TAPS 10100. Drama: Embodiment & Transformation
Section 01 David New TR Noon-1:20pm BARS
Section 02 David New TR 1:30-2:50pm BARS
This course meets the general education requirement in the dramatic, musical, and visual arts. Students examine the performance and the aesthetics of two dramatic works in contrasting styles but with unifying themes. The goal of the course is to develop in the students an appreciation and understanding of a variety of techniques and of the processes by which they are theatrically realized. Rather than focus on the dramatic text itself, this course concentrates on the piece in performance, including the impact of cultural context on interpretation. To achieve this, students are required to act, direct, and design during the course. ATTENDANCE AT THE FIRST CLASS SESSION IS MANDATORY.
TAPS 10200 Acting Fundamentals
Section 01 Devon De Mayo TR 10:30-11:50am BARS
Course meets the General Education Requirement in the Dramatic, Musical, and Visual Arts. Prior theater or acting training not required. This course introduces fundamental concepts of performance in the theater with emphasis on the development of creative faculties and techniques of observation, as well as vocal and physical interpretation. Concepts are introduced through directed reading, improvisation, and scene study. ATTENDANCE AT THE FIRST CLASS SESSION IS MANDATORY.
TAPS 10300. Text and Performance.
Section 01 Devon De Mayo M Noon-2:50pm LC-701
Section 02 Seth Bockley TR Noon- 1:20pm LC-603
Course meets the General Education Requirement in the Dramatic, Musical, and Visual Arts. Many contemporary plays purposely eschew traditional forms of realistic staging, yet most contemporary theater makers are only trained to execute traditional, realistic scenes. This course is a reading of several plays and essays to learn to look at a play with an adaptable, creative mind. We develop tools that draw from contemporary theorists and non-realistic theorists of the past. The goal is to provide students with a wide theatrical vocabulary with which to approach these contemporary plays with ideas that they may not have witnessed before. ATTENDANCE AT THE FIRST CLASS SESSION IS MANDATORY.
TAPS 15500/ CRWR 27102. Beginning Screenwriting
Section 01 John Petrakis T 3:30pm- 6:20pm LC-603
This course introduces the basic elements of a literate screenplay, including format, exposition, characterization, dialog, voice-over, adaptation, and the vagaries of the three-act structure. Weekly meetings include a brief lecture period, screenings of scenes from selected films, extended discussion, and assorted readings of class assignments. Because this is primarily a writing class, students write a four- to five-page weekly assignment related to the script topic of the week. ATTENDANCE AT FIRST CLASS SESSION IS MANDATORY.
TAPS 18600. Introduction to Puppetry.
Section 01 Jessica Wardell W Noon-2:50pm LC-501
In this course we will explore the varied performance types of puppetry. While there will be readings, class discussions, and lectures focusing on the history, culture, theory and literature of puppetry. This is primarily a production and performance-based course, and as such we will focus on creating puppets and short performance pieces. Previous performance experience is not necessary. ATTENDANCE AT FIRST CLASS SESSION IS MANDATORY.
TAPS 20700. Dramaturgy and Dramatic Criticism.
Section 01 Derek Matson W Noon – 2:50pm
This course is an orientation and practicum in contemporary dramaturgy. After surveying Enlightenment treatises that occasioned Western dramaturgical practices, students will critically engage present-day writings that consider the objectives and ultimate raisons d’être for the production dramaturg. Students then undertake dramaturgical research, exploring different methodologies and creative mind-sets for four representative performance genres: period plays; new plays; operas or musicals; and installations or performance art. Special attention will be given to cultivating skills for providing constructive feedback and practicing dramaturgy as an artistic collaborator and fellow creator. The class culminates in the design and compilation of a sourcebook for actors, directors, and designers, followed by a dramaturgical presentation intended for a professional rehearsal room. ATTENDANCE AT FIRST CLASS SESSION IS MANDATORY.
TAPS 21600. Acting Workshop
Section 01 Conor Woods M Noon-2:50pm LC- 501
This advanced acting course will prep you for the professional industry. The classes are based on the Meisner Technique and the Black Box Acting Studio Method. You will work on technique, auditions and learn to consistently bring your full self to the table. ATTENDANCE AT FIRST CLASS SESSION IS MANDATORY. CONSENT ONLY via REQUEST FORM.
