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911 - 920 of 953 results for: all courses

TAPS 11Q: Art in the Metropolis (ARTSINST 11Q, ENGLISH 11Q)

This seminar is offered in conjunction with the annual "Arts Immersion" trip to New York that takes place over the spring break and is organized by the Stanford Arts Institute (SAI). Participation in the trip is a requirement for taking part in the seminar (and vice versa). The trip is designed to provide a group of students with the opportunity to immerse themselves in the cultural life of New York City guided by faculty and the SAI programming director. Students will experience a broad range and variety of art forms (visual arts, theater, opera, dance, etc.) and will meet with prominent arts administrators and practitioners, some of whom are Stanford alumni. For further details and updates about the trip, see http://arts.stanford.edu.
Terms: Spr | Units: 3 | UG Reqs: WAY-A-II

TAPS 20N: Prisons and Performance

Preference to Freshmen. This seminar starts with the unlikely question of what can the performing arts, particularly dance and theater, illuminate about the situation of mass incarceration in America. Part seminar, part immersive context building, students will read and view a cross-section of dance and theater works where the subject, performers, choreographers or authors, belong to part of the 2.4 million people currently behind bars in US prisons. Class includes conversations with formerly incarcerated youth, prison staff, juvenile justice lawyers and artists working in juvenile and adult prisons as well as those who are part of the 7.3 million people currently on parole or probation. Using performance as our lens we will investigate the unique kinds of understanding the arts make possible as well as the growing use of theater and dance to affect social change and personal transformation among prison inmates. Class trips will include visits to locked facilities and meetings with artists and inmates working behind bars.
Terms: Aut | Units: 3 | UG Reqs: WAY-A-II, WAY-ED
Instructors: Ross, J. (PI)

TAPS 21N: The Idea of Virtual Reality

What is virtual reality and where is it heading? Was there VR before digital technology? What is the value of the real in a virtual culture? How, where, and when do we draw the line between the virtual and the real, the live and the mediated today? Concentrating on three aspects of VR simulation, immersion, and interactivity this course will examine recent experiments alongside a long history of virtual performance, from Plato's Cave to contemporary CAVEs, from baroque theatre design to Oculus Rift.
Last offered: Winter 2018 | UG Reqs: WAY-A-II

TAPS 40N: Family Drama: American Plays about Families (AMSTUD 41N)

Focus on great dramas about family life (Albee, Kushner, Shephard, Vogel, Kron, Nottage, Parks). Communication in writing and speaking about conflict central to learning in this class.
Last offered: Autumn 2018 | UG Reqs: WAY-A-II

TAPS 41N: Inventing Modern Theatre: Georg B├╝chner and Frank Wedekind

The German writers Georg Büchner (1813-1837) and Frank Wedekind (1864-1918). Many of the most important theater and film directors of the last century, including Max Reinhardt, G. W. Pabst, Orson Welles, Robert Wilson, and Werner Herzog, have wrestled with their works, as have composers and writers from Alban Berg and Bertolt Brecht through Christa Wolf and Thalia Field. Rock artists as diverse as Tom Waits, Lou Reed, Duncan Sheik, and Metallica have recently rediscovered their urgency. Reading these works in translation and examining artistic creations they inspired. Classroom discussions and written responses; students also rehearse and present in-class performances of excerpts from the plays. The aim of these performances is not to produce polished stagings but to creatively engage with the texts and their interpretive traditions. No previous theatrical experience required.
Last offered: Winter 2014 | UG Reqs: WAY-A-II, 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 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 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.
Last offered: Winter 2019 | UG Reqs: GER:DB-Hum, WAY-A-II

TAPS 151T: Global Great Books: Dramatic Dialogues (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.
Last offered: Spring 2019 | UG Reqs: GER:DB-Hum, WAY-A-II

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.
Last offered: Autumn 2017 | UG Reqs: WAY-A-II, WAY-SI
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