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141 - 150 of 193 results for: TAPS

TAPS 234: TAPS Production Units: Advanced Stage Management

Credit for advanced stage management students participating in a TAPS production. Units determined by instructor. May be repeated for credit.
Terms: Win | Units: 2-4 | Repeatable for credit

TAPS 235: TAPS Production Units: Dramaturgy

Credit for dramaturgy students participating in a TAPS production. Units determined by instructor. May be repeated for credit.

TAPS 237: TAPS Production Units: Writing

Credit for writing students participating in a TAPS production. Units determined by instructor. May be repeated for credit.
| Repeatable for credit

TAPS 238: TAPS Production Units: Sound Design

Credit for sound design students participating in a TAPS production. Units determined by instructor. May be repeated for credit.
Terms: Spr | Units: 1-5 | Repeatable for credit
Instructors: Smith, A. (PI)

TAPS 239: TAPS Production Units: Music

Credit for dance students participating in a TAPS production. Units determined by instructor. May be repeated for credit.
Terms: Spr | Units: 1-5 | Repeatable for credit

TAPS 250J: Baldwin and Hansberry: The Myriad Meanings of Love (AFRICAAM 250J, AMSTUD 250J, CSRE 250J, FEMGEN 250J)

This course looks at major dramatic works by James Baldwin and Lorraine Hansberry. Both of these queer black writers had prophetic things to say about the world-historical significance of major dramas on the 20th Century including civil rights, revolution, gender, colonialism, racism, sexism, war, nationalism and as well as aesthetics and politics.
Terms: Win | Units: 4

TAPS 252: Objects and Things: Theater, Performance, and Material Culture

Objects, devices, machines, technologies--how do we engage with the material things that come across our research, into our performances, and out of our lives? This course examines how various scholars, theorists, and practitioners have defined and engaged with material culture. We will read popular theories of thing-ness including but not limited to object-oriented ontology (Bill Brown and Jane Bennett), commodity things (Arjun Appadurai), actor-network theory (Bruno Latour), scriptive things (Robin Bernstein), and prop theory (Andrew Sofer). The course will use their theories as lenses on the objects of our own research, countering the Western historiography through case studies, alternative readings, and in-class presentations. New work from performance studies (Uri McMillian etc.) will also provide current case studies in scholarship. Focusing on theater and performance studies, this class will also draw on sociology, anthropology, the history of technology, and art history. TAPS 252 is a graduate-level course---advanced undergraduates should email the professor if interested!
Last offered: Spring 2021

TAPS 253H: History of Directing (TAPS 153H)

There is a lot of great theater out there waiting to be made, and the primary goal of this class is to help students prepare to achieve that goal. In this class, "history" is not only a narrative about the past and its interpretations, but a repository of ideas and techniques that can provide students with useful techniques and sources of inspiration for their own practice. In the graduate component of the class, we will take a historiographic approach to this art form that has often veered towards the biographical and the anecdotal. This is not a history of directors, but a history of directing. That does not mean that we won't look at the work of individual artists: we will do that, while keeping in mind the historical, social, economic as well as aesthetic circumstances under which directing evolved as a distinct profession in the theater.
Terms: Aut | Units: 4

TAPS 255W: The Wretched of the Stage (TAPS 155W)

The subtitle of this class is: Slaves, Women, Children, Servants, More Slaves, the Poor ... in Western Theater. The list could go on: homeless, prostitutes, mentally ill, laborers, disabled. Historically, the center stage of Western theater has been reserved for a certain kind of identity: mostly male, mostly upper class, heterosexual, and white European. At the same time, the wings have been teeming with a great diversity of characters. This class focuses on Western cultures' production of its own marginal identities and the role theater in regulating and reintegrating them into society. In this class, we will focus on primary sources, which is to say, on plays. A few of them are canonical, but many of them are not. This investigation of theater's margins will take us to commercial theater, experimental stages, and to the very limits of what is considered 'Western' drama.
Last offered: Winter 2023

TAPS 258: Black Feminist Theater and Theory (AFRICAAM 258, CSRE 258, FEMGEN 258X)

From the rave reviews garnered by Angelina Weld Grimke's lynching play, Rachel to recent work by Lynn Nottage on Rwanda, black women playwrights have addressed key issues in modern culture and politics. We will analyze and perform work written by black women in the U.S., Britain and the Caribbean in the 20th and 21st centuries. Topics include: sexuality, surrealism, colonialism, freedom, violence, colorism, love, history, community and more. Playwrights include: Angelina Grimke, Lorriane Hansberry, Winsome Pinnock, Adrienne Kennedy, Suzan- Lori Parks, Ntozake Shange, Pearl Cleage, Sarah Jones, Anna DeVeare Smith, Alice Childress, Lydia Diamond and Zora Neale Hurston.)
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II, WAY-EDP
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