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Office: 375 Santa Teresa Street, Roble Gym, Rm 149
Mail Code: 94305-8125
Phone: (650) 723-2576
Email: tapsstudentservices@stanford.edu
Web Site: http://taps.stanford.edu

Courses offered by the Department of Theater and Performance Studies are listed on the Stanford Bulletin's ExploreCourses web site under the subject codes TAPS and DANCE.

Mission of the Undergraduate Program in Theater and Performance Studies

The mission of the undergraduate program in Theater and Performance Studies is to provide a strong, non-conservatory program that joins the study and practice of performance within the context of a liberal arts curriculum. The department gives students a strong grasp of historical, cultural, and practical contexts in which live performance develops. With close faculty contact, department majors pursue areas of interest that may include acting, directing, writing, dance, devised theater, design, stage management, performance theory, and cultural studies. During the senior year students complete a senior project as part of fulfilling the 60 units required for the major.

Learning Outcomes (Undergraduate)

The department expects undergraduate majors in the program to achieve the following learning outcomes:

  1. the ability to write analytically about theater and performance
  2. the ability to put aesthetic and creative skills into practice
  3. the ability to find meaningful ways of integrating theory and practice
  4. the ability to research effectively
  5. the ability to articulate ideas about theater, dance and live arts.

Mission of the Graduate Program in Theater and Performance Studies

The mission of the graduate program in Theater and Performance Studies (TAPS) is to educate students who work on the leading edge of both scholarly and performance practice. The Ph.D. program includes the study of critical theory, dramatic literature, performance theory, theater history, and performance making. Graduate students complete a program with a rigorous study of critical theory, textual history, elements of production (directing, acting, choreography, writing, and design) and embodied research.

Learning Outcomes (Graduate)

The Ph.D. is conferred upon candidates who have demonstrated substantial scholarship and the ability to conduct independent research and analysis in Theater and Performance Studies. Through completion of advanced course work and rigorous skills training, the doctoral program prepares students to make original contributions to the knowledge and production of Theater and Performance Studies, and to interpret and present the results of such research.

Institute for Diversity in the Arts and Black Performing Arts Division

The Institute for Diversity in the Arts (IDA) is an interdisciplinary program in the humanities that involves students in the study of culture, identity and diversity through artistic expression. The Committee on Black Performing Arts (CBPA) and the Institute for Diversity in the Arts (IDA) merged in Autumn 2005. The mission of IDA/CBPA is to engage artists, students, and the local community collaboratively to create performance and visual art that examines the intersections among race, diversity, and social action through programming that includes artist residencies, classes, workshops, public performances, a lecture series, and symposia.

The division produces annual student productions and is a resource for student organizations promoting artistic expression through the exploration of the impact of ethnic representation in the arts, literature, media, and pop culture. The programs prepare students for work in areas including the arts and community development. Students have gone on to graduate-level critical studies, M.F.A. programs, public service, government and politics, arts administration, and teaching. Students can pursue an IDA concentration through the Comparative Studies in Race and Ethnicity major; students can also emphasize Black performance through the African and African American Studies major.

Bachelor of Arts in Theater and Performance Studies

The B.A. degree in Theater and Performance Studies provides students with historical, critical, and practical knowledge about theater and performance. Students are encouraged to declare the major in their sophomore year, if not sooner.

Suggested Preparation for the Major

Prospective majors in the first two years of study at Stanford are encouraged to take part in casting opportunities in department productions. 

Degree Requirement Overview - 60 units total for the Major

The following chart is an outline of the TAPS major degree requirements. All majors must choose a major concentration in either Acting or Theater-Making. Specific requirements for these concentrations can be found in subsequent sections.

Units
TAPS 1Introduction to Theater and Performance Studies4
16 units in Theater and Dance Studies16
18 units in Practicum18
8 units in Production8
10 units of Electives10
TAPS 200Senior Project4
Total Units60

Note: A course may be listed in more than one area; however, each course can only satisfy one major requirement. There is no double credit for a course. 

Concentrations

All TAPS majors are required to select a concentration in Acting or Theater-Making. General guidance on course sequencing is available from the TAPS Director of Undergraduate Studies,Amy Freed; the coordinator of the Acting concentration, Amy Freed; and the coordinator of the Theater-Making concentration, Michael Rau.

I. Acting

The Acting concentration develops students’ skills in acting for the theater and related performance contexts. In practicum classes, students enhance their creative abilities under the guidance of teaching artists. Students also complete complementary coursework in theater and performance studies and are encouraged to explore playwriting, directing, and/or devising in order to expand their exposure to major ideas and approaches in the field. Students in this concentration are encouraged to take the required course TAPS 120A Acting I: Fundamentals of Acting early in the major as a gateway for their further technique classes.  

1. Core4
Introduction to Theater and Performance Studies (Must be taken for a letter grade.)
2. Theater and Dance Studies 116
Dramatic Tensions: Theater and the Marketplace
To Die For: Antigone and Political Dissent
Prisons and Performance
The Idea of Virtual Reality
Family Drama: American Plays about Families
Introduction to Feminist, Gender, and Sexuality Studies
Performing Race, Gender, and Sexuality
History of Directing
Mechanics of the Theater: The Technologies of Stagecraft
Black Magic: Ethnicity, Race, and Identity in Performance Cultures
Performing History: Race, Politics, and Staging the Plays of August Wilson
World Drama and Performance
Brecht in Practice and Theory
Introduction to Comparative Studies in Race and Ethnicity
Introduction to Greek Tragedy: Gods, Heroes, Fate, and Justice
Revolutions in Theater
Noam Chomsky: The Drama of Resistance
Theater History
Family Drama: American Plays about Families
Virtual Realities: Art, Technology, Performance
Black Feminist Theater and Theory
3. Practicum18
Acting I: Fundamentals of Acting (Gateway, Required)
Singing: How it's done, how to learn to do it, and how to work with people who do it.
Beginning Improvising
Intermediate Improvisation
Musical Theater
Acting II: Advanced Acting
Physical Characterization
Voice for the Actor
Undergrad Performance Project: Seagull
Acting for Non-Majors
Acting Shakespeare
Acting Chekhov
Shakespeare Now: An Actor's Lab
Movement for the Actor
Introduction to Clown
Interpretation of Musical Theater Repertoire
Singing for Musicals
Dramatic Vocal Arts: Songs and Scenes Onstage
4. Production8
Stage Management Techniques (Required)
Theater Crew (Required)
Stage Management Project (Required)
5. Electives 210
6. Capstone Project 34
Senior Project
Total Units60

