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TAPS 178E: Advanced Playwriting Workshop (TAPS 278E)

Instructor Young Jean Lee is the first Asian-American female to have had her play produced in Broadway. This workshop will guide you through the process of of creating a script for a full-length piece of theater, and will focus on helping you to make significant progress on and/or complete a draft. You'll be required to write every week and give feedback on each others' work. You can be anywhere in your process--from having no idea what you want to do to being close to a final draft. This class is open to a wide range of approaches and styles--including adaptations and devised work. Both students who have never written for theater and students who have worked on a script with Young Jean in a previous class are welcome. This class is identical to TAPS 178C, except that preference is given to juniors, seniors, and graduate students. Students must email the instructor at yjl@stanford.edu for permission to enroll in the class.
| UG Reqs: WAY-CE

TAPS 183C: Interpretation of Musical Theater Repertoire (MUSIC 183C)

By audition only: Contact instructor prior to enrolling (mlcats@stanford.edu). Ability to read music expected, but students with experience singing in musical theater can be accepted. For singers and pianists as partners. Performance class in a workshop setting along with lecture/discussion of important eras of musical theater history. Composers include Kern, Porter, Gershwin, Rodgers, Sondheim, Lloyd Weber, Jason Robert Brown and others. May be repeated for credit a total of 2 times. Enrollment limit: 20 (ten singers maximum). Prerequisite: consent of instructor. Recommended prerequisite: 170 (pianists).
Terms: Win | Units: 1-2 | UG Reqs: WAY-CE | Repeatable 2 times (up to 4 units total)
Instructors: Catsalis, M. (PI)

TAPS 183E: Singing for Musicals (MUSIC 183E)

Do you love singing in musicals? Do you know how to sing in musicals? This course provides training in vocal technique and acting for students interested in performing musical theater. Students will learn about the physical process of singing, including posture, breath support, and vocal exercises. They will incorporate vocal technique with the study of phrasing in different styles of Broadway repertoire, and apply both to the art of acting the song. Through understanding vocal technique, students will become more confident and joyful performers. Admission to the course is by audition or permission of the instructor. Due to the COVID-19 situation, Singing for Musicals classes will be taught online during Spring 2021. As this can pose a problem with students in various time zones and internet arrangements, the instructor will contact all waitlisted students with more detailed information regarding video auditions and a questionnaire prior to the first class.
Terms: Spr | Units: 2 | UG Reqs: WAY-CE | Repeatable 4 times (up to 8 units total)
Instructors: Jennings, K. (PI)

TAPS 184C: Dramatic Vocal Arts: Songs and Scenes Onstage (MUSIC 184C)

Studies in stagecraft, acting and performance for singers, culminating in a public performance. Repertoire to be drawn from the art song, opera, American Songbook and musical theater genres. Enrollment by audition only. May be repeated for credit a total of 4 times. Zero unit enrollment option available with instructor permission. See website: ( http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Spr | Units: 1-2 | UG Reqs: WAY-CE | Repeatable 4 times (up to 8 units total)
Instructors: Catsalis, M. (PI)

TAPS 278: Intensive Playwriting (CSRE 178B)

Intermediate level study of fundamentals of playwriting through an intensive play development process. Course emphasizes visual scripting for the stage and play revision. Script analysis of works by contemporary playwrights may include: Suzan-Lori Parks, Tony Kushner, Adrienne Kennedy, Edward Albee, Maria Irene Fornes and others. Table readings of full length work required by quarter¿s end.
Last offered: Spring 2016 | UG Reqs: WAY-CE

THINK 49: Stories Everywhere

Do we perceive the world through stories? Are we made of stories? Can we make sense of the world without narrative? The telling of stories is not just a form of entertainment but an essential human activity that moves and persuades us, compelling us to action and reflection. In this course, we will probe how moral, cognitive and historical forces give stories their power. You will be introduced to the basic theory and art of storytelling, enabling you to understand and master the fundamentals of narrative structure, plot, and character. This will allow you to practice producing your own stories through both interpretative and creative writing assignments. The class will also give students the chance to participate in various story-making activities and work with the Stanford Storytelling Project, San Francisco StoryCorps, School of the Arts and the Stanford Innocence Project to create assignments that would be useful to both private and nonprofit organizations.
Terms: Aut | Units: 4 | UG Reqs: THINK, WAY-A-II, WAY-CE

