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TAPS 127: Movement for the Actor

This course is an exploration of movement techniques for the actor, designed to provide a foundation for performance practice. Students will develop a more grounded sense of ease and breath onstage, learn fundamentals of physical partnership, and acquire an expanded physical vocabulary. Areas of study include Laban movement analysis, observation and embodiment, basic contact improvisation, and physical characterization. Students will also engage a personalized warmup process for rehearsal and performance. All coursework will be entirely experiential, practical, and participatory. No previous experience necessary. Some outside rehearsal/investigation time required.
Terms: Aut, Sum | Units: 3-4 | UG Reqs: WAY-CE | Repeatable for credit
Instructors: Chapman, M. (PI)

TAPS 127A: Commedia dell'Arte

This course is an introduction to the technique and spirit of Commedia dell'Arte: the form which began in Italy in the 16th century and lives on in contemporary comedy. Through the observation and embodiment of archetypes and the use of character masks, students will explore active, physical improvisation and partnership (improviso), personalized comic routines (lazzi), and ensemble storytelling based on a theme. Areas of study include partnership and status play, timing, audience awareness, improvisation, characterization, size and scale. All coursework will be experiential and practical. Some stage and improvisation experience is recommended but not required. Some outside rehearsal/investigation time required.
Last offered: Spring 2019 | UG Reqs: WAY-CE

TAPS 127W: Introduction to Clown

This course is an introduction to the world and play of the theatrical clown, constructed for actors to explore truth in size, vulnerability, and a personal sense of humor. Students will develop their ability to play with the audience, a greater capacity for freedom and abandon onstage, and a healthier relationship to failure and human idiocy. Areas of study include partnership and status play, comic rhythm and timing, the structure and development of comic material, and the beginnings of a personal eccentric Clown character. All coursework will be experiential and practical. Some stage experience is recommended but not required. Some outside rehearsal/investigation time required.
Terms: Win | Units: 3 | UG Reqs: WAY-CE
Instructors: Chapman, M. (PI)

TAPS 132: Costume Design

This course introduces the goals, directives and techniques of designing costumes for performance. From the first reading of the script to opening night, all aspects will be covered including director/designer relationships, design approach, research, rendering, fabric selection, procurement or construction of costumes, fittings and final dress rehearsals. Each student will work on, or be assigned one main project of their choice. This class can coincide or be taken in advance of a student¿s involvement in a campus show, utilizing the campus project as their main project in the class. Smaller exercises will be given throughout the quarter to emphasize principles and invigorate design discussions. All students will be required to attend the performances of their peers¿ projects. One field trip to a professional theater may be planned.
Terms: Spr | Units: 4 | UG Reqs: WAY-CE

TAPS 133T: Transgender Performance and Performativity (FEMGEN 133)

This course examines theater, performance art, dance, and embodied practice by transgender artists. Students will learn the history and politics of transgender performance while considering the creative processes and formal aesthetics trans artists use to make art. We will analyze creative work in conversation with critical and theoretical texts from the fields of performance studies, art history, and queer studies.
Terms: Aut | Units: 4 | UG Reqs: WAY-A-II, WAY-CE
Instructors: Crandall, M. (PI)

TAPS 150G: Performing Race, Gender, and Sexuality (CSRE 150G, FEMGEN 150G)

This theory and practice-based course will examine performances by and scholarly texts about artists who critically and mindfully engage race, gender, and sexuality. Students will cultivate their skills as artist-scholars through written assignments and the creation of performance-based works in response to the assigned material. Attendance and written reflection on the TAPS Vital Signs: Performance Art in the 21st Century performance art series are required. The practical component of the class will also incorporate meditation into the process of preparing for, making, and critiquing performance. We will approach mindfulness as method and theory in our own practice, as well in relation to the works studied, while attending to the ethics and current debates concerning its use. Examples of artists studied include James Luna, Nao Bustamante, William Pope.L, Yoko Ono, Cassils, Adrian Piper, Guillermo Gomez-Peña, Nikki S. Lee, and Ana Mendieta.
Last offered: Spring 2018 | UG Reqs: WAY-CE, WAY-ED