II. Theater-Making 

This concentration develops students' creative skills in theater-making. The theater-making concentration reflects the collaborative interdisciplinary nature of theater practice, with rich partnerships and dialogues between the crafts of directing, playwriting, producing, design and stagecraft. Students learn skills to build original theater productions. The disciplines grouped under this concentration offer a broad cross-section of theater-making skills and approaches. Students in this concentration are encouraged to take the required courses TAPS 30 Introduction to Theatrical Design and TAPS 101P Theater and Performance Making early in the major as a gateway for their further studies.

Units
1. Core4
Introduction to Theater and Performance Studies (Must be taken for a letter grade.)
2. Theater and Dance Studies 116
Dramatic Tensions: Theater and the Marketplace
To Die For: Antigone and Political Dissent
Prisons and Performance
The Idea of Virtual Reality
Family Drama: American Plays about Families
Introduction to Feminist, Gender, and Sexuality Studies
Performing Race, Gender, and Sexuality
History of Directing
Mechanics of the Theater: The Technologies of Stagecraft
Black Magic: Ethnicity, Race, and Identity in Performance Cultures
Performing History: Race, Politics, and Staging the Plays of August Wilson
World Drama and Performance
Brecht in Practice and Theory
Introduction to Comparative Studies in Race and Ethnicity
Introduction to Greek Tragedy: Gods, Heroes, Fate, and Justice
Revolutions in Theater
Noam Chomsky: The Drama of Resistance
Theater History
Family Drama: American Plays about Families
Virtual Realities: Art, Technology, Performance
Black Feminist Theater and Theory
3. Practicum18
Introduction to Theatrical Design (Gateway, Required)
Theater and Performance Making (Gateway, Required)
Acting for Activists
StoryCraft
Makeup for the Stage
Introduction to Lighting and Production
Godiva to Gaga: A Survey of Western Fashion and Societal Implications
Introduction to Technical Theater and Production
Costume Construction
Lighting Design
Costume Design
Stage Scenery Design
Set Design Practicum
Theory & Craft of the Scenographic Model
Introduction to Media Production
The Director's Craft
Directing Workshop: The Actor-Director Dialogue
Collaborative Theater-Making
Dramatic Writing: The Fundamentals
Creating a Musical
Workshop with Young Jean Lee
Intensive Playwriting
Writing a Full-Length Play
Editing a Full-Length Play
Up to 4 units of an acting class may count towards this requirement as well.
With the approval of the Director of Undergraduate Studies, students may be able to count a limited number of the following special research or independent study courses towards the practicum requirement:
Theater Crew
Stage Management Project
Introduction to Projects in Theatrical Production
Special Research
TAPS 191
Advanced Stage Lighting Design
Advanced Costume Design
Advanced Scene Design
4. Production8
Stage Management Techniques (Required)
Theater Crew (Required)
Stage Management Project (Required)
5. Electives 210
6. Capstone Project 34
Senior Project
Total Units60

Honors Program 

For a select number of students, the department confers the degree of Bachelor of Arts with Honors in Theater and Performance Studies. To qualify for departmental honors, students must meet the following requirements in addition to the other requirements of the TAPS major:

  1. Applying to the honors program involves a written application, including a project proposal and transcript, which establishes the student's work to date in the department and outlines the area of research that the student wishes to pursue. Students must have at least an overall University GPA of 3.3 and a 3.5 GPA in courses counting towards the major.
  2. Students must have completed a significant portion of their major coursework before enrolling in honors. It is recommended that students have taken courses that have prepared them for advanced study in the proposed area of research.
  3. Students enroll in TAPS 202 Honors Thesis, which is worth four units total. Students need to enroll in this course each quarter during the senior year (1 unit in Autumn; 1 unit in Winter; 2 units in Spring). It is graded S/NC (grade determined by the student’s adviser).
  4. The honors thesis (described below) is due on May 15th in the Spring quarter and is double-marked by the primary adviser and one other Stanford faculty member.
  5. Entry into the honors program does not guarantee an honors degree. The final decision to confer an honors degree is made by the student's thesis adviser upon evaluating the quality of the thesis. 

Honors Thesis

There are two ways to undertake an honors thesis. The first is to write a 40-50 page essay, presenting research on an important issue or subject of the student’s choice. The second option is for a student to use their involvement in a creative project as a case study. In this situation, the honors thesis critically analyzes the creative work. Typically, the creative project is the student’s capstone, but subject to the advisor’s approval, a student may be able to write on a substantial creative project other than the capstone. This essay is shorter (about 30 pages) because the creative work constitutes part of the honors project. Students are expected to work consistently throughout the year with their adviser, whom they identify at the time of application. Advisors can be selected from Academic Council faculty or artists-in-residence.

Minor in Theater and Performance Studies

The TAPS Minor is offered with two distinct concentrations: The Theater and Performance Studies concentration provides students with historical, critical, and practical knowledge about theater and performance. The Dance concentration examines the field of dance.

Minor Requirements — 30 units total for the minor

All minors must choose a concentration in Theater and Performance Studies or Dance. Specific requirements for these concentrations can be found in subsequent sections. Each course can only satisfy one minor requirement. A student may petition to the Director of Undergraduate Studies Amy Freed to have additional courses offered by the department count towards the requirements.  The minor is declared in Axess. 

