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931 - 940 of 974 results for: all courses

TAPS 139M: Ten Music Videos That Shook Design

This course uses commercial music videos as a springboard for teaching fundamental concepts in visual design. Students analyze popular music videos for key design elements (such as color, texture or light) and then explore these ideas through interactive assignments both in and out of class. Through class discussion and two written papers, students will build upon these core visual elements to discover meaning and value in the video as a whole. Students will learn a practical design vocabulary as well as visual research methods including online databases available through Stanford.nnCourse Objectives and Learning OutcomesnnIn this course, students will:nn1. Become familiar with fundamental design principles (such as color, texture and shape) through class discussion, group projects, individual creative projects and short written papers focused on a select group of music videos.nn2. Compare and contrast the use of these design principles in specific music videos.nn3. Justify the intelle more »
This course uses commercial music videos as a springboard for teaching fundamental concepts in visual design. Students analyze popular music videos for key design elements (such as color, texture or light) and then explore these ideas through interactive assignments both in and out of class. Through class discussion and two written papers, students will build upon these core visual elements to discover meaning and value in the video as a whole. Students will learn a practical design vocabulary as well as visual research methods including online databases available through Stanford.nnCourse Objectives and Learning OutcomesnnIn this course, students will:nn1. Become familiar with fundamental design principles (such as color, texture and shape) through class discussion, group projects, individual creative projects and short written papers focused on a select group of music videos.nn2. Compare and contrast the use of these design principles in specific music videos.nn3. Justify the intellectual validity of pop culture by explicitly connecting music videos to broader historical, political and cultural themes.nn4. Learn how to use the resources of Stanford¿s Art & Architecture library, including the digital collections, to find historic photographs and art images for academic and design projects of any type.
Terms: Spr | Units: 3 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit
Instructors: Flatmo, E. (PI)

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.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter (ABCD/NP)

TAPS 151C: Hamlet and the Critics (ENGLISH 115C, ENGLISH 215C, TAPS 251C)

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: Win | Units: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Lupic, I. (PI)

TAPS 151T: Global Great Books: Dramatic Dialogues (COMPLIT 151T, COMPLIT 351T, 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: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter or Credit/No Credit

TAPS 153M: Mechanics of the Theater: The Technologies of Stagecraft

This course explores the history of technologies vital to the theatre: traps, lifts, lights, and sounds have been crucial for creating stage illusion. Divided into three main sections, Mechanics and Machines, Lighting and Projections, and Acoustics and Sound, we will examine the history of technological innovation and theatrical experimentation from the Enlightenment to the present. We will also be conducting case studies for each section with a core text or texts. We will cover Shakespeare's Hamlet, Ibsen's Ghosts, Chekhov's The Seagull, and Dreamgirls, The Musical. n nTechnologies such as mechanical traps, electrical lights, and sound machines have been used to create stunning illusions and spectacular theater. Many of these technologies were also significant for the histories of industrialization and modernization. We will ask: How did theater makers develop and innovate using technological innovations? What role does technological aesthetics play in understanding human culture? What are the relationships between theater, technology, and society? In class, we will be reading, experimenting, and performing with various technological artifacts. We will be conducting experiments alongside our reading practice to better understand our historical subjects.
Terms: not given this year, last offered Autumn 2017 | Units: 3-4 | UG Reqs: WAY-A-II, WAY-SI | Grading: Letter or Credit/No Credit

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. In contrast, #blackmagic is used to describe everything from the uncanny to the personal. This course examines the discursive phenomenon of "black magic" and its permutations throughout Anglo-American histories. We will investigate the binaries of black/dark, white/light magic that has entered our contemporary lexicon, reading material on religion, magic performance, and theater.
Terms: not given this year, last offered Spring 2018 | Units: 3-4 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit

TAPS 156A: Warhol: Painting, Photography, Performance (ARTHIST 156A, ARTHIST 356A, TAPS 356A)

This course focuses on the career of Andy Warhol as a means to consider the broader history of American art and culture since 1950. It examines little-studied aspects of Warhol¿s visual production (e.g. his career as a commercial artist in the 1950s and his everyday photographs of the 1970s and 1980s) alongside his now-canonical Pop paintings of the 1960s. Warhol?s critical and scholarly reception will be scrutinized in detail, as will published interviews of and writings by the artist. Finally, we will consider Warhol¿s legacy and wide-ranging influence on American culture in the decades since his death in 1987.
Terms: not given this year, last offered Winter 2017 | Units: 4 | UG Reqs: WAY-A-II | Grading: Letter (ABCD/NP)

TAPS 156X: Theater of Dissent: Social Movements, Migration, and Revolution in the Americas (CSRE 156X)

TAPS 156X is an introductory level course that considers how theatre and performance provide a vital platform to examine political dissonance, the mobilities and (im)mobilities that shape transnational migration, and the formation of Latinx/Chicanx identity in the Americas. We will further examine the differences between key terminology in performance, including the notion of Latinidad, by looking at different aesthetic and socio-cultural performance practices and methodologies, re-occuring performance themes, and site-specific performance in the Americas. This course will primarily concentrate on works written in/about the Western Pacific US Southwest, Mexico, Argentina, Peru, Cuba, and Colombia through a variety of theatrical play texts, recorded performances, workshops, and creative projects.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit

TAPS 157: World Drama and Performance (TAPS 357)

This course takes up a geographically expansive conversation by looking at modern and contemporary drama from nations including Ghana, Egypt, India, Argentina, among others. Considering influential texts from the Global South will also enable us to explore a range of themes and methodologies that are radically re-shaping the field of Performance Studies. We will examine the relationship between colonialism and globalization, empire and capital, cosmopolitanism and neoliberalism. Re-situating our perspective from the Global South and the non-western world, we will ¿provincialize Europe¿ and probe the limits of its universalizing discourses.
Terms: not given this year, last offered Spring 2018 | Units: 4 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit

TAPS 158B: Brecht in Practice and Theory

Hardly any figure looms as large in the modern theatrical canon as Bertolt Brecht, whose critical rethinking of theater's social function has inspired political artists around the globe. This course zooms in on this revolutionary spirit to offer students the opportunity to study, apply, critique and transform Brechtian techniques through hands-on activities. With class sessions split between practical workshops and seminars, we will approach Brecht's writings both his prose and plays¿from the theater practitioner's perspective. How do Brecht's concepts, like Verfremdung, Epic, and Gestus, challenge theater conventions, and to what end? What practical exercises can be developed from his writings, and what are their uses for theater-makers today? How, when, and why might Brechtian techniques be applied to devised work or dramas by other playwrights? What does Brecht's model of theater overlook, and how can an intersectional critique provide inspiration to transform his ideas? The course is aimed particularly at student directors, but will also benefit actors, dramaturgs, playwrights and scholars interested in practice as research. No theater experience required.
Terms: Win | Units: 4 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit
Instructors: Piggott, J. (PI)
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