2020-2021 2021-2022 2022-2023 2023-2024 2024-2025
Browse
by subject...
    Schedule
view...
 

1 - 10 of 41 results for: TAPS ; Currently searching spring courses. You can expand your search to include all quarters

TAPS 11: Introduction to Dance Studies (CSRE 11, DANCE 11, FEMGEN 11)

This class is an introduction to dance studies and the complex meanings bodily performances carry both onstage and off. Using critical frames drawn from dance criticism, history and ethnography and performance studies, and readings from cultural studies, dance, theater and critical theory, the class explores how performing bodies make meanings. We will read theoretical and historical texts and recorded dance as a means of developing tools for viewing and analyzing dance and understanding its place in larger social, cultural, and political structures. Special attention will be given to new turns in queer and feminist dance studies. This course blends theory and embodied practice. This means as we read, research, and analyze, we will also dance. Students enrolled should expect to move throughout the quarter and complete a two-part choreographic research project. TAPS 11 has been certified to fulfill the Writing in the Major (WIM) requirement.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II, WAY-CE
Instructors: Jones, T. (PI)

TAPS 21T: StoryCraft: Sexuality, Intimacy & Relationships (FEMGEN 21T)

What are the roles of sex, sexuality, intimacy, and relationships in my life? How do I tell a compelling story? In this class, you will learn about these topics from the inside out. We will explore various perspectives on sexuality, intimacy, and relationships and then dive into our own stories to discover the richness and vibrancy of our lived experience. Due to the personal nature of the topic, we will emphasize safety, trust, and confidentiality throughout. The class offers the structure and guidance to 1) mine your life for stories, 2) craft the structure and shape of your stories, and 3) perform with presence, authenticity, and connection. Students will be selected from this class to tell their stories in Beyond Sex Ed. IMPORTANT: We can only accept students who can commit to being available for NSO Sept 14-18, 2025. As such, priority will be given to underclassmen and students returning to campus in the fall. Please fill out this short application for enrollment: bit.ly/Spring2025StoryCraft.
Terms: Spr | Units: 2 | UG Reqs: WAY-CE
Instructors: Booth, B. (PI)

TAPS 30: Introduction to Theatrical Design

Introduction to Theatrical Design is aimed at students interested in exploring the fundamentals of design for the stage. Students are introduced to the practical and theoretical basics of design and are challenged to answer the question: What makes good design? Students should expect to try their hand at communicating their ideas visually through research, drawing, sketching and model making. Readings, field trips, guest lecturers and class discussion will complement these projects. This course is intended as a gateway to more specialized courses in set, costume and lighting design and is also an excellent primer for actors, directors and scholars who wish to know more about design. Collaboration will be emphasized. No prior experience in these areas is necessary.
Terms: Spr | Units: 4 | UG Reqs: WAY-CE
Instructors: Bodurtha, R. (PI)

TAPS 39: Production Crew

(Previously called TAPS 39 Theater Crew.) Class for students working on TAPS department productions in the following role: backstage/run crew, scenic technician, or costume technician. Night and weekend time possible. Pre-approval from Tyler Osgood (tosgood@stanford.edu) is required for enrollment. TAPS has a variety of roles available. (Enrollment Guide: Section 01: BACKSTAGE/RUN CREW, Section 02: SCENE SHOP, and Section 03: COSTUME SHOP.) No experience is necessary. This is a class, and we will train you to fill any assigned position.
Terms: Aut, Win, Spr | Units: 1-3 | Repeatable 4 times (up to 15 units total)
Instructors: Osgood, T. (PI)

TAPS 101F: Close Cinematic Analysis: Being John Wayne (ARTHIST 199, ASNAMST 108, FEMGEN 104, FILMEDIA 101, FILMEDIA 301)

This course engages in close analysis of different cinematic themes, genres, and artists. Specific topics may vary by term/year/instructor. This term's topic: John Wayne. John Wayne's imposing corporeality and easy comportment combined to create an enduring, complex, icon of masculinity, of the American West, and of America itself. This seminar will concentrate on the films that contributed most strongly to the establishment of, maturation of, and even deconstruction of, the iconography and mythology of the "John Wayne" character. This concentration will also bring into view the western and war film as genres; the crisis of (and performance of) masculinity in postwar culture; gender and sexuality in American national identity; the relation between individualism, community, and the state; the Western and national memory; and patriotism and the Vietnam War. Most courses on film are built around directors, genres, nations, or periods. A course on the films of John Wayne proposes that the more »
This course engages in close analysis of different cinematic themes, genres, and artists. Specific topics may vary by term/year/instructor. This term's topic: John Wayne. John Wayne's imposing corporeality and easy comportment combined to create an enduring, complex, icon of masculinity, of the American West, and of America itself. This seminar will concentrate on the films that contributed most strongly to the establishment of, maturation of, and even deconstruction of, the iconography and mythology of the "John Wayne" character. This concentration will also bring into view the western and war film as genres; the crisis of (and performance of) masculinity in postwar culture; gender and sexuality in American national identity; the relation between individualism, community, and the state; the Western and national memory; and patriotism and the Vietnam War. Most courses on film are built around directors, genres, nations, or periods. A course on the films of John Wayne proposes that the body of films in which Wayne starred over 35 years demonstrate not only a coherence and consistency, but also a variety, that merits closer examination. Stars frequently exerted control over their materials (especially when they went on, as Wayne did, to head their own production companies), but this an aspect of filmmaking that has received little attention in the classroom. Wayne's work in this period occurs primarily in two genres: the western and the war film (with the cavalry films neatly straddling both of these). Many of his best films were directed by two of the foremost directors in the American pantheon - John Ford and Howard Hawks: the chance to review their work with Wayne also serves as an occasion to explore the ways in which each differs from (and even comments upon) the other. Perhaps the most common criticism leveled against John Wayne as an actor was (and continues to be) that he was simply "being John Wayne." This course proposes that first, this is no small thing, and second, it is also not really true.
Terms: Spr | Units: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II