TAPS 22100. Solo Performance
Section 01 Vanessa Stalling M 3-5:50pm BARS
Prior solo work not required. Students will immerse themselves in the theatrical art of solo performance and develop their own solo pieces through in-class and take-home assignments. We will explore the art form as text that is both written and embodied through live performance. Students will discover that “solo performance” is a broad descriptor and includes storytelling, performance art, monologue, character-based work, and stand-up comedy. The classroom will become our laboratory where students will develop, experiment, and demonstrate a proficiency in diverse performance skills, including the following: the generation of storytelling moments through physicality, the innovative use of objects and images as storytelling devices, the ability to explore various vocal ranges, and the ability to empathize and therefore step into the shoes of another. These skills will be developed through individual and collaborative group work. When possible, students will attend live solo performances in the city of Chicago. Assignments will include selected readings, written responses, and the generation of an original solo performance that each student will stage at the culmination of the course. ATTENDANCE AT FIRST CLASS SESSION IS MANDATORY.
TAPS 22300 Performance Art Installation: The Dreamer and the Dream
Section 01 Pamela Pascoe T 3:00pm-5:50pm BARS
In this course we will explore the relations between dreaming and waking life using a broad interdisciplinary approach. Our point of departure will be psychological, cultural, and religious understandings of dreams. On the basis of the readings and the skills and backgrounds of participants, the class will develop a “performance installation” around the liminal spaces of dream and wakefulness. Readings will include literary texts by Apuleius, Calderon, Shakespeare, Schnitzler, and Neil Gaimen and theoretical texts by Freud, Jung, Klein, and Winnicott. ATTENDANCE AT FIRST CLASS SESSION IS MANDATORY.
TAPS 22600/32600. Chance in Performance
Section 01 Annie Dorsen TR 10:30-11:50am LC- 501
The course will cover the historical, theoretical and practical issues surrounding the use of chance in artistic production, with an emphasis on how these techniques have been used in live performance. We begin with the historical avant-garde, particularly Dada and Duchamp, continue with mid-century experiments by Cage/Cunningham and Fluxus artists, and finish with contemporary work like “No Dice” of Nature Theatre of Oklahoma and “Algorithmic Noir” by Eve Sussman. By creating performance projects using, or responding to, the techniques studied, students will have an opportunity to develop their own critical and practice-based point of view. ATTENDANCE AT FIRST CLASS SESSION IS MANDATORY.
TAPS 23000. Introduction to Directing
Section 01 Shade Murray T 3-5:50pm LC-501
This course employs a practice in the fundamental theory of play direction and the role of the director in collaboration with the development of textual analysis. By examining five diversely different texts and using the director supported play analysis, Backwards and Forwards, students will begin developing a method of directing for the stage in support of the written text. In alternating weeks, students will implement textual analysis in building an understanding of directorial concept, theme, imagery and staging through rehearsal and in-class presentations of three-minute excerpts from the play analysis the previous week. The class will culminate with a final five-minute scene combining the tools of direction with a method of analysis devised over the ten-week course. ATTENDANCE AT FIRST CLASS SESSION IS MANDATORY.
TAPS 23400/ ARTV 10300/ CMST 10300 Visual Language: On Time and Space
Section 01 Pope L. William TuTh 1:30-3:20pm LC- 802
Section 02 Catherine Sullivan TH 9:30am-12:20pm LC-003
Section 03 Catherine Sullivan TH 1:30pm- 4:20pm LC- 003
Through studio work and critical discussion on four-dimensional form, this course is designed to reveal the conventions of the moving image, performance, and/or the production of digital-based media. Basic formal elements and principles of art are presented, but also put into practice to reveal perennial issues in a visual field. Form is studied as a means to communicate content. Topics as varied as but not limited to narrative, mechanical reproduction, verisimilitude, historical tableaux, time and memory, the body politic, and the role of the author can be illuminated through these primary investigations. Some sections focus solely on performance; others incorporate moving image technology. Please check the time schedule for details. Visits to museums and other fieldwork required, as is participation in studio exercises and group critiques. Students must attend class for the full first week in order to confirm enrollment. Pink slip/wait list requests are due several weeks before the quarter begins. Sign up for the wait list at dova.uchicago.edu/content/wait-list-core-courses-0. Note(s): ARTV 10100, 10200, and 10300 may be taken in sequence or individually. This course meets the general education requirement in the dramatic, musical, and visual arts. Previous experience in media-based studio courses not accepted as a substitute for this course.
TAPS 23900. Playwriting: Sketch to Play
Section 01 Evan Linder M 3-5:50pm LC-701
This course follows a story from outline to sketch to short play. Using improvisation with their fellow classmates, writers will create sketches that will be the foundation for a short play. These improvisations will help each writer learn more about the characters they are writing, helping a stock character in a sketch grow to a fully dimensional character for their short play. Classes will include roundtable discussions and active improvisation with their classmates. In addition to the weekly assignments, students write three complete sketches and one short play that will receive a reading by their classmates. ATTENDANCE AT THE FIRST CLASS IS MANDATORY.
