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The Department of Theatre Arts and Performance Studies is the intellectual and artistic center at Brown for faculty and students interested in the aesthetic, historical, literary, practical and theoretical explorations of performance in global perspective – theatre, dance, speech, performance art, and performative "roles" in everyday life. The Department's distinguished faculty consists of leading scholars and artists who are at the forefront in researching and teaching new and innovative methodologies produced by the intersection of the study of craft and the study of history and theory.
Every season, the Department mounts both theatre and dance productions along with a multitude of special events. Students are active in every aspect of production - learning the rigors of craft through participation in production as well as through class work in acting and directing, dance, playwriting, movement, history, theory, design, technical theatre, intermedial performance, and performance ethnography.
For additional information, please visit the department's website: http://www.brown.edu/academics/theatre-arts-performance-studies/
TAPS 0014. Teaching Musical Theatre.
A practical study in the methods of creating a full-scale production of a musical with elementary age students. Students enrolled in this course will get the opportunity to work hands on with teachers and students in the Providence Public School system (two days per week), culminating in a performance of a musical in a professional Providence theatre. S/NC only. Enrollment limited to 8; written permission required.
TAPS 0015. Musical Theatre Songwriting.
A practical study in the creation of songs for the musical theatre. Students enrolled in this course will develop the skills necessary to write the music and lyrics for pieces intended for use in dramatic works. American and international musical theatre writers from the last eighty years will be studied and analyzed. Those enrolled may choose a focus of composition, lyric writing, or both. They will present and perform (or arrange performances of) new material (and rewritten material) each week to be examined by the class, culminating in a cabaret of new works. While beginners are encouraged to join, this is not a music theory course, and composers are expected to have a basic knowledge of theory (or self-taught skills).
TAPS 0020. The Interview: Interpretation and Practice.
Provides an introduction to the art and methodology of the Interview through participation and observation. The class will examine and "play" with published texts as well as mock interviews and exercises in order to help students develop confidence as participants in the form and in-depth understanding of its rhetorical strategies.
TAPS 0030. Introduction to Acting and Directing.
Explores basic acting/directing concepts from a variety of perspectives including the use of the actor's imagination/impulsivity in the creation of truthful, dramatic performance; the body, as a way of knowing and communicating knowledge; and the voice, as a means of discovering and revealing emotion/thought. There is a mandatory tech requirement and some evening hours are required. Please go to the TAPS website for specifics on admission and the technical requirement (http://brown.edu/go/TAPS0030). Enrollment limited to 18 first year students. Instructor permission required. No permission will be given during pre-registration.
|(C. Crawford)
|(C. Crawford)
|(C. Crawford)
|(C. Crawford)
TAPS 0060. Introduction to Playwriting Workshop.
A workshop for students with little or no previous playwriting experience: practicum and theory in various playwriting styles and techniques. Weekly writing assignments and analyses, and development of a major play. Playwriting courses are also available in the Department of English. Instructor permission required.
TAPS 0080. Performing Legality, Representations of Law, and Anxious Courtrooms.
This course introduces core issues in the practices and cultural representations of the Anglo-American legal system via the field of Performance Studies. We will explore clusters of literature, theatre and film; read legal proceedings; examine claims to sovereignty (particularly in terms of native land title); trace determinations of personhood and engagements with race and gender; and consider the status of evidence. We will be asking ourselves how "performance," "theatricality,", "the law," and legal findings of "truth" are categories that bleed into each other. Do we make the legal system anxious by admitting that these might not be so very different?
TAPS 0085. Uncomfortable Media (MCM 0901H).
Interested students must register for MCM 0901H.
TAPS 0100. Playwriting I.
A workshop for students who have little or no previous experience in writing plays. Students will be introduced to a variety of technical and imaginative considerations through exercises, readings and discussions. Course is not open to those who have taken Advanced Playwriting (TAPS 1500, formerly LITR 1010C and TSDA 1500). Enrollment is limited to 14 undergraduates per section. A limited number of spaces are reserved for incoming and transfer students. Instructor permission required. S/NC. WRIT
|(D. Taha)
|(D. Taha)
TAPS 0150. Screenwriting I (LITR 0110E).
Interested students must register for LITR 0110E.
TAPS 0200. Playwriting II.
