Theater and Performance Studies

DANCE 13AX. Ballet Intensive. 2 Units.

Rigorous daily practice that will challenge and expand students¿ understanding of and perspective on the art form. Focus on strengthening technique, exploring ballet as an expressive form and performing art, and developing an artistic voice.

DANCE 14AX. Modern Dance: Traditions of Creation. 2 Units.

Interested in putting your hands in the clay? In this hands-on course, dancers will investigate and re-choreograph some of Robert Moses' signature works. Robert and long-term dancers in his company, Robert Moses' Kin, will collaboratively guide students in intensive studio sessions as they revisit the significant issues, techniques, and directions in such seminal works as Word of Mouth, The Soft Sweet Smell of Firm Warm Things, and Helen. Elements used to create the works will be re-investigated and re-framed through the lens of the students' experience and perspective. Students will coordinate a showcase of excerpts of their remolded choreography. This class will utilize the language of Robert Moses' repertory to train dancers in the basics of Moses' movement vocabulary. Students will improve and reinforce technical proficiency, artistic range, and performance skills. In addition, students will expand their movement range and vocabulary in a manner that demonstrates an increase in strength, agility, flexibility, and endurance through classical ballet and contemporary modern dance techniques.

DANCE 27. Faculty Choreography. 1 Unitss.

Hollis Brown, New Shows: students in this course will work collaboratively to create a new artistic work. Emphasis will be placed on dance's relationship to dialogue and music. This course will provide students with a basic understanding of the development, creation and staging of original performance pieces. The final performance of the new work will be during the final class period with a additional performance in the Bing Concert Hall Rehearsal Studio.

DANCE 30. The Chocolate Heads Movement Band and Performance. 1 Unitss.

Students from diverse dance styles (ballet to hip-hop to contemporary) participate in the dance-making/remix process and collaborate with musicians, visual artists, designers and spoken word artists, culminating a multidisciplinary fully produced production and installation.

DANCE 38. Beginning Ballet Plus. 1 Unitss.

Introductory ballet class open to all levels of beginners and focusing on the discovery and appreciation of ballet as a body-based knowledge and artistic practice. Structured studio lessons cover the basics of ballet technique including posture, the foundation steps, and ballet terms with an emphasis on the development of coordination, balance, strength, flexibility, sense of line, and sensitivity to rhythm and music. Discussions, video screenings, occasional reading and field trips reference the unfolding of the art form, its technique and aesthetic. Course may be repeated for credit.

DANCE 42. Dances of Latin America. 1 Unitss.

Dances of Argentina, Brazil, Chile, Colombia, Cuba, Mexico, Peru, and Puerto Rico. May be repeated for credit.

DANCE 43. Liquid Flow: Introduction to Contemporary Dance and Dance-making. 1 Unitss.

Students learn fundamentals of contemporary dance, using modern technique, yoga and tai chi, focused on organic, successive movement and the continuum within everyday motions to studio dance practice. Basic compositional skills explored, culminating in end of quarter showing.

DANCE 45. Dance Improvisation Techniques and Strategies Lab: From Hip Hop to Contact. 1 Unitss.

By learning various dance improvisation forms across cultures, students will develop techniques to gain a deep understanding of generating movement from the inside-out, harnessing that potential for creating dances. Guest dancer/choreographer workshops and Dance Jams enhance the learning experience.
Same as: AFRICAAM 45.

DANCE 46. Social Dance I. 1 Unitss.

Introduction to the partner dances found in American popular culture: waltz, swing, tango, club two step, cha cha, merengue, and salsa. May be repeated for credit. (AU).

DANCE 48. Beginning Ballet. 1 Unitss.

Fundametals of ballet technique including posture, placement, the foundation steps, and ballet terms; emphasis on the development of coordination, balance, flexibility, sense of lines, and sensitivity to rhythm and music. May be repeated for credit.

DANCE 56. Ballet Repertory: Liebeslieder re./for. 1 Unitss.

Series of directed studio practices focusing on the creation or revival of a formal choreography to be integrated in the Dance Division repertory and performed during the Division Winter Concert. The course is designed to engage students in acquiring interpretive and expressive skills working one on one with a choreographer(s) and rehearsal director, increase adaptability of artistic technique and style, develop knowledge of movement possibilities and artistic voices, and cultivate presence and authority as performers. This winter, the class will be focusing on the creation of "liebeslieder re;/for" to Brahms' "Liebeslieder Op52" in choreography by Christian Burns and in partnership with the Stanford Chorale. Performance dates: March 1 (at Bing with live chorale), March 9 and 10 (at Roble Gym), and May 11, 2013(at Roble Gym with live chorale). Students recruited via audition. For more info: mmaffre@stanford.edu.

DANCE 57. Dance Repertory: Hope Mohr/Denae Hannah. 1 Unitss.

Choreographer Hope Mohr/Denae Hannah will set contemporary work from her company repertory as part of an alumni commission initiative . Rehearsal Autumn Quarter. Culminate in performance on Winter Quarter concert. Participation by audition and/or invitation (Rehearsal Director: Diane Frank).

DANCE 58. Beginning Hip Hop. 1 Unitss.

Steps and styling in one of America's 21st-century vernacular dance forms. May be repeated for credit.

DANCE 59. Intermediate-Advanced Hip-Hop. 1 Unitss.

Steps and styling in one of America's 21st-century vernacular dance forms. May be repeated for credit.

DANCE 60. The Evolution of Hip Hop and the Dance Stage: From Broadway to Hollywood and MTV. 1 Unitss.

The repertory of Hip Hop history through steps and choreography. May be repeated for credit.

DANCE 63. Beginning Dance and Dance Making. 1 Unitss.

This Choreography course is designed to expose students to fundamental techniques and approaches used in the creation of dance. All of the basic elements of dance composition will be creatively touched upon including: style, form, theme and variation, narrative versus abstract methods of expression, elements of time, quality and use of space, motif and repetition. These different tools will be illustrated and the options and restrictions of each will be explored. Practical assignments will culminate in a performance of work generated and arranged by the instructor and students. The course is recommended for all students interested in the artistic process in a creative situation.

DANCE 69. The Athletic Body in Dance: Conditioning to Aesthetics. 1 Unitss.

This course provides instruction in the fundamentals of the goal-oriented body in the artistic practice. Emphasis will be placed on suing sports movement as a base for training in dance.

DANCE 100. Student Choreography: Studio to Stage. 1 Unitss.

Students develop their own choreographic projects-from initial concept, though rehearsal phase, to culminating performance - under close faculty guidance. The course focuses on choreographic process, with no restrictions on movement vocabulary or movement style. Dancer/choreographers of all forms and genres are strongly encouraged to participate. This course is required for students working towards performance on Divisional concerts. Work includes individual mentoring within rehearsal setting as well as outside of rehearsal. May be repeated for credit.

DANCE 103. Dance, Text, Gesture: Performance and Composition. 1 Unitss.

Students practice, compose and combine the languages of dance, gestural movement, music and text, to render complete expression in performance. Suitable for dancers, actors, spoken word artists and triple threat performers to devise original performance, dance and theater, culminating in an end of quarter showing.
Same as: AFRICAAM 103.

DANCE 108. Hip Hop Meets Broadway. 1 Unitss.

What happens when Hip Hop meets "Fosse", "Aida", "Dream Girls" and "In the Heights"? The most amazing collaboration of Hip Hop styles adapted to some of the most memorable Broadway Productions. This class will explore the realm between Hip Hop Dance and the Broadway Stage. Infusing Acting thru dance movement and exploring the Art of Lip Sync thru Hip Hop Dance styles.

DANCE 120. Hip Hop/Pop Fusion and Urban Dance: Choreography. 1 Unitss.

This class will focus on defining, developing, and exploring stylistic elements in the many variations of Hip Hop and Urban Dance Styles. Visiting Hip Hop professionals will perform.

DANCE 121. The Day Before Hip Hop: Lecture and Technique. 1 Unitss.

Lecture and technique study of Hip hop dance (street dance) technique and Hip-hop dance history prior to the existence of the umbrella term ¿Hip-hop¿. Fundamental history of various street dance styles which may or may not fall under the umbrella term of Hip hop; technical foundation rooted in an Afro-centric approach to movement that is dynamic, fluid and rhythmically diverse in space.

DANCE 127L. Viewpoints & Contact Improvisation. 2 Units.

Aimed at actors and dancers this course develops kinesthetic awareness and physical presence in relationship to others through tech¬niques of focus, spatial intent, task, and choreographic improvisation. Drawing on Contact Improvisation and Viewpoints technique this work centers on developing the capacity to perform with physical versatility from a place of authentic emotional commitment and open creative potential.
Same as: TAPS 127L.

DANCE 131. Beginning/Intermediate Ballet. 1 Unitss.

Structured studio practice reviewing the basics of ballet technique including posture, placement, the foundation steps and ballet terms, and progressing to more complex positions and combination of steps. Emphasis is placed on improving forms, developing coordination and connectivity, securing balance, increasing strength, flexibility, sense of lines, and sensitivity to rhythm and music.

DANCE 140. Intermediate Contemporary Modern Technique. 1 Unitss.

Intended to sharpen the practical skills of studio dancers, this intermediate contemporary modern technique class will focus on various elements of contemporary modern dance, upright, release and traditional dance styles will be covered. In addition, studio work will focus on phrasing, endurance, technical proficiency, and musicality. There also will be a viewing of a professional live performance and a survey of current influential dance trends. This course will culminate in an end of quarter showing of the material covered in class. An intermediate or advanced understanding of movement forms or dance is advisable.

DANCE 141. Advanced Contemporary Modern Technique. 2 Units.

Intended to hone the practical skills of studio dancers this advanced modern technique class will focus on various elements of contemporary dance. In addition to studio work focused on phrasing, endurance, technical proficiency, and musicality there will be viewing of a professional live performance and a survey of current influential dance trends. This course will culminate in an end of quarter showing of the material covered in class. An intermediate or advanced understanding of movement forms or dance is advisable. May be repeated for credit.

DANCE 142. Circus for Community Building and Social Change. 1 Unitss.

Preparation for Alternative Spring Break trip studying theory behind the development of social circuses and impacts on communities and individuals of specific case studies. Includes theories of service learning, field trips, guest lecturers general preparation for working with organizations in New York.

DANCE 144. Intermediate Modern Jazz Dance. 1 Unitss.

Practical skills of intermediate technique will focus on elements of contemporary jazz dance. Los Angeles, Broadway, and video dance styles will be covered. Studio work will focus on phrasing, endurance, technical proficiency, and musicality. Course includes viewing of a professional live performance. May be repeated for credit.

DANCE 146. Social Dance II. 1 Unitss.

Intermediate survey of dances in American popular culture: Lindy hop, Viennese waltz, cross-step waltz, foxtrot, and hustle. May be repeated for credit. Prerequisite: DANCE 46 or equivalent.

DANCE 147. Living Traditions of Swing. 1 Unitss.

Swing dancing: the early Lindy of the 1920s; 6- and 8-count Lindy hop, Shag, Big Apple, 1950s Rock 'n' Roll swing, disco Hustle and West Coast Swing. Partnering and improvisation. Swing's crosscultural influences and personal creativity. May be repeated for credit.

DANCE 148. Intermediate Ballet. 1 Unitss.

Fusing techniques of classical ballet with modern movement philosophies, Erik designs a ballet class that helps dancers to maximize physical potential while minimizing superfluous effort and stress in the body. There is a focus on grounding energy so that strength and length are derived from the floor, using gravity and relaxation as a tool to increase movement options allowing one to discover physical availability. The informative techniques shared in his class are tools for both classical or contemporary dance styles. Erik Wagner worked with San Francisco Ballet, Béjart Ballet Lausanne, and Bern Ballet. His teaching credits include Cedar Lake Contemporary Ballet, Complexions Contemporary Ballet, Les Ballet Jazz du Montreal, Armitage Gone, Basel Ballet, Bern Ballet, as well as international dance festivals and schools.

DANCE 149. Advanced Ballet. 2 Units.

Series of studio practices focusing on the strengthening of advanced ballet technique and the adjustment of habits of work through class exercises. The course emphasizes the precision of leg and footwork, the clarity of port-de-bras, and the efficient use of coordination, and aims at developing ease, control and confidence in the student through the practice of expansiveness, creativity and risk taking in a supportive environment.

DANCE 151H. ID21 STRATLAB: Interdisciplinary Approaches to Improvising Identities. 4-5 Units.

ID21 is a quarter-long exploration of "improvisation" in relationship to identity and race in the 21st Century in which students will investigate new dynamics of doing and thinking identities through the arts. The class will consist of panel discussions, performances, and talks that engage critically with the theme, concept, and practice of improvising identity across a variety of contexts and genres such as jazz music, modern dance, contemporary art, race comedy, food, and hip-hop poetry/freestyle. We will feature strategies that artists/scholars have used to overturn essentializing notions of identity in theory and practice.
Same as: AMSTUD 151H, CSRE 151H, DANCE 251H, TAPS 151H, TAPS 351H.

DANCE 156. Social Dance III. 1 Unitss.

Advanced survey of the partner dances found in American popular culture: waltz, redowa, Bohemian National Polka, tango, cha cha, salsa, samba. May be repeated for credit. Prerequisite: DANCE 46 or equivalent experience.

DANCE 160. Performance and History: Rethinking the Ballerina. 4 Units.