TAPS 24900 Performance Lab: Walkabout Theater
Section 01 Thom Pasculli Th 3-5:50pm LC- 501
Working with Walkabout Theater Company this course commits to developing a fully realized performance piece within the ten weeks of the quarter. Immersive in intent and demand, writing and performance skills will be developed by participants for participants. ATTENDANCE AT THE FIRST CLASS SESSION IS MANDATORY.
TAPS 26400/36400 / GRMN 26400/36401 Post -Dramatic Theater
Section 01 David J. Levin, Seth Bockley Th 3-5:50pm LC-701
This class sets out to explore the gamut of contemporary experimental theater, encompassing its varied theories and practices. Using Hans-Thies Lehmann’s path-breaking study *Postdramatic Theatre* as an ongoing point of reference, we consider a diverse array of practices from an eclectic group of artists spanning a broad range of eras and theatrical cultures (e.g., Annie Dorsen, Elevator Repair Service, Forced Entertainment, Richard Foreman, Heiner Müller, Theater Oobleck, SheShePop, Robert Wilson) in a format that encompasses seminar-style discussion and laboratory-style practical experimentation. Team-taught by Seth Bockley (Chicago-based director) and David Levin (Chair of TAPS). ATTENDANCE AT THE FIRST CLASS IS MANDATORY.
TAPS 26500/36500 The Contemporary Sublime
Section 01 Annie Dorsen W 3-5:50pm LC-501
This class uses Annie Dorsen's upcoming performance project “The Great Outdoors” as a frame within which to explore contemporary notions of the sublime as both an aesthetic and a political imaginary. Our readings include a survey of the classic texts (Longinus, Burke, Kant) as well as modern and contemporary writers (Lyotard, Nye, Costa) as a way into formulating hypotheses about the position of the sublime in our hyper-linked and environmentally fragile era. Practice-based experiments and exercises will respond to the readings, offering an opportunity to test ideas against their applications. ATTENDANCE AT THE FIRST CLASS IS MANDATORY.
TAPS 27800. Story through Music and Sound
Section 01 Rob Milburn & Michael Bodeen M 3-5:50pm LC- 501
M 3:30-5:50pm LC- 003
This course will explore ways in which music and sound can be used to tell and support a story in the theatre. We will examine how in the simplest moment to the more layered and complex, music and sound are used to create time, place or emotional context. We will analyze the connections of plot, dialogue, music and sound in the theatre. We will also be learning the basics of Pro Tools and sound system design enabling us to create our own audio productions interacting with live performance. ATTENDANCE AT THE FIRST CLASS SESSION IS MANDATORY.
TAPS 28402 / ENGL 10950 Approaches to Theatre I: Ancient to Renaissance
Section 01 John Muse TuTh 12:00pm-1:20pm
A survey of key concepts and trends in Western and non-Western theater from the ancient Greeks through the Renaissance, the course offers its students tools to understand and interpret dramatic literature and theatrical performance. We will read plays and performances closely, taking into account form, character, plot, and genre, but also staging, acting, spectatorship, and historical conventions. In the process we will ask how various agents—playwrights, directors, performers, and audiences—generate plays and give them meaning, and students will become agents themselves by devising and performing scenes as a parallel mode of interpretation. No experience making theater required.
TAPS 28406 / ENGL 16600 / FNDL 21404 Shakespeare-2: Tragedies/Romances
Section 01 Timothy Harrison TuTh 1:30-2:50pm
This course explores some of the major plays in the genres of tragedy and romance in the latter half of Shakespeare’s career. After having examined how Shakespeare develops and deepens the conventions of tragedy in Hamlet, Othello, King Lear, and Antony and Cleopatra, we will turn our attention to how he complicates and even subverts these conventions in three romances: Cymbeline, The Winter’s Tale, and The Tempest. Throughout, we will treat the plays as literary texts, performance prompts, and historical documents. Section attendance is required.