Emphasis is placed on dramatic conventions, such as monologues, dialogue, mise-en-scene and time. Writing includes frequent exercises in various theatrical approaches. This course is limited to undergraduate students. Instructor permission required. Prerequisite: TAPS 0100 (formerly LITR 0110C and TSDA 0100). Enrollment is limited to 14 undergraduates per section. Instructor permission required. S/NC. WRIT
|(R. Burkhardt)
|(R. Burkhardt)
TAPS 0220. Persuasive Communication.
Provides an introduction to public speaking, and helps students develop confidence in public speaking through the presentation of persuasive speeches. Primarily for seniors. Limited to 18. Instructor's permission required. No permission will be given during pre-registration; interested students should sign up well in advance on the TAPS 0220 waitlist (application form is at http://brown.edu/go/TAPS0220) and attend the first day of class. Attendance is mandatory. The application/waitlist process does not apply to students registering for the Summer term through the Office of Continuing Education.
|(B. Tannenbaum)
|(B. Tannenbaum)
|(B. Tannenbaum)
|(B. Tannenbaum)
|(R. Hartigan)
|(B. Tannenbaum)
|(B. Tannenbaum)
|(B. Tannenbaum)
|(B. Tannenbaum)
|(D. Ruppel)
TAPS 0230. Acting.
Focus on elements of dramatic analysis and interpretation as applied to the art of acting, and, by extension, directing. Monologues, scene study, and improvisation are basis for comment on individual problems. Reading of dramatic texts and theory. Substantial scene rehearsal commitment necessary. Attendance mandatory. Not open to first-year students. Enrollment limited to 20. Instructor permission required. S/NC
|(K. Moore)
|(K. Moore)
|(A. Platt)
|(A. Platt)
|(K. Moore)
|(K. Moore)
TAPS 0250. Introduction to Technical Theatre and Production.
This course is an introduction to the basic principles of stagecraft, lighting and sound technology and the different elements of theatrical design. Instructor permission required. Enrollment limited to 15.
|(T. Hett)
|(T. Hett)
TAPS 0260. Stage Lighting.
This course is an introduction to stage lighting. Enrollment limited to 20.
|(T. Hett)
TAPS 0270. Clothing and the Human Experience: Costume History.
A survey of the history and concepts of clothing with a strong emphasis on the art, artists, and political-social movements influencing each major period. Aims to give the theatre designer an increased knowledge of research approaches and resources. The application of historical materials to stage-worthy costumes are discussed. Lab required.
TAPS 0280. Costume Design and the Theatre.
This studio course is an introduction to the various elements of costume design in all performance forms and media. The course is structured around an exploration of thinking about performance through design, then specifically thinking about theatrical design through costume. Enrollment limited to 10.
TAPS 0310. Beginning Modern Dance.
Introduction to the art of movement. Focuses on building a common vocabulary based on ballet, vernacular forms, improvisation, Laban movement analysis, American modern dance, and the body therapies. Individual work is explored. One and one-half hours of class, four days a week. Enrollment limited to 40. S/NC.
|(J. Strandberg)
TAPS 0320. Dance Composition.
Focuses on building the individual's creative voice. A movement vocabulary is developed from Western techniques (ballet, American modern dance, Laban/Bartenieff movement analysis, vernacular forms, space-harmony/movement physics, and the body therapies) along with group improvisations and collaboration with artists in other disciplines. Enrollment limited to 40. S/NC.
|(M. Bach-Coulibaly)
TAPS 0330. Mande Dance, Music and Culture.
Examines, by theory and praxis, the techniques and philosophy of dance in Mande culture. Each dance is taught as a highly codified language, with detailed phrasing structures, focus, center, variations of intonation, and qualitative choice. The specific ethnicities are studied in relationship to their music and dance variations. Participants must be physically fit. Attendance at the first class is required. There is an application process for enrollment. Enrollment limited to 100. S/NC
TAPS 0410. Persuasion and Public Controversy.
Examines the role of persuasion in defining controversial public issues and producing social agreements and judgments. Includes units on classical, symbolic, and institutional perspectives on persuasion. The overall goal is to improve our critical consumption of public argumentation. No background in argument is required or assumed. Preference given to first- and second-year students.
TAPS 0500A. Introduction to Dramaturgy.
The class will focus on the practice, theory and history of theatrical dramaturgy. Dramatic action, stage storytelling craft and time design will be examined while also exploring and establishing alternative theories of perception and performance organization. Special attention will be paid to the dramaturg's relationship to the making of new work.
TAPS 0500E. Improvisational Theory and Practice.