THINK 50: Empathy

This course will introduce freshmen to a range of ways of thinking about empathy. How do we know and understand the other? How does knowledge of another's experience and circumstances enable us to make moral decisions and take moral actions? It will take students on an intellectual investigation of the topic of empathy from the Buddhist emphasis on compassion in the fifth century BCE to Jesus' teaching of parables in the first century CE to Enlightenment philosophy to Silicon Valley¿s adoption of empathy in the twenty-first century. The main focus will be on the modern period (from the 18th to 20th century) and students will be asked to approach different genres of text through the lens of empathy. The course will culminate with a one-week creative workshop on the question of empathy.
Last offered: Autumn 2017 | UG Reqs: THINK, WAY-CE, WAY-ED

THINK 66: Design that Understands Us

We find ourselves in an age of rapidly evolving technology, where the world we inhabit, increasingly, is the world we make. At Stanford, you will find many courses that ask you to make things¿everything from algorithms, products, policies, to artworks. What is rarer is to be given the space to stop and really think about why¿for what and for whom¿we design these things, and whether we should continue to design in ways demanded by commercial and political actors. This critical thinking course examines the nature, purpose, and meaning of design in human life, and asks the fundamental questions of ¿what is design?¿, ¿why do we do it?¿, and ¿how do design, technology, and society shape one another?¿. We will explore design as a series of choices and the ways in which we make these choices. This course will consider different models of design in our world today: from need-based design (as we are often taught) to the fashioning of tools that help us flourish as human beings. You will learn a more »
We find ourselves in an age of rapidly evolving technology, where the world we inhabit, increasingly, is the world we make. At Stanford, you will find many courses that ask you to make things¿everything from algorithms, products, policies, to artworks. What is rarer is to be given the space to stop and really think about why¿for what and for whom¿we design these things, and whether we should continue to design in ways demanded by commercial and political actors. This critical thinking course examines the nature, purpose, and meaning of design in human life, and asks the fundamental questions of ¿what is design?¿, ¿why do we do it?¿, and ¿how do design, technology, and society shape one another?¿. We will explore design as a series of choices and the ways in which we make these choices. This course will consider different models of design in our world today: from need-based design (as we are often taught) to the fashioning of tools that help us flourish as human beings. You will learn about various aesthetic and ethical frameworks and a fundamental language of design, so that you can begin to critically analyze everyday examples of media, tools, toys, and games¿and apply such lenses to designing conscientiously. You will learn to think about the design of social networks, artificial intelligence, musical instruments, games, virtual reality, and other examples¿in terms of needs and values, ethics and aesthetics. In short, through this course, you will learn to more clearly and critically view our technology-drenched human world¿and to exercise your ethical and artful imagination to reimagine better worlds.
Terms: Win | Units: 4 | UG Reqs: THINK, WAY-A-II, WAY-CE

URBANST 113: Introduction to Urban Design: Contemporary Urban Design in Theory and Practice

Comparative studies in neighborhood conservation, inner city regeneration, and growth policies for metropolitan regions. Lect-disc and research focusing on case studies from North America and abroad, team urban design projects. Two Saturday class workshops in San Francisco: 2nd and 4th Saturdays of the quarter. Terms: Win | Units: 5 | UG Reqs: GER:DBSocSci | Grading: Letter (ABCD/NP)
Terms: Win | Units: 5 | UG Reqs: GER:DB-SocSci, WAY-CE, WAY-SI
Instructors: Glanz, D. (PI)

URBANST 171: Urban Design Studio (CEE 131D)

The practical application of urban design theory. Projects focus on designing neighborhood and downtown regions to balance livability, revitalization, population growth, and historic preservation.
Last offered: Spring 2020 | UG Reqs: WAY-CE
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