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TAPS 151C: Hamlet and the Critics (ENGLISH 115C, ENGLISH 215C, TAPS 251C)

Focus is on Shakespeare's Hamlet as a site of rich critical controversy from the eighteenth century to the present. Aim is to read, discuss, and evaluate different approaches to the play, from biographical, theatrical, and psychological to formalist, materialist, feminist, new historicist, and, most recently, quantitative. The ambition is to see whether there can be great literature without (a) great (deal of) criticism. The challenge is to understand the theory of literature through the study of its criticism.
Terms: Win | Units: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Lupic, I. (PI)

TAPS 151T: Global Great Books: Dramatic Dialogues (COMPLIT 151T, COMPLIT 351T, TAPS 351)

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.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II, GER:DB-Hum

TAPS 153M: Mechanics of the Theater: The Technologies of Stagecraft

This course explores the history of technologies vital to the theatre: traps, lifts, lights, and sounds have been crucial for creating stage illusion. Divided into three main sections, Mechanics and Machines, Lighting and Projections, and Acoustics and Sound, we will examine the history of technological innovation and theatrical experimentation from the Enlightenment to the present. We will also be conducting case studies for each section with a core text or texts. We will cover Shakespeare's Hamlet, Ibsen's Ghosts, Chekhov's The Seagull, and Dreamgirls, The Musical. n nTechnologies such as mechanical traps, electrical lights, and sound machines have been used to create stunning illusions and spectacular theater. Many of these technologies were also significant for the histories of industrialization and modernization. We will ask: How did theater makers develop and innovate using technological innovations? What role does technological aesthetics play in understanding human culture? What are the relationships between theater, technology, and society? In class, we will be reading, experimenting, and performing with various technological artifacts. We will be conducting experiments alongside our reading practice to better understand our historical subjects.
Last offered: Autumn 2017 | UG Reqs: WAY-A-II, WAY-SI

TAPS 154G: Black Magic: Ethnicity, Race, and Identity in Performance Cultures (AFRICAAM 154G, CSRE 154D, FEMGEN 154G)

In 2013, CaShawn Thompson devised a Twitter hashtag, #blackgirlmagic, to celebrate the beauty and intelligence of black women. Twitter users quickly adopted the slogan, using the hashtag to celebrate everyday moments of beauty, accomplishment, and magic. In contrast, #blackmagic is used to describe everything from the uncanny to the personal. This course examines the discursive phenomenon of "black magic" and its permutations throughout Anglo-American histories. We will investigate the binaries of black/dark, white/light magic that has entered our contemporary lexicon, reading material on religion, magic performance, and theater.
Last offered: Spring 2018 | UG Reqs: WAY-A-II, WAY-EDP

TAPS 156A: Warhol: Painting, Photography, Performance (ARTHIST 156A, ARTHIST 356A, TAPS 356A)

This course focuses on the career of Andy Warhol as a means to consider the broader history of American art and culture since 1950. It examines little-studied aspects of Warhol¿s visual production (e.g. his career as a commercial artist in the 1950s and his everyday photographs of the 1970s and 1980s) alongside his now-canonical Pop paintings of the 1960s. Warhol?s critical and scholarly reception will be scrutinized in detail, as will published interviews of and writings by the artist. Finally, we will consider Warhol¿s legacy and wide-ranging influence on American culture in the decades since his death in 1987.
Last offered: Winter 2017 | UG Reqs: WAY-A-II

TAPS 156X: Theater of Dissent: Social Movements, Migration, and Revolution in the Americas (CSRE 156X)

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.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II, WAY-EDP

TAPS 157: World Drama and Performance (TAPS 357)

This course takes up a geographically expansive conversation by looking at modern and contemporary drama from nations including Ghana, Egypt, India, Argentina, among others. Considering influential texts from the Global South will also enable us to explore a range of themes and methodologies that are radically re-shaping the field of Performance Studies. We will examine the relationship between colonialism and globalization, empire and capital, cosmopolitanism and neoliberalism. Re-situating our perspective from the Global South and the non-western world, we will 'provincialize Europe' and probe the limits of its universalizing discourses.
Last offered: Spring 2018 | UG Reqs: WAY-A-II, WAY-EDP

TAPS 158B: Brecht in Practice and Theory

Hardly any figure looms as large in the modern theatrical canon as Bertolt Brecht, whose critical rethinking of theater's social function has inspired political artists around the globe. This course zooms in on this revolutionary spirit to offer students the opportunity to study, apply, critique and transform Brechtian techniques through hands-on activities. With class sessions split between practical workshops and seminars, we will approach Brecht's writings both his prose and plays¿from the theater practitioner's perspective. How do Brecht's concepts, like Verfremdung, Epic, and Gestus, challenge theater conventions, and to what end? What practical exercises can be developed from his writings, and what are their uses for theater-makers today? How, when, and why might Brechtian techniques be applied to devised work or dramas by other playwrights? What does Brecht's model of theater overlook, and how can an intersectional critique provide inspiration to transform his ideas? The course is aimed particularly at student directors, but will also benefit actors, dramaturgs, playwrights and scholars interested in practice as research. No theater experience required.
Terms: Win | Units: 4 | UG Reqs: WAY-A-II, WAY-CE
Instructors: Pipert, J. (PI)

TAPS 160: Performance and History: Rethinking the Ballerina (DANCE 160, FEMGEN 160, TAPS 260)

The ballerina occupies a unique place in popular imagination as an object of over-determined femininity as well as an emblem of extreme physical accomplishment for the female dancer. This seminar is designed as an investigation into histories of the ballerina as an iconographic symbol and cultural reference point for challenges to political and gender ideals. Through readings, videos, discussions and viewings of live performances this class investigates pivotal works, artists and eras in the global histories of ballet from its origins as a symbol of patronage and power in the 15th century through to its radical experiments as a site of cultural obedience and disobedience in the 20th and 21st centuries.
Last offered: Winter 2017 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-EDP

TAPS 160M: Introduction to Representations of the Middle East in Dance, Performance, & Popular Culture (CSRE 160M, DANCE 160M, FEMGEN 160M)

This course will introduce students to the ways in which the Middle East has been represented and performed by/in the 'West' through dance, performance, and popular culture in both historical and contemporary contexts. A brief look through today's media sources exposes a wide range of racialized and gendered representations of the Middle East that shape the way the world imagines the Middle East to be. As postcolonial theorist Edward Said explains, the framework we call Orientalism establishes the ontological character of the Orient and the Oriental as inherently `Other'. Starting with 19th century colonialism and continuing into the post-9/11 era, this course will trace the Western production, circulation, and consumption of representations of the Middle East as 'Other' in relation to global geopolitics. We will further examine dance forms produced in mid-twentieth century Iran and Egypt, with particular attention to nation-state building and constructions of gender. Finally, we will examine artistic productions and practices from the Middle East and Middle Eastern diasporic communities that respond to colonialism, war, displacement, secularism, and Euro-American Empire. Using dance studies, postcolonial feminist, and critical race theoretical frameworks, we will consider the gender, racial, political, and cultural implications of selected performance works and practices in order to analyze how bodies produce meaning in dance, performance art, theater, film, photography, and new media. Students will engage in multiple modes of learning; the course will include lectures, engaged group discussions, viewing of live and recorded performance, embodied participation in dance practice, student oral presentations, and a variety of writing exercises. Course assignments will culminate in a final research project related to class themes and methods.
Last offered: Spring 2018 | UG Reqs: WAY-A-II, WAY-EDP
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