I. Degree Requirements for the Minor (Theater and Performance Studies Concentration):

Units
1. Core4
Introduction to Theater and Performance Studies (Must be taken for a letter grade. )
2. Theater and Dance Studies4
To Die For: Antigone and Political Dissent
Prisons and Performance
The Idea of Virtual Reality
Family Drama: American Plays about Families
Introduction to Feminist, Gender, and Sexuality Studies
Performing Race, Gender, and Sexuality
History of Directing
Mechanics of the Theater: The Technologies of Stagecraft
Black Magic: Ethnicity, Race, and Identity in Performance Cultures
Performing History: Race, Politics, and Staging the Plays of August Wilson
World Drama and Performance
Brecht in Practice and Theory
Introduction to Comparative Studies in Race and Ethnicity
Introduction to Greek Tragedy: Gods, Heroes, Fate, and Justice
Revolutions in Theater
Noam Chomsky: The Drama of Resistance
Theater History
Family Drama: American Plays about Families
Virtual Realities: Art, Technology, Performance
Black Feminist Theater and Theory
3. Production1
Theater Crew
4. Practicum 17
5. Electives 214
Total Units30

II. Degree Requirements for the Minor (Dance Concentration):

The Dance concentration offers diverse approaches to dance as a performing art, cultural practice, political act, and embodiment of ideology and beliefs. The minor requirements integrate academic and creative studio work to help students develop a command of dance as an art form and as a subject of critical inquiry. Students study a range of techniques grounded in Western dance practices as well as a variety of global dance forms, and have regular opportunities to perform, choreograph, and collaborate. Guidance on course sequencing is available from the TAPS Director of Undergraduate Studies, Amy Freed and/or from the coordinator of the Dance concentration, Alex Ketley. Students in this concentration are encouraged to take the required course TAPS 160 Performance and History: Rethinking the Ballerina early in the major as a gateway for their further studies.

Units
1. Core4
Introduction to Theater and Performance Studies (Must be taken for a letter grade.)
2. Theater and Dance Studies8
Performance and History: Rethinking the Ballerina (Gateway, Required) 1
Dramatic Tensions: Theater and the Marketplace
To Die For: Antigone and Political Dissent
Prisons and Performance
The Idea of Virtual Reality
Family Drama: American Plays about Families
Introduction to Feminist, Gender, and Sexuality Studies
Performing Race, Gender, and Sexuality
History of Directing
Mechanics of the Theater: The Technologies of Stagecraft
Black Magic: Ethnicity, Race, and Identity in Performance Cultures
Performing History: Race, Politics, and Staging the Plays of August Wilson
World Drama and Performance
Brecht in Practice and Theory
Introduction to Comparative Studies in Race and Ethnicity
Introduction to Greek Tragedy: Gods, Heroes, Fate, and Justice
Revolutions in Theater
Noam Chomsky: The Drama of Resistance
Theater History
Family Drama: American Plays about Families
Virtual Realities: Art, Technology, Performance
Black Feminist Theater and Theory
3. Production1
Theater Crew
4. Dance Practice 217
Total Units30

Doctor of Philosophy in Theater and Performance Studies

The mission of the graduate program in Theater & Performance Studies (TAPS) is to educate students who work on the leading edge of both scholarly and performance practice. The Ph.D. program includes the study of critical theory, dramatic literature, performance theory, theater history, and performance making. Graduate students receive a rigorous education in scholarly and creative practice that encompasses elements of production (directing, acting, choreography, and/or design).  

Admission

Applicants for the Ph.D. program can visit our Theater and Performance Studies web site for information. Online graduate applications are available at the Office of Graduate Admissions web site. All applicants must submit the following as part of their application: statement of purpose, three recommendations, artistic statement, summary of production experience and resume/CV, and a sample of written work (one or two papers no more than 25 pages long). An invitation to interview may be extended by the end of January. Graduate students in the Department of Theater and Performance Studies begin study in Autumn Quarter of each academic year; there are no mid-year admissions.

University Degree Requirements

University requirements for the Ph.D. are described in the "Graduate Degrees" section of this bulletin.

Degree Requirements

Units and Course Requirements

Stanford Ph.D. students must complete a minimum of 135 units of graduate courses and seminars in support of the degree. Within the 135 unit minimum, TAPS Ph.D. students must complete the following:  

Units
REQUIRED COURSES
Core Seminars13
Performance and Historiography
Performance and Performativity
Performing Identities
TAPS Workshops16
Theater and Performance Making 1
Directing Workshop: The Actor-Director Dialogue 2
The Director's Craft 3
Projects in Performance 4
Production Requirement1
Introduction to Graduate Production
Elective Seminars20
Five additional graduate seminars within the Department of Theater and Performance Studies to be worked out with the adviser.
Total Units50

Note: All substitutions to the required courses must be in the department and approved by the Director of Graduate Studies in response to a written request by the student. Students are allowed to take up to 6 units of TAPS 390 Directed Reading, to count towards the 135 units required for graduation.

Language Requirement

The student must demonstrate reading knowledge of one foreign language in which there is a major body of dramatic literature. The language requirement must be met before the student can be advanced to candidacy. The language requirement may be fulfilled in any of the following ways:

  1. achievement of a sufficiently high score (70th percentile) on the foreign language examination prepared by the Educational Testing Service (ETS). Latin and Greek are not tested by ETS.
  2. a reading examination given each quarter by the various language departments, except for Latin and Greek.
  3. pass with a grade of 'B' or higher a 100-level or higher foreign language course at Stanford.

Assistantships

Students must participate in seven quarters of assistantship in Theater and Performance Studies: 

Research Assistantship: Three quarters of supervised RA-ship at half time with faculty members are required. Generally, this requirement is fulfilled in the third year.

Teaching Assistantship: Four quarters of supervised TA-ship at half time are a required part of the Ph.D. program. The requirement is normally met by serving as a TA for three courses during the fourth year and one course during the fifth year.

Examinations

Students must complete three examinations (comprehensive, qualifying, and department oral) by the end of the first three years of study at Stanford. 

First-Year Comprehensive Exam: The first year exam is based on a reading list of dramatic works, choreography, and theoretical texts in theater and dance which is sent to students in the summer before the first quarter of study begins. The exam is an open book, take-home exam made up of several essay questions. Students sign up for the 2 unit course TAPS 336 Comprehensive 1st Year Exam to prepare. 