Takes a close look at improvisation--an undertheorized, underhistoricized, and yet nonetheless ubiquitous performance concept and modality--in order to better apprehend its vast potential as a practical tool for the creation of performance works and texts (both historical and contemporary) and to uncover its utility as a critical tool for reading and understanding performance of all varieties, including fully-scripted works. Please note: class time will be divided evenly between textual discussion based on theoretical/critical readings and full-bodied practical work inspired by our drawing from key "periods" of intensity in the (as of yet non-existent) history of improvisation. Enrollment limited to 18.
TAPS 0510. Introduction to Shakespeare (ENGL 0310A).
Interested students must register for ENGL 0310A.
TAPS 0800A. 21st Century American Drama.
This course is designed to familiarize students with contemporary American playwriting from 2000-2007. We will explore how these plays and performances reflect our current moment. Playwrights may include Jorge Cortinas, Sara Ruhl, Tony Kushner, Juliana Francis, Young Jean Lee and Carl Hancock Rux. FYS
TAPS 0800B. Asian American Theatre and Performance.
This course examines Asian American Theater and Performance as a genre, and a way to inhabit and interrogate the space between "Asia" and "America" within primarily the United States. Using both play analysis and historical studies, we will look at a spectrum of dramatic traditions, performance practices as well as U.S political and social realities that constitute Asian American theater and performance. We will first locate Asian America within the imperial, economic and cultural histories of U.S.A, and then highlight the transnational and intercultural aspects of its dramatic production. Enrollment limited to 17 first year students. DPLL FYS LILE WRIT
TAPS 0800C. Musical Theatre in Global Perspective.
An engaging study of world cultures, theatrical practices and performance, music and movies, and how they contributed to the American musical. Focus will be placed on Chinese, Japanese, German, and American culture, and students enrolled will be reading both primary and secondary source material. Enrollment limited to 20 first year students. FYS
TAPS 0901N. Body/Gesture/Cinema (MCM 0901N).
Interested students must register for MCM 0901N.
|'To Be Arranged'
TAPS 0930A. The Actor's Instrument: Voice and Speech.
A complete and well-seasoned actor has the ability to perform with specificity and ease, both vocally and physically. Specificity comes from an integration of speech and movement technique. Ease is only possible when a mastery of technical skills reaches the point where the actor can integrate them without loss of spontaneity. The goal of this class is to give the student the fundamental techniques of voice and speech in relation to the body. Prerequisite: TAPS 0230. Enrollment limited to 16. Instructor permission required. S/NC.
Prerequisite does not apply to students registering for the Summer term through the Office of Continuing Education.
|(T. Jones)
TAPS 0930B. The Actor's Instrument: Improvisation.
This course is designed to help students explore the development of relationships in theatrical space without the benefit (or confinement) of a script. By cultivating and developing basic performance skills including spontaneity, self-awareness, creative use of the body and mind, access to the imagination, and collaborativity, this course has applications for actors and other performers interested in all types of performance as well as those interested in improvised performance specifically.
One of the intentions of this course is to generate truthful, creative, and collaborative play, which can lead naturally to material that is funny or humorous as an organic outcome of the moment. However, "comedy" or "improv comedy," which has a different set of intentions altogether, will be strongly discouraged in this course. "Getting laughs," as a goal in and of itself, manufactures unproductive pressure to "be clever" or to "succeed" in ways that are inconsistent with truly creative engagement.
TAPS 0930C. The Actor's Instrument: Stage Movement for Actors and Directors.
Students will be engaged in a process of exploration that centers on the physical relationship of the actor to the physical reality of the stage including sound, props and costumes. Work with a broad spectrum of contemporary and classic movement theories/approaches to constructing performance. Instructor permission required; interested students must come to the first class, fill out an application and participate in a sample class. Accepted students will be notified by the third class meeting. You must show up to every class meeting in order to keep your application active throughout the registration process. Enrollment limited to 18.
|(K. Quinn)
TAPS 0930E. The Actor's Instrument: Clown.
Derived from the teachings of Jacques Lecoq and Philippe Gaulier, this course is physically-based, improvisational, loud and messy. Emphasis is on organic and intuitive response, timing and rhythms inherent in comedy, non-verbal expression, the relationship of the Actor to the Audience, and Play! Enrollment limited to 20. S/NC
TAPS 0930F. Explorations in Clown and Physical Play.
