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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)

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).
Last offered: Spring 2016 | UG Reqs: WAY-A-II, WAY-ED

TAPS 154M: The Broadway Musical as History

Most musicals are adaptations of pre-existing artistic material: plays, novels, films, even operas. However, some musicals draw their inspiration not from fiction, but from fact, from history. This course examines how musicals perform history, engaging with and transforming historical subjects and events. Focusing on historical musicals such as Cabaret, concept musicals such as Assassins, and biographical musicals such as Hamilton, we will ask: How do musicals teach us history? In what ways do music and narration interact with past events and people? How does music articulate a sense of time and place, connecting history to contemporary events?
Terms: Aut | Units: 4 | UG Reqs: WAY-A-II
Instructors: Mantoan, L. (PI)

TAPS 154P: Stage Physics and Chemical Theaters: Science & Contemporary Performance

Using the concept of theatre and performance as a way of seeing and being in the world, this course investigates the presentation and representation of science through texts, images, films, and experiences. The knowledge and objects of scientific research have often overlapped with aesthetic practices of literature, art, and performance. Whether through playwrights evaluating the impact of spectacular and dangerous technologies (e.g. Michael Frayn's Copenhagen) or researchers exploring creativity in science communication (Dr. Brian Cox's Forces of Nature), the practices of science and performance consistently intersect. In this course, we will explore how scientists, playwrights, artists, and inventors have engaged with science and technology through performance. We will examine the history of scientific process and theatrical performance, revisit debates over the relationship between the disciplinary science and arts, and will develop a critical vocabulary for approaching contemporary performance and scientific work. We will delve into the world of science communication, scientific practice, and the SciArts---all the while keeping a keen eye on the questions and epistemologies of theatrical and performative practice. The course will include in-class activities, excursions, and creative writing projects.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II
Instructors: Robinson, A. (PI)
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