Second-Year Qualifying Exam: The qualifying examination consists of a 25-30 page essay on a pre-1900 historical topic, relevant to the field of Theater and Performance Studies. The student select sa TAPS faculty adviser to guide them through the writing process. The essay is due to the Student Services Officer in the 8th week of Autumn Quarter. The Graduate Studies Committee selects two additional TAPS faculty readers who evaluate and provide readers’ reports for the student. The student substantially revises and resubmits the essay in the third week of Spring Quarter. Evaluation criteria include clarity of expression, ability to undertake original historical research, and capacity to sustain a persuasive argument. The readers, together with the adviser, evaluate the revised essay and determine if the exam constitutes a pass. The performance project is completed in the Winter Quarter. A faculty adviser works with the student throughout Autumn and Winter quarters on the production and attend a combination of dress rehearsals or final performances as part of the evaluation. After the performance, the student participates in a viva voce, or talk-back, with the supervising faculty. Students register for TAPS 376 Projects in Performance for 4 units while completing their performance project.

Third-Year Department Oral Exam: This exam is based on a literature review and annotations for three reading lists created by the student in consultation with the three faculty members with whom they meet about their readings. The form of the exam is an opening 20 minute overview by the student integrating the readings followed by questions from the committee about the reading lists.

Admission to Candidacy

At the end of the second year of study, the Graduate Studies Committee makes a decision on whether or not to admit an individual student to candidacy. Based on its evaluation of the student, the Graduate Studies Committee certifies the student's qualifications for candidacy. Candidacy is an important decision grounded in an overall assessment of a student’s ability to complete the Ph.D. program at a high level. As detailed in the department’s Graduate Handbook, there are prerequisites for admission to candidacy: the completion of specified coursework, the first-year qualifying exam, the second-year qualifying papers and the language requirement. However, fulfillment of these prerequisites and grades in courses constitute only a part of the evidence weighed by faculty in making this judgment. Since the Ph.D. is conferred upon candidates who have demonstrated through their dissertation the ability to conduct substantive, original research that contributes to knowledge in theater and performance studies, the candidacy decision also rests upon indicators of the student's ability to conduct work in the field. Upon favorable action, the student files a formal application for candidacy, as prescribed by the University, by the end of Summer Quarter of the second year. By University policy, candidacy is valid for five years unless terminated by the department. Failure to advance to candidacy results in the dismissal of the student from the program.

Dissertation Prospectus

The dissertation prospectus must be approved by the candidate's adviser and by the departmental Graduate Studies Committee two quarters after taking the department oral. This should be done in, or before, the autumn quarter of the fourth year. Within 30 days of approval, a student should schedule a prospectus colloquium with the proposed reading committee (the dissertation director and two other faculty members). The prospectus must be prepared in close consultation with the dissertation adviser during the months preceding the colloquium. The prospectus should be 5-8 pages and minimally cover three things: the research question and context, the methodology for research, and a complete chapter by chapter plan.

University Oral Examination

In Theater and Performance Studies, the University oral examination takes the form of a dissertation defense. A full draft of the dissertation must be submitted at least 75 days before the proposed degree conferral. The examining committee consists of five faculty members: one faculty chair from outside the department who does not share an appointment with the department of any of the examiners, the student's primary adviser, two additional readers who are familiar with the dissertation project, and a fifth faculty member attending the oral examination. 

Dissertation

The dissertation is an original work of scholarship created under the supervision of a primary dissertation adviser. The dissertation is the capstone of the Ph.D. in Theater & Performance Studies.

Satisfactory Progress and Annual Review

The program and progress of each student must be evaluated by the Graduate Studies Committee at the end of each academic year. At the end of the first year, the Graduate Studies Committee evaluates the work of each student in classes, seminars, examinations, and performance. Production planning in the spring of each year for the following season is contingent upon students making satisfactory progress. Continuation in the program depends upon the recommendation of this faculty group. At the end of the second year, the committee reviews the student's work in consideration of being admitted to candidacy. By the beginning of the fourth year, students are expected to have developed an approved dissertation prospectus. Funding is contingent upon satisfactory progress. Failure to make satisfactory progress may result in dismissal from the program. 

Ph.D. Minor in Theater and Performance Studies

Students pursing the Ph.D. minor in Theater and Performance Studies must complete a minimum of 20 units. Within the 20 units, students must complete the following:

Units
TAPS 313Performance and Performativity5
TAPS 371PTheater and Performance Making4
Any additional TAPS courses at the 200- or 300-level to reach the minimum of 20 units total.11
Total Units20

An Application for Ph.D. Minor outlining a program of study must be approved by the major and minor departments and submitted to the Student Services Center. This form is submitted at the time of admission to candidacy or at the appropriate time thereafter.

Graduate Advising Expectations

The Department of Theater and Performance Studies is committed to providing academic advising in support of graduate student scholarly and professional development. When most effective, this advising relationship entails collaborative and sustained engagement by both the adviser and the advisee. As a best practice, advising expectations should be periodically discussed and reviewed to ensure mutual understanding. Both the adviser and the advisee are expected to maintain professionalism and integrity.

Faculty advisers guide students in key areas such as selecting courses, designing and conducting research, developing of teaching pedagogy, navigating policies and degree requirements, and exploring academic opportunities and professional pathways.

Graduate students are active contributors to the advising relationship, proactively seeking academic and professional guidance and taking responsibility for informing themselves of policies and degree requirements for their graduate program.

For a statement of University policy on graduate advising, see the "Graduate Advising" section of this bulletin.