TAPS 103: Beginning Improvising

The improvisational theater techniques that teach spontaneity, cooperation, team building, and rapid problem solving, emphasizing common sense, attention to reality, and helping your partner. Based on TheatreSports by Keith Johnstone. Readings, papers, and attendance at performances of improvisational theater. Limited enrollment. Improv, Improvisation, creativity and creative expression. Limited enrollment. 20 students enrolled on first come, first served basis. Remaining available filled by students on the waitlist, with priority given to TAPS majors/minors and those who have been unable to take the class previously due to limited capacity. In order to claim your spot off the waitlist, please attend the first day of class. Enrollment often shifts in week 1, please show up even if you have a high number on the waitlist.
Terms: Aut, Win, Spr | Units: 3 | UG Reqs: WAY-CE

TAPS 105: Advanced Improvisation

This course is a deeper dive into performance improvisation. Designed to be a small ensemble experience, we will focus on the skills of character and environment creation, narrative and performance to co-create a longer sustained story in the Bay Area Longform Improv tradition. The class culminates in a weekend of performances of improvised stories for the wider Stanford community. Available to students who have taken 103 and 104 or are members of the Stanford Improvisors. Students must confirm eligibility with instructors. Email Dan (kleinimp@stanford.edu) and Lisa (lrowland@stanford.edu) with a description of your training including quarters that you took 103 and/or 104, and with whom. If you have additional training, please describe it. Include a few lines about what you are hoping to learn in TAPS 105.
Terms: Spr | Units: 3

TAPS 120A: Acting I: Fundamentals of Acting

A substantive introduction to the basics of the craft of acting, this course gives all incoming students the foundation of a common vocabulary. Students will learn fundamental elements of dramatic analysis, and how to apply it in action. Topics include scene analysis, environment work, psychological and physical scoring, and development of a sound and serviceable rehearsal technique. Scene work will be chosen from accessible, contemporary, and realistic plays. Outside rehearsal time required.
Terms: Aut, Win, Spr, Sum | Units: 4 | UG Reqs: WAY-CE

TAPS 120B: Acting II: Advanced Acting

Have you ever dreamt of starring in a period piece like Bridgerton? Playing a superhuman in a Marvel movie? Or a larger-than-life character in a musical? In TAPS 120B, students will learn how to expand character work beyond what is immediately familiar. We will build on existing acting skills and look beyond the strictly contemporary. We will approach roles with heightened language and circumstances from scripts that move beyond contemporary realism. We will learn how to build a complex character, with a focus on style, relationship, costume, atmosphere, subtext, sensory inspiration, and inner life. We will explore how a performing artist researches, and how that research can be used to enrich and deepen performance. We will practice how to act truthfully and vividly in a variety of theatrical styles. Students will practice techniques developed by Sanford Meisner, Jerzy Grotowski, Rudolph Laban, Stella Adler, and Michael Chekhov, among others, and will explore performance styles including commedia dell'arte, restoration comedy, and ballroom vogue. Our scene and monologue work will culminate the last week of school in a final performance for an invited audience.
Terms: Spr | Units: 3 | UG Reqs: WAY-CE | Repeatable 2 times (up to 6 units total)

TAPS 120M: Audition and Monologue

Auditioning is an essential part of being an actor. This class will demystify the process, so that students develop the skill and confidence to prepare an effective audition. Cold reading and making committed clear acting choices in scenes and monologues will be covered. Students will learn how to choose exciting and suitable monologues that reveal the actor's individuality and skill. In the class, students will practice addressing stage fright through preparation, warmup, and breathing to focus nerves into performance vitality and ease. Several guest speakers from the theater and film industry may be featured. Students will complete the class with at least two dynamic contrasting monologues that will serve them in auditions. This class is ideal for students auditioning for theater productions, recorded media, or for acting conservatories and graduate schools. Enrollment preference given to TAPS majors and minors. Prerequisite: Fundamentals of Acting ( TAPS 120A), or approval of the instructor.
Terms: Spr | Units: 3 | UG Reqs: WAY-CE
Instructors: Hunt, S. (PI)
Filter Results:
term offered
updating results...
teaching presence
updating results...
number of units
updating results...
time offered
updating results...
days
updating results...
UG Requirements (GERs)
updating results...
component
updating results...
career
updating results...
© Stanford University | Terms of Use | Copyright Complaints