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This course introduces the goals, directives and techniques of designing costumes for performance. From the first reading of the script to opening night, all aspects will be covered including director/designer relationships, design approach, research, rendering, fabric selection, procurement or construction of costumes, fittings and final dress rehearsals. Each student will work on, or be assigned one main project of their choice. This class can coincide or be taken in advance of a student's involvement in a campus show, utilizing the campus project as their main project in the class. Smaller exercises will be given throughout the quarter to emphasize principles and invigorate design discussions. All students will be required to attend the performances of their peers' projects. One field trip to a professional theater may be planned.

Craft and Theory of stage scenery design including visual research, spatial organization, basic drafting, sketching and model-building. Prerequisite: 30, or consent of instructor.

This course examines theater, performance art, dance, and embodied practice by transgender artists. Students will learn the history and politics of transgender performance while considering the creative processes and formal aesthetics trans artists use to make art. We will analyze creative work in conversation with critical and theoretical texts from the fields of performance studies, art history, and queer studies.

This course uses commercial music videos as a springboard for teaching fundamental concepts in visual design. Students analyze popular music videos for key design elements (such as color, texture or light) and then explore these ideas through interactive assignments both in and out of class. Through class discussion and two written papers, students will build upon these core visual elements to discover meaning and value in the video as a whole. Students will learn a practical design vocabulary as well as visual research methods including online databases available through Stanford.nnCourse Objectives and Learning OutcomesnnIn this course, students will:nn1. Become familiar with fundamental design principles (such as color, texture and shape) through class discussion, group projects, individual creative projects and short written papers focused on a select group of music videos.nn2. Compare and contrast the use of these design principles in specific music videos.nn3. Justify the intellectual validity of pop culture by explicitly connecting music videos to broader historical, political and cultural themes.nn4. Learn how to use the resources of Stanford¿s Art & Architecture library, including the digital collections, to find historic photographs and art images for academic and design projects of any type.

This theory and practice-based course will examine performances by and scholarly texts about artists who critically and mindfully engage race, gender, and sexuality. Students will cultivate their skills as artist-scholars through written assignments and the creation of performance-based works in response to the assigned material. Attendance and written reflection on the TAPS Vital Signs: Performance Art in the 21st Century performance art series are required. The practical component of the class will also incorporate meditation into the process of preparing for, making, and critiquing performance. We will approach mindfulness as method and theory in our own practice, as well in relation to the works studied, while attending to the ethics and current debates concerning its use. Examples of artists studied include James Luna, Nao Bustamante, William Pope.L, Yoko Ono, Cassils, Adrian Piper, Guillermo Gomez-Peña, Nikki S. Lee, and Ana Mendieta.

This class examines the role of narrativity in live performance. Class topics range from the classics, to contemporary theater, dance, new media, performance art curatorship, and beyond, to grand social narratives. Integration of scholarship and practice is one of basic principles of dramaturgy, and this class follows in that spirit. Exploration of dramaturgical techniques is aimed to help students prepare to work on production dramaturgy. To that end, they will have an option to complete their final course assignment by serving as production dramaturgs on one of TAPS shows.

This course investigates the immediacy of the body as material and sculpture in order to investigate private and social spaces. Actions are often used to understand or question the function and psychological aspects of a space and are documented for the perpetuation of these ideas. Throughout the quarter we will investigate the body as material and develop site specific performances enacted for: Private/Domestic and Public Space; Constructed Space & Physical Space; ecological systems; and generate both Individual & Collaborative based Actions, Interventions, & Events."

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.

Hardly any figure looms as large in the modern theatrical canon as Bertolt Brecht, whose critical rethinking of theater's social function has inspired political artists around the globe. This course zooms in on this revolutionary spirit to offer students the opportunity to study, apply, critique and transform Brechtian techniques through hands-on activities. With class sessions split between practical workshops and seminars, we will approach Brecht's writings both his prose and plays¿from the theater practitioner's perspective. How do Brecht's concepts, like Verfremdung, Epic, and Gestus, challenge theater conventions, and to what end? What practical exercises can be developed from his writings, and what are their uses for theater-makers today? How, when, and why might Brechtian techniques be applied to devised work or dramas by other playwrights? What does Brecht's model of theater overlook, and how can an intersectional critique provide inspiration to transform his ideas? The course is aimed particularly at student directors, but will also benefit actors, dramaturgs, playwrights and scholars interested in practice as research. No theater experience required.