Emeriti: (Professors)Jean-Marie Apostolidès (TAPS; French and Italian), Michael Ramsaur, Alice Rayner; (Associate Professor) William S. Eddelman; (Senior Lecturer) Patricia Ryan

Chair: Branislav Jakovljevic 

Director of Graduate Studies: Peggy Phelan

Director of Undergraduate Studies: Amy Freed

Professors:Jennifer DeVere Brody (TAPS, Center for Comparative Studies in Race and Ethnicity), Harry J. Elam, Jr. (Senior Vice Provost for Education, Vice President for the Arts, Vice Provost for Undergraduate Education), Branislav Jakovljevic, Peggy Phelan (TAPS, English, Stanford Arts Institute), Rush Rehm (TAPS, Classics), Matthew Smith (On Leave) (TAPS, German Studies)

Associate Professor:  Jisha Menon (Center for South Asia)

Assistant Professors: Samer Al-Saber, Diana Looser (On Leave), Michael Rau

Professor (Teaching): Janice Ross

Senior Lecturer: Connie Strayer

Lecturers: Kathryn Amarotico-Kostopoulos, Cliff Caruthers, Jane Casamajor, Matt Chapman, Katie Faulkner, Diane Frank, Erik Flatmo Gambatese, Aleta Hayes,  Stephanie Hunt, Kathrynne Jennings, Alex Ketley, Daniel Klein, Laxmi Kumaran,  Anton Pankevich, Richard Powers, Ronnie Reddick, Lisa Rowland,  Tony Shayne, Erik Sunderman

Artists-in-Residence: Amy Freed, Amara Smith

Humanities Center Fellow: Aileen Robinson

Mellon Dance Studies Scholar: Elizabeth Schwall

Department Manager: Beth McKeown

Student Services Officer: Katie Dooling

Administrative Associate:Janet Pineda

Overseas Studies Courses in Theater and Performance Studies

The Bing Overseas Studies Program manages Stanford study abroad programs for Stanford undergraduates. Students should consult their department or program's student services office for applicability of Overseas Studies courses to a major or minor program.

The Bing Overseas Studies course search site displays courses, locations, and quarters relevant to specific majors.

For course descriptions and additional offerings, see the listings in the Stanford Bulletin's ExploreCourses or Bing Overseas Studies.

Units
OSPBER 101AContemporary Theater5
OSPFLOR 66The Engineering of Opera3
OSPOXFRD 64Arts in Prison in the U.K.4

Courses

DANCE 1. Introduction to Contemporary Dance & Movement: Liquid Flow. 1 Unit.

Students in Liquid Flow will participate in a dance and movement class that 1) teaches the fundamentals of dance technique, and 2) addresses the way that you already dance in the world. Through discovering your own DIY movement signature and being aware of one another's dance, motion, and energy in space, we will transform the way that we move and connect to one another to inhabit flow states from the dance studio, into everyday life, and ultimately onto the stage. nAccompanied by contemporary and live music, Students will develop articulation, flexibility and "grace", learn contemporary and classic dance vocabulary, gain freedom dancing with others and mine dance's potential for social transformation and connection. Designed for beginners, we welcome student movers from diverse dance traditions, non-dancers, athletes, and more advanced dancers, who desire fluidity in their daily life, from thought to action.

DANCE 2. Introduction to Dance & Movement: Afro Flows. 1 Unit.

Students in Afro Flows will focus on fundamentals of contemporary dance, gain fluid movement in everyday life and develop a rhythmic sensibility. This class invites participants to be more expressive and spontaneous in their movement choices. In addition to set movement warm ups, students will also learn footwork from different traditions, including tap and current social dance styles to expand their dance vocabulary. Through this approach and live percussion, students will discover their own natural rhythmic capability, as well as learn to attune with the environment and with others. No previous is experience required. Questions? Contact: Aleta Hayes (ahayes1@stanford.edu).

DANCE 3SI. Bollywood Balle Balle. 1 Unit.

This is a survey course of Bollywood dance styles throughout history, with particular focus on the modern filmi dance. Throughout the course, students will learn the history and context of particular dance styles through discussions of integration with popular Indian cinema.

DANCE 25. Studio to Stage: Student Choreography Projects. 1 Unit.

Make your own dance! In Studio-to-Stage, student choreographers propose, develop, rehearse, and perform their own dances under the close guidance of a faculty mentor. Together, mentor and dance maker discover rehearsal processes that will support and realize the proposed work, including movement investigation, music/sound choices, costuming, and lighting. The course culminates in a group concert showing. Dance is broadly defined as any intentional movement, including fusion forms and innovation. Dance makers of all levels, styles, and training backgrounds are strongly encouraged to enroll. Concert format, logistics, and level of theatrical production will be determined by the collective ambition and imagination of the participants. TAPS will provide some technical support towards the culminating showing of works.

DANCE 27. Faculty Choreography. 1 Unit.

Creation, rehearsal, performance of faculty choreography. Casting by audition/invitation, first week of the quarter. For detailed project descriptions and full rehearsal/performance schedules, contact instructors directly.nnAutumn: New choreography project by Diane Frank, tentatively titled "Feral Variations: Goat-Trout-Snake-Lizard Girls." The work examines movement generated by somatic research on animal instinct, developmental and evolutionary stages, and deep experiences of the natural world in childhood. This is a dance of complex identity formation. Solo episodes will be braided with ensemble sections. Movement experiences in the Sierras will be a part of the rehearsal plan. Casting by Audition & Invitation. 6-8 dancers. Rehearsal/performances bridge Autumn & Winter quarters. Email dfrank1@stanford.edu for details. nnWinter: Choreography by Aleta Hayes. Email ahayes1@stanford.edu.

DANCE 30. Chocolate Heads Performance Project: Dance & Intercultural Performance Creation. 2 Units.

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, to co-create a multidisciplinary finished production and installation. Students of all dance or athletic backgrounds are welcome to audition on Wednesday (9/26) and Monday (10/1) during class time. Visual artists, musicians and dancers may also contact the instructor for further information at ahayes1@stanford.edu.
Same as: AFRICAAM 37

DANCE 45. Dance Improv StratLab: Freestyle Improvisation from Contemporary to Hip Hop & Beyond. 1-2 Unit.

This class is an arena for physical and artistic exploration to fire the imagination of dance improvisers, cultivate sensation and perception within and without studio practice and to promote interactive intelligence.nStudents will learn to harness and transform habitual movement patterns and dance trainings as resources for new ways of moving: expand their awareness of being a part of a bigger picture, while being attentive to everything all at once: and to use visual, aural and kinesthetic responses to convert those impulses into artistic material. Class will be accompanied by live and recorded music and include weekly jam sessions. Open to students from all dance, movement, athletic backgrounds and skill levels. Beginners welcome.
Same as: AFRICAAM 45

DANCE 46. Social Dance I. 1 Unit.