TAPS 151: Dramaturgy (TAPS 315)

This class examines the role of narrativity in live performance. Class topics range from the classics, to contemporary theater, dance, new media, performance art curatorship, and beyond, to grand social narratives. Integration of scholarship and practice is one of basic principles of dramaturgy, and this class follows in that spirit. Exploration of dramaturgical techniques is aimed to help students prepare to work on production dramaturgy. To that end, they will have an option to complete their final course assignment by serving as production dramaturgs on one of TAPS shows.
Last offered: Spring 2019 | UG Reqs: WAY-A-II, WAY-CE

TAPS 155: Social Sculpture (ARTSTUDI 155)

This course investigates the immediacy of the body as material and sculpture in order to investigate private and social spaces. Actions are often used to understand or question the function and psychological aspects of a space and are documented for the perpetuation of these ideas. Throughout the quarter we will investigate the body as material and develop site specific performances enacted for: Private/Domestic and Public Space; Constructed Space & Physical Space; ecological systems; and generate both Individual & Collaborative based Actions, Interventions, & Events."
Last offered: Spring 2019 | UG Reqs: WAY-CE

TAPS 156: Performing History: Race, Politics, and Staging the Plays of August Wilson (AFRICAAM 156, CSRE 156T, TAPS 356)

This course purposefully and explicitly mixes theory and practice. Students will read and discuss the plays of August Wilson, the most celebrated and most produced contemporary American playwright, that comprise his 20th Century History Cycle. Class stages scenes from each of these plays, culminating in a final showcase of longer scenes from his work as a final project.
Last offered: Winter 2018 | UG Reqs: WAY-CE, WAY-ED

TAPS 170A: The Director's Craft (TAPS 370A)

This workshop class guides students through the directing process from investigating the big ideas of a play and analysing the action to organizing and running rehearsals to building up the world of the play through character work and visual composition. Over the quarter we will look at the use of creative visualization and improvisation alongside working with actors on ideas, emotions, relationships, textual analysis and blocking. This course also attends to the process of communicating with designers and production teams as well as structuring rehearsals, run-throughs and technical and dress rehearsals. Each student will select a theatrical text to work from across the quarter. In many cases the student's text will be a play that they are planning to direct in future, such as productions for student groups like Ram's Head or Stanford Shakespeare Company, TAPS capstone projects, TAPS 2nd year grad shows and/or TAPS Second Stage productions. No previous directing experience in necessar more »
This workshop class guides students through the directing process from investigating the big ideas of a play and analysing the action to organizing and running rehearsals to building up the world of the play through character work and visual composition. Over the quarter we will look at the use of creative visualization and improvisation alongside working with actors on ideas, emotions, relationships, textual analysis and blocking. This course also attends to the process of communicating with designers and production teams as well as structuring rehearsals, run-throughs and technical and dress rehearsals. Each student will select a theatrical text to work from across the quarter. In many cases the student's text will be a play that they are planning to direct in future, such as productions for student groups like Ram's Head or Stanford Shakespeare Company, TAPS capstone projects, TAPS 2nd year grad shows and/or TAPS Second Stage productions. No previous directing experience in necessary.nnTAPS PhD students and declared TAPS majors/minors will be permitted enrollment automatically. Please email instructor Michael Rau (mjrau@stanford.edu) to receive a permission number.nnStudents who are not currently TAPS PhDs, majors, or minors: To enroll in this course, please email instructor Michael Rau (mjrau@stanford.edu) with: your name, your major (or prospective major), any relevant experience in theater or classes that you¿ve taken, and a short (2-3 sentences) statement of why you are interested in taking this course.
Terms: Aut | Units: 4 | UG Reqs: WAY-CE
Instructors: Rau, M. (PI)
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