The ballerina occupies a unique place in popular imagination as an object of over-determined femininity as well as an emblem of extreme physical accomplishment for the female dancer. This seminar is designed as an investigation into histories of the ballerina as an iconographic symbol and cultural reference point for challenges to political and gender ideals. Through readings, videos, discussions and viewings of live performances this class investigates pivotal works, artists and eras in the global histories of ballet from its origins as a symbol of patronage and power in the 15th century through to its radical experiments as a site of cultural obedience and disobedience in the 20th and 21st centuries.
Same as: TAPS 160, TAPS 260.

DANCE 161H. Dance, History and Conflict. 4 Units.

This seminar investigates how moving bodies are compelling agents of social, cultural, and political change.Through readings, videos, discussions and viewings of live performances this class questions the impact of social conflict and war on selected 20th and 21st century dances and dance practices. This class asks to what extent dance, in its history as well as contemporary development, is linked to concepts of the political and conflict.
Same as: TAPS 161H.

DANCE 162H. Baroque Modernities: Dance, Theater, Film, Political Theory. 4 Units.

What do seventeenth-century choreography and dramaturgy contribute to (mean to) choreographic and theatrical modernity? How can we explain the recurrent baroque phenomenon across the twentieth century -- becoming particularly prominent in the 1980s -- beyond the historicist accounts of theatrical reconstruction? How does the baroque locate itself within cultural modernity? This seminar asks this question of choreography at several junctures: The analysis of seventeenth century baroque spectacle that fashioned dance and theatre into political tools of monarchical sovereignty; Twentieth-century literature on the Baroque that destabilizes received notions of subjectivity and political sovereignty; Twentieth-century choreography and film that deploys baroque figures and techniques. Thus, our material shall range from seventeenth-century dance and theater to contemporary dance, film and literature.
Same as: TAPS 162H.

DANCE 167. Performing Indigeneity on Global Stage. 4 Units.

Explores how indigeneity is expressed and embodied through performance on the global stage.
Same as: NATIVEAM 167.

DANCE 177. Introduction to Dance on the Global Stage. 4 Units.

The course will examine and engage with dance cultures from around the world. Through historical and theoretical readings, film screenings, and viewing performances, this course aims to introduce students to a number of theoretical issues central to the study of dance across various disciplines. As a class we set out to explore how dance is more than a set of organized bodily movements, pleasurable to both do and watch. We will consider what cultural work dance performance accomplishes in the world.
Same as: CSRE 177B.

DANCE 190. Special Research. 1-5 Units.

Topics related to the discipline of dance. May be repeated for credit.

DANCE 191. Independent Research. 1-18 Units.

Individual supervision of off-campus internship. Prerequisite: consent of instructor.

DANCE 197. Dance in Prison: The Arts, Juvenile Justice, and Rehabilitation in America. 4 Units.

Participatory seminar. The nexus of art, community, and social action, using dance to study how the performing arts affect self-construction, perception and experiences of embodiment, and social control for incarcerated teenagers in Santa Clara Juvenile Hall. Service Learning Course (certified by Haas Center).

DANCE 251H. ID21 STRATLAB: Interdisciplinary Approaches to Improvising Identities. 4-5 Units.

ID21 is a quarter-long exploration of "improvisation" in relationship to identity and race in the 21st Century in which students will investigate new dynamics of doing and thinking identities through the arts. The class will consist of panel discussions, performances, and talks that engage critically with the theme, concept, and practice of improvising identity across a variety of contexts and genres such as jazz music, modern dance, contemporary art, race comedy, food, and hip-hop poetry/freestyle. We will feature strategies that artists/scholars have used to overturn essentializing notions of identity in theory and practice.
Same as: AMSTUD 151H, CSRE 151H, DANCE 151H, TAPS 151H, TAPS 351H.

DANCE 290. Special Research. 1-18 Units.

Individual project on the work of any choreographer, period, genre, or dance-related topic. May be repeated for credit.

TAPS 1. Introduction to Theater and Performance Studies. 4 Units.

What brings together Hamlet and Lance Armstrong? What sets apart The Avatar from Angry Birds? This class explores performance as a paradigm that cuts across diverse branches of contemporary culture, and uses it as a mode and method of analysis that encompasses everything from sports events, social dances, political protests to the organization of a workplace. This course offers an overview of performance across disciplines: from theater and other performing arts, to law, management, sports, and new technologies. It is designed to serve students who may go on to major or minor in Theater and Performance Studies including the Dance division and also students for whom this knowledge is a general contribution to their liberal arts education or to their own field of study. It integrates scholarly research and practical use of performance. No previous performing arts training or skills are required.

TAPS 1. Introduction to Theater and Performance Studies. 4 Units.

What brings together Hamlet and Lance Armstrong? What sets apart The Avatar from Angry Birds? This class explores performance as a paradigm that cuts across diverse branches of contemporary culture, and uses it as a mode and method of analysis that encompasses everything from sports events, social dances, political protests to the organization of a workplace. This course offers an overview of performance across disciplines: from theater and other performing arts, to law, management, sports, and new technologies. It is designed to serve students who may go on to major or minor in Theater and Performance Studies including the Dance division and also students for whom this knowledge is a general contribution to their liberal arts education or to their own field of study. It integrates scholarly research and practical use of performance. No previous performing arts training or skills are required.

TAPS 10AX. Acting Intensive: Theatre and Beyond, Into the World of Film. 2 Units.

Introduction to the craft of acting for film and reinforcement of basic concepts for the experienced student. Skill-building in the areas of acting, movement, voice, and speech, utilizing material from the film and theater. In-depth work on technique, utilization of action, specificity of language, personalization, emotional truth, character, and given circumstance. Blocking of scenes live performance and video recording of performances. Final performance of the two scenes in a showcase afternoon.

TAPS 10AX. Acting Intensive: Theatre and Beyond, Into the World of Film. 2 Units.

Introduction to the craft of acting for film and reinforcement of basic concepts for the experienced student. Skill-building in the areas of acting, movement, voice, and speech, utilizing material from the film and theater. In-depth work on technique, utilization of action, specificity of language, personalization, emotional truth, character, and given circumstance. Blocking of scenes live performance and video recording of performances. Final performance of the two scenes in a showcase afternoon.

TAPS 10N. Arts and Ideas: 20th Century Art in Conflict. 4 Units.

The second quarter of Art & Ideas builds on the examples of Modernism students in Arts and Ideas studied in the first quarter. The Frosh Seminar ¿20th-Century Art in Conflict¿ will focus on drama and film that experiments with new possibilities of form, shaping the direction of later artistic practice. We will trace how the political and aesthetic concerns of the 20th century reflect and exploit new technologies, both in theater and film, altering the position and function of author, actor, director, and audience.

TAPS 10N. Arts and Ideas: 20th Century Art in Conflict. 4 Units.

The second quarter of Art & Ideas builds on the examples of Modernism students in Arts and Ideas studied in the first quarter. The Frosh Seminar ¿20th-Century Art in Conflict¿ will focus on drama and film that experiments with new possibilities of form, shaping the direction of later artistic practice. We will trace how the political and aesthetic concerns of the 20th century reflect and exploit new technologies, both in theater and film, altering the position and function of author, actor, director, and audience.

TAPS 11AX. Set Design. 2 Units.

How ideas in fine art, architecture, and installation inform the practice of theatre set design. Traditional techniques of stage scenery design, basic drafting and model making guide the process of designing a set for an opera or play in this hands-on workshop.

TAPS 11AX. Set Design. 2 Units.

How ideas in fine art, architecture, and installation inform the practice of theatre set design. Traditional techniques of stage scenery design, basic drafting and model making guide the process of designing a set for an opera or play in this hands-on workshop.

TAPS 11N. Dramatic Tensions: Theater and the Marketplace. 4 Units.

Preference to freshmen. This seminar explores the current state of the American theater and its artists. Much conventional wisdom tells us that theater is a dying art, and something of a lost cause, especially in an age of multi-media entertainment. But the roots of the drama are very old and very deep, and there are more young playwrights, actors, and directors entering the field today than at any other time in American history. We'll get to know the work of today's theater artists, with an emphasis on an emerging generation of playwrights that is still finding plenty to say from the classic platform of the living stage. Students will read a cross-section of plays from writers currently working in the US and UK, covering a broad spectrum of subjects and styles from serious to comic, from the musical to the straight play. We'll look at the hits and misses from recent seasons of the New York and London stages and examine some of the differences of artistic taste across the Atlantic. In the second part of the course we will explore, hands-on, the arts and skills necessary to make a play succeed. Students will get the chance to develop their own areas of interest, in guided projects in design, direction or performance. Class visits will be arranged to allow for conversations with playwrights, designers and directors. Labs and master-classes will allow students to solve problems posed in areas of creative production. And finally, we'll meet some of the literary managers and producers who are on the frontlines of underwriting new talent. Students completing this seminar should come away with an informed appreciation of the state of the arts in America today, and some excitement about the possibilities that lie both within the field and in themselves. Class trips will include two plays at major Bay Area Stages.

TAPS 11N. Dramatic Tensions: Theater and the Marketplace. 4 Units.

Preference to freshmen. This seminar explores the current state of the American theater and its artists. Much conventional wisdom tells us that theater is a dying art, and something of a lost cause, especially in an age of multi-media entertainment. But the roots of the drama are very old and very deep, and there are more young playwrights, actors, and directors entering the field today than at any other time in American history. We'll get to know the work of today's theater artists, with an emphasis on an emerging generation of playwrights that is still finding plenty to say from the classic platform of the living stage. Students will read a cross-section of plays from writers currently working in the US and UK, covering a broad spectrum of subjects and styles from serious to comic, from the musical to the straight play. We'll look at the hits and misses from recent seasons of the New York and London stages and examine some of the differences of artistic taste across the Atlantic. In the second part of the course we will explore, hands-on, the arts and skills necessary to make a play succeed. Students will get the chance to develop their own areas of interest, in guided projects in design, direction or performance. Class visits will be arranged to allow for conversations with playwrights, designers and directors. Labs and master-classes will allow students to solve problems posed in areas of creative production. And finally, we'll meet some of the literary managers and producers who are on the frontlines of underwriting new talent. Students completing this seminar should come away with an informed appreciation of the state of the arts in America today, and some excitement about the possibilities that lie both within the field and in themselves. Class trips will include two plays at major Bay Area Stages.

TAPS 11SC. Learning Theater: From Audience to Critic at the Oregon Shakespeare Festival. 2 Units.

Who doesn't love going to a play: sitting in the darkened theater, an anonymous member of the audience waiting to be entertained, charmed, and challenged? But how many of us know enough about the details of the plays, their interpretation, their production, and acting itself, to allow us to appreciate fully the theatrical experience? In this seminar, we will spend 13 days in Ashland, Oregon, at the Oregon Shakespeare Festival (OSF), where we will attend these plays: Shakespeare's King Lear, Cymbeline, A Midsummer Nights Dream, and The Taming of the Shrew; Tennessee Williams' A Streetcar Named Desire; the U.S. premiere of David Farr's The Heart of Robin Hood; Alan Jay Lerner and Frederick Loewe¿s My Fair Lady; and three world premieres -- Jon Beavers, Ramiz Monsef, Ian Merrigan, and Casey Hurt's The Unfortunates; Naomi Wallace's The Liquid Plain; and Tanya Saracho's The Tenth Muse. (To read more about these productions, go to http:// www.osfashland.org.) We will also spend time backstage, meeting with actors, designers, and artistic and administrative directors of OSF. Students will read the plays before the seminar begins. In Ashland, they will produce staged readings and design a final paper based on one of the productions. These reviews will be delivered to the group and turned in on Thursday, September 19. Note: This seminar will convene in Ashland on Monday, September 2, and will adjourn to Stanford on Sunday, September 15. Students must arrive in Ashland by 4:00 p.m. on September 2. Room and board in Ashland and transportation to Stanford will be provided and paid for by the program.

TAPS 11SC. Learning Theater: From Audience to Critic at the Oregon Shakespeare Festival. 2 Units.

Who doesn't love going to a play: sitting in the darkened theater, an anonymous member of the audience waiting to be entertained, charmed, and challenged? But how many of us know enough about the details of the plays, their interpretation, their production, and acting itself, to allow us to appreciate fully the theatrical experience? In this seminar, we will spend 13 days in Ashland, Oregon, at the Oregon Shakespeare Festival (OSF), where we will attend these plays: Shakespeare's King Lear, Cymbeline, A Midsummer Nights Dream, and The Taming of the Shrew; Tennessee Williams' A Streetcar Named Desire; the U.S. premiere of David Farr's The Heart of Robin Hood; Alan Jay Lerner and Frederick Loewe¿s My Fair Lady; and three world premieres -- Jon Beavers, Ramiz Monsef, Ian Merrigan, and Casey Hurt's The Unfortunates; Naomi Wallace's The Liquid Plain; and Tanya Saracho's The Tenth Muse. (To read more about these productions, go to http:// www.osfashland.org.) We will also spend time backstage, meeting with actors, designers, and artistic and administrative directors of OSF. Students will read the plays before the seminar begins. In Ashland, they will produce staged readings and design a final paper based on one of the productions. These reviews will be delivered to the group and turned in on Thursday, September 19. Note: This seminar will convene in Ashland on Monday, September 2, and will adjourn to Stanford on Sunday, September 15. Students must arrive in Ashland by 4:00 p.m. on September 2. Room and board in Ashland and transportation to Stanford will be provided and paid for by the program.