Introduction to non-competitive social ballroom dance. The partner dances found in today's popular culture include 3 kinds of swing, 3 forms of waltz, tango, salsa, cha-cha and nightclub two-step. The course also includes tips for great partnering, enhancing creativity, developing personal style, stress reduction, musicality, and the ability to adapt to changing situations. The emphasis on comfort, partnering and flexibility enables students to dance with partners whose experience comes from any dance tradition.

DANCE 48. Beginning Ballet. 1 Unit.

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 50. Contemporary Choreography. 1 Unit.

Each day Ketley will develop a new phrase of choreography with the students and use this as the platform for investigation. Consistent lines of inquiry include; sculpting with the body as an emotional, instinctual, and graphic landscape, how the fracturing and the complication of strands of information can feel generative of new ways of moving, discussions around how our use of time is directly correlated to our sense of presence, and the multitude of physical colors available to each of us as artists as we expand our curiosity about movement. Classes will be very physical, trusting that much of our knowledge is contained in the body. For questions please e-mail aketley@stanford.edu.

DANCE 58. Beginning Hip Hop. 1 Unit.

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 Unit.

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

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

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 71. Introduction to Capoeira: An African Brazilian Art Form. 1 Unit.

Capoeira is an African Brazilian art form that incorporates, dance, music, self-defense and acrobatics. Created by enslaved Africans in Brazil who used this form as a tool for liberation and survival, it has since become a popular art form practiced around the world. In this course students will learn basic movements for both Capoeira Angola and Capoeira Regional, and the history of this rich and physically rigorous art form. Students will learn basic acrobatic skills, be introduced to Capoeira songs, and learn to play rhythms on the drum, pandeiro (tambourine), and the Berimbau -- a single stringed bow instrument. This course will be physically rigorous and fun! No previous experience necessary.
Same as: AFRICAAM 71

DANCE 100. Dance, Movement and Medicine: Immersion in Dance for PD. 1-2 Unit.

Combining actual dancing with medical research, this Cardinal Course investigates the dynamic complementary relationship between two practices, medicine and dance, through the lens of Parkinson's disease (PD), a progressive neurological disease that manifests a range of movement disorders. "Dance for PD" is an innovative approach to dancing --and to teaching dance --for those challenged by PD. Course format consists of: 1. Weekly Lecture/Seminar Presentation: Partial list of instructors include Ms. Frank, Dr. Bronte-Stewart and other Stanford medical experts & research scientists, David Leventhal (Director, "Dance for PD") and Bay Area "Dance for PD" certified master teachers, film-maker Dave Iverson, Damara Ganley, and acclaimed choreographers Joe Goode, Alex Ketley, Judith Smith (AXIS Dance). 2. Weekly Dance Class: Stanford students will fully participate as dancers, and creative partners, in the Stanford Neuroscience Health Center's ongoing "Dance for Parkinson's" community dance class for people with PD. This Community Engaged Learning component provides opportunity to engage meaningfully with people in the PD community. Dancing together weekly, students will experience firsthand the embodied signature values of "Dance for PD" classes: full inclusion, embodied presence, aesthetic and expressive opportunity for creative engagement, and community-building in action. A weekly debriefing session within Friday's class time will allow students to integrate seminar material with their movement experiences.nnNO PRE-REQUISITES: No prior dance experience required. Beginners are welcome.
Same as: NENS 222

DANCE 102. Musical Theater Dance Styles. 1 Unit.

Students will be able to demonstrate period specificity, character of style through learning different musical theater dances from the early 20th C.to the present. ALL students will participate in an end of quarter showing of the choreography developed and composed in class. Class will be supplemented with the occasional guest, DJ accompaniment and video viewing.
Same as: MUSIC 184E

DANCE 104. Duets Project. 1 Unit.

Deepen partnering & rehearsal skills by learning contemporary duets from the repertory of acclaimed choreographers, some set by the choreographers themselves. Rehearsals culminate in an informal open performance. Expect different partners throughout the quarter; roles not gender-specific. Dances will vary highly in movement content, tone, form, ranging from uninflected to dramatic to humorous; from sparse to dense; from relatively simple to technically difficult. Each work requires a different approach and skill set. Exploring and cultivating these skills ¿ i.e., physical intention and agreement, weight-sharing and -bearing, breath phrasing, spatial awareness, kinetic problem-solving -- will help you dance eloquently and make you into a strong and versatile performer. Intermediate level, or permission of the instructor.

DANCE 106. Choreography Project: Dancing, Recollected. 1 Unit.

Collaboratively directed by Ketley and Frank, students will create dance material prompted by weekly interactions with residents of Lytton Gardens Assisted Living Residence. Students will meet twice weekly: once in studio on-campus, and once on-site with Lytton residents. Drawing from interviews and interactions with Lytton residents, students will engage in an evolving rehearsal process including movement score creation,, aesthetic discussion, revision with active involvement of the residents, and performance. The course culminates in performance(s) of the dance work for Lytton residents, staff, and families on-site at the end of the quarter.

DANCE 106I. Stanford Dance Community: Inter-Style Choreography Workshop. 1-2 Unit.

Designed for adventurous dancers, choreographers and student dance team leaders across Stanford campus. Students will explore a multiplicity of dance styles presented both by peer choreographers, as well as professionals in the field, to create a community of dancers who want to experiment and innovate within their form. The emphasis of the class is on individual growth as a dancer and dance maker through exposure to new and unfamiliar styles. Student dance team leaders and dancers with a strong interest in both choreography and learning different forms are highly encouraged to attend. Interested participants encouraged but not required to contact instructor, Aleta Hayes: ahayes1@stanford.edu. Course will consist of weekly choreography master classes taught by peers, composition intensives facilitated by the instructor, and guest professional master classes, not represented by the class participants.

DANCE 107. Disruptive Choreography: Student Choreographers Creating Innovative Work. 1 Unit.

