TAPS 277: Writing for Performance: The Fundamentals (CSRE 177, FEMGEN 177, TAPS 177)
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.
Terms: Aut, Spr
| Units: 4
TAPS 278: Intensive Playwriting (CSRE 178B, TAPS 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.
Terms: Spr
| Units: 4
| UG Reqs: WAY-CE
Instructors:
Moraga, C. (PI)
TAPS 290: Special Research
Individual project on the work of a playwright, period, or genre.
Terms: Aut, Win, Spr, Sum
| Units: 1-5
| Repeatable
for credit
Instructors:
Elam, H. (PI)
;
Jakovljevic, B. (PI)
;
Menon, J. (PI)
...
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Instructors:
Elam, H. (PI)
;
Jakovljevic, B. (PI)
;
Menon, J. (PI)
;
Moraga, C. (PI)
;
Paris, H. (PI)
;
Ramsaur, M. (PI)
;
Ross, J. (PI)
TAPS 315: Dramaturgy
In this seminar, we will take the conventional idea of dramaturgy for narrative performance as developed in Western European theater since the enlightenment, and investigate its relation to non-narrative forms of performance in 20th and 21st (performance art, conceptual dance). Further, we will use dramaturgical procedures to explore the ideological content of performance and position of art institutions in our society. Finally, the students will get acquainted with production dramaturgy and get necessary tools to take the role of dramaturgs in actual performance productions.
Terms: Spr
| Units: 4
Instructors:
Jakovljevic, B. (PI)
TAPS 330: Transnational Sexualities (FEMGEN 330)
Transnational Sexualites is an inter-disciplinary course that considers the aesthetic, social, and political formation of sexual subjectivities in a global world. How does the transnational traffic of people, media, images, finance, and commodities shape the force-fields of desire? What is the relationship between political economies and libidinal economies? The course will explore the erotics of race and religion, neoliberalism and globalization within a wide range geo-political contexts including Indonesia, China, Egypt, India, South Africa, US, among others.
Terms: Spr
| Units: 4
TAPS 334: Stage Management Techniques (TAPS 34)
The production process, duties, and responsibilities of a stage manager. Skills needed to stage manage a production. Ph.D students should enroll in 2 units. Undergraduates should enroll in 3 units.
Terms: Aut, Spr
| Units: 3
Instructors:
Kumaran, L. (PI)
TAPS 354: The Nervous Age: Neurosis, Neurology, and Nineteenth-century Theatre (GERMAN 284, HUMBIO 162)
The nineteenth century witnessed profound developments in neurological and psychological sciences, developments that fundamentally altered conceptions of embodiment, agency, and mind. This course will place these scientific shifts in conversation with theatrical transformations of the period. We will read nineteenth-century neuropsychologists such as Charles Bell, Johannes Müller, George Miller Beard, Jean-Martin Charcot, and Hippolyte Bernheim alongside artists such as Percy Shelley, Georg Büchner, Richard Wagner, Émile Zola, and August Strindberg.
Terms: Spr
| Units: 5
Instructors:
Smith, M. (PI)
TAPS 354D: The Chorus & The Digital Crowd: Representing Groups from Ancient Greece to the Arab Spring (TAPS 154D)
The Chorus & The Digital Crowd is an interdisciplinary workshop in Theater, Visual and Digital Arts, where students will learn from, and collaborate with, professional artists in a dramatic and conceptual exploration of what it means to be a "chorus" from its early representations in Greek Tragedy to its emerging online character (tweeting, posting, liking, and sharing). Reckoning with the reemergence of the crowd in the public sphere, enabled and reinforced by its online counterpart, The Chorus & The Crowd will examine how we imagine and represent collective action. Whether in the same room, at the same website, or on the same planet, what happens when "I" becomes "we"?
Terms: Spr
| Units: 4
Instructors:
Taubman, G. (PI)
TAPS 358L: The Ethics of Storytelling: The Autobiographical Monologue in Theory, in Practice, and in the World (ETHICSOC 201R, TAPS 158L)
Recently a theatrical monologuist gained notoriety when it was revealed that key aspects of one of his "autobiographical" stories had been fabricated. In this class another autobiographical monologuist -- who has himself lied many times in his theater pieces, without ever getting caught -- will examine the ethics of telling our life stories onstage. Does theatrical "truth" trump factual truth? We will interrogate several autobiographical works, and then -- through autobiographical pieces created in class -- we will interrogate ourselves.
Terms: Spr
| Units: 4
Instructors:
Kornbluth, J. (PI)
TAPS 377: Graduate Directors' Staged Reading Project
Presentation of a new or newly adapted work for the stage, in a mode employed in professional theater for the development of new plays. Two to four rehearsals. Public performance.
Terms: Aut, Win, Spr, Sum
| Units: 2
| Repeatable
for credit
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