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371 - 380 of 396 results for: all courses

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: not given this year, last offered Spring 2018 | Units: 4 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit

TAPS 150G: Performing Race, Gender, and Sexuality (CSRE 150G, FEMGEN 150G)

This theory and practice-based course will examine performances by and scholarly texts about artists who critically and mindfully engage race, gender, and sexuality. Students will cultivate their skills as artist-scholars through written assignments and the creation of performance-based works in response to the assigned material. Attendance and written reflection on the TAPS Vital Signs: Performance Art in the 21st Century performance art series are required. The practical component of the class will also incorporate meditation into the process of preparing for, making, and critiquing performance. We will approach mindfulness as method and theory in our own practice, as well in relation to the works studied, while attending to the ethics and current debates concerning its use. Examples of artists studied include James Luna, Nao Bustamante, William Pope.L, Yoko Ono, Cassils, Adrian Piper, Guillermo Gomez-Peña, Nikki S. Lee, and Ana Mendieta.
Terms: not given this year, last offered Spring 2018 | Units: 4 | UG Reqs: WAY-CE, WAY-ED | Grading: Letter or Credit/No Credit

TAPS 151: Dramaturgy (TAPS 315)

In this seminar, we will take the conventional idea of dramaturgy for narrative performance as developed in Western European theater since the enlightenment, and investigate its relation to non-narrative forms of performance in 20th and 21st (performance art, conceptual dance). Further, we will use dramaturgical procedures to explore the ideological content of performance and position of art institutions in our society. Finally, the students will get acquainted with production dramaturgy and get necessary tools to take the role of dramaturgs in actual performance productions.
Terms: not given this year, last offered Spring 2018 | Units: 4 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter (ABCD/NP)

TAPS 155: Social Sculpture (ARTSTUDI 155)

This course investigates the immediacy of the body as material and sculpture in order to investigate private and social spaces. Actions are often used to understand or question the function and psychological aspects of a space and are documented for the perpetuation of these ideas. Throughout the quarter we will investigate the body as material and develop site specific performances enacted for: Private/Domestic and Public Space; Constructed Space & Physical Space; ecological systems; and generate both Individual & Collaborative based Actions, Interventions, & Events."
Terms: Spr | Units: 4 | UG Reqs: WAY-CE | Grading: Letter or Credit/No Credit
Instructors: Yanez, V. (PI)

TAPS 156: Performing History: Race, Politics, and Staging the Plays of August Wilson (AFRICAAM 156, CSRE 156T, TAPS 356)

This course purposefully and explicitly mixes theory and practice. Students will read and discuss the plays of August Wilson, the most celebrated and most produced contemporary American playwright, that comprise his 20th Century History Cycle. Class stages scenes from each of these plays, culminating in a final showcase of longer scenes from his work as a final project.
Terms: not given this year, last offered Winter 2018 | Units: 4 | UG Reqs: WAY-CE, 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)

TAPS 170: Directing and Dramaturgy: Composition and Adaptation for Theatre (TAPS 370)

This course explores dramaturgy and directing in the research and production of theatre primarily through practical creative projects with secondary readings on dramaturgy as a discipline. In this course we will consider the role of the dramaturg in its broadest sense, running across theatrical production from research to playwriting, adaptation, choreography, devising and directing. Students will work individually and in small groups researching, adapting, crafting and workshopping material.
Terms: not given this year, last offered Spring 2013 | Units: 4-5 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit

TAPS 170A: The Director's Craft (TAPS 370A)

This workshop class guides students through the directing process from investigating the big ideas of a play and analysing the action to organizing and running rehearsals to building up the world of the play through character work and visual composition. Over the quarter we will look at the use of creative visualization and improvisation alongside working with actors on ideas, emotions, relationships, textual analysis and blocking. This course also attends to the process of communicating with designers and production teams as well as structuring rehearsals, run-throughs and technical and dress rehearsals. Each student will select a theatrical text to work from across the quarter. In many cases the student¿s text will be a play that they are planning to direct in future, such as productions for student groups like Ram¿s Head or Stanford Shakespeare Company, TAPS capstone projects, TAPS 2nd year grad shows and/or TAPS Second Stage productions. No previous directing experience in necessary.
Terms: Aut | Units: 4 | UG Reqs: WAY-CE | Grading: Letter or Credit/No Credit
Instructors: Rau, M. (PI)

TAPS 170B: Directing Workshop: The Actor-Director Dialogue (TAPS 372)

This course focuses on the actor-director dialogue. We will work with actors and directors developing approaches to collaboration that make the actor-director dialogue in theater.
Terms: Win | Units: 4 | UG Reqs: WAY-A-II, WAY-CE | Repeatable for credit | Grading: Letter (ABCD/NP)
Instructors: Rehm, R. (PI)

TAPS 171: Performance Making (TAPS 371)

A studio course focused on creative processes and generating original material. Students will be encouraged to think critically about the relationship between form and content exploring the possibilities of site specific, gallery and theatre settings. Students will reflect throughout on the types of contact and communication uniquely possible in the live moment, such as interaction or the engagement of the senses. The emphasis is on weekly experimentation in the creation of short works rather than on a final production.
Terms: not given this year, last offered Autumn 2016 | Units: 4 | UG Reqs: WAY-CE | Grading: Letter (ABCD/NP)
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