TAPS 12AX. Sketch Comedy and Improvisation. 2 Units.

Explore improvisation and sketch comedy in an intensive ensemble and create an original show. Pure improvisational theater techniques. Concepts covered include spontaneity, shared control, creative collaboration, narrative, and status. Students apply those skills to writing and staging scripted monologues, two-handers, and ensemble sketches. Students create an original show with the entire class.

TAPS 12AX. Sketch Comedy and Improvisation. 2 Units.

Explore improvisation and sketch comedy in an intensive ensemble and create an original show. Pure improvisational theater techniques. Concepts covered include spontaneity, shared control, creative collaboration, narrative, and status. Students apply those skills to writing and staging scripted monologues, two-handers, and ensemble sketches. Students create an original show with the entire class.

TAPS 12N. Antigone: From Ancient Democracy to Contemporary Dissent. 4 Units.

Preference to freshmen. Tensions inherent in the democracy of ancient Athens; how the character of Antigone emerges in later drama, film, and political thought as a figure of resistance against illegitimate authority; and her relevance to contemporary struggles for women's and workers' rights and national liberation. Readings and screenings include versions of Antigone by Sophocles, Anouilh, Brecht, Fugard/Kani/Ntshona, Paulin, Glowacki, Gurney, and von Trotta.
Same as: CLASSGEN 6N.

TAPS 12N. Antigone: From Ancient Democracy to Contemporary Dissent. 4 Units.

Preference to freshmen. Tensions inherent in the democracy of ancient Athens; how the character of Antigone emerges in later drama, film, and political thought as a figure of resistance against illegitimate authority; and her relevance to contemporary struggles for women's and workers' rights and national liberation. Readings and screenings include versions of Antigone by Sophocles, Anouilh, Brecht, Fugard/Kani/Ntshona, Paulin, Glowacki, Gurney, and von Trotta.
Same as: CLASSGEN 6N.

TAPS 12SC. Playwriting Lab: The Art of Dramatic Writing. 2 Units.

Workshop. Each student develops an original script which is presented in theater by the other students. How to develop, expand, and condition the creative mind. Toipcs including dramatic action, text and subtext, characterization, language, and style. Students function as a theatrical collective where each has the opportunity to participate in reading and serving the vision of each student-author.

TAPS 12SC. Playwriting Lab: The Art of Dramatic Writing. 2 Units.

Workshop. Each student develops an original script which is presented in theater by the other students. How to develop, expand, and condition the creative mind. Toipcs including dramatic action, text and subtext, characterization, language, and style. Students function as a theatrical collective where each has the opportunity to participate in reading and serving the vision of each student-author.

TAPS 13AX. Musical Theater. 2 Units.

Have you ever seen a great musical and wondered, "How do the actors do it?" In this workshop we will explore the mechanics of acting in musicals as we practice solos and scene work from contemporary and classic musicals. Material will range from the "golden age¿ of musicals of the 1930¿s to new releases. Possible choices are: Gypsy, Company, My Fair Lady, Sweeney Todd, Oklahoma!, Guys and Dolls, Cabaret, West Side Story, A Chorus Line, Ragtime, Urinetown, Dreamgirls, Hair, Avenue Q, South Pacific, Damn Yankees, Anything Goes, Hedwig and the Angry Inch, Caroline, or Change, Ain¿t Misbehavin¿, Next to Normal, Hairspray, and others. Students are encouraged to suggest their own material in their application for the program. The class will be accessible to both beginners and experienced actors/singers and will include in-depth work on vocal technique, utilization of action, specificity of language, personalization, emotional truth, character, and given circumstance. Students will develop an awareness of the demands of the performance experience in a safe and supportive environment. They will be encouraged to work to expand their range and will study and perform a solo and a scene from a musical. These assignments will require a minimum of 2 two-hour sessions with a scene partner during a scene rehearsal week. Commitment and responsibility to scene partners is a crucial component to successful work in the theater. In addition to required readings, students will be expected to conduct some research on the world of the playwright, librettist, and composer. We will end our workshop with a final performance of the work in a showcase for an invited audience. All levels welcome!.

TAPS 13AX. Musical Theater. 2 Units.

Have you ever seen a great musical and wondered, "How do the actors do it?" In this workshop we will explore the mechanics of acting in musicals as we practice solos and scene work from contemporary and classic musicals. Material will range from the "golden age¿ of musicals of the 1930¿s to new releases. Possible choices are: Gypsy, Company, My Fair Lady, Sweeney Todd, Oklahoma!, Guys and Dolls, Cabaret, West Side Story, A Chorus Line, Ragtime, Urinetown, Dreamgirls, Hair, Avenue Q, South Pacific, Damn Yankees, Anything Goes, Hedwig and the Angry Inch, Caroline, or Change, Ain¿t Misbehavin¿, Next to Normal, Hairspray, and others. Students are encouraged to suggest their own material in their application for the program. The class will be accessible to both beginners and experienced actors/singers and will include in-depth work on vocal technique, utilization of action, specificity of language, personalization, emotional truth, character, and given circumstance. Students will develop an awareness of the demands of the performance experience in a safe and supportive environment. They will be encouraged to work to expand their range and will study and perform a solo and a scene from a musical. These assignments will require a minimum of 2 two-hour sessions with a scene partner during a scene rehearsal week. Commitment and responsibility to scene partners is a crucial component to successful work in the theater. In addition to required readings, students will be expected to conduct some research on the world of the playwright, librettist, and composer. We will end our workshop with a final performance of the work in a showcase for an invited audience. All levels welcome!.

TAPS 13N. Law and Drama. 4 Units.

Preference to Freshmen.Beyond the obvious traits that make a good (court room) drama, theater and jurisprudence have much more in common. Just as drama is engaged not only in entertainment but also in examination of social conventions and mechanisms, so law is not only concerned with dispensing justice but with shaping and maintaining a viable human community. In this class we will read and discuss a series of plays in which court proceedings are at the center of dramatic action and concluding with an investigation of the new genre of documentary drama.

TAPS 13N. Law and Drama. 4 Units.

Preference to Freshmen.Beyond the obvious traits that make a good (court room) drama, theater and jurisprudence have much more in common. Just as drama is engaged not only in entertainment but also in examination of social conventions and mechanisms, so law is not only concerned with dispensing justice but with shaping and maintaining a viable human community. In this class we will read and discuss a series of plays in which court proceedings are at the center of dramatic action and concluding with an investigation of the new genre of documentary drama.

TAPS 13SC. Journeying In and Out: Creative Writing and Performance in Prison. 2 Units.

The United States imprisons more people than any other nation. Including those on probation or parole, over seven million adults are currently under correctional supervision in the U.S. - that's 1 in every 50 Americans. The United States also incarcerates more youth than all other countries. Each year approximately 500,000 young people are brought to detention centers, and an estimated 250,000 young people are tried, sentenced, or incarcerated as adults, the majority for non-violent offenses. On any given night in America, 87,000 children are housed in juvenile residential placements, and 10,000 children are held in adult jails and prisons. Despite the magnitude of these numbers, prisons and juvenile detention centers are uniquely closed and sequestered institutions. This class works collaboratively with a local juvenile hall to use literature, writing, and performance to explore the lives of incarcerated youth. In the process, students gain an understanding of incarceration on an immediate and personal scale. Stanford students will work directly with students serving sentences at Hillcrest Juvenile Hall, using collaborative writing and performance projects to share their individual experiences and voices. Stanford students will also engage in writing exercises and discussion groups on campus in order to explore their own relationship to freedom and punishment, choices, changes, and mercy. Class readings, screenings, and discussions will foreground the legal, social, and historical contexts surrounding incarceration as well as the social and behavioral changes made possible through arts programming in prisons. In addition to sustained collaborations with incarcerated youth, the class includes workshops with formerly incarcerated artists, authors, and advocates as well as visits to historic and active prison facilities. Taught jointly by a fiction writer and a dance studies historian, and using the template of the hero¿s journey as our guide, we will consider how writing and performance might mediate understandings of crime, punishment, and rehabilitation.

TAPS 13SC. Journeying In and Out: Creative Writing and Performance in Prison. 2 Units.

The United States imprisons more people than any other nation. Including those on probation or parole, over seven million adults are currently under correctional supervision in the U.S. - that's 1 in every 50 Americans. The United States also incarcerates more youth than all other countries. Each year approximately 500,000 young people are brought to detention centers, and an estimated 250,000 young people are tried, sentenced, or incarcerated as adults, the majority for non-violent offenses. On any given night in America, 87,000 children are housed in juvenile residential placements, and 10,000 children are held in adult jails and prisons. Despite the magnitude of these numbers, prisons and juvenile detention centers are uniquely closed and sequestered institutions. This class works collaboratively with a local juvenile hall to use literature, writing, and performance to explore the lives of incarcerated youth. In the process, students gain an understanding of incarceration on an immediate and personal scale. Stanford students will work directly with students serving sentences at Hillcrest Juvenile Hall, using collaborative writing and performance projects to share their individual experiences and voices. Stanford students will also engage in writing exercises and discussion groups on campus in order to explore their own relationship to freedom and punishment, choices, changes, and mercy. Class readings, screenings, and discussions will foreground the legal, social, and historical contexts surrounding incarceration as well as the social and behavioral changes made possible through arts programming in prisons. In addition to sustained collaborations with incarcerated youth, the class includes workshops with formerly incarcerated artists, authors, and advocates as well as visits to historic and active prison facilities. Taught jointly by a fiction writer and a dance studies historian, and using the template of the hero¿s journey as our guide, we will consider how writing and performance might mediate understandings of crime, punishment, and rehabilitation.

TAPS 20. Acting for Non-Majors. 1-3 Units.

A class designed for all interested students. Creative play, ensemble work in a supportive environment. Designed for the student to experience a range of new creative skills, from group improvisation to partner work. Introductory work on freeing the natural voice and physical relaxation. Emphasis on rediscovering imaginative and creative impulses. Movement improvisation, listening exercises, and theater games release the energy, playfulness and willingness to take risks that is the essence of free and powerful performance. Course culminates with work on dramatic text.
Same as: TAPS 124D.

TAPS 20. Acting for Non-Majors. 1-3 Units.

A class designed for all interested students. Creative play, ensemble work in a supportive environment. Designed for the student to experience a range of new creative skills, from group improvisation to partner work. Introductory work on freeing the natural voice and physical relaxation. Emphasis on rediscovering imaginative and creative impulses. Movement improvisation, listening exercises, and theater games release the energy, playfulness and willingness to take risks that is the essence of free and powerful performance. Course culminates with work on dramatic text.
Same as: TAPS 124D.

TAPS 20A. Acting for Non-Majors. 2 Units.

A class designed for all interested students. Creative play, ensemble work in a supportive environment. Designed for the student to experience a range of new creative skills, from group improvisation to partner work. Introductory work on freeing the natural voice and physical relaxation. Emphasis on rediscovering imaginative and creative impulses. Movement improvisation, listening exercises, and theater games release the energy, playfulness and willingness to take risks that is the essence of free and powerful performance. Course culminates with work on dramatic text.

TAPS 20A. Acting for Non-Majors. 2 Units.

A class designed for all interested students. Creative play, ensemble work in a supportive environment. Designed for the student to experience a range of new creative skills, from group improvisation to partner work. Introductory work on freeing the natural voice and physical relaxation. Emphasis on rediscovering imaginative and creative impulses. Movement improvisation, listening exercises, and theater games release the energy, playfulness and willingness to take risks that is the essence of free and powerful performance. Course culminates with work on dramatic text.

TAPS 22. Scene Work. 1-2 Units.

For actors who complete substantial scene work with graduate directors in the graduate workshop.

TAPS 22. Scene Work. 1-2 Units.

For actors who complete substantial scene work with graduate directors in the graduate workshop.

TAPS 25N. Science-in-Theatre: A New Genre?. 3 Units.

Preference to sophomores. How scientists acquire their rules, mores, and idiosyncrasies through a form of intellectual osmosis in a mentor-disciple relationship. Scientists represented as Frankensteins or nerds, rather than normal. Why more intellectually challenging plays have appeared on the Anglo-American theatre scene where scientific behavior and even science are presented accurately. Students engage in a playwriting experiment.
Same as: CHEM 25Q.

TAPS 25N. Science-in-Theatre: A New Genre?. 3 Units.

Preference to sophomores. How scientists acquire their rules, mores, and idiosyncrasies through a form of intellectual osmosis in a mentor-disciple relationship. Scientists represented as Frankensteins or nerds, rather than normal. Why more intellectually challenging plays have appeared on the Anglo-American theatre scene where scientific behavior and even science are presented accurately. Students engage in a playwriting experiment.
Same as: CHEM 25Q.

TAPS 28. Makeup for the Stage. 2 Units.

Techniques of make-up application and design for the actor and artist including corrective, age, character, and fantasy. Emphasis placed on utilizing make-up for development of character by the actor. Limited enrollment.

TAPS 28. Makeup for the Stage. 2 Units.

Techniques of make-up application and design for the actor and artist including corrective, age, character, and fantasy. Emphasis placed on utilizing make-up for development of character by the actor. Limited enrollment.

TAPS 29. Theater Performance: Acting. 1-3 Units.

