printer friendly pageTAPS 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.
Terms: Aut
| Units: 4
| UG Reqs: WAY-A-II, WAY-EDP
Instructors:
Menon, J. (PI)
TAPS 159: Introduction to Game Studies
Games are not new; they are older than civilization. But in the past 50 years or so, we have seen an explosion of creativity in the development of new games, many of which, especially video games, complicate older understandings of what games are. This explosion of creativity has been matched by the increasing visibility and ubiquity of new games and ways of seeing games: as video games, televised professional sports, and even distributed urban events.n nGames are not a simple object of study. There are many ways to understand them: as social practices, as formal systems, as representative artwork, as modes of learning, and many more. We will start by considering games as a mode of performance, considering games in relation to theater and other forms of aesthetic performance. However, we will take a deeply interdisciplinary approach to the study of games, and will draw on perspectives from design, philosophy, education, and the emerging discipline of video game studies. We will also, of course, draw on a variety of games, both online and offline. As we bring in these perspectives, we will begin to consider games in at least two other fundamental ways: as designed experiences and as composed systems or artworks.nnThis course is less an attempt to provide a survey of the entire field of games. It is more an attempt to provide a basic toolbox for critically examining and analyzing games. These tools are potentially useful for anyone who interacts with games: whether as a consumer of entertainment, a critical analyst of play, a user of serious games, or a game designer.
Terms: Aut, Win
| Units: 4
| UG Reqs: WAY-A-II
Instructors:
St. Clair, M. (PI)
TAPS 160: Rethinking the Ballerina (DANCE 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.
Terms: Win
| Units: 4
| UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-EDP
Instructors:
Ross, J. (PI)
;
Chakrabarti, S. (TA)
TAPS 167: Introduction to Greek Tragedy (CLASSGEN 110)
Gods and heroes, fate and free choice, gender conflict, the justice or injustice of the universe: these are just some of the fundamental human issues that we will explore in about ten of the tragedies of Aeschylus, Sophocles, and Euripides.
Terms: Win
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II
Instructors:
McCall, M. (PI)
TAPS 170: Directing & Dramaturgy: Composition and Adaptation for Theatre (TAPS 370)
This course explores dramaturgy and directing in the research and production of theatre primarily through practical creative projects with secondary readings on dramaturgy as a discipline. In this course we will consider the role of the dramaturg in its broadest sense, running across theatrical production from research to playwriting, adaptation, choreography, devising and directing. Students will work individually and in small groups researching, adapting, crafting and workshopping material.
Last offered: Spring 2013
| UG Reqs: WAY-A-II, WAY-CE
TAPS 170B: Directing Workshop: The Actor-Director Dialogue (TAPS 372)
This course focuses on the actor-director dialogue. We will work with actors and directors developing approaches to collaboration that make the actor-director dialogue in theater.
Terms: Win
| Units: 4
| UG Reqs: WAY-A-II, WAY-CE
| Repeatable
for credit
Instructors:
Rehm, R. (PI)
;
Running Wolf, M. (TA)
TAPS 179: Chicano & Chicana Theater: Politics In Performance (CHILATST 179, TAPS 379)
This is a practicum course, where the basic tenets and evolving politic and philosophies of Chicano and Latin American liberationist theater are examined through direct engagement with its theatrical forms, including, social protest & agit-prop, myth & ritual, scripting through improvisation, in-depth character and solo work, collective conceptualization and more. The course will culminate in an end-of-the quarter play performance in the Nitery Theater (Old Union) and at a Mission District theater in San Francisco.
Last offered: Winter 2013
| UG Reqs: WAY-A-II
TAPS 248: Family Drama: American Plays about Families (ENGLISH 148)
Plays written by 20th century writers that concentrate on the family as the primary source of dramatic conflict and comedy. Writers include Williams, O'Neill, Wilder, Albee, Vogel, Parks, Lindsay-Abaire, and Hwang.
Terms: Aut
| Units: 5
| UG Reqs: GER:DB-Hum, WAY-A-II
Instructors:
Phelan, P. (PI)
;
Chakrabarti, S. (TA)
TAPS 262S: The Total Work of Art (GERMAN 262)
Frequently associated with the work of Richard Wagner, The Total Work of Art (or Gesamtkunstwerk) is a genre that aims to synthesize a range of artistic forms into an organic unity, a unity that both models and helps to forge an ideal state. This seminar will examine the history of the Gesamtkunstwerk from its roots in German Romanticism to the present day, focusing on the genre's relations with technology and mass culture across a wide range of media. Creations we will consider include Wagner's Festival Theatre at Bayreuth, Walter Gropius' plans for a Totaltheater, Bertolt Brecht and Kurt Weill's radio-oratorio The Lindbergh Flight, Leni Riefenstahl's Triumph of the Will, Walt Disney's theme parks, Andy Warhol's Exploding Plastic Inevitable, and Bill Gates' "home of the future." Taught in English.
Terms: Aut
| Units: 5
| UG Reqs: WAY-A-II
Instructors:
Smith, M. (PI)
THINK 2: The Art of Living
Where do our ideals for living come from, and how should they be structured? How do we justify them in the face of criticism? What role do great works of art play in this creative process?nnnOur lives are not simply given to us, but also something we make: as we examine the circumstances of our existence, recognizing certain facts as immutable and others as subject to our control, each of us faces the challenge of fashioning out of them a way of living that is both meaningful and justifiable. The Art of Living will explore different ways to think about the nature of that challenge ¿ how to accommodate conflicting demands and values, how to make our choices ¿artfully,¿ how we might use works of imaginative literature to inspire us. We will read important works of literature and philosophy, each of which implies a different value by which to live, whether reason, authenticity, community, art, or faith. In each case, you will be presented with different perspectives and asked to work out for yourself what you find most persuasive, thereby fine-tuning skills essential to your own lifelong project of self-construction.
Last offered: Autumn 2012
| UG Reqs: College, THINK, WAY-A-II, WAY-ER
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