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81 - 90 of 235 results for: TAPS

TAPS 152: Introduction to Improvisation in Dance: From Salsa to Vodun to Tap Dance (AFRICAAM 52, CSRE 152, DANCE 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.
Terms: Win | Units: 3-4 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit
Instructors: Carrico, R. (PI)

TAPS 152D: Introduction to Dance in the African Diaspora (AFRICAAM 24, CSRE 24D, DANCE 24)

This course introduces students to dance as an important cultural force in the African Diaspora. From capoeira in Brazil to dance hall in Jamaica to hip hop in the United States and Ghana, we will analyze dance as a form of resistance to slavery, colonialism, and oppression; as an integral component of community formation; and as a practice that shapes racial, gendered, and national identity. We will explore these topics through readings, film viewings, and movement workshops (no previous dance experience required). Students will have the option to do a creative performance as part of their final project.
Terms: not given this year | Units: 4 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit

TAPS 152H: Food and Performance: Meals, Markets, Maize and Macaroni

Come hungry to learn! This course serves as an introduction to food and performance culture. We will engage ethical and aesthetic questions about factory farms, feminist performance art and futuristic cooking. Emphasis is on original research, interdisciplinary analysis and doing performance. We will attend events, have guest speakers, create our own mini-performances around the broad themes of the course, write critical reviews and conduct archival research. We begin by studying the work of anthropologists of food and then move on to contemplate the way food and performance converge in modern thought and art. We will vary our approaches to the texts and debate a broad range of topics. For example, we will discuss: food¿s connection to sexuality, memory, race, embodiment, colonialism, violence, protest, public policy and science. The parameters of the course have been limited to food movements in the U.S. in the 20th and 21st centuries; however the opportunity to work on topics beyond this geopolitical and historical scope is possible and encouraged. Texts may include works by Yayoi Kusama, Dwight Conquergood, Mary Douglas, Karen Finley, Psyche Williams, Alice Waters, Jonathan Foer, Michael Pollan, Julia Child, Lauren Berlant, Laura Esquival, Douglas Sirk, Coco Fusco, Nao Bustamante, Doris Witt and more.
Terms: not given this year | Units: 4 | Grading: Letter or Credit/No Credit

TAPS 153: Revenge: From Aeschylus to ABC

How has the topic of revenge inspired some of theatre history¿s most dramatic masterpieces? Covering works from ancient Greek and Roman tragedy to Chinese Opera, from Japanese samurai intrigues to Renaissance drama, and from nineteenth-century comedy to postcolonial plays, this course examines how the powerful impetus to take revenge has spurred or stymied some of theatre¿s most compelling characters. Blending theory and practice, we will experiment with an array of theatrical forms and styles; we will also discuss the philosophical dimensions and moral implications of revenge, including various cultural understandings of retribution and redress.
Terms: Spr | Units: 4 | Grading: Letter or Credit/No Credit
Instructors: Looser, D. (PI)

TAPS 153D: Performing Digital Technologies (TAPS 253D)

This class is about collaboration: between live performers and digital images, between artists and engineers, and between scholars and artists. It emphasizes conceptual work and creativity in the integration of new and old media. We will take a rigorous but fundamentally hands-on approach to the uses of a wide range of screen technologies - from smart phones to digital projections - in live performance. The class will start with a survey of successful uses of screens in recent theater and performance work, then move to finding novel solutions for particular dramatic scenes.
Terms: not given this year | Units: 4 | Grading: Letter or Credit/No Credit

TAPS 153S: Japanese Theater: Noh to Contemporary Performance

This course will provide a historical overview of Japanese theater from traditional (Noh, Kabuki, Bunraku) to contemporary (Angura, Butoh, and performance art). We will focus on the relationship between Japanese theaters and its audiences, exploring the contexts in which theater forms developed and how these forms themselves reflect Japanese culture and society.
Terms: not given this year | Units: 4 | Grading: Letter (ABCD/NP)

TAPS 154: A History of Theater in 10 1/2 Films

Engages the issue of visual literacy in the study of theater history. Pays special attention to the ways in which new media transform traditional fields of study. Films screenings will be combined with written sources, which will help students to recognize the historical elements in films we are viewing, and understand the ways in which the fact supports the story both in feature film and in historical narrative.
Terms: Aut | Units: 4 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit

TAPS 154C: Shall We Dance? Social Dancing as Political Practice (CSRE 154C, DANCE 154, FEMGEN 154C)

This seminar investigates social dancing as a political practice, and the dance floor as a place where race, ethnicity, class status, and sexuality are formed and contested. While many students may be familiar with salsa, and can imagine how it produces particular kinds of Latin/a feminities, this course asks students to expand the notion of social dancing beyond partner-dancing spheres. Course materials will focus on dance practices from the late-nineteenth century to present-day, ranging from rural Louisiana dancehalls to NYC nightclubs to Iranian backyards. We will examine how dances become racially coded (e.g., what makes a dance black or Latin@?), and understand how categories such as gender, class, and regionality intersect with such racializations. Students will engage in a range of activities, including reading, viewing films, and participating in occasional movement workshops (no previous dance experience required). Each student¿s final project will require independent, sustained, ethnographic research in a social dance setting of choice (e.g., student dance club, yoga studio, aerobics class, or YouTube).
Terms: Spr | Units: 3-4 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit
Instructors: Carrico, R. (PI)

TAPS 154D: The Chorus & The Digital Crowd: Representing Groups from Ancient Greece to the Arab Spring (TAPS 354D)

The Chorus & The Digital Crowd is an interdisciplinary workshop in Theater, Visual and Digital Arts, where students will learn from, and collaborate with, professional artists in a dramatic and conceptual exploration of what it means to be a "chorus" from its early representations in Greek Tragedy to its emerging online character (tweeting, posting, liking, and sharing). Reckoning with the reemergence of the crowd in the public sphere, enabled and reinforced by its online counterpart, The Chorus & The Crowd will examine how we imagine and represent collective action. Whether in the same room, at the same website, or on the same planet, what happens when "I" becomes "we"?
Terms: Spr | Units: 4 | Grading: Credit/No Credit
Instructors: Taubman, G. (PI)

TAPS 154S: Theater and Legal Regulation

This course examines how legal statutes, lawsuits, and contracts police theatrical practice, particularly in Britain and the United States in the nineteenth and twentieth centuries. Three particular forms of legal intervention will concern us: ownership of theaters and plays, government censorship and authorial control, and health and safety laws. We will explore how, despite their apparently different aims, these manifestations of the law pursue closely related ends.
Terms: not given this year | Units: 4 | Grading: Letter (ABCD/NP)
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