
Terms: Spr | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)

TAPS 11N: Dramatic Tensions: Theater and the Marketplace

Preference to freshmen. The current state of the American theater and its artists. Conventional wisdom says that theater is a dying art, and a lost cause, especially in an age of multi-media entertainment. But there are more young playwrights, actors, and directors entering the field today than at any other time in American history. Focus is on the work of today's theater artists, with an emphasis on an emerging generation of playwrights. Students read a cross-section of plays from writers currently working in the US and UK, covering a spectrum of subjects and styles from serious to comic, from the musical to the straight play. Hits and misses from recent seasons of the New York and London stages and some of the differences of artistic taste across the Atlantic. Hands-on exploration of the arts and skills necessary to make a play succeed. Students develop their own areas of interest, in guided projects in design, direction or performance. Conversations with playwrights, designers ,and directors. Labs and master classes to solve problems posed in areas of creative production. Class meets literary managers and producers who are on the frontlines of underwriting new talent. Class trips include two plays at major Bay Area Stages.
Terms: Aut | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Freed, A. (PI)

TAPS 11Q: Art in the Metropolis (ARTSINST 11Q)

This seminar is offered in conjunction with the annual "Arts Immersion" trip to New York that takes place over the spring break and is organized by the Stanford Arts Institute (SAI). Participation in the trip is a requirement for taking part in the seminar (and vice versa). The trip is designed to provide a group of students with the opportunity to immerse themselves in the cultural life of New York City guided by faculty and the SAI programming director. Students will experience a broad range and variety of art forms (visual arts, theater, opera, dance, etc.) and will meet with prominent arts administrators and practitioners, some of whom are Stanford alumni. For further details and updates about the trip, see http://arts.stanford.edu.
Terms: Spr | Units: 3 | UG Reqs: WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Jenkins, N. (PI)

TAPS 12N: To Die For: Antigone and Political Dissent (CLASSICS 17N)

(Formerly CLASSGEN 6N.) Preference to freshmen. Tensions inherent in the democracy of ancient Athens; how the character of Antigone emerges in later drama, film, and political thought as a figure of resistance against illegitimate authority; and her relevance to contemporary struggles for women's and workers' rights and national liberation. Readings and screenings include versions of Antigone by Sophocles, Anouilh, Brecht, Fugard/Kani/Ntshona, Paulin, Glowacki, Gurney, and von Trotta.
Terms: Win | Units: 3 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-ED, WAY-ER | Grading: Letter (ABCD/NP)
Instructors: Rehm, R. (PI)

TAPS 17N: Acting for Activists

Acting for Activists is designed for students who are interested in combining acting with activism, performance with politics. We will work with theatre that responds to specific political events and crisis such as hate crimes or war through the performance of activist texts. We will also explore works that challenge inequalities of income, race, gender and sexual orientation. By the end of the course students will cultivate a critical vocabulary for discussing and critiquing work within acting/activist contexts and develop new strategies for creating theatre in relation to issues they are passionate about. Acting for Activists encourages students to think about what they want to say and helps them craft how they want to say it.
Terms: Aut | Units: 3 | UG Reqs: WAY-CE | Grading: Letter (ABCD/NP)
Instructors: Hill, L. (PI)