Participating in this course, you will learn how to value and share your own unique ridiculousness by transforming mistakes into opportunities and limitations into creative expression. Based in physical exploration and improvisation, this work will implore you to recognize your relationship to fear, expand your sense of humor, connect to an audience, and play with abandon. Inspired by various kinds of clowns throughout history, you will begin to create your own vocabulary of play that will organically accumulate into solo and group performance pieces.
|(K. Quinn)
TAPS 0960A. Musical Theatre Songwriting.
A practical study in the creation of songs for the musical theatre. Students enrolled in this course will develop the skills necessary to write the music and lyrics for pieces intended for use in dramatic works. American and international musical theatre writers from the last eighty years will be studied and analyzed. Those enrolled may choose a focus of composition, lyric writing, or both. They will present and perform (or arrange performances of) new material (and rewritten material) each week to be examined by the class, culminating in a cabaret of new works. While beginners are encouraged to join, this is not a music theory course, and composers are expected to have a basic knowledge of theory (or self-taught skills).
TAPS 0960B. Musical Theatre Writing Workshop.
A practical study in the creation of new works for the American musical theatre. Students enrolled in this course will learn the craft of musical theatre writing, and will be able to workshop their material for their peers. Musicals from the last eighty years will be studied and analyzed. Those enrolled may choose a focus of composition, lyric writing, playwriting, or any combination thereof. Collaborators are welcome to work together in this class, and those looking for potential collaborators will be paired with other students if they so desire. While amateur composers are encouraged to join, this is not a music theory course, and composers are expected to have a basic knowledge of theory (or self-taught skills).
TAPS 0960C. The History of Musical Theatre.
A study of the history of American Musical Theatre from Tin Pan Alley to today's Broadway musicals. Students enrolled will study primary-source libretti, musical scores and interviews, as well as historical articles and essays on musical theatre and society. Special emphasis will be placed on musicals and their implication in helping to shape and define American social history, including topics such as national identity, race relations, and the treatment of minorities.
TAPS 0970. Bad in a Good Way: The Art of Failure (MCM 0901B).
Interested students must register for MCM 0901B.
TAPS 0971. Digital Art (MCM0750).
Interested students must register for MCM 0750.
TAPS 0980. Black Lavender: Black Gay/Lesbian Plays/Dramatic Constructions in the American Theatre (AFRI 0990).
Interested students must register for AFRI 0990.
TAPS 1000. Intermediate Dance.
Designed to expand the student's knowledge of and proficiency in dance as an art form. Mainly a studio course, but selected readings, papers, critiques, and field trips are important components of the course. Prerequisite: TAPS 0310 or equivalent. Enrollment limited to 40. S/NC.
|(M. Bach-Coulibaly)
TAPS 1010. Performing Brazil: Language, Theater, Culture (POBS 1080).
Interested students must register for POBS 1080.
TAPS 1040. Interpersonal Communication.
This course introduces principles of interpersonal communication by using dyads and small groups. Topics include: the self in interpersonal communication, verbal messages, nonverbal messages, message reception, and interpersonal relationships. Attendance mandatory.
TAPS 1100. Stage Management.
To introduce students to the principles and techniques of modern stage management from script selection to closing. Through the study of various models of stage management (both professional and academic), students will develop an appreciation of the role of the stage manager as the facilitator, mediator and organizer of the production process. Students will apply theory learned in the classroom by stage-managing or assistant stage-managing a TAPS production and/or observing other TAPS and Trinity Rep stage managers during the production process. Enrollment limited to 12.
|(B. Reo)
TAPS 1160. Style and Performance.
For qualified sophomores, juniors, and seniors who offer TAPS 0230 as a prerequisite. Period scene study and monologues are basis for comment on individual progress in acting/directing. Extensive reading of dramatic texts and historic research materials. Work in voice, movement, dialect, and poetic text. Substantial commitment necessary for preparation of class scenes. Attendance mandatory. Prerequisite: TAPS 0230. Limited to 20. Instructor's permission required. No permissions will be given during pre-registration.
TAPS 1210. Solo Performance.
An exploration of the challenges and rewards of performing solo. Students research, write, and perform a one-person show. Other projects may include performance art, stand-up comedy, and monologuing. Substantial time commitment. Attendance mandatory. For advanced students with appropriate background and experience. Submit proposal and resume in the fall, For guidelines and information contact firstname.lastname@example.com. Permission required in advance. Enrollment limited to 20.
|(K. Quinn)
|(K. Quinn)
TAPS 1230. Performance Theory and World Theatre History: Paleolithic to Medieval.
