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821 - 830 of 862 results for: all courses

TAPS 21N: The Idea of Virtual Reality

What is virtual reality and where is it heading? Was there VR before digital technology? What is the value of the real in a virtual culture? How, where, and when do we draw the line between the virtual and the real, the live and the mediated today? Concentrating on three aspects of VR simulation, immersion, and interactivity this course will examine recent experiments alongside a long history of virtual performance, from Plato's Cave to contemporary CAVEs, from baroque theatre design to Oculus Rift.
Terms: Win | Units: 3 | UG Reqs: WAY-A-II

TAPS 41N: Inventing Modern Theatre: Georg B├╝chner and Frank Wedekind

The German writers Georg Büchner (1813-1837) and Frank Wedekind (1864-1918). Many of the most important theater and film directors of the last century, including Max Reinhardt, G. W. Pabst, Orson Welles, Robert Wilson, and Werner Herzog, have wrestled with their works, as have composers and writers from Alban Berg and Bertolt Brecht through Christa Wolf and Thalia Field. Rock artists as diverse as Tom Waits, Lou Reed, Duncan Sheik, and Metallica have recently rediscovered their urgency. Reading these works in translation and examining artistic creations they inspired. Classroom discussions and written responses; students also rehearse and present in-class performances of excerpts from the plays. The aim of these performances is not to produce polished stagings but to creatively engage with the texts and their interpretive traditions. No previous theatrical experience required.
Last offered: Winter 2014 | UG Reqs: WAY-A-II, WAY-CE

TAPS 134M: Theatricality and the String Quartet (MUSIC 134)

How might we imagine string quartet as a theatrical genre? This thought experiment informs a collaboration between Mohr Visiting Artist Majel Connery, Pulitzer Prize-winning composer Caroline Shaw, and the Saint Lawrence String Quartet. This seminar serves as a laboratory for that collaboration, offering a forum to explore side by side with Connery, SLSQ and Shaw the conceptual origins of the project and soliciting students' creative involvement. Orbiting around signal works for string quartet and voice, the course combines the critical rigor of graduate-level work with the practical grit of a studio workshop, and culminates in a suite of student performances. This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit. Enrollment limited to 15.
Terms: Win | Units: 2-3 | UG Reqs: WAY-A-II, WAY-CE
Instructors: Connery, M. (PI)

TAPS 150P: Performance Art, Politics, and Culture: The Manifesto (CSRE 150P)

This course is structured to examine manifestos as unorthodox texts, leaking with emotion, humor, and anger, in order to offer an important critical frame for studying performance art in relation to gender, power, oppression, and autonomy. By reading manifestos with and against feminist and queer performance practices, and by taking an interdisciplinary approach to Performance, Cultural, and Aesthetic Theory, the course examines the method, rhetoric, aim, style, and substance of manifestos to understand their importance and efficacy.
Terms: Win | Units: 4 | UG Reqs: WAY-A-II
Instructors: Truax, R. (PI)

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

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: Aut | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Lupic, I. (PI)

TAPS 151T: Great Books: Dramatic Traditions (COMPLIT 151B, COMPLIT 351B, 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: 4 | UG Reqs: GER:DB-Hum, WAY-A-II

TAPS 151V: Controversies in US Theater: From Casting to Funding

For as long as there has been an American theatrical tradition, there have been controversies about it. From those creating theatrical performances, to those analyzing drama¿s place in society, to audiences, people have strong opinions about the purpose, nature, and impact of US theater. This course will ask questions such as: What are the best casting practices with respect to race, gender, ability, and sexuality? How has the commercialization or Disneyification of Broadway changed the theatrical landscape? Should the federal government fund the arts, and if so, does that give them the right to influence content?
Terms: Aut | Units: 4 | UG Reqs: WAY-A-II
Instructors: Mantoan, L. (PI)

TAPS 152: Introduction to Improvisation in Dance: From Salsa to Vodun to Tap Dance (AFRICAAM 52, CSRE 152)

This seminar introduces students to Dance Studies by exploring the topic of improvisation, a central concept in multiple genres of dance and music. We will survey a range of improvised dance forms¿from salsa to vodun to tap dance¿through readings, video viewings, discussion, and movement exercises (no previous dance experience required). When studying each genre, we will examine how race, gender, sexuality, citizenship, and other power structures affect the practices and theorizations of improvisation. Topics include community and identity formation; questions of technique versus ¿natural¿ ability; improvisation as a spiritual practice; and the role of history in improvisers¿ quest for spontaneity. Course material will focus on improvised dance, but we will also read pertinent literature in jazz music, theatre, and the law.
Last offered: Winter 2016 | UG Reqs: WAY-A-II, WAY-ED

TAPS 153F: Performing Feeling (CSRE 153F, FEMGEN 153F)

This course explores the intersections of performance and feeling through a wide geographical and historical range of theories, texts, and performances. We will examine how performance and feeling relate to one another by surveying a broad spectrum of performance and performance theory, with special attention to race, gender, and sexuality.These explorations will serve as grounds for richer understandings of performance as well as expanded artistic vocabularies in performing feeling.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II, WAY-ED

TAPS 153T: Mechanics of the Stage: The Technology of Tricks and Traps in the History of Stagecraft

From traps, to lifts, to sugar glass props, the stage absorbs and utilizes technological and scientific innovations for its own illusions. In this course, we will examine the history of stagecraft through the technologies and scientific theories that came to define its spectacle. We will explore innovations in perspective scenery, stage mechanics, and lighting design as well as significant stage illusions from the seventeenth century to the present. Readings will include treatises on mechanical apparatus, stage machinery, and architectural theories; schematics, blueprints, and patents of theatre spaces; and readings on theatre theory and stage design. One Shakespeare play, and later twentieth-century adaptations, will provide the focal narrative around which we will examine how changing theories and technologies influence the possibilities of representation. The play will be drawn from The Tempest, Midsummer Night¿s Dream, or Hamlet with selected twentieth- century adaptations. Creative projects will be included in the course work.
Terms: Win | Units: 4 | UG Reqs: WAY-A-II
Instructors: Robinson, A. (PI)
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