Collaboratively taught by choreographers and Stanford dance faculty Alex Ketley and Diane Frank, this is a body-based investigation and studio class. As a class we will take a conspiratorial approach toward choreographic processes that insure breakthrough moments of innovation as students investigate, create, and eventually perform their own dance works. Both instructors have a wide range of choreographic experience which they will use to guide students through a myriad of approaches they can deploy when devising new dance and physical performance. Pre-requisite: A curiosity about making your own work and diversifying your understanding of movement generation and the infinite possible forms dances can take. Dancers of all genres, training backgrounds, and levels of experience are strongly encouraged to enroll. The quarter of studio exploration work will culminate in a public performance of the created works during the last week of class.

DANCE 108. Hip Hop Meets Broadway. 1 Unit.

What happens when Hip Hop meets "Fosse", "Aida", "Dream Girls" and "In the Heights"?nThe most amazing collaboration of Hip Hop styles adapted to some of the most memorable Broadway Productions.nThis 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 109. Choreographic Toolkit: Strategies for Building Movement, Dance, and Time-Based Art. 2 Units.

A class for students interested in contemporary methods of devising movement for performance. At the forefront of current dance culture hybridity has become the new normal, with movement blended from everyday actions, classical forms, hip-hop, and beyond. The body as a vehicle for expression is an ever expanding landscape and the class will focus on the plethora of ways movement can be derived including; the many ways improvisation can engender movement, how systemic approaches to performance can enhance a creators understanding of the body in space, the ways chaos and ugliness can redefine our notions of beauty, and how environment, sound, music, and context can inform our physical sensibilities. The class is open to all students from any movement background or those new to dance with a curiosity about how the body can be a vibrant and multifaceted artistic tool. For more information please contact choreographer and lecturer Alex Ketley at aketley@stanford.edu.

DANCE 123. Hot Mess: Deliberate Failure as Practice. 2 Units.

A dance class in how we become the worst dancer possible. The foundation of this class has many parts. One is that, in almost every respect the way we gain insight into anything is to understand more clearly its polarity. As a class we purposely explore chaos, failure, and "bad" dancing, with the hope that then we will have a greater chance to understand and refine our personal notions around beauty. The class also acknowledges that creativity is at times born from the loss of control. Instead of looking at this idea obliquely, Hot Mess looks at this directly by having dancers confront a number of movement and vocal prompts that are literally impossible to execute in any good way. This class embraces and celebrates destabilization, with all the exuberance, fear, and learning that can happen when we accept and practice being lost.

DANCE 128. Roots Modern Experience - Mixed Level. 1 Unit.

In this course students will be introduced to a series of Afro-contemporary dance warm ups and dance combinations that are drawn from a broad range of modern dance techniques, somatic practices and dance traditions of the African diaspora with a particular focus on Afro Brazilian, Afro Cuban and Haitian dance forms. Our study of these dance disciplines will inform the movement vocabulary, technical training, class discussions, and choreography we experience in this course. Students will learn more about the dances and rhythms for the Orishas of Brazil and Cuba, and the Loa of Haiti with an additional focus on other African diaspora dance forms such as, Cuban Haitian, Palo, Samba and Samba-Reggae. Dance combinations will consist of dynamic movement patterns that condition the body for strength, flexibility, endurance, musicality and coordination. Through this approach to our warm ups and class choreography, we will deepen our analysis and understanding of how African diaspora movement traditions are inherently embedded in many expressions of the broadly termed form known as contemporary dance.
Same as: AFRICAAM 128

DANCE 131. Beginning/Intermediate Ballet. 1 Unit.

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 132. Ballet Technique & Classical Variations. 1 Unit.

For Intermediate/Advanced Students. 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 and as well as learning the variations from existing ballets: Sleeping Beauty, Swan Lake, Paquita(just to name a few).

DANCE 133. History of the Waltz. 1 Unit.

Two hundred years of waltzing: Regency era waltz (1816), Vienna in the 1830s, redowa and mazurka waltz variations, waltz in 5/4 time, the Russian Mazurka Quadrille, pivots, 20th-century hesitation waltz, tango waltz, Parisian valse musette, 1930s Boston, 1950s Bandstand-style waltz, swing waltz. Each form is explored for possible adaptation to today's non-competitive social dancing. May be repeated for credit two times.

DANCE 141. Advanced Contemporary Modern Technique. 2 Units.

This advanced level technique course will cover the fundamental principles underlying modern/contemporary dance both technical and artistic in nature. Students will perform technical exercises that develop functional efficiency, strength, flexibility, musicality, range of motion and performance quality as a means towards honing their own artistic expression and physicality. More advanced concepts such as qualitative versatility, phrasing awareness, innovative physical decision-making, and attention to performance will be explored in greater depth. The contemporary technique taught in this class prepares the student to perform with clarity and artistry, and with deeper anatomical knowledge and connectivity. Short written reflections and concert attendance will supplement studio work. May be repeated for credit.

DANCE 142. Intermediate/Advanced Contemporary Dance Technique. 1 Unit.

This intermediate/advanced dance technique class is grounded in the technical training, aesthetic sensibilities, and choreographic processes of Merce Cunningham, American dancer/master choreographer. This studio work at an intermediate/advanced level will build technical strength, speed, line, and rhythmic acuity/musicality and amplitude in dancing. The class will provides solid technical training useful and applicable to other forms of dancing. Dancers must be ready to work at an intermediate/advanced level to enroll. Studio practice will be supplemented by readings, video viewing, concert attendance, and participation in special workshops with guest artists. Though Cunningham-based dance technique is particularly well-suited to dancers with prior training in ballet, dancers with prior training in all forms of dance are welcome and strongly encouraged to enroll. May be repeated for credit.

DANCE 146. Social Dance II. 1 Unit.

Intermediate non-competitive social ballroom dance. The partner dances found in today's popular culture include Lindy hop, Viennese waltz, hustle, traveling foxtrot, plus intermediate/advanced levels of cross-step waltz and nightclub two-step. The course continues further tips for great partnering, enhancing creativity, developing personal style, stress reduction, musicality, and the ability to adapt to changing situations. Prerequisite: DANCE 46.

DANCE 147. Living Traditions of Swing. 1 Unit.

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 Unit.