TAPS 28444 / ARTV 10100 Visual Language: On Images
Section 01 Lauren Beck MW 1:30-3:20pm LC-401
Section 02 Nicole Mauser TuTh 1:30-3:20pm LC-401
Section 03 Carol Jackson MW 10:30am -12:20pm LC-108
Through studio work and critical discussions on 2D form, this course is designed to reveal the conventions of images and image-making. Basic formal elements and principles of art are presented, but they are also put into practice to reveal perennial issues in a visual field. Form is studied as a means to communicate content. Topics as varied as, but not limited to, illusion, analogy, metaphor, time and memory, nature and culture, abstraction, the role of the author, and universal systems can be illuminated through these primary investigations. Visits to museums and other fieldwork required, as is participation in studio exercises and group critiques. Students must attend class for the full first week to confirm enrollment. Pink slip/wait list requests are due several weeks before the quarter begins. Sign up for the wait list at dova.uchicago.edu/content/wait-list-core-courses-0. Note(s): ARTV 10100, 10200, and 10300 may be taken in sequence or individually. This course meets the general education requirement in the dramatic, musical, and visual arts. Previous experience in media-based studio courses not accepted as a substitute for this course. First week attendance required. PINK SLIP/WAITLIST REQUESTS MUST BE RECEIVED BY 12/18/2016 at this link: http://dova.uchicago.edu/content/wait-list-core-courses-0
TAPS 28455/ ARTV 10200 Visual Language: On Objects
Section 01 Carol Jackson MW 1:30-3:20pm LC-108
Through studio work and critical discussions on 3D form, this course is intended to reveal the conventions of sculpture while investigating its modes of production. Basic formal elements and principles of art are presented, but also put into practice to reveal perennial issues in a visual field. Form is studied as a means to communicate content. Topics as varied as, but not limited to, platonic form, analogy, metaphor, verisimilitude, abstraction, nature and culture, and the body politic can be illuminated through these primary investigations. Visits to museums and other fieldwork required, as is participation in studio exercises and group critiques. Students must attend class for the full first week to confirm enrollment. Pink slip/wait list requests are due several weeks before the quarter begins. Sign up for the wait list at dova.uchicago.edu/content/wait-list-core-courses-0. Note(s): ARTV 10100, 10200, and 10300 may be taken in sequence or individually. This course meets the general education requirement in the dramatic, musical, and visual arts. Previous experience in media-based studio courses not accepted as a substitute for this course.
TAPS 28469/ EALC 24333/ 34333 Actors and Playwrights in Chinese Theater
Section 01 Judith Zeitlin MW 3-4:20pm TBA
Before there were playwrights, there were actors. In the Chinese case, representations of actors found in tombs or paintings (10th-11th c.) predate any extant plays; but by the 13th century, playwrights like Guan Hanqing were already producing literary masterpieces with courtesan-actresses starring in big public urban theaters. With each subsequent era and dramatic genre, the algorithm governing the relative importance of actors and playwrights shifts. This course will examine the development of Chinese theater up to the present day through a focus on the changing dynamics between actors and playwrights, troupes and patrons, public and private theatrical spaces. Thematic clusters to be explored include 1) dramatic character/role type/ actor/ star; 2) cross-dressing/gender/ sexuality; 4) text/ performance/visual images; and 5) plays within plays. We will read works such as The Injustice to Dou E (14th c.), The Peony Pavilion (1598), The Peach Blossom Fan (1699), Guan Hanqing (1958), and Secret Love in Peach Blossom Land (1986). Students may have the option of doing a creative final project in lieu of a final paper. All texts to be read in English translation, but students with Chinese are encouraged to read materials in the original.
No prereq, but previous courses on China or on theater would be helpful.
TAPS 28479/38479 / SPAN 29117/39117 / LACS 29117/39117 Theater and Performance in Latin America
Section 01 Danielle Roper MW 1:30-2:30pm Wieboldt Hall 207
This course is an introduction to theatre, performance, and visual art in Latin America and the Caribbean. We will examine the intersection of performance and social life by looking at performance practices in key historical moments in Latin America and the Caribbean. We ask: how have embodied practice, theatre and visual art been used to negotiate particular moments in Latin American history? We will study performances during independence, revolution, dictatorships, processes of democratization, truth and reconciliation, as well as the rise of neoliberalism. In our investigation, we will pay close attention to how ideologies of race, gender, and sexuality are articulated and disseminated within these performances at critical historical junctures. Our corpus may include blackface performance traditions in the Caribbean, indigenous performance, queer performance and we will look closely at the artistic works of Coco Fusco, Neo Bustamante, Las Yeguas del Apocalipsis, Yuyachkani, Griselda Gámbaro, and others. We will also read key theoretical work in Performance Studies including the work Joseph Roach, Richard Schechner, Diana Taylor, Jill Lane, and others.
