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  • TAPS 1280O: New Works/World Traditions

    1.00 Credits
    Brown University

    From research to performance, develops new dance theater pieces that are rooted in Mande dance and American dance. Includes study with Mande, American, and European artists in building a body of repertory for the concert stage. May be repeated for credit. By audition. S/NC.
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  • TAPS 1280T: Contemporary Mande Performance

    0.00 - 1.00 Credits
    Brown University

    This course examines the influences of contemporary society upon traditional Mande Performance. Equal emphasis will be given to the theory and practice of embodied performance as it responds to selected music traditions, oral literatures, and aesthetic traditions. Films, readings, guest lectures and collaborative research projects will help to facilitate a deeper understanding of contemporary Mande society and its artistic production. Students MUST register for a conference and a lecture section. Enrollment limited to 150.
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  • TAPS 1280V: Theatre and Conquest in the Americas, from Cortes to NAFTA

    1.00 Credits
    Brown University

    Explores the intimate relationship between theatre and conquest in the Americans as contained in missionary accounts, plays, performances and visual art from Cortés arrival to the present. Students will analyze plays and performances that stage the Spanish Conquest, consider the theatrical procedures of the conquest and examine theatrical representation as a methodology of conquest in the Americas.
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  • TAPS 1280Y: Issues in Performance Studies

    1.00 Credits
    Brown University

    Introduces students to a wide range of performance practices. Each week a different genre or category of performance is discussed. Instead of following a linear trajectory of development, this course embraces wide regional, political and historical instances of performance to provide a global lexicon of aesthetic practice. Audio-visual media are extensively used throughout the course. Students are required to think critically about the relation between text, technology and the body by paying attention to the demands performance places on us as participants, spectators, scholars and commentators. Questions about how scholarship can enrich artistic practice are also explored.
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  • TAPS 1281A: Director/Designer Collaborative Studio

    1.00 Credits
    Brown University

    Students will explore the relationship between director and designer within the production process. The main objective is to improve collaboration and production output by learning the language, tools, and skills involved in each area of discipline so as to enhance creative output. Enrollment limited to 17 students.
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  • TAPS 1281B: Postdramatic Theatre (and Beyond)

    1.00 Credits
    Brown University

    This course offers a close look at avant-garde theatre practice in the German speaking countries since the 1990s and will introduce current tendencies in theorizing performance as that theory relates to the practice. Starting from the notion of "Postdramatic Theatre" (H.T. Lehmann), we will discuss the politics of (re-)presentation and spectatorship, analyzing as well as experimenting with their implications for performance, for writing for performance, and for writing about performance. (In English)
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  • TAPS 1281C: Memory Plays: Theatricality and Time

    1.00 Credits
    Brown University

    This course will read philosophy and critical theory about memory and time beside dramatic works and performance art that take up the topic of history, repetition, and temporality in live art. Readings will be selected from Sophocles, Aristotle, Shakespeare, Noh, Freud, Benjamin, Bergson, Brecht, Muller, Stein, Duras, Homi Bhabha, Paula Vogel, Suzan-Lori Parks, W. G. Sebald, Gilles Deleuze, Thomas King, Philip Deloria, Coco Fusco, Diana Taylor, Charles Ludlam, Teching Hsieh, Wooster Group, Spiderwoman Theatre, Ubu and the Truth Commission, Errol Morris, Robin Soans, and Erik Ehn to ask about time, memory, history, act, Mneme, anamnesis, recognition, and "reconciliation."
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  • TAPS 1281J: Farce

    1.00 Credits
    Brown University

    This is a physical acting class exploring farce and comedic improvisation in high and low art and performance. The class will involve an investigation of the work of Moliere and other playwrights inspired by Commedia dell'Arte, classical and contemporary. We will examine texts, excavate comedy, explore extension of gesture and techniquest of exaggeration and improvisation.
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  • TAPS 1281K: New Media Theory and Composition: Performing With Media

    1.00 Credits
    Brown University

    This studio course is for choreographers, dancers, directors, film-makers, performance artists, designers or anyone interested in the collision between New Media (primarily projection and sound environments) and theatrical performance (e.g. dance & theater). Through the creation of new works we will explore practical issues, compositional strategies, and aesthetic aspects of hybrid performance. Beginning with a directed collaborative project, students will then create independent multimedia performance works. Though some instruction in media applications will be offered, this is primarily a class for students wishing to explore aesthetic and performative issues rather than in-depth study of technology. S/NC only.
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  • TAPS 1281L: Critical/Performance Ethnography

    1.00 Credits
    Brown University

    This course introduces students to key theories and methods of critical/performance ethnography. Because critical ethnography concerns the rhetorical, ethical, and political effects of what ethnographers do, performance is a fundamental dynamic in this seminar. We will explore performance as theory, method, event, and everyday occurrence. We will examine the interpenetrating relationships among performance, ethnography, economy, and culture. Since culture is made visible to us through its representations, e.g., its structures, dramas, symbols, metaphors, habits, everyday practices, landscapes, language patterns, etc., performance becomes a primary point of entry and inquiry where we may be/act, see/hear, feel/sense, and think/evaluate within an Other world and our own. The aim of this seminar then is to come to understand what is at stake in the practice of gathering and telling stories - the core of the ethnographer's trade.
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