Students cast in department productions receive credit for their participation as actors; 1-2 units for graduate directing workshop projects and 1-3 units for major productions (units determined by instructor). May be repeated for credit. Prerequisite: consent of instructor.

TAPS 29. Theater Performance: Acting. 1-3 Units.

Students cast in department productions receive credit for their participation as actors; 1-2 units for graduate directing workshop projects and 1-3 units for major productions (units determined by instructor). May be repeated for credit. Prerequisite: consent of instructor.

TAPS 30. How Theater is Designed. 4 Units.

Team-taught. An introduction to theatrical set, costume and lighting design. Emphasis on balancing practical skill with conceptual ideas for live stage performance. Hands-on projects.

TAPS 30. How Theater is Designed. 4 Units.

Team-taught. An introduction to theatrical set, costume and lighting design. Emphasis on balancing practical skill with conceptual ideas for live stage performance. Hands-on projects.

TAPS 31. Introduction to Lighting and Production. 4 Units.

How light contributes to the creation of mood and atmosphere and different kinds of visibility in theatrical storytelling. The use of controllable qualities of light including color, brightness, angle, and movemen in the theatrical process of creative scenography. Hands-on laboratory time.

TAPS 31. Introduction to Lighting and Production. 4 Units.

How light contributes to the creation of mood and atmosphere and different kinds of visibility in theatrical storytelling. The use of controllable qualities of light including color, brightness, angle, and movemen in the theatrical process of creative scenography. Hands-on laboratory time.

TAPS 34. Stage Management Techniques. 4 Units.

The production process, duties, and responsibilities of a stage manager. Skills needed to stage manage a production.

TAPS 34. Stage Management Techniques. 4 Units.

The production process, duties, and responsibilities of a stage manager. Skills needed to stage manage a production.

TAPS 39. Theatre Crew. 1-3 Units.

Under faculty guidance, working backstage on Drama Department productions. Open to any student interested in gaining back stage experience. Night and weekend time required.

TAPS 39. Theatre Crew. 1-3 Units.

Under faculty guidance, working backstage on Drama Department productions. Open to any student interested in gaining back stage experience. Night and weekend time required.

TAPS 39D. Theater Performance: Prosser Stage Management. 2-4 Units.

For students stage mananging a Department of Drama Senior Project or Assistant Staage managing a Department Drama production.

TAPS 39D. Theater Performance: Prosser Stage Management. 2-4 Units.

For students stage mananging a Department of Drama Senior Project or Assistant Staage managing a Department Drama production.

TAPS 103. Beginning Improvising. 3 Units.

The improvisational theater techniques that teach spontaneity, cooperation, team building, and rapid problem solving, emphasizing common sense, attention to reality, and helping your partner. Based on TheatreSports by Keith Johnstone. Readings, papers, and attendance at performances of improvisational theater. Limited enrollment.

TAPS 103. Beginning Improvising. 3 Units.

The improvisational theater techniques that teach spontaneity, cooperation, team building, and rapid problem solving, emphasizing common sense, attention to reality, and helping your partner. Based on TheatreSports by Keith Johnstone. Readings, papers, and attendance at performances of improvisational theater. Limited enrollment.

TAPS 105V. Improv & Design. 1 Unitss.

This class will only meet on select days: 10am-6pm Saturday April 13, 2013 and 2pm-7pm Sunday April 14, 2013 with a performance on 8pm Thursday April 18th. Improv & Design is a wildly practical class exploring the intersection of Improvisational Theater & Design Thinking. The class is for: Improvisers who want to practice using their skills in other domains. Improvisers who want to learn about design thinking. Designers who want to deepen their core skills in collaboration, creativity, empathy, acting and rich scenario prototyping. Undergraduates who want to check out the d.school. Graduates who want to practice with a diverse group. You are guaranteed to learn 10 useful things! (We do not guarantee everyone will learn the same 10 things!). Design Institute class; see http://dschool.stanford.edu.

TAPS 105V. Improv & Design. 1 Unitss.

This class will only meet on select days: 10am-6pm Saturday April 13, 2013 and 2pm-7pm Sunday April 14, 2013 with a performance on 8pm Thursday April 18th. Improv & Design is a wildly practical class exploring the intersection of Improvisational Theater & Design Thinking. The class is for: Improvisers who want to practice using their skills in other domains. Improvisers who want to learn about design thinking. Designers who want to deepen their core skills in collaboration, creativity, empathy, acting and rich scenario prototyping. Undergraduates who want to check out the d.school. Graduates who want to practice with a diverse group. You are guaranteed to learn 10 useful things! (We do not guarantee everyone will learn the same 10 things!). Design Institute class; see http://dschool.stanford.edu.

TAPS 120A. Fundamentals of Acting. 1-3 Units.

A substantive introduction to the basics of the craft of acting, this course gives all incoming students the foundation of a common vocabulary. Students will learn fundamental elements of dramatic analysis, and how to apply it in action. Topics include scene analysis, environment work, psychological and physical scoring, and development of a sound and serviceable rehearsal technique. Scene work will be chosen from accessible, contemporary, and realistic plays. Outside rehearsal time required.

TAPS 120A. Fundamentals of Acting. 1-3 Units.

A substantive introduction to the basics of the craft of acting, this course gives all incoming students the foundation of a common vocabulary. Students will learn fundamental elements of dramatic analysis, and how to apply it in action. Topics include scene analysis, environment work, psychological and physical scoring, and development of a sound and serviceable rehearsal technique. Scene work will be chosen from accessible, contemporary, and realistic plays. Outside rehearsal time required.

TAPS 120B. Fundamentals of Acting. 1-3 Units.

Learn how to expand character work, beyond what is immediately familiar. Continuing basic practices from the first part of the sequence, in this quarter they will look beyond the strictly contemporary, and may begin to approach roles drawn from more challenging dramatic texts. This might include plays chosen from mid-century American classics, World Theater, or other works with specific historic or cultural requirements. Actors begin to learn how a performing artist researches and how that research can be used to enrich and deepen performance. Prerequisite: 120A or consent of instructor.

TAPS 120B. Fundamentals of Acting. 1-3 Units.

Learn how to expand character work, beyond what is immediately familiar. Continuing basic practices from the first part of the sequence, in this quarter they will look beyond the strictly contemporary, and may begin to approach roles drawn from more challenging dramatic texts. This might include plays chosen from mid-century American classics, World Theater, or other works with specific historic or cultural requirements. Actors begin to learn how a performing artist researches and how that research can be used to enrich and deepen performance. Prerequisite: 120A or consent of instructor.

TAPS 120D. Studio Performance. 1-5 Units.

Rehearsal and development of a studio performance project for an end of quarter presentation. Emphasis is on development of acting skills with minimal technical support. Material chosen from classic plays, American realism, world theater, or created group ensemble pieces.

TAPS 120D. Studio Performance. 1-5 Units.

Rehearsal and development of a studio performance project for an end of quarter presentation. Emphasis is on development of acting skills with minimal technical support. Material chosen from classic plays, American realism, world theater, or created group ensemble pieces.

TAPS 120V. Vocal Production and Audition. 1-3 Units.

An introductory study of the vocal mechanism and the development of voice and articulation for the stage. Students will be introduced to the actor's tools of phonetics, verbal action and text analysis. Vocal technique will then be applied to the actor's process in preparation for audition. Actors will fully participate in the audition process, from beginning to end. Emphasis will be on relaxation, selection of appropriate material, and versatility to show contrast and range.
Same as: TAPS 210V.

TAPS 120V. Vocal Production and Audition. 1-3 Units.

An introductory study of the vocal mechanism and the development of voice and articulation for the stage. Students will be introduced to the actor's tools of phonetics, verbal action and text analysis. Vocal technique will then be applied to the actor's process in preparation for audition. Actors will fully participate in the audition process, from beginning to end. Emphasis will be on relaxation, selection of appropriate material, and versatility to show contrast and range.
Same as: TAPS 210V.

TAPS 121C. Physical Characterization. 3 Units.

Workshop incorporating styles of movement and characterization for the stage. Tools to aid in theatrical transformation. Triggers include psychological gesture, shifting centers, full face photographs, collected live studies, vocal shifts, and rhythmic and metabolic changes.

TAPS 121C. Physical Characterization. 3 Units.

Workshop incorporating styles of movement and characterization for the stage. Tools to aid in theatrical transformation. Triggers include psychological gesture, shifting centers, full face photographs, collected live studies, vocal shifts, and rhythmic and metabolic changes.

TAPS 121P. Period and Style:Acting. 3 Units.

This course is designed for the actor and theater-lover who has completed 120a or an equivalent basic acting class. Students will develop their acting skills towards the ability to perform in some of the major classics of the theater, from Shakespeare's plays through the fast-paced physical comedies of twentieth-century farce. Acting in "big" plays without damaging the voice, working physically with safety, how to research like an artist, and rehearse like a professional are all topics that will be covered. Class culminates in an open Scene Showing of Period Plays.

TAPS 121P. Period and Style:Acting. 3 Units.

This course is designed for the actor and theater-lover who has completed 120a or an equivalent basic acting class. Students will develop their acting skills towards the ability to perform in some of the major classics of the theater, from Shakespeare's plays through the fast-paced physical comedies of twentieth-century farce. Acting in "big" plays without damaging the voice, working physically with safety, how to research like an artist, and rehearse like a professional are all topics that will be covered. Class culminates in an open Scene Showing of Period Plays.

TAPS 122P. Arthur Miller's `The Crucible, and Stephen Karam's `Speech and Debate,". 2-9 Units.

The Undergraduate Acting Project provides students the opportunity to study and perform in major dramatic works. The 2013 Undergraduate Acting Project will present two plays: Arthur Miller's classic work, "The Crucible," and Stephen Karam's contemporary play, "Speech and Debate." Students will learn to form an artistic ensemble, develop dramaturgical materials, learn professional arts protocols and practice, and develop live performance ability. They will also work with guest artists in areas of voice and movement. Audition required (TBA Fall Quarter). Preference to Majors/Minors. Please note that some weeknight rehearsal times will be required, as called.

TAPS 122P. Arthur Miller's `The Crucible, and Stephen Karam's `Speech and Debate,". 2-9 Units.

The Undergraduate Acting Project provides students the opportunity to study and perform in major dramatic works. The 2013 Undergraduate Acting Project will present two plays: Arthur Miller's classic work, "The Crucible," and Stephen Karam's contemporary play, "Speech and Debate." Students will learn to form an artistic ensemble, develop dramaturgical materials, learn professional arts protocols and practice, and develop live performance ability. They will also work with guest artists in areas of voice and movement. Audition required (TBA Fall Quarter). Preference to Majors/Minors. Please note that some weeknight rehearsal times will be required, as called.

TAPS 124D. Acting for Non-Majors. 1-3 Units.

A class designed for all interested students. Creative play, ensemble work in a supportive environment. Designed for the student to experience a range of new creative skills, from group improvisation to partner work. Introductory work on freeing the natural voice and physical relaxation. Emphasis on rediscovering imaginative and creative impulses. Movement improvisation, listening exercises, and theater games release the energy, playfulness and willingness to take risks that is the essence of free and powerful performance. Course culminates with work on dramatic text.
Same as: TAPS 20.

TAPS 124D. Acting for Non-Majors. 1-3 Units.

A class designed for all interested students. Creative play, ensemble work in a supportive environment. Designed for the student to experience a range of new creative skills, from group improvisation to partner work. Introductory work on freeing the natural voice and physical relaxation. Emphasis on rediscovering imaginative and creative impulses. Movement improvisation, listening exercises, and theater games release the energy, playfulness and willingness to take risks that is the essence of free and powerful performance. Course culminates with work on dramatic text.
Same as: TAPS 20.

TAPS 127L. Viewpoints & Contact Improvisation. 2 Units.

Aimed at actors and dancers this course develops kinesthetic awareness and physical presence in relationship to others through tech¬niques of focus, spatial intent, task, and choreographic improvisation. Drawing on Contact Improvisation and Viewpoints technique this work centers on developing the capacity to perform with physical versatility from a place of authentic emotional commitment and open creative potential.
Same as: DANCE 127L.

TAPS 127L. Viewpoints & Contact Improvisation. 2 Units.

Aimed at actors and dancers this course develops kinesthetic awareness and physical presence in relationship to others through tech¬niques of focus, spatial intent, task, and choreographic improvisation. Drawing on Contact Improvisation and Viewpoints technique this work centers on developing the capacity to perform with physical versatility from a place of authentic emotional commitment and open creative potential.
Same as: DANCE 127L.

TAPS 130. ReDesigning Theater. 3 Units.

In this class students will learn and apply the design thinking processes to reinvent the theater experience. Students will learn and then identify, define, needfind, ideate and prototype the elements necessary to create a new artistic genre of live performance that will utilize technology in new ways and embody what is unique to the Silicon Valley / San Francisco Bay Area. This multidisciplinary class will leverage different technical and creative disciplines to create an accessible and radical collaborative performance atmosphere.
Same as: ME 288.

TAPS 130. ReDesigning Theater. 3 Units.

In this class students will learn and apply the design thinking processes to reinvent the theater experience. Students will learn and then identify, define, needfind, ideate and prototype the elements necessary to create a new artistic genre of live performance that will utilize technology in new ways and embody what is unique to the Silicon Valley / San Francisco Bay Area. This multidisciplinary class will leverage different technical and creative disciplines to create an accessible and radical collaborative performance atmosphere.
Same as: ME 288.

