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11 - 20 of 40 results for: TAPS ; Currently searching autumn courses. You can expand your search to include all quarters

TAPS 104: Intermediate Improvisation

This class is the continued study of improvisational theater with a focus on stage skills, short and long form performance formats, and offstage applications of collaborative creativity. It is open to any students who have taken TAPS 103 or have previous onstage improv experience AND consent of the instructor. May be repeat for credit.
Terms: Aut, Spr | Units: 3 | Repeatable for credit

TAPS 108: Introduction to Feminist, Gender, and Sexuality Studies (AMSTUD 107, CSRE 108, FEMGEN 101)

Introduction to interdisciplinary approaches to gender, sexuality, queer, trans and feminist studies. Topics include the emergence of sexuality studies in the academy, social justice and new subjects, science and technology, art and activism, history, film and memory, the documentation 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, and sexuality from local and global perspectives.
Terms: Aut | Units: 4-5 | UG Reqs: GER:DB-SocSci, GER:EC-Gender, WAY-ED, WAY-SI

TAPS 120A: Acting I: Fundamentals of Acting

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, Win, Sum | Units: 4 | UG Reqs: WAY-CE

TAPS 121V: Voice for the Actor

This course will focus on releasing a voice that effectively reaches the listener and is responsive to the actor¿s thoughts and feelings. Through work on breath awareness, alignment, resonance, and muscularity, students will learn to identify habits that help or hinder performance. Students will practice exercises to develop vocal strength, clarity, ease, and expressiveness while exploring the vocal demands of various texts and performing environments. Course will culminate in a presentation of classical and contemporary monologues. This course is a good preparation for auditions, rehearsal, and performance, and is appropriate for all levels. Priority space reserved for TAPS majors and minors.
Terms: Aut | Units: 3 | UG Reqs: WAY-CE
Instructors: Hunt, S. (PI)

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 | Units: 1-3 | UG Reqs: WAY-CE, way_ce

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 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 134: Stage Management Project

For students stage managing a production in the Department of Theater and Performance Studies.
Terms: Aut, Win, Spr | Units: 3-5 | Repeatable for credit
Instructors: Kumaran, L. (PI)

TAPS 140: Introduction to Projects in Theatrical Production

A seminar course for students performing significant production work on Theater and Performance Studies Department or other Stanford University student theater projects. Students serving as producers, directors, designers or stage managers, who wish mentorship and credit for their production work sign up for this course and contact the instructor, Laxmi Kumaran. nPrerequisite: consent of instructor.
Terms: Aut, Win, Spr | Units: 1-4 | Repeatable for credit
Instructors: Kumaran, L. (PI)

TAPS 154G: Black Magic: Ethnicity, Race, and Identity in Performance Cultures (AFRICAAM 154G, CSRE 154D, FEMGEN 154G)

In 2013, CaShawn Thompson devised a Twitter hashtag, #blackgirlmagic, to celebrate the beauty and intelligence of black women. Twitter users quickly adopted the slogan, using the hashtag to celebrate everyday moments of beauty, accomplishment, and magic. The slogan offered a contemporary iteration of an historical alignment: namely, the concept of "magic" with both Black people as well as "blackness." This course explores the legacy of Black magic--and black magic--through performance texts including plays, poetry, films, and novels. We will investigate the creation of magical worlds, the discursive alignment of magic with blackness, and the contemporary manifestation of a historical phenomenon. We will cover, through lecture and discussion, the history of black magic representation as well as the relationship between magic and religion. Our goal will be to understand the impact and history of discursive alignments: what relationship does "black magic" have to and for "black bodies"? H more »
In 2013, CaShawn Thompson devised a Twitter hashtag, #blackgirlmagic, to celebrate the beauty and intelligence of black women. Twitter users quickly adopted the slogan, using the hashtag to celebrate everyday moments of beauty, accomplishment, and magic. The slogan offered a contemporary iteration of an historical alignment: namely, the concept of "magic" with both Black people as well as "blackness." This course explores the legacy of Black magic--and black magic--through performance texts including plays, poetry, films, and novels. We will investigate the creation of magical worlds, the discursive alignment of magic with blackness, and the contemporary manifestation of a historical phenomenon. We will cover, through lecture and discussion, the history of black magic representation as well as the relationship between magic and religion. Our goal will be to understand the impact and history of discursive alignments: what relationship does "black magic" have to and for "black bodies"? How do we understand a history of performance practice as being caught up in complicated legacies of suspicion, celebration, self-definition? The course will give participants a grounding in black performance texts, plays, and theoretical writings. *This course will also satisfy the TAPS department WIM requirement.*
Terms: Aut | Units: 3-4 | UG Reqs: WAY-A-II, WAY-ED
Instructors: Robinson, A. (PI)
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