TAPS 19AX: Experimental Dance Theater with Parijat Desai

A course for dancers, actors and theater designers to gain a multi-faceted immersion into the process of NYC-based experimental dance theater. Through studying dance and movement technique and a discussion of the themes of justLikeThat/Maya, a dance theater work by Parjiat Desai, students will engage ideas about the relationship between language and state power in a democracy, to research and generate dialogue, movement/gesture, song and dance. justLikeThat/Maya, which explores how news and official language obfuscates and disconnects us from lived reality is situated between experimental theater and dance, and was previewed in 2017 in at Harlem Stage. The piece is in part inspired by a Hindustan Times article about activist Sharmila Irom, who challenged India¿s Armed Forces Special Powers Act. (The AFSPA allows the army to attack civilians in the name of national security.) She also draws from George Orwell's essay "Politics of the English Language," and other sources of news-, or of more »
A course for dancers, actors and theater designers to gain a multi-faceted immersion into the process of NYC-based experimental dance theater. Through studying dance and movement technique and a discussion of the themes of justLikeThat/Maya, a dance theater work by Parjiat Desai, students will engage ideas about the relationship between language and state power in a democracy, to research and generate dialogue, movement/gesture, song and dance. justLikeThat/Maya, which explores how news and official language obfuscates and disconnects us from lived reality is situated between experimental theater and dance, and was previewed in 2017 in at Harlem Stage. The piece is in part inspired by a Hindustan Times article about activist Sharmila Irom, who challenged India¿s Armed Forces Special Powers Act. (The AFSPA allows the army to attack civilians in the name of national security.) She also draws from George Orwell's essay "Politics of the English Language," and other sources of news-, or official-, or corporate-speak, to inquire into the way postcolonial English operates. nDuring Fall of 2018, Desai will be culminating development of an evening-length production, and with support from Center for Performance Research in Williamsburg, NY, collaborate with designers to create costume, set, and projection. Students, along with Desai and principle creative collaborators will delve into the development process and consider methods of creating experimental theater from a dance and chorographic perspective. nStudents will also have the opportunity to learn dance technique from Parijat Desai, India-born, New York-based choreographer who strives to cross boundaries of culture, identity, and nation through dance performance. She draws on contemporary dance, bharata natyam, theater and other forms to create hybrid movement languages.
Terms: Sum | Units: 2 | Grading: Satisfactory/No Credit

TAPS 20A: Acting for Non-Majors

A class designed for all interested students. Creative play, ensemble work in a supportive environment. Designed for the student to experience a range of new creative skills, from group improvisation to partner work. Introductory work on freeing the natural voice and physical relaxation. Emphasis on rediscovering imaginative and creative impulses. Movement improvisation, listening exercises, and theater games release the energy, playfulness and willingness to take risks that is the essence of free and powerful performance. Course culminates with work on dramatic text. This version of the class is offered in summer only. During the year, students should register for TAPS 124D.
Terms: Sum | Units: 2 | UG Reqs: WAY-CE | Grading: Satisfactory/No Credit
Instructors: Eacho, D. (PI)

TAPS 20AX: A Raisin in the Sun

Set on Chicag's South Side, the plot revolves around the divergent dreams and conflicts within three generations of the Younger family: son Walter Lee, his wife Ruth, his sister Beneatha, his son Travis, and matriarch Lena. When her deceased husband's insurance money comes through, Mama Lena dreams of moving to a new home and a better neighborhood in Chicago. Walter Lee, a chauffeur, has other plans: buying a liquor store and being his own man. Beneatha dreams of medical school. The tensions and prejudice they face form this seminal American drama. The Younger family¿s heroic struggle to retain dignity in a harsh and changing world is a searing and timeless document of hope and inspiration.nnStudents cast in the production must enroll in the associated Arts Intensive course; the Office of the Vice Provost for Undergraduate Education will cover tuition costs associated with enrollment. Cast members and other key creative roles will be offered two units of credit through the Arts Intensive program and will be housed on campus for rehearsals which start during the Arts Intensive program period (September 4-21, 2018) and continue into Fall quarter, culminating in performances in Roble Studio Theater on October 25-27 and November 1-3, 2018.)
Terms: Sum | Units: 2 | Grading: Satisfactory/No Credit
Instructors: Elam, H. (PI)

TAPS 20N: Prisons and Performance

Preference to Freshmen. This seminar starts with the unlikely question of what can the performing arts ¿ particularly dance and theater ¿ illuminate about the situation of mass incarceration in America. Part seminar, part immersive context building, students will read and view a cross-section of dance and theater works where the subject, performers, choreographers or authors, belong to part of the 2.4 million people currently behind bars in US prisons. Class includes conversations with formerly incarcerated youth, prison staff, juvenile justice lawyers and artists working in juvenile and adult prisons as well as those who are part of the 7.3 million people currently on parole or probation. Using performance as our lens we will investigate the unique kinds of understanding the arts make possible as well as the growing use of theater and dance to affect social change and personal transformation among prison inmates. Class trips will include visits to locked facilities and meetings with artists and inmates working behind bars.
Terms: Aut | Units: 3 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit

TAPS 21: StoryCraft

StoryCraft is a hands-on, experiential workshop offering participants the opportunity, structure and guidance to craft compelling personal stories to be shared in front of a live audience. The class will focus on several areas of storytelling: Mining (how do you find your stories and extract the richest details?); Crafting (how do you structure the content and shape the language?); and Performing (how do you share your stories with presence, authenticity and connection?)
Terms: Aut, Spr | Units: 2 | UG Reqs: WAY-CE | Grading: Letter or Credit/No Credit
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