TAPS 131. Lighting Design. 4 Units.

Hands-on laboratory projects in lighting and designing stage productions and other live performances. The content and format of lighting plots. Prerequisite DRAMA 31.

TAPS 131. Lighting Design. 4 Units.

Hands-on laboratory projects in lighting and designing stage productions and other live performances. The content and format of lighting plots. Prerequisite DRAMA 31.

TAPS 132. Costume Design. 4 Units.

Process of designing costumes for the stage, covering script analysis, rendering techniques, character development and conceptual ideas. Project related work with smaller, pertinent exercises.Prerequisite: 30 or consent of instructor.

TAPS 132. Costume Design. 4 Units.

Process of designing costumes for the stage, covering script analysis, rendering techniques, character development and conceptual ideas. Project related work with smaller, pertinent exercises.Prerequisite: 30 or consent of instructor.

TAPS 133. Stage Scenery Design. 3-4 Units.

Craft and Theory of stage scenery design including visual research, spatial organization, basic drafting, sketching and model-building. Prerequisite: 30, or consent of instructor.

TAPS 133. Stage Scenery Design. 3-4 Units.

Craft and Theory of stage scenery design including visual research, spatial organization, basic drafting, sketching and model-building. Prerequisite: 30, or consent of instructor.

TAPS 134. Stage Management Project. 2-5 Units.

For students stage managing a Department of Drama production.

TAPS 134. Stage Management Project. 2-5 Units.

For students stage managing a Department of Drama production.

TAPS 137. Hand Drafting for Designers. 3 Units.

Fundamentals of hand-drafting. Standard drawing conventions; the use of line weight, color, composition, and graphic style. Creation of construction documents for real-world applications.May be repeated for credit.

TAPS 137. Hand Drafting for Designers. 3 Units.

Fundamentals of hand-drafting. Standard drawing conventions; the use of line weight, color, composition, and graphic style. Creation of construction documents for real-world applications.May be repeated for credit.

TAPS 140. Projects in Theatrical Production. 1-4 Units.

An independent study course for students performing significant production work on Drama Department or other Stanford University student theatre projects. Students serving as producers, directors or designers who wish mentorship and credit for their production work sign up for this course and contact the Michael Ramsaur, Director of Production, at mram@stanford.edu Prerequisite: consent of instructor.

TAPS 140. Projects in Theatrical Production. 1-4 Units.

An independent study course for students performing significant production work on Drama Department or other Stanford University student theatre projects. Students serving as producers, directors or designers who wish mentorship and credit for their production work sign up for this course and contact the Michael Ramsaur, Director of Production, at mram@stanford.edu Prerequisite: consent of instructor.

TAPS 151H. ID21 STRATLAB: Interdisciplinary Approaches to Improvising Identities. 4-5 Units.

ID21 is a quarter-long exploration of "improvisation" in relationship to identity and race in the 21st Century in which students will investigate new dynamics of doing and thinking identities through the arts. The class will consist of panel discussions, performances, and talks that engage critically with the theme, concept, and practice of improvising identity across a variety of contexts and genres such as jazz music, modern dance, contemporary art, race comedy, food, and hip-hop poetry/freestyle. We will feature strategies that artists/scholars have used to overturn essentializing notions of identity in theory and practice.
Same as: AMSTUD 151H, CSRE 151H, DANCE 151H, DANCE 251H, TAPS 351H.

TAPS 151H. ID21 STRATLAB: Interdisciplinary Approaches to Improvising Identities. 4-5 Units.

ID21 is a quarter-long exploration of "improvisation" in relationship to identity and race in the 21st Century in which students will investigate new dynamics of doing and thinking identities through the arts. The class will consist of panel discussions, performances, and talks that engage critically with the theme, concept, and practice of improvising identity across a variety of contexts and genres such as jazz music, modern dance, contemporary art, race comedy, food, and hip-hop poetry/freestyle. We will feature strategies that artists/scholars have used to overturn essentializing notions of identity in theory and practice.
Same as: AMSTUD 151H, CSRE 151H, DANCE 151H, DANCE 251H, TAPS 351H.

TAPS 153S. Japanese Theater: Noh to Contemporary Performance. 4 Units.

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.

TAPS 153S. Japanese Theater: Noh to Contemporary Performance. 4 Units.

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.

TAPS 154S. Theater and Legal Regulation. 4 Units.

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.

TAPS 154S. Theater and Legal Regulation. 4 Units.

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.

TAPS 155T. Theatre of War. 4 Units.

Military personnel and politicians alike use the phrase ¿the theatre of war¿ to refer to the geographical area of a military conflict and the more intangible concerns of battle. The primary concern of this class is the intersection between performance and war. Our inquiry will focus on drama, film, the media, and role-playing scenarios as a military training tool, and we will approach these objects through critical theories of justice, performance theory, and trauma.

TAPS 155T. Theatre of War. 4 Units.

Military personnel and politicians alike use the phrase ¿the theatre of war¿ to refer to the geographical area of a military conflict and the more intangible concerns of battle. The primary concern of this class is the intersection between performance and war. Our inquiry will focus on drama, film, the media, and role-playing scenarios as a military training tool, and we will approach these objects through critical theories of justice, performance theory, and trauma.

TAPS 158H. Proximity and Temporality in Performance. 4-5 Units.

This course considers the relationship between proximity and temporality in live performance, looking quite literally at the distance in space and time between performers and audiences. Alongside case studies of performance works, class readings will be drawn from current Performance Studies scholarship as well as discourses in postmodern geographies and anthropological studies of `proxemics¿ as well as key philosophic works such as Lefebvre¿s The Production of Space and Heidegger¿s The Concept of Time.
Same as: TAPS 358H.

TAPS 158H. Proximity and Temporality in Performance. 4-5 Units.

This course considers the relationship between proximity and temporality in live performance, looking quite literally at the distance in space and time between performers and audiences. Alongside case studies of performance works, class readings will be drawn from current Performance Studies scholarship as well as discourses in postmodern geographies and anthropological studies of `proxemics¿ as well as key philosophic works such as Lefebvre¿s The Production of Space and Heidegger¿s The Concept of Time.
Same as: TAPS 358H.

TAPS 158L. The Ethics of Storytelling: The Autobiographical Monologue in Theory, in Practice, and in the World. 4 Units.

Recently a theatrical monologuist gained notoriety when it was revealed that key aspects of one of his "autobiographical" stories had been fabricated. In this class another autobiographical monologuist -- who has himself lied many times in his theater pieces, without ever getting caught -- will examine the ethics of telling our life stories onstage. Does theatrical "truth" trump factual truth? We will interrogate several autobiographical works, and then -- through autobiographical pieces created in class -- we will interrogate ourselves.
Same as: ETHICSOC 201R, TAPS 358L.

TAPS 158L. The Ethics of Storytelling: The Autobiographical Monologue in Theory, in Practice, and in the World. 4 Units.

Recently a theatrical monologuist gained notoriety when it was revealed that key aspects of one of his "autobiographical" stories had been fabricated. In this class another autobiographical monologuist -- who has himself lied many times in his theater pieces, without ever getting caught -- will examine the ethics of telling our life stories onstage. Does theatrical "truth" trump factual truth? We will interrogate several autobiographical works, and then -- through autobiographical pieces created in class -- we will interrogate ourselves.
Same as: ETHICSOC 201R, TAPS 358L.

TAPS 160. Performance and History: Rethinking the Ballerina. 4 Units.

The ballerina occupies a unique place in popular imagination as an object of over-determined femininity as well as an emblem of extreme physical accomplishment for the female dancer. This seminar is designed as an investigation into histories of the ballerina as an iconographic symbol and cultural reference point for challenges to political and gender ideals. Through readings, videos, discussions and viewings of live performances this class investigates pivotal works, artists and eras in the global histories of ballet from its origins as a symbol of patronage and power in the 15th century through to its radical experiments as a site of cultural obedience and disobedience in the 20th and 21st centuries.
Same as: DANCE 160, TAPS 260.

TAPS 160. Performance and History: Rethinking the Ballerina. 4 Units.

The ballerina occupies a unique place in popular imagination as an object of over-determined femininity as well as an emblem of extreme physical accomplishment for the female dancer. This seminar is designed as an investigation into histories of the ballerina as an iconographic symbol and cultural reference point for challenges to political and gender ideals. Through readings, videos, discussions and viewings of live performances this class investigates pivotal works, artists and eras in the global histories of ballet from its origins as a symbol of patronage and power in the 15th century through to its radical experiments as a site of cultural obedience and disobedience in the 20th and 21st centuries.
Same as: DANCE 160, TAPS 260.

TAPS 161H. Dance, History and Conflict. 4 Units.

This seminar investigates how moving bodies are compelling agents of social, cultural, and political change.Through readings, videos, discussions and viewings of live performances this class questions the impact of social conflict and war on selected 20th and 21st century dances and dance practices. This class asks to what extent dance, in its history as well as contemporary development, is linked to concepts of the political and conflict.
Same as: DANCE 161H.

TAPS 161H. Dance, History and Conflict. 4 Units.

This seminar investigates how moving bodies are compelling agents of social, cultural, and political change.Through readings, videos, discussions and viewings of live performances this class questions the impact of social conflict and war on selected 20th and 21st century dances and dance practices. This class asks to what extent dance, in its history as well as contemporary development, is linked to concepts of the political and conflict.
Same as: DANCE 161H.

TAPS 162. Performance and the Text. 5 Units.

Formal elements in Greek, Elizabethan, Noh, Restoration, romantic, realistic, and contemporary world drama; how they intersect with the history of performance styles, character, and notions of action. Emphasis is on how performance and media intervene to reproduce, historicize, or criticize the history of drama.
Same as: TAPS 262.

TAPS 162. Performance and the Text. 5 Units.

Formal elements in Greek, Elizabethan, Noh, Restoration, romantic, realistic, and contemporary world drama; how they intersect with the history of performance styles, character, and notions of action. Emphasis is on how performance and media intervene to reproduce, historicize, or criticize the history of drama.
Same as: TAPS 262.

TAPS 162H. Baroque Modernities: Dance, Theater, Film, Political Theory. 4 Units.

What do seventeenth-century choreography and dramaturgy contribute to (mean to) choreographic and theatrical modernity? How can we explain the recurrent baroque phenomenon across the twentieth century -- becoming particularly prominent in the 1980s -- beyond the historicist accounts of theatrical reconstruction? How does the baroque locate itself within cultural modernity? This seminar asks this question of choreography at several junctures: The analysis of seventeenth century baroque spectacle that fashioned dance and theatre into political tools of monarchical sovereignty; Twentieth-century literature on the Baroque that destabilizes received notions of subjectivity and political sovereignty; Twentieth-century choreography and film that deploys baroque figures and techniques. Thus, our material shall range from seventeenth-century dance and theater to contemporary dance, film and literature.
Same as: DANCE 162H.

TAPS 162H. Baroque Modernities: Dance, Theater, Film, Political Theory. 4 Units.

What do seventeenth-century choreography and dramaturgy contribute to (mean to) choreographic and theatrical modernity? How can we explain the recurrent baroque phenomenon across the twentieth century -- becoming particularly prominent in the 1980s -- beyond the historicist accounts of theatrical reconstruction? How does the baroque locate itself within cultural modernity? This seminar asks this question of choreography at several junctures: The analysis of seventeenth century baroque spectacle that fashioned dance and theatre into political tools of monarchical sovereignty; Twentieth-century literature on the Baroque that destabilizes received notions of subjectivity and political sovereignty; Twentieth-century choreography and film that deploys baroque figures and techniques. Thus, our material shall range from seventeenth-century dance and theater to contemporary dance, film and literature.
Same as: DANCE 162H.

TAPS 162I. The Idea of a Theater. 5 Units.

Examines the idea of a theater from the religious street theater of Medieval York, though Shakespeare's Globe, and onto the mental theater of the Romantic reader and the alienation effects of Brecht's radical playhouse in the 20th cent
Same as: ENGLISH 140H.

TAPS 162I. The Idea of a Theater. 5 Units.

Examines the idea of a theater from the religious street theater of Medieval York, though Shakespeare's Globe, and onto the mental theater of the Romantic reader and the alienation effects of Brecht's radical playhouse in the 20th cent
Same as: ENGLISH 140H.

TAPS 164T. Queer Art and Performance. 4-5 Units.

Examines the late 19th, 20th and 21st century forms of performance-- including examples from drama, theater, cabaret, and performance art -- through the perspectives of contemporary critical gender and queer theories. Texts and movements range from early avant-garde (Dada, Futurism) to gay and lesbian drama (Lillian Hellmann, Joe Orton, Tony Kushner) to post-liberation Queer performance and video (Split Britches, Carmelita Tropicana, Kalup Linzy). Theorists include Judith Butler, Michel Foucault, and Eve Kosofsky Sedgwick.
Same as: FEMST 140P, TAPS 364T.

TAPS 164T. Queer Art and Performance. 4-5 Units.

Examines the late 19th, 20th and 21st century forms of performance-- including examples from drama, theater, cabaret, and performance art -- through the perspectives of contemporary critical gender and queer theories. Texts and movements range from early avant-garde (Dada, Futurism) to gay and lesbian drama (Lillian Hellmann, Joe Orton, Tony Kushner) to post-liberation Queer performance and video (Split Britches, Carmelita Tropicana, Kalup Linzy). Theorists include Judith Butler, Michel Foucault, and Eve Kosofsky Sedgwick.
Same as: FEMST 140P, TAPS 364T.

