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Spring Awakening The MusicalnOct. 27-29 & Nov. 3-5, 2016 nnA Production of TAPS Department in collaboration with Arts Intensive: The Next Stage Premier Performance in brand new Roble Gym Theater! Auditions in April, TBA. nExecutive Produced by Professor and Vice Provost for Undergraduate Education, Harry J. Elam, Jr. Based on Frank Wedekind's controversial 1891 play of the same name, Spring Awakening is an electrifying contemporary musical with a pop/rock score and a rebellious spirit. Winner of 8 Tony Awards, the musical follows the interweaving lives of a group of adolescents as they navigate issues of sexuality, morality, and adulthood. With book and lyrics by Steven Sater and music by Duncan Sheik, Spring Awakening is a touching expose of lost innocence and coming of age. nnThis production serves as the launching pad into Stanford's next theatrical evolution, as both the first production in the new Roble Gym Theater and the inaugural event for Arts Intensive: The Next Stage.nnStudents will be cast through the audition process in April 2016. Cast members and other key creative roles will be offered 2 units credit through the Arts Intensive program and will be housed on campus for rehearsals during the Arts Intensive program period: September 5-16, 2016. (Students with an Autumn Housing Assignment will move to their assigned residence on Sept. 16th).

In the new millennium, the popularity of TV courtroom drama has been staggering: according to a weekly Nielsen ratings conducted a few years ago, 30 million people watched CSI: Crime Scene Investigation in one night, 70 million watched at least one of the CSI shows, and 40 million watched two other forensic dramas ( Without a Traceand Cold Case). These widely popular shows offer a somewhat distorted image of American criminal courtroom. In this class we will go "behind the scenes" to engage in a hands-on investigation of performances in the criminal trials. nWe will begin by visiting Bay Area courthouses to investigate the courtroom as a "set" for powerful legal dramas that are happening there on a daily basis. In these field trips we will also observe the courtroom proceedings and talk to judges and other legal professionals. After this introduction to the real-life courtroom, we will investigate landmark theatrical court dramas. Using mock trial techniques, we will approach playtexts as legal "cases." We will try to identify weaknesses and strengths of these cases, and then use them as mock trial scenarios. Ultimately, this class engages the questions of what does it take to build a solid courtroom case and how does it differ from a powerful piece of theater. While getting acquainted with both courtroom and theater techniques, we will keep a critical eye on (mis)representations of criminal courtroom in the popular media. No previous experience in acting or mock trials is necessary. The class satisfies the WAYS Creative Expression requirement. Sophomore College Course: Application required, due noon, April 5, 2016. Apply at http://soco.stanford.edu.

In Personal Narrative, students will gain their own rigorous training in storytelling techniques, while both engaging in the New York theater community's deep and rich reservoir of personal storytellers and exploring the ways in which stories from their own lives can become powerful performances. Seminar discussions inspired by encounters with other artists' approaches to storytelling will set the stage for guided technical exercises, which will in turn introduce new questions for reading and analysis. In addition to readings, viewings, field trips, and exercise participation, students will be keep a journal reflecting on each day's work and the process of creating their personal narrative pieces. The Intensive will culminate in 1) a performance showcasing the original, fully crafted personal stories of all the participants, 2) the written text of each student's piece for future development, and 3) a short essay reflecting on the process of developing a personal narrative performance and critically assessing the different tools, techniques, and influences that helped in that journey.

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.

This course will help beginning students understand basic dramatic structure for acting short scenes. Using classic models (Euripides, Shakespeare, Noel Coward, Stephen Sondheim), we will explore how compelling dramatic scenes are constructed. Students will work with the instructor and with professional actors from Stanford Repertory Theater to come to grips with what makes these scenes successful and how best to bring them to life. As a final project, students will work together to develop and write their own short dramatic scenes, suitable for posting on YouTube.

For students working backstage, on run crew, or in the theater shops on TAPS department productions. Night and weekend time required. Pre-approval from Laxmi Kumaran (laxmik@stanford.edu) required for enrollment.

Formerly TAPS 20. 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.

For students stage managing a Department of Drama production.

Individual project on the work of a playwright, period, or genre. Prerequisite: consent of instructor.