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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.

StoryCraft is a hands-on, experiential workshop offering participants the opportunity, structure and guidance to craft compelling personal stories to be shared in front of a live audience. The class will focus on several areas of storytelling: Mining (how do you find your stories and extract the richest details?); Crafting (how do you structure the content and shape the language?); and Performing (how do you share your stories with presence, authenticity and connection?).

Do you want to make games? This is a project-oriented workshop course that will teach you how to apply design thinking to create new kinds of play. We'll teach you about mechanics, playtesting, drama, narrative, and more. You'll work in teams to produce a new play form in whatever medium and style you like. We want zippy mobile games. We want intensely serious board games. We want socially conscious interactive theater games. We want kinds of fun we've never even imagined.

Team-taught. An introduction to theatrical set, costume and lighting design. Emphasis on balancing practical skill with conceptual ideas for live stage performance. Hands-on projects.

The German writers Georg Büchner (1813-1837) and Frank Wedekind (1864-1918). Many of the most important theater and film directors of the last century, including Max Reinhardt, G. W. Pabst, Orson Welles, Robert Wilson, and Werner Herzog, have wrestled with their works, as have composers and writers from Alban Berg and Bertolt Brecht through Christa Wolf and Thalia Field. Rock artists as diverse as Tom Waits, Lou Reed, Duncan Sheik, and Metallica have recently rediscovered their urgency. Reading these works in translation and examining artistic creations they inspired. Classroom discussions and written responses; students also rehearse and present in-class performances of excerpts from the plays. The aim of these performances is not to produce polished stagings but to creatively engage with the texts and their interpretive traditions. No previous theatrical experience required.

An introductory workshop class that explores a range of theatre exercises and techniques in order to create, perform, and compose theatre. Students will work with original texts such as Beckett, Pinter, Churchill as well as creating their own performance texts and scores to make original, devised performance. Students will be encouraged to think critically about various compositional themes and ideas including the relationship between form and content, aesthetics, proximity, audience, space. Students will work collaboratively learning how to problem solve and deal with creative challenges as they create original performance works. Students will work towards creating a short original performance piece.

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.

Students begin to create pieces that are fresh and innovative forms of musical theater that do not necessarily appeal to specifically popular audiences but perhaps to audiences more associated with high art, opera, or even contemporary independent music. Musical theater is an untapped resource of potential artistic innovation and has unfortunately become stuck in an ideal of universal accessibility. In present popular culture and the culture of contemporary art forms, musical theater almost exclusively refers to popular productions such as Phantom of the Opera, Rent, Wicked, Jesus Christ Superstar. Although excellent pieces of art in their own way, both dramaturgically and in their ability to evoke emotion through catchy melodies, for the most part each of them have their basis in popular and traditional musical idioms and theatrical forms, seldom exploring more advanced or avant-garde and experimental compositional and theatrical techniques.