TAPS 165. Introduction to Comparative Studies in Race and Ethnicity. 5 Units.

How different disciplines approach topics and issues central to the study of ethnic and race relations in the U.S. and elsewhere. Lectures by senior faculty affiliated with CSRE. Discussions led by CSRE teaching fellows.
Same as: ANTHRO 33, CSRE 196C, ENGLISH 172D, PSYCH 155, SOC 146.

TAPS 165. Introduction to Comparative Studies in Race and Ethnicity. 5 Units.

How different disciplines approach topics and issues central to the study of ethnic and race relations in the U.S. and elsewhere. Lectures by senior faculty affiliated with CSRE. Discussions led by CSRE teaching fellows.
Same as: ANTHRO 33, CSRE 196C, ENGLISH 172D, PSYCH 155, SOC 146.

TAPS 166H. Historiography of Theater. 3-5 Units.

Goal is to design an undergraduate theater history class. Standard theater history textbooks, alternative models of theater history scholarship, and critical literature engaging historiography in general.
Same as: TAPS 304.

TAPS 166H. Historiography of Theater. 3-5 Units.

Goal is to design an undergraduate theater history class. Standard theater history textbooks, alternative models of theater history scholarship, and critical literature engaging historiography in general.
Same as: TAPS 304.

TAPS 170. Directing & Dramaturgy: Composition and Adaptation for Theatre. 4-5 Units.

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.
Same as: TAPS 370.

TAPS 170. Directing & Dramaturgy: Composition and Adaptation for Theatre. 4-5 Units.

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.
Same as: TAPS 370.

TAPS 170B. Directing Workshop: The Actor-Director Dialogue. 5 Units.

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.
Same as: TAPS 372.

TAPS 170B. Directing Workshop: The Actor-Director Dialogue. 5 Units.

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.
Same as: TAPS 372.

TAPS 171. Performance Making: Process. 5 Units.

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.
Same as: TAPS 371.

TAPS 171. Performance Making: Process. 5 Units.

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.
Same as: TAPS 371.

TAPS 173. SOLO PERFORMANCE. 4-5 Units.

Students will learn how to draw from the specificity of their own unique experiences, connecting with ideas, issues and questions that resonate with race, class, gender, environmental and global issues. The course will give students the creative and critical tools to enable them to connect the personal with the political and see the solo voice as a powerful, potent form of artistic expression. Students will have the opportunity to hone their own creative talents in writing, devising, composing, producing and creating work.
Same as: TAPS 373W.

TAPS 173. SOLO PERFORMANCE. 4-5 Units.

Students will learn how to draw from the specificity of their own unique experiences, connecting with ideas, issues and questions that resonate with race, class, gender, environmental and global issues. The course will give students the creative and critical tools to enable them to connect the personal with the political and see the solo voice as a powerful, potent form of artistic expression. Students will have the opportunity to hone their own creative talents in writing, devising, composing, producing and creating work.
Same as: TAPS 373W.

TAPS 174A. Performance Making: Production. 5 Units.

A structured, creative environment for students working toward the realization of Senior Projects and 2nd year graduate productions. Instructors will work with students to develop the relationships between the content and the form of their productions using critical and creative tools to develop and reflect on the work. There will be a staged class showing at the end of the quarter followed by critiques designed to help students as they begin preparing for their final public performances (beyond the class).
Same as: TAPS 374A.

TAPS 174A. Performance Making: Production. 5 Units.

A structured, creative environment for students working toward the realization of Senior Projects and 2nd year graduate productions. Instructors will work with students to develop the relationships between the content and the form of their productions using critical and creative tools to develop and reflect on the work. There will be a staged class showing at the end of the quarter followed by critiques designed to help students as they begin preparing for their final public performances (beyond the class).
Same as: TAPS 374A.

TAPS 177. Writing for Performance: The Fundamentals. 5 Units.

Course introduces students to the basic elements of playwriting and creative experimentation for the stage. Topics include: character development, conflict and plot construction, staging and setting, and play structure. Script analysis of works by contemporary playwrights may include: Marsha Norman, Patrick Shanley, August Wilson, Suzan-Lori Parks, Paula Vogel, Octavio Solis and others. Table readings of one-act length work required by quarter¿s end.
Same as: CSRE 177, TAPS 277.

TAPS 177. Writing for Performance: The Fundamentals. 5 Units.

Course introduces students to the basic elements of playwriting and creative experimentation for the stage. Topics include: character development, conflict and plot construction, staging and setting, and play structure. Script analysis of works by contemporary playwrights may include: Marsha Norman, Patrick Shanley, August Wilson, Suzan-Lori Parks, Paula Vogel, Octavio Solis and others. Table readings of one-act length work required by quarter¿s end.
Same as: CSRE 177, TAPS 277.

TAPS 178. Page to Stage: Playwriting and Solo Performance. 3-5 Units.

Dramatic writing: scripted and solo, and as performed by actors or by the playwright. Physical and psychological theatrical action. Development of skills in dialogue, story structure, style, and personal voice. Script readings and directed staging sessions.
Same as: TAPS 278.

TAPS 178. Page to Stage: Playwriting and Solo Performance. 3-5 Units.

Dramatic writing: scripted and solo, and as performed by actors or by the playwright. Physical and psychological theatrical action. Development of skills in dialogue, story structure, style, and personal voice. Script readings and directed staging sessions.
Same as: TAPS 278.

TAPS 179. Chicano & Chicana Theater: Politics In Performance. 3-5 Units.

This is a practicum course, where the basic tenets and evolving politic and philosophies of Chicano and Latin American liberationist theater are examined through direct engagement with its theatrical forms, including, social protest & agit-prop, myth & ritual, scripting through improvisation, in-depth character and solo work, collective conceptualization and more. The course will culminate in an end-of-the quarter play performance in the Nitery Theater (Old Union) and at a Mission District theater in San Francisco.
Same as: CHILATST 179, TAPS 379.

TAPS 179. Chicano & Chicana Theater: Politics In Performance. 3-5 Units.

This is a practicum course, where the basic tenets and evolving politic and philosophies of Chicano and Latin American liberationist theater are examined through direct engagement with its theatrical forms, including, social protest & agit-prop, myth & ritual, scripting through improvisation, in-depth character and solo work, collective conceptualization and more. The course will culminate in an end-of-the quarter play performance in the Nitery Theater (Old Union) and at a Mission District theater in San Francisco.
Same as: CHILATST 179, TAPS 379.

TAPS 179C. Chroniclers of Desire: Creative Non-Fiction Writing Workshop. 3-5 Units.

This course emphasizes the study and practice of personal memoir writing and literary journalism. The class will explore those writings that contain a public and private story, navigating an intimate and institutional world. Student writers will serve as public chroniclers whose subjective point of view and experience attempt to provide a truth greater than what ¿the facts¿ can offer.
Same as: CSRE 179C, CSRE 279C, TAPS 279C.

TAPS 179C. Chroniclers of Desire: Creative Non-Fiction Writing Workshop. 3-5 Units.

This course emphasizes the study and practice of personal memoir writing and literary journalism. The class will explore those writings that contain a public and private story, navigating an intimate and institutional world. Student writers will serve as public chroniclers whose subjective point of view and experience attempt to provide a truth greater than what ¿the facts¿ can offer.
Same as: CSRE 179C, CSRE 279C, TAPS 279C.

TAPS 179G. Indigenous Identity in Diaspora: People of Color Art Practice in North America. 3-5 Units.

This "gateway" core course to the IDA emphasis in CSRE offers a 21st century examination of people of color aesthetics and related politics, drawing from contemporary works (literature, music, visual and performing arts) in conversation with their native (especially American Indigenous and African) origins. Issues of gender and sexuality in relation to cultural identity are also integral to this study. Students will be required to produce a final work, integrating critical writing with a creative project.
Same as: CSRE 179G, CSRE 279G, TAPS 279G.

TAPS 179G. Indigenous Identity in Diaspora: People of Color Art Practice in North America. 3-5 Units.

This "gateway" core course to the IDA emphasis in CSRE offers a 21st century examination of people of color aesthetics and related politics, drawing from contemporary works (literature, music, visual and performing arts) in conversation with their native (especially American Indigenous and African) origins. Issues of gender and sexuality in relation to cultural identity are also integral to this study. Students will be required to produce a final work, integrating critical writing with a creative project.
Same as: CSRE 179G, CSRE 279G, TAPS 279G.

TAPS 180Q. Noam Chomsky: The Drama of Resistance. 4 Units.

Preference to sophomores. Chomsky's ideas and work which challenge the political and economic paradigms governing the U.S. Topics include his model for linguistics; cold war U.S. involvements in S.E. Asia, the Middle East, Central and S. America, the Caribbean, and Indonesia and E. Timor; the media, terrorism, ideology, and culture; student and popular movements; and the role of resistance.

TAPS 180Q. Noam Chomsky: The Drama of Resistance. 4 Units.

Preference to sophomores. Chomsky's ideas and work which challenge the political and economic paradigms governing the U.S. Topics include his model for linguistics; cold war U.S. involvements in S.E. Asia, the Middle East, Central and S. America, the Caribbean, and Indonesia and E. Timor; the media, terrorism, ideology, and culture; student and popular movements; and the role of resistance.

TAPS 184Q. The Personal is Political: Art, Activism and Performance. 4-5 Units.

SOPHOMORE SEMINAR: This course looks at the `performance¿ of personal truths in political contexts, challenging inequalities of race, gender, sexual orientation and class through performance, visual art and activism. Students will engage in seminar discussions and writing on case studies such as the Occupy Movement and the works of key artists as well as working individually and in groups to think creatively about strategies for putting their own personal truths into political/public contexts to draw attention to issues they are passionate about.

TAPS 184Q. The Personal is Political: Art, Activism and Performance. 4-5 Units.

SOPHOMORE SEMINAR: This course looks at the `performance¿ of personal truths in political contexts, challenging inequalities of race, gender, sexual orientation and class through performance, visual art and activism. Students will engage in seminar discussions and writing on case studies such as the Occupy Movement and the works of key artists as well as working individually and in groups to think creatively about strategies for putting their own personal truths into political/public contexts to draw attention to issues they are passionate about.

TAPS 190. Special Research. 1-5 Units.

Individual project on the work of a playwright, period, or genre. Prerequisite: consent of instructor.

TAPS 190. Special Research. 1-5 Units.

Individual project on the work of a playwright, period, or genre. Prerequisite: consent of instructor.

TAPS 191. Independent Study. 1-18 Units.

Individual supervision of off-campus internship. Prerequisite: consent of instructor.

TAPS 191. Independent Study. 1-18 Units.

Individual supervision of off-campus internship. Prerequisite: consent of instructor.

TAPS 192. The Road to PSI 2013. 1-5 Units.

This class explores issues related to performance and temporailty, the main theme of the topic of PSi conference hosted by Drama department in June 2013. Also, students actively participate in preparations for the conference.
Same as: TAPS 392.

TAPS 192. The Road to PSI 2013. 1-5 Units.

This class explores issues related to performance and temporailty, the main theme of the topic of PSi conference hosted by Drama department in June 2013. Also, students actively participate in preparations for the conference.
Same as: TAPS 392.

TAPS 193. Life in the Body, Performing the Self. 2 Units.

No Class on January 8th. Class meets 7:00-8:50 every Tuesday beginning January 15th through March 12th, with a 10th and final required class during finals week on March 19th from 7:00-8:50. Also, students will be joined in the classroom by Continuing Studies students. Life is a performance of gestures. Dance is any conscious movement. Based on a "choreography of the everyday," this course invites participants to experience the subtle surprise of performing oneself. Working with our own gestures, words, thoughts, and perceptions, and drawing upon the basic elements of composition in performance, music, and choreography, we will develop a performance work in the mode of a "chamber piece." Building individual movement-based portraits, and then weaving them together as a whole, this gestural performance "chamber piece" will reflect the community of class participants and the Stanford community as a whole. Considerations of time, space, and quality of motion will be at the forefront of our work together. We will investigate the cultural identity and history of our gestures, as well as trace the evolution of this type of performance work in art, dance, and performance history. Participants can expect to find inspiration, delight, refreshment, and renewal through this performance process. No experience is necessary, just a willingness to move and reflect upon having a life in a body at this moment in history. The work of this course is the springboard of a larger performance work, "The Symphonic Body," which is scheduled to be performed at the new Bing Concert Hall in May 2013. Course participants have the option to perform in the larger work.

TAPS 193. Life in the Body, Performing the Self. 2 Units.

