21 - 30 of 51 results for: TAPS ; Currently searching spring courses. You can expand your search to include all quarters

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.

The most influential and enduring texts in the dramatic canon from Sophocles to Shakespeare, Chekhov to Soyinka. Their historical and geopolitical contexts. Questions about the power dynamics involved in the formation of canons. This course counts as a Writing in the Major course for TAPS in 2016-17.

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."

TAPS 156X is an introductory level course that considers how theatre and performance provide a vital platform to examine political dissonance, the mobilities and (im)mobilities that shape transnational migration, and the formation of Latinx/Chicanx identity in the Americas. We will further examine the differences between key terminology in performance, including the notion of Latinidad, by looking at different aesthetic and socio-cultural performance practices and methodologies, re-occuring performance themes, and site-specific performance in the Americas. This course will primarily concentrate on works written in/about the Western Pacific US Southwest, Mexico, Argentina, Peru, Cuba, and Colombia through a variety of theatrical play texts, recorded performances, workshops, and creative projects.

How different disciplines approach topics and issues central to the study of ethnic and race relations in the U.S. and elsewhere. Lectures by senior faculty affiliated with CSRE. Discussions led by CSRE teaching fellows. Includes an optional Haas Center for Public Service certified Community Engaged Learning section.

Instructor Young Jean Lee has written and directed ten shows with her theater company and toured her work to over thirty cities around the world. In 2018, she became the first Asian-American female to have had her play produced in Broadway. In this workshop, students will collaborate on the creation, development, and performance of an original short play directed by Young Jean, culminating in an invited performance during the last class. The students will be responsible for researching, writing, designing, and performing the play. This class will teach the basics of creating a play, the process of theatrical collaboration, and the tools of devised ensemble work. Students must email the instructor at yjl@stanford.edu for permission to enroll in the class.

Course introduces students to the basic elements of playwriting and creative experimentation for the stage. Topics include: character development, conflict and plot construction, staging and setting, and play structure. Script analysis of works by contemporary playwrights may include: Marsha Norman, Patrick Shanley, August Wilson, Suzan-Lori Parks, Paula Vogel, Octavio Solis and others. Table readings of one-act length work required by quarter's end.

To participate in this workshop, students must bring in a draft of a full length straight play for revision, which was written in part one of this course, WRITING A FULL-LENGTH PLAY. In conjunction with a variety of other editing techniques, students will focus on editing in collaboration with others. They will learn how to edit in response to hearing their plays read aloud; how to give and solicit the most useful kinds of feedback; how to cope with harsh criticism; what to do when people are offended by what they have written; how to know which notes to pay attention to and which notes to ignore; and how to let go of ideas and text that are not working. Other topics to be discussed: getting your work produced vs. self-producing; directing your own work vs. working with a director; and starting your own theater company. Enrollment for this course is closed.

In 2018, instructor Young Jean Lee became the first Asian-American female to have had her play produced in Broadway. She has written a screenplay commission for Plan B Entertainment with Paramount Pictures, is currently working on a screenplay commission for Cinereach, and has shown her short films at Sundance, Locarno, and BAMcinemaFest. This class is for students who have completed a draft of a full-length play or screenplay that they wish to develop. The course will involve reading work aloud and giving feedback. Students should email the instructor at yjl@stanford.edu for permission to enroll in the class.