Intermediate Ballet at Stanford is designed for students who have done ballet in their past, but maybe have stepped away from the form for awhile. The class focuses on technique, musicality, vocabulary, coordination and artistic choice. The class looks at ballet as an enduring and vibrant movement system that can be used for classical purposes or as a way to strengthen and diversify the movement vocabulary inherent in other dance forms like modern, hip-hop, or social dancing. Any questions can be directed to Lecturer Alex Ketley at aketley@stanford.edu.

DANCE 149. Advanced Ballet. 2 Units.

Advanced Ballet at Stanford is offered for students who are interested in rigorous, complex, and artistically compelling ballet training. The class focuses on technique, but in the broad sense of how ballet as a movement system can be used for a wide range of dance disciplines. The class honors the historical training legacy that defines classical ballet, but is in no way shackled to that history in an antiquated fashion. The students are encouraged to explore the form as artists, to question its foundations, and find their own sense of agency within classical dance. Students with a strong background in ballet are encouraged to come, but also students with less ballet training are welcome as long as they have an email dialog with the lecturer beforehand. Any questions can be directed to Lecturer Alex Ketley at aketley@stanford.edu.

DANCE 156. Social Dance III. 1 Unit.

Intermediate non-competitive social ballroom dance: intermediate/advanced waltz, redowa, Bohemian National Polka, intermediate/advanced tango, cha-cha, and salsa. The course continues further tips for great partnering, enhancing creativity, developing personal style, stress reduction, musicality, and the ability to adapt to changing situations.Prerequisite: DANCE 46. DANCE 156 may immediately follow DANCE 46.

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: FEMGEN 160, TAPS 160, TAPS 260

DANCE 160J. Conjure Art 101: Performances of Ritual, Spirituality and Decolonial Black Feminist Magic. 2 Units.

Conjure Art is a movement and embodied practice course looking at the work and techniques of artists of color who utilize spirituality and ritual practices in their art making and performance work to evoke social change. In this course we will discuss the work of artists who bring spiritual ritual in their art making while addressing issues of spiritual accountability and cultural appropriation. Throughout the quarter we will welcome guest artists who make work along these lines, while exploring movement, writing, singing and visual art making. This class will culminate in a performance ritual co-created by students and instructor.
Same as: AFRICAAM 160J, CSRE 160J

DANCE 160M. Introduction to Representations of the Middle East in Dance, Performance, & Popular Culture. 3-4 Units.

This course will introduce students to the ways in which the Middle East has been represented and performed by/in the 'West' through dance, performance, and popular culture in both historical and contemporary contexts. A brief look through today's media sources exposes a wide range of racialized and gendered representations of the Middle East that shape the way the world imagines the Middle East to be. As postcolonial theorist Edward Said explains, the framework we call Orientalism establishes the ontological character of the Orient and the Oriental as inherently `Other'. Starting with 19th century colonialism and continuing into the post-9/11 era, this course will trace the Western production, circulation, and consumption of representations of the Middle East as 'Other' in relation to global geopolitics. We will further examine dance forms produced in mid-twentieth century Iran and Egypt, with particular attention to nation-state building and constructions of gender. Finally, we will examine artistic productions and practices from the Middle East and Middle Eastern diasporic communities that respond to colonialism, war, displacement, secularism, and Euro-American Empire. Using dance studies, postcolonial feminist, and critical race theoretical frameworks, we will consider the gender, racial, political, and cultural implications of selected performance works and practices in order to analyze how bodies produce meaning in dance, performance art, theater, film, photography, and new media. Students will engage in multiple modes of learning; the course will include lectures, engaged group discussions, viewing of live and recorded performance, embodied participation in dance practice, student oral presentations, and a variety of writing exercises. Course assignments will culminate in a final research project related to class themes and methods.
Same as: CSRE 160M, FEMGEN 160M, TAPS 160M

DANCE 161D. Introduction to Dance Studies: Dancing Across Stages, Clubs, Screens, and Borders. 3-4 Units.

This introduction to dance studies course explores dance practice and performance as means for producing cultural meaning. Through theoretical and historical texts and viewing live and recorded dance, we will develop tools for analyzing dance and understanding its place in social, cultural, and political structures. This uses dance and choreography as a lens to more deeply understand a wide range of identity and cultural formations, such as gender, race, sexuality, (dis)ability, (trans)nationality, and empire. We will analyze dancing bodies that move across stages, dance clubs, film screens, and border zones. We will examine dance from diverse locales and time periods including ballet, modern and contemporary dance, contact improvisation, folkloric dance, burlesque, street dance, queer club dance, drag performance, music videos, TV dance competitions, and intermedia/new media performance. In addition to providing theoretical and methodological grounding in dance studies, this course develops performance analysis skills and hones the ability to write critically and skillfully about dance. No previous experience in dance is necessary to successfully complete the course.
Same as: CSRE 61, FEMGEN 161D, TAPS 161D

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?nnThis 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.nnThus, our material shall range from seventeenth-century dance and theater to contemporary dance, film and literature.
Same as: TAPS 162H

DANCE 162L. Latin/x America in Motion: An Introduction to Dance Studies. 3-4 Units.

This course introduces students to the field of Dance Studies by examining the histories of Latin American and Caribbean dances and their relationship to developing notions of race and nation in the Americas. We will study the historical emergence and transformation of ¿indigeneity,¿ ¿blackness,¿ ¿whiteness,¿ and ¿Latin/@/x¿ and consider how dance practices interacted with these identifications. No prior experience with Dance or Latin America and the Caribbean necessary.
Same as: CHILATST 162, CSRE 162D, TAPS 162L, TAPS 262L

DANCE 162V. Advanced Research in Black Performing Arts. 1 Unit.

What is the history of Committee for Black Performing Arts (CBPA)? How did it come into being and how do we carry/re-member the legacy forward and into the future? In this course students will engage in the research and archiving process as we dig into the history of CBPA on the eve of its 50th anniversary. Activities will include, digitizing and cataloguing film,video and documents,conducting interviews with former students and professors of CBPA, and guest lecturers with professional archivists.
Same as: CSRE 162V

DANCE 190. Special Research. 1-5 Unit.

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

DANCE 191. Independent Research. 1-18 Unit.

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

DANCE 290. Special Research. 1-18 Unit.

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