No Class on January 8th. Class meets 7:00-8:50 every Tuesday beginning January 15th through March 12th, with a 10th and final required class during finals week on March 19th from 7:00-8:50. Also, students will be joined in the classroom by Continuing Studies students. Life is a performance of gestures. Dance is any conscious movement. Based on a "choreography of the everyday," this course invites participants to experience the subtle surprise of performing oneself. Working with our own gestures, words, thoughts, and perceptions, and drawing upon the basic elements of composition in performance, music, and choreography, we will develop a performance work in the mode of a "chamber piece." Building individual movement-based portraits, and then weaving them together as a whole, this gestural performance "chamber piece" will reflect the community of class participants and the Stanford community as a whole. Considerations of time, space, and quality of motion will be at the forefront of our work together. We will investigate the cultural identity and history of our gestures, as well as trace the evolution of this type of performance work in art, dance, and performance history. Participants can expect to find inspiration, delight, refreshment, and renewal through this performance process. No experience is necessary, just a willingness to move and reflect upon having a life in a body at this moment in history. The work of this course is the springboard of a larger performance work, "The Symphonic Body," which is scheduled to be performed at the new Bing Concert Hall in May 2013. Course participants have the option to perform in the larger work.

TAPS 200. Senior Project. 2-9 Units.

See "Undergraduate Programs" for description. (Staff).

TAPS 200. Senior Project. 2-9 Units.

See "Undergraduate Programs" for description. (Staff).

TAPS 201A. Honors Colloquium. 1 Unitss.

See "Undergraduate Programs" for description.

TAPS 201A. Honors Colloquium. 1 Unitss.

See "Undergraduate Programs" for description.

TAPS 201B. Honors Colloquium. 1 Unitss.

See "Undergraduate Programs" for description.

TAPS 201B. Honors Colloquium. 1 Unitss.

See "Undergraduate Programs" for description.

TAPS 201C. Honors Colloquium. 1 Unitss.

See "Undergraduate Programs" for description.

TAPS 201C. Honors Colloquium. 1 Unitss.

See "Undergraduate Programs" for description.

TAPS 201D. Honors Colloquium. 1 Unitss.

See "Undergraduate Programs" for description.

TAPS 201D. Honors Colloquium. 1 Unitss.

See "Undergraduate Programs" for description.

TAPS 202. Honors Thesis. 2-9 Units.

See "Undergraduate Programs" for description. May be repeated for credit. (Staff).

TAPS 202. Honors Thesis. 2-9 Units.

See "Undergraduate Programs" for description. May be repeated for credit. (Staff).

TAPS 203. Advanced Improvisation. 3 Units.

Further development of improvisational skills.

TAPS 203. Advanced Improvisation. 3 Units.

Further development of improvisational skills.

TAPS 210V. Vocal Production and Audition. 1-3 Units.

An introductory study of the vocal mechanism and the development of voice and articulation for the stage. Students will be introduced to the actor's tools of phonetics, verbal action and text analysis. Vocal technique will then be applied to the actor's process in preparation for audition. Actors will fully participate in the audition process, from beginning to end. Emphasis will be on relaxation, selection of appropriate material, and versatility to show contrast and range.
Same as: TAPS 120V.

TAPS 210V. Vocal Production and Audition. 1-3 Units.

An introductory study of the vocal mechanism and the development of voice and articulation for the stage. Students will be introduced to the actor's tools of phonetics, verbal action and text analysis. Vocal technique will then be applied to the actor's process in preparation for audition. Actors will fully participate in the audition process, from beginning to end. Emphasis will be on relaxation, selection of appropriate material, and versatility to show contrast and range.
Same as: TAPS 120V.

TAPS 213. Stanford Improv Ensemble. 1-2 Units.

By audition only, for members of the improvisation troupe. Special project work. Prerequisite: 103.

TAPS 213. Stanford Improv Ensemble. 1-2 Units.

By audition only, for members of the improvisation troupe. Special project work. Prerequisite: 103.

TAPS 231. Advanced Stage Lighting Design. 1-5 Units.

Individually structured class in lighting mechanics and design through experimentation, discussions, and written reports. Prerequisite: 131 or consent of instructor.

TAPS 231. Advanced Stage Lighting Design. 1-5 Units.

Individually structured class in lighting mechanics and design through experimentation, discussions, and written reports. Prerequisite: 131 or consent of instructor.

TAPS 232. Advanced Costume Design. 1-5 Units.

Individually structured tutorial for costume designers. May be repeated for credit. Prerequisite: 132 or consent of instructor.

TAPS 232. Advanced Costume Design. 1-5 Units.

Individually structured tutorial for costume designers. May be repeated for credit. Prerequisite: 132 or consent of instructor.

TAPS 233. Advanced Scene Design. 1-5 Units.

Individually structured workshop. May be repeated for credit. Prerequisite: 133 or consent of instructor.

TAPS 233. Advanced Scene Design. 1-5 Units.

Individually structured workshop. May be repeated for credit. Prerequisite: 133 or consent of instructor.

TAPS 234. Advanced Stage Management Project. 2-9 Units.

For students stage managing a Department of Drama production. Prerequisite: 134.

TAPS 234. Advanced Stage Management Project. 2-9 Units.

For students stage managing a Department of Drama production. Prerequisite: 134.

TAPS 248. Family Drama: American Plays about Families. 5 Units.

Plays written by 20th century writers that concentrate on the family as the primary source of dramatic conflict and comedy. Writers include Williams, O'Neill, Wilder, Albee, Vogel, Parks, Lindsay-Abaire, and Hwang.
Same as: ENGLISH 148.

TAPS 248. Family Drama: American Plays about Families. 5 Units.

Plays written by 20th century writers that concentrate on the family as the primary source of dramatic conflict and comedy. Writers include Williams, O'Neill, Wilder, Albee, Vogel, Parks, Lindsay-Abaire, and Hwang.
Same as: ENGLISH 148.

TAPS 260. Performance and History: Rethinking the Ballerina. 4 Units.

The ballerina occupies a unique place in popular imagination as an object of over-determined femininity as well as an emblem of extreme physical accomplishment for the female dancer. This seminar is designed as an investigation into histories of the ballerina as an iconographic symbol and cultural reference point for challenges to political and gender ideals. Through readings, videos, discussions and viewings of live performances this class investigates pivotal works, artists and eras in the global histories of ballet from its origins as a symbol of patronage and power in the 15th century through to its radical experiments as a site of cultural obedience and disobedience in the 20th and 21st centuries.
Same as: DANCE 160, TAPS 160.

TAPS 260. Performance and History: Rethinking the Ballerina. 4 Units.

The ballerina occupies a unique place in popular imagination as an object of over-determined femininity as well as an emblem of extreme physical accomplishment for the female dancer. This seminar is designed as an investigation into histories of the ballerina as an iconographic symbol and cultural reference point for challenges to political and gender ideals. Through readings, videos, discussions and viewings of live performances this class investigates pivotal works, artists and eras in the global histories of ballet from its origins as a symbol of patronage and power in the 15th century through to its radical experiments as a site of cultural obedience and disobedience in the 20th and 21st centuries.
Same as: DANCE 160, TAPS 160.

TAPS 262. Performance and the Text. 5 Units.

Formal elements in Greek, Elizabethan, Noh, Restoration, romantic, realistic, and contemporary world drama; how they intersect with the history of performance styles, character, and notions of action. Emphasis is on how performance and media intervene to reproduce, historicize, or criticize the history of drama.
Same as: TAPS 162.

TAPS 262. Performance and the Text. 5 Units.

Formal elements in Greek, Elizabethan, Noh, Restoration, romantic, realistic, and contemporary world drama; how they intersect with the history of performance styles, character, and notions of action. Emphasis is on how performance and media intervene to reproduce, historicize, or criticize the history of drama.
Same as: TAPS 162.

TAPS 273. Directing & Dramaturgy: Composition and Adaptation for Theatre. 4 Units.

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.
Same as: TAPS 373.

TAPS 273. Directing & Dramaturgy: Composition and Adaptation for Theatre. 4 Units.

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.
Same as: TAPS 373.

TAPS 277. Writing for Performance: The Fundamentals. 5 Units.

Course introduces students to the basic elements of playwriting and creative experimentation for the stage. Topics include: character development, conflict and plot construction, staging and setting, and play structure. Script analysis of works by contemporary playwrights may include: Marsha Norman, Patrick Shanley, August Wilson, Suzan-Lori Parks, Paula Vogel, Octavio Solis and others. Table readings of one-act length work required by quarter¿s end.
Same as: CSRE 177, TAPS 177.

TAPS 277. Writing for Performance: The Fundamentals. 5 Units.

Course introduces students to the basic elements of playwriting and creative experimentation for the stage. Topics include: character development, conflict and plot construction, staging and setting, and play structure. Script analysis of works by contemporary playwrights may include: Marsha Norman, Patrick Shanley, August Wilson, Suzan-Lori Parks, Paula Vogel, Octavio Solis and others. Table readings of one-act length work required by quarter¿s end.
Same as: CSRE 177, TAPS 177.

TAPS 278. Page to Stage: Playwriting and Solo Performance. 3-5 Units.

Dramatic writing: scripted and solo, and as performed by actors or by the playwright. Physical and psychological theatrical action. Development of skills in dialogue, story structure, style, and personal voice. Script readings and directed staging sessions.
Same as: TAPS 178.

TAPS 278. Page to Stage: Playwriting and Solo Performance. 3-5 Units.

Dramatic writing: scripted and solo, and as performed by actors or by the playwright. Physical and psychological theatrical action. Development of skills in dialogue, story structure, style, and personal voice. Script readings and directed staging sessions.
Same as: TAPS 178.

TAPS 279C. Chroniclers of Desire: Creative Non-Fiction Writing Workshop. 3-5 Units.

This course emphasizes the study and practice of personal memoir writing and literary journalism. The class will explore those writings that contain a public and private story, navigating an intimate and institutional world. Student writers will serve as public chroniclers whose subjective point of view and experience attempt to provide a truth greater than what ¿the facts¿ can offer.
Same as: CSRE 179C, CSRE 279C, TAPS 179C.

TAPS 279C. Chroniclers of Desire: Creative Non-Fiction Writing Workshop. 3-5 Units.

This course emphasizes the study and practice of personal memoir writing and literary journalism. The class will explore those writings that contain a public and private story, navigating an intimate and institutional world. Student writers will serve as public chroniclers whose subjective point of view and experience attempt to provide a truth greater than what ¿the facts¿ can offer.
Same as: CSRE 179C, CSRE 279C, TAPS 179C.

TAPS 279G. Indigenous Identity in Diaspora: People of Color Art Practice in North America. 3-5 Units.

This "gateway" core course to the IDA emphasis in CSRE offers a 21st century examination of people of color aesthetics and related politics, drawing from contemporary works (literature, music, visual and performing arts) in conversation with their native (especially American Indigenous and African) origins. Issues of gender and sexuality in relation to cultural identity are also integral to this study. Students will be required to produce a final work, integrating critical writing with a creative project.
Same as: CSRE 179G, CSRE 279G, TAPS 179G.

TAPS 279G. Indigenous Identity in Diaspora: People of Color Art Practice in North America. 3-5 Units.

This "gateway" core course to the IDA emphasis in CSRE offers a 21st century examination of people of color aesthetics and related politics, drawing from contemporary works (literature, music, visual and performing arts) in conversation with their native (especially American Indigenous and African) origins. Issues of gender and sexuality in relation to cultural identity are also integral to this study. Students will be required to produce a final work, integrating critical writing with a creative project.
Same as: CSRE 179G, CSRE 279G, TAPS 179G.

TAPS 290. Special Research. 1-5 Units.

Individual project on the work of a playwright, period, or genre.

TAPS 290. Special Research. 1-5 Units.

Individual project on the work of a playwright, period, or genre.

TAPS 300A. Critical Styles I. 5 Units.

Literary criticism and theory, emphasizing style as evidence of historical, cultural, and ideological concerns. Assumptions about written texts by authors such as Coleridge, Bradley, and Burke. How style reveals context. Students write in the style of authors discussed.

TAPS 300A. Critical Styles I. 5 Units.

Literary criticism and theory, emphasizing style as evidence of historical, cultural, and ideological concerns. Assumptions about written texts by authors such as Coleridge, Bradley, and Burke. How style reveals context. Students write in the style of authors discussed.

TAPS 300B. Critical Styles II. 5 Units.

This seminar follows on from Critical Styles I in which students were grounded in the rigors of critical writing. In this sequel seminar, the emphasis will be on the overtones and undertones of critical thought in performance making and performance analysis. Students will generate weekly critical and creative responses to readings from contemporary writers and artists such as Jacques Rancière, Amelia Jones, Guillermo Gómez-Peña and Marina Abramovic. Workshop activities and performances will take place alongside seminar discussions of readings.

TAPS 300B. Critical Styles II. 5 Units.

This seminar follows on from Critical Styles I in which students were grounded in the rigors of critical writing. In this sequel seminar, the emphasis will be on the overtones and undertones of critical thought in performance making and performance analysis. Students will generate weekly critical and creative responses to readings from contemporary writers and artists such as Jacques Rancière, Amelia Jones, Guillermo Gómez-Peña and Marina Abramovic. Workshop activities and performances will take place alongside seminar discussions of readings.

TAPS 301. Performance and Performativity. 5 Units.

Performance theory through topics including: affect/trauma, embodiment, empathy, theatricality/performativity, specularity/visibility, liveness/disappearance, belonging/abjection, and utopias and dystopias. Readings from Schechner, Phelan, Austin, Butler, Conquergood, Roach, Schneider, Silverman, Caruth, Fanon, Moten, Anzaldúa, Agamben, Freud, and Lacan. May be repeated for credit.

TAPS 301. Performance and Performativity. 5 Units.

