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TAPS 120A: Acting I: Scene Study

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.
Terms: Aut | Units: 1-3 | UG Reqs: WAY-CE
Instructors: Freed, A. (PI)

TAPS 120B: Acting II: Period and Style

Learn how to expand character work, beyond what is immediately familiar. Continuing basic practices from the first part of the sequence, in this quarter they will look beyond the strictly contemporary, and may begin to approach roles drawn from more challenging dramatic texts. This might include plays chosen from mid-century American classics, World Theater, or other works with specific historic or cultural requirements. Actors begin to learn how a performing artist researches and how that research can be used to enrich and deepen performance. Prerequisite: 120A or consent of instructor.
Terms: Spr | Units: 1-3 | UG Reqs: WAY-CE
Instructors: Freed, A. (PI)

TAPS 120V: Vocal Production and Audition (TAPS 210V)

An introductory study of the vocal mechanism and the development of voice and articulation for the stage. Students will be introduced to the actor's tools of phonetics, verbal action and text analysis. Vocal technique will then be applied to the actor's process in preparation for audition. Actors will fully participate in the audition process, from beginning to end. Emphasis will be on relaxation, selection of appropriate material, and versatility to show contrast and range.
Last offered: Autumn 2013 | UG Reqs: WAY-CE | Repeatable for credit

TAPS 121C: Physical Characterization

A practical course in movement, acting and character development for stage or screen. This course is appropriate for all artists; no prior movement training is required. We will explore expressive possibilities in the body in order to build characters with nuanced physicality and rich emotional life. Students will learn strategies for awakening the body, find a greater range of expression, and widen the variety of characters they can inhabit. We will conduct live observations and take inspiration from photographs, memories, dramatic texts and other sources to build vivid portraits of character in performance. Actors will work independently and as an ensemble, learning techniques derived from Michael Chekhov. We will also practice physical conditioning for the actor through a daily warm-up sequence that improves strength, flexibility and alignment.
Terms: Aut | Units: 3 | UG Reqs: WAY-CE
Instructors: Hazas, T. (PI)

TAPS 121S: Shakespeare Performance Intensive

This course explores the unique demands of playing Shakespeare on the stage. Through deep exploration of language and performance techniques in sonnets, speeches and scenes in (an edited) full-length play, the student will learn how to bring Shakespeare's passions to life through research, analysis, and a dynamic use of voice, body and imagination.nnThis course is designed to increase the actor's physical, vocal, emotional, and intellectual responsiveness to the demands, challenges and joys of playing Shakespeare.
Last offered: Autumn 2013 | UG Reqs: WAY-CE | Repeatable for credit

TAPS 122P: Undergrad Performance Project: Oh What a Lovely War!

The Undergraduate Performance Project provides students the opportunity to study and perform in major dramatic works. The Winter 2016 Undergraduate Performance Project presents Oh What a Lovely War! Students learn to form an artistic ensemble, develop dramaturgical materials, learn professional arts protocols and practice, devise within the ensemble, and develop live performance ability. Audition required. Preference to majors/minors. Maybe repeated for credit.
Terms: Win | Units: 4-9 | UG Reqs: WAY-CE | Repeatable for credit

TAPS 124D: Acting for Non-Majors

Formerly TAPS 20. Creative play, ensemble work in a supportive environment. Designed for the student to experience a range of new creative skills, from group improvisation to partner work. Introductory work on freeing the natural voice and physical relaxation. Emphasis on rediscovering imaginative and creative impulses. Movement improvisation, listening exercises, and theater games release the energy, playfulness and willingness to take risks that is the essence of free and powerful performance. Course culminates with work on dramatic text.
Terms: Aut, Win, Spr, Sum | Units: 1-3 | UG Reqs: WAY-CE, way_ce

TAPS 126: Your American Life

This is a small seminar designed for students interested in creating scored sonic stories for radio or podcast. Students will examine the craft elements of the medium, popularized by programs like This American Life, Radiolab and Serial. You will write and produce your own piece, be it documentary, inquiry, or some combination of these genres. Plus you will have the opportunity to meet at work with some of the best storytellers in America.
Terms: Win, Spr | Units: 4 | UG Reqs: WAY-CE
Instructors: Warga, J. (PI)

TAPS 127: Introduction to Movement for Actors

The physical actor is ever working to develop a wider range of emotional expression, an unconscious attentiveness to fellow actors, and a compelling presence that conveys a sense of truth in action and in word. In this course, students will explore movement as a means of physical training and performance-building. This course is for those interested in dynamic storytelling; no prior acting or physical training is required. Our work consists of four main components: physical conditioning, practical technique, movement improvisation and the creation of several short performance pieces. Through mime technique (from Tomaschevski and Decroux) students will increase precision and control, create images with the body, and examine basic compositional elements. Students will also learn the fundamentals of contact improvisation for theater, which offers actors another way to explore text and make discoveries about character. Exercises in movement composition will sharpen tools necessary for creating original work and crafting strong performances on stage.
Terms: Aut | Units: 3-4 | UG Reqs: WAY-CE | Repeatable for credit
Instructors: Hazas, T. (PI)

TAPS 127S: Acting Through Song

How does a singer develop the strategies to shape nuanced, emotional performances? What clues does the singer mine from lyrics and a score in order to communicate through song? This is a studio course in acting and movement techniques for vocal performers who want to expand their expressive range, refine multi-faceted performances, and cultivate compelling stage presence. nnThis course is suitable for any vocalist; classical singers, a cappella performers, musical theater actors and others are all welcome. The three foundational underpinnings of our work will be actor personalization technique, basic movement training and text analysis strategies. We will develop flexibility, relaxation and the freedom to follow expressive impulses while also deepening our knowledge of character, narrative and theme.nnStudents should be prepared to engage in intensive work with performance pieces, selected according to each student¿s preferred style and tradition. We will focus on close textual analysis and find connections between the ways performers use various written scores (for spoken dialogue, song lyrics and musical composition) as the blueprints for dynamic performances that tell a powerful story. The course will culminate in a public performance of material from a musical performance genre.
Terms: Win | Units: 2-4 | UG Reqs: WAY-CE
Instructors: Hazas, T. (PI)
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