TAPS 28495 / EALC 24810/34810 EALC 34895 Literature and Performance in Medieval Japan
Section 01 Asthon Lazarus TuTh 3-4:20pm TBA
This course acquaints students with some of the major genres of medieval Japanese literature and performance, including setsuwa (explanatory tales), sarugaku (“monkey music”) and dengaku (“field music”), imayō (popular songs), gunki monogatari (warrior tales), and the noh and kyōgen theaters. We will explore the religious, social, and political contexts from which these genres emerge, as well as the rich and intricate ways in which performance and literature overlap throughout the medieval period. Specific topics of interest include the significance of “medievality” in conceptions of Japanese culture, the shifting relationship between elite and commoner culture, the emergence of a “national” culture, and the role of women authors and performers. We will read primary texts in translation, examine visual materials, and watch and listen to recordings of contemporary performances. Additionally, we will read relevant secondary scholarship in order to broaden our understanding of both the medieval texts themselves and their reception over time and space. No Japanese language ability is necessary, although students who have taken Japanese literature or culture courses will be particularly well prepared.
28500-29600. Advanced Topics in Theater. PQ: Independent Study for those with advanced experience in theater. These courses are designed for students wishing to pursue self-motivated study in a specific field of theater/performance. Intensive study and reading is expected. Faculty advisor required. Completed forms to be submitted to the TAPS office by the end of first week of quarter of enrollment.
TAPS 28500. Advanced Study: Acting.
TAPS 28600. Advanced Study: Directing.
TAPS 28700. Advanced Study: Playwriting.
TAPS 28800. Advanced Study: Scenic Design.
TAPS 28810/ 38810 / CMST 28810 / ENGL 21118. Advanced Study: Games & Performance. This course is a working group to develop and implement a large scale alternate reality game (ARG) to be launched in 2017. Students in this course, thus, will not only be learning how to design a game but also contributing directly to the research and construction of this large-scale project that will develop capacities linked to collaboration, leadership, and twenty-first century literacies. In particular, we are interested in discovering how interactive and participatory learning methods might help University students discuss and better understand complicated issues of inclusivity, diversity, and safety. REQUEST FORM
TAPS 28900. Advanced Study: Costume Design.
TAPS 29000. Advanced Study: Lighting Design.
TAPS 29100. Advanced Study: Choreography.
TAPS 29200. Advanced Study: Dance.
TAPS 29300. Advanced Study: General.
TAPS 29400. Advanced Study: Stage Management.
TAPS 29500/ 39500. Advanced Study: Directing Study.
TAPS 29700. Advanced Study: Production Management.
TAPS 29800. Theater and Performance Studies BA Colloquium.
Section 01 Leslie Danzig F 1:30-4:20pm LC- 501
TAPS 32312 / ENGL 32312. Virtual Theaters
Section 01 John Muse Tu 3:00-5:50pm Classics-110
This course probes the nature and limits of theater by exploring a range of theatrical texts whose relation to performance is either partially or fully virtual. Like the works we will read, the course transgresses disciplinary, generic, and temporal boundaries, bringing together from various centuries philosophical dialogues (Plato), closet dramas, novel chapters in dramatic form (Melville’s Moby-Dick, Joyce’s Ulysses), radio drama, nonsense drama, and new media forms that test conventional definitions of theatrical performance: twitter theater, digital theater, algorithmic theater, and transmedia games. Interested 3rd and 4th year undergraduates allowed by instructor consent.
TAPS 59306 / ENGL 59306 / CMST 62201. Performance Theory: Action, Affect, Archive
Section 01 Loren A Kruger W 1:30-4:20pm Cobb Hall 425
This PhD seminar offers a critical introduction to performance theory and its applications not only to theatre but also to performance on film and, more controversially, to ‘performativity’ to fictional and other texts that have nothing directly to do with performance. The seminar will be organized around three key conceptual clusters: a) action, acting, and other forms of production or play, in theories from the classical (Aristotle) through the modern (Hegel, Brecht, Artaud), to the contemporary (Richard Schechner, Philip Zarilli, and others) b) affect, and its intersections with emotion and feeling: in addition to the impact of contemporary theories of affect and emotion (Massumi, Sedgwick) on performance theory (Erin Hurley), we will read earlier modern texts that anticipate recent debates (Diderot, Freud) and their current interpreters (Joseph Roach, Tim Murray and others), as well as those writing about the absence of affect and the performance of failure (Sara Bailes and others) c) archives and related institutions, practices and theories of recording performance, including the formation of audiences (Susan Bennett and with evaluating print and other media yielding evidence of ephemeral acts, including the work of theorists of memory (Pierre Nora) and remains (Rebecca Schneider), theatre historians (Rose Bank, Jody Enders, Tracy Davis and others) as well as current theorists on the tensions between the archive and the repertoire