Performance theory through topics including: affect/trauma, embodiment, empathy, theatricality/performativity, specularity/visibility, liveness/disappearance, belonging/abjection, and utopias and dystopias. Readings from Schechner, Phelan, Austin, Butler, Conquergood, Roach, Schneider, Silverman, Caruth, Fanon, Moten, Anzaldúa, Agamben, Freud, and Lacan. May be repeated for credit.

TAPS 303. Race and Performance: Art, Atrocity and Activism. 5 Units.

This team taught course focuses on contemporary South Asian and Black diasporic art work that concerns itself with questions of atrocity and activism. We will ask how artists engage world-historical events and what constitutes activism. Theoretical work will be wide-ranging as will the kinds of art and topics studied: indeed, we will discuss everything from Agamben to AIDS, Ai Wei-Wei to feminist punk in Russia, female circumcision in Sweden to U.N. aid workers in Afghanistan, queer subjects and global ideas freedom.

TAPS 303. Race and Performance: Art, Atrocity and Activism. 5 Units.

This team taught course focuses on contemporary South Asian and Black diasporic art work that concerns itself with questions of atrocity and activism. We will ask how artists engage world-historical events and what constitutes activism. Theoretical work will be wide-ranging as will the kinds of art and topics studied: indeed, we will discuss everything from Agamben to AIDS, Ai Wei-Wei to feminist punk in Russia, female circumcision in Sweden to U.N. aid workers in Afghanistan, queer subjects and global ideas freedom.

TAPS 304. Historiography of Theater. 3-5 Units.

Goal is to design an undergraduate theater history class. Standard theater history textbooks, alternative models of theater history scholarship, and critical literature engaging historiography in general.
Same as: TAPS 166H.

TAPS 304. Historiography of Theater. 3-5 Units.

Goal is to design an undergraduate theater history class. Standard theater history textbooks, alternative models of theater history scholarship, and critical literature engaging historiography in general.
Same as: TAPS 166H.

TAPS 321. Proseminar. 3-5 Units.

Workshop. Skills needed to participate in the academic profession including abstract, conference presentation, and dissertation or book chapter.

TAPS 321. Proseminar. 3-5 Units.

Workshop. Skills needed to participate in the academic profession including abstract, conference presentation, and dissertation or book chapter.

TAPS 351H. ID21 STRATLAB: Interdisciplinary Approaches to Improvising Identities. 4-5 Units.

ID21 is a quarter-long exploration of "improvisation" in relationship to identity and race in the 21st Century in which students will investigate new dynamics of doing and thinking identities through the arts. The class will consist of panel discussions, performances, and talks that engage critically with the theme, concept, and practice of improvising identity across a variety of contexts and genres such as jazz music, modern dance, contemporary art, race comedy, food, and hip-hop poetry/freestyle. We will feature strategies that artists/scholars have used to overturn essentializing notions of identity in theory and practice.
Same as: AMSTUD 151H, CSRE 151H, DANCE 151H, DANCE 251H, TAPS 151H.

TAPS 351H. ID21 STRATLAB: Interdisciplinary Approaches to Improvising Identities. 4-5 Units.

ID21 is a quarter-long exploration of "improvisation" in relationship to identity and race in the 21st Century in which students will investigate new dynamics of doing and thinking identities through the arts. The class will consist of panel discussions, performances, and talks that engage critically with the theme, concept, and practice of improvising identity across a variety of contexts and genres such as jazz music, modern dance, contemporary art, race comedy, food, and hip-hop poetry/freestyle. We will feature strategies that artists/scholars have used to overturn essentializing notions of identity in theory and practice.
Same as: AMSTUD 151H, CSRE 151H, DANCE 151H, DANCE 251H, TAPS 151H.

TAPS 358H. Proximity and Temporality in Performance. 4-5 Units.

This course considers the relationship between proximity and temporality in live performance, looking quite literally at the distance in space and time between performers and audiences. Alongside case studies of performance works, class readings will be drawn from current Performance Studies scholarship as well as discourses in postmodern geographies and anthropological studies of `proxemics¿ as well as key philosophic works such as Lefebvre¿s The Production of Space and Heidegger¿s The Concept of Time.
Same as: TAPS 158H.

TAPS 358H. Proximity and Temporality in Performance. 4-5 Units.

This course considers the relationship between proximity and temporality in live performance, looking quite literally at the distance in space and time between performers and audiences. Alongside case studies of performance works, class readings will be drawn from current Performance Studies scholarship as well as discourses in postmodern geographies and anthropological studies of `proxemics¿ as well as key philosophic works such as Lefebvre¿s The Production of Space and Heidegger¿s The Concept of Time.
Same as: TAPS 158H.

TAPS 358L. The Ethics of Storytelling: The Autobiographical Monologue in Theory, in Practice, and in the World. 4 Units.

Recently a theatrical monologuist gained notoriety when it was revealed that key aspects of one of his "autobiographical" stories had been fabricated. In this class another autobiographical monologuist -- who has himself lied many times in his theater pieces, without ever getting caught -- will examine the ethics of telling our life stories onstage. Does theatrical "truth" trump factual truth? We will interrogate several autobiographical works, and then -- through autobiographical pieces created in class -- we will interrogate ourselves.
Same as: ETHICSOC 201R, TAPS 158L.

TAPS 358L. The Ethics of Storytelling: The Autobiographical Monologue in Theory, in Practice, and in the World. 4 Units.

Recently a theatrical monologuist gained notoriety when it was revealed that key aspects of one of his "autobiographical" stories had been fabricated. In this class another autobiographical monologuist -- who has himself lied many times in his theater pieces, without ever getting caught -- will examine the ethics of telling our life stories onstage. Does theatrical "truth" trump factual truth? We will interrogate several autobiographical works, and then -- through autobiographical pieces created in class -- we will interrogate ourselves.
Same as: ETHICSOC 201R, TAPS 158L.

TAPS 364T. Queer Art and Performance. 4-5 Units.

Examines the late 19th, 20th and 21st century forms of performance-- including examples from drama, theater, cabaret, and performance art -- through the perspectives of contemporary critical gender and queer theories. Texts and movements range from early avant-garde (Dada, Futurism) to gay and lesbian drama (Lillian Hellmann, Joe Orton, Tony Kushner) to post-liberation Queer performance and video (Split Britches, Carmelita Tropicana, Kalup Linzy). Theorists include Judith Butler, Michel Foucault, and Eve Kosofsky Sedgwick.
Same as: FEMST 140P, TAPS 164T.

TAPS 364T. Queer Art and Performance. 4-5 Units.

Examines the late 19th, 20th and 21st century forms of performance-- including examples from drama, theater, cabaret, and performance art -- through the perspectives of contemporary critical gender and queer theories. Texts and movements range from early avant-garde (Dada, Futurism) to gay and lesbian drama (Lillian Hellmann, Joe Orton, Tony Kushner) to post-liberation Queer performance and video (Split Britches, Carmelita Tropicana, Kalup Linzy). Theorists include Judith Butler, Michel Foucault, and Eve Kosofsky Sedgwick.
Same as: FEMST 140P, TAPS 164T.

TAPS 368S. Understanding and Staging Molière Theatre. 3-5 Units.

Devoted to an in depth analysis of Molière's major plays, as well as a study of contemporary productions of his work. Taught in French.
Same as: FRENCH 316.

TAPS 368S. Understanding and Staging Molière Theatre. 3-5 Units.

Devoted to an in depth analysis of Molière's major plays, as well as a study of contemporary productions of his work. Taught in French.
Same as: FRENCH 316.

TAPS 370. Directing & Dramaturgy: Composition and Adaptation for Theatre. 4-5 Units.

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.
Same as: TAPS 170.

TAPS 370. Directing & Dramaturgy: Composition and Adaptation for Theatre. 4-5 Units.

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.
Same as: TAPS 170.

TAPS 371. Performance Making: Process. 5 Units.

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.
Same as: TAPS 171.

TAPS 371. Performance Making: Process. 5 Units.

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.
Same as: TAPS 171.

TAPS 372. Directing Workshop: The Actor-Director Dialogue. 5 Units.

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.
Same as: TAPS 170B.

TAPS 372. Directing Workshop: The Actor-Director Dialogue. 5 Units.

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.
Same as: TAPS 170B.

TAPS 373. Directing & Dramaturgy: Composition and Adaptation for Theatre. 4 Units.

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.
Same as: TAPS 273.

TAPS 373. Directing & Dramaturgy: Composition and Adaptation for Theatre. 4 Units.

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.
Same as: TAPS 273.

TAPS 373W. SOLO PERFORMANCE. 4-5 Units.

Students will learn how to draw from the specificity of their own unique experiences, connecting with ideas, issues and questions that resonate with race, class, gender, environmental and global issues. The course will give students the creative and critical tools to enable them to connect the personal with the political and see the solo voice as a powerful, potent form of artistic expression. Students will have the opportunity to hone their own creative talents in writing, devising, composing, producing and creating work.
Same as: TAPS 173.

TAPS 373W. SOLO PERFORMANCE. 4-5 Units.

Students will learn how to draw from the specificity of their own unique experiences, connecting with ideas, issues and questions that resonate with race, class, gender, environmental and global issues. The course will give students the creative and critical tools to enable them to connect the personal with the political and see the solo voice as a powerful, potent form of artistic expression. Students will have the opportunity to hone their own creative talents in writing, devising, composing, producing and creating work.
Same as: TAPS 173.

TAPS 374A. Performance Making: Production. 5 Units.

A structured, creative environment for students working toward the realization of Senior Projects and 2nd year graduate productions. Instructors will work with students to develop the relationships between the content and the form of their productions using critical and creative tools to develop and reflect on the work. There will be a staged class showing at the end of the quarter followed by critiques designed to help students as they begin preparing for their final public performances (beyond the class).
Same as: TAPS 174A.

TAPS 374A. Performance Making: Production. 5 Units.

A structured, creative environment for students working toward the realization of Senior Projects and 2nd year graduate productions. Instructors will work with students to develop the relationships between the content and the form of their productions using critical and creative tools to develop and reflect on the work. There will be a staged class showing at the end of the quarter followed by critiques designed to help students as they begin preparing for their final public performances (beyond the class).
Same as: TAPS 174A.

TAPS 374B. Projects in Performance. 3-5 Units.

Creative projects to be determined in consultation with Drama graduate faculty and production advisor.

TAPS 374B. Projects in Performance. 3-5 Units.

Creative projects to be determined in consultation with Drama graduate faculty and production advisor.

TAPS 375. Main Stage Production. 3-5 Units.

Production of a full-length play as part of the Department of Drama season. Public performance.

TAPS 375. Main Stage Production. 3-5 Units.

Production of a full-length play as part of the Department of Drama season. Public performance.

TAPS 377. Graduate Directors' Staged Reading Project. 2 Units.

Presentation of a new or newly adapted work for the stage, in a mode employed in professional theater for the development of new plays. Two to four rehearsals. Public performance.

TAPS 377. Graduate Directors' Staged Reading Project. 2 Units.

Presentation of a new or newly adapted work for the stage, in a mode employed in professional theater for the development of new plays. Two to four rehearsals. Public performance.

TAPS 379. Chicano & Chicana Theater: Politics In Performance. 3-5 Units.

This is a practicum course, where the basic tenets and evolving politic and philosophies of Chicano and Latin American liberationist theater are examined through direct engagement with its theatrical forms, including, social protest & agit-prop, myth & ritual, scripting through improvisation, in-depth character and solo work, collective conceptualization and more. The course will culminate in an end-of-the quarter play performance in the Nitery Theater (Old Union) and at a Mission District theater in San Francisco.
Same as: CHILATST 179, TAPS 179.

TAPS 379. Chicano & Chicana Theater: Politics In Performance. 3-5 Units.

This is a practicum course, where the basic tenets and evolving politic and philosophies of Chicano and Latin American liberationist theater are examined through direct engagement with its theatrical forms, including, social protest & agit-prop, myth & ritual, scripting through improvisation, in-depth character and solo work, collective conceptualization and more. The course will culminate in an end-of-the quarter play performance in the Nitery Theater (Old Union) and at a Mission District theater in San Francisco.
Same as: CHILATST 179, TAPS 179.

TAPS 390. Directed Reading. 1-6 Units.

(Staff) Students may take directing reading only with the permission of their dissertation advisor. Might be repeatable for credit twice for 6 units total.

TAPS 390. Directed Reading. 1-6 Units.

(Staff) Students may take directing reading only with the permission of their dissertation advisor. Might be repeatable for credit twice for 6 units total.

TAPS 392. The Road to PSI 2013. 1-5 Units.

This class explores issues related to performance and temporailty, the main theme of the topic of PSi conference hosted by Drama department in June 2013. Also, students actively participate in preparations for the conference.
Same as: TAPS 192.

TAPS 392. The Road to PSI 2013. 1-5 Units.

This class explores issues related to performance and temporailty, the main theme of the topic of PSi conference hosted by Drama department in June 2013. Also, students actively participate in preparations for the conference.
Same as: TAPS 192.

TAPS 399. Dissertation Research. 1-9 Units.

(Staff).

TAPS 399. Dissertation Research. 1-9 Units.

(Staff).

TAPS 801. TGR Project. 0 Unit.

(Staff).

TAPS 801. TGR Project. 0 Unit.

(Staff).

TAPS 802. TGR Dissertation. 0 Unit.

(Staff).

TAPS 802. TGR Dissertation. 0 Unit.

(Staff).