41 - 50 of 193 results for: TAPS

This course is a deeper dive into performance improvisation. Designed to be a small ensemble experience, we will focus on the skills of character and environment creation, narrative and performance to co-create a longer sustained story in the Bay Area Longform Improv tradition. The class culminates in a weekend of performances of improvised stories for the wider Stanford community. Available to students who have taken 103 and 104 or are members of the Stanford Improvisors. Students must confirm eligibility with instructors. Email Dan (kleinimp@stanford.edu) and Lisa (lrowland@stanford.edu) with a description of your training including quarters that you took 103 and/or 104, and with whom. If you have additional training, please describe it. Include a few lines about what you are hoping to learn in TAPS 105.

Introduction to interdisciplinary approaches to gender, sexuality, queer, trans, and feminist studies. Topics include social justice and feminist organizing, art and activism, feminist histories, the emergence of gender and sexuality studies in the academy, intersectionality and interdependence, the embodiment and performance of difference, and relevant socio-economic and political formations such as work and the family. Students learn to think critically about race, gender, disability, and sexuality. Includes guest lectures from faculty across the university and weekly discussion sections.

The world of Musical Theater is filled with stories of love, passion, joy, violence, heartbreak and rage. nnIn this workshop we will research, study and practice audition pieces from this exciting performance discipline. The class will serve as an introduction for the beginning actor and singer, and expand the more experienced performer¿s range in this genre. nnThe class will include an introduction to vocal warm-ups and skills, with exercises to develop and determine vocal range with an accompanist. In preparation for a well-rounded audition, the instructor will work with the actors on utilization of action, specificity of language, personalization, and emotional truth. nnOur class must be a place where everyone feels safe. As ensemble members, we will be responsible for each other and encourage a sense of play and relaxation in supportive environment.nnSTUDENTS ARE ENCOURAGED TO BRING THEIR OWN SUGGESTIONS. (Isn¿t there a role you¿ve always wanted to sing?)

Modern theatre in Europe and the US, with a focus on the most influential works from roughly 1880 to the present. What were the conventions of theatrical practice that modern theatre displaced? What were the principal innovations of modern playwriting, acting, stage design, and theatrical architecture? How did modern theatrical artists wrestle with the revolutionary transformations of the modern age? Plays by Büchner, Ibsen, Strindberg, Shaw, Chekhov, Wilde, Wedekind, Treadwell, Pirandello, Brecht, O¿Neill, Beckett, Smith, Parks, and Nottage.

TAPS 119M Special Topics courses feature the annual Mohr Visiting Artist. The Mohr Visiting Artist program brings acclaimed and emerging artists to campus for a one-term period to teach a credited course and provide a presentation, exhibition or performance for the Stanford community and the public. The 21-22 Mohr Visiting Artist is Mikeah Jennings.nn"Real Time Film" is a conceptual model conflating performance, television, and movies. It's a live movie that examines the use of the image in entertainment, how we experience the image versus its manufacture, the split between surface and interior, and the different layers of truth. (Caden Manson, Big Art Group)nnThis Special Topics course is a collaborative workshop, introducing the digital performance style known as Real Time Film. Students will learn fundamental techniques to build upon their performance knowledge while engaging with live-feed cameras, and projections, on stage in real time. This workshop will focus particular attention on the actor in performance, ensemble building, company engagement, and an investigation of the dramaturgy and production techniques of contemporary performance companies utilizing live camera feeds and video projection onstage. Students will explore the works of contemporary companies like The Builders Association, The Wooster Group, Big Art Group, Jay Scheib, as well as international companies like The Gob Squad (UK), Katie Mitchell (UK) and others. The workshop interweaves principles of stage acting, on camera performance, and generative work to help the actor develop the skills that are being used more and more in virtual and mediated performances. Workshop sessions will be supplemented by readings, screenings and professional examples.

A substantive introduction to the basics of the craft of acting, this course gives all incoming students the foundation of a common vocabulary. Students will learn fundamental elements of dramatic analysis, and how to apply it in action. Topics include scene analysis, environment work, psychological and physical scoring, and development of a sound and serviceable rehearsal technique. Scene work will be chosen from accessible, contemporary, and realistic plays. Outside rehearsal time required.

In this course, students will learn how to expand character work beyond what is immediately familiar. We will continue basic practices from the first part of the sequence, and look beyond the strictly contemporary. We will approach roles drawn from more challenging dramatic texts, including those with heightened language and circumstances.nnWe will begin with a focus on strengthening the actor's skill as an interpretive artist, utilizing exercises that build the capacity for physical and emotional expressiveness. We will explore how a performing artist researches and how that research can be used to enrich and deepen performance. We will practice how to act truthfully and vividly in a variety of theatrical styles. nnStudents will practice techniques developed by Michael Chekhov, Jerzee Grotowski, and Rudolf Laban, among others. Through monologue and scene work, we will explore performance styles including commedia dell'arte, the comedy of Molière, and postmodern theatre. Our scene and monologue work will culminate the last week of school in a final performance.

Auditioning is an essential part of being an actor. This class will demystify the process, so that students develop the skill and confidence to prepare an effective audition. Cold reading and making committed clear acting choices in scenes and monologues will be covered. Students will learn how to choose exciting and suitable monologues that reveal the actor's individuality and skill. In the class, students will practice addressing stage fright through preparation, warmup, and breathing to focus nerves into performance vitality and ease. Several guest speakers from the theater and film industry may be featured. Students will complete the class with at least two dynamic contrasting monologues that will serve them in auditions. This class is ideal for students auditioning for theater productions, recorded media, or for acting conservatories and graduate schools. Enrollment preference given to TAPS majors and minors. Prerequisite: Fundamentals of Acting ( TAPS 120A), or approval of the instructor.

This course provides singing technique and vocal coaching to students participating in the TAPS Spring 2024 main stage production of Assassins. During ensemble and solo sessions, students will learn about the physical process of healthy singing and work on the musical phrasing of the songs they perform in the musical. Both will be applied to the art of acting their songs and creating their characters.