This course offers an introduction to basic texts performance theory and then directs the methodological questions derived from those texts to the study of performance practices in context, exploring paleolithic, ancient, and medieval performance histories in global, cross-cultural perspective. WRIT
|(R. Schneider)
TAPS 1240. Performance Historiography and Theatre History.
This course will provide an introduction to performance history and historiography by concentrating on analysis of dramatic texts, theatrical events, festival performances and "performative" state and religious ceremonies from 1500-1850. We will explore incidents in Asia, the Americas and Europe as related to state consolidation, colonization, incipient nationalism(s), urbanization, cultural negotiation, and the representational practices the enacted. Enrollment limited to 35. WRIT
|(P. Ybarra)
TAPS 1250. Twentieth-Century Western Theatre and Performance.
The study of key figures and movements in 20th-century Western theatre and performance, from approximately 1870 to 2000. We explore naturalism and alternative strategies to realism such as symbolism, futurism, surrealism and constructivism, along with myriad figures in the modern and postmodern "avant-garde." WRIT
|(R. Schneider)
TAPS 1270. Masking, Trancing, Performing, and Spectating in Non-Western and Circumpacific Performance.
An inquiry into specific traditions of performance - ritual, traditional theatre, contemporary theatre, and performed behavior in more or less day-to-day life - that exist or have existed in various (mostly) Asian settings and have been studied and documented by scholars, film-makers, and theatre artists. The emphasis will be on traditions that use masks as means of transforming the identity of the performer and of the world presented in performance. No prior experience in theatrical performance or in the study of Asia or anthropology is assumed. WRIT
|(R. Schneider)
TAPS 1280A. Acting for Camera.
Introduces students to theories of acting for camera to develop the practical skills required for film and television performance. Attention will be paid to the ways in which stage techniques can be adapted for use in media performance. Students will prepare scenes and monologue material written specifically for film and television.
TAPS 1280B. The Creative Ensemble.
Develops skills in acting, improvisation, directing, teaching, and writing. Through research, performance and collaboration, participants explore individual/group talents and creative passions. Ensemble-created final performance project. Prerequisite: TAPS 0230 or equivalent.
TAPS 1280C. Advanced Stage Lighting.
This course focuses on the implementation of lighting techniques learned in the introductory course. Emphasizes work in a studio environment with other threatre designers, implementing CAD and vector works techniques as well as scale models. Course culminates in a full lighting design for a production. Prerequisite: TAPS 0260.
TAPS 1280F. Introduction to Set Design.
A survey of the history and concepts of scenic design with emphasis on the art, artists and the social/political movements influencing the major period. Aims to give the designer a foundation in research approaches. Also to provide an examination of stylistic approaches and innovations in the context of the historical period. Enrollment limited to 10.
|'To Be Arranged'
TAPS 1280H. Modern Asian Performance.
This course studies contemporary Asian performance with a special focus on modernity. Students are encouraged to move beyond a Western historiography toward an understanding of alternative modernities. This course explores most nations in the Asian continent and covers wide theoretical and aesthetic ground; from performances of healing to revolutionary theatre to diasporic utterances. Essentialized and Orientalist notions are problematized. This course aims to familiarize students with different historical instances of Asian performances, while at the same time enabling critical thinking about the relation between theory and practice by paying close attention to the questions of gender, identity, aesthetics and politics.
TAPS 1280J. Introduction to Dramaturgy.
Seminar in the theory and practice of theatrical dramaturgy, with a particular emphasis on new play development in the contemporary American theatre. Examines basic historical theory, contemporary theatrical texts, production dramaturgy, and the role of the dramaturg in the rehearsal and development process.
TAPS 1280L. Modern American Drama.
Modern American Drama is a broad overview of the field, from O'Neill through Kushner and Parks. Particular attention will be paid to the theatrical, social and performance context of the plays under study, although the plays themselves will be the only assigned texts.
TAPS 1280N. New Theories for a Baroque Stage.
This course re-conceptualizes and re-models seventeenth-century "baroque" theatricality through the lenses of Russian formalist theory, phenomenology, (post-)surrealist literature and objects, Oulipian literature of constraints, Deleuzian theory, ontological-hysteric theatre, film, etc. WRIT
TAPS 1280P. Imagining Dance and Dancing Images: Dance in and on Screen.
What happens when a three-dimensional, embodied, ephemeral art form encounters two-dimensional, repeatable space? This course explores intersections of dance and film, television, video, and digital media, looking at the ways that dance transforms and is transformed by these relationships. Throughout the course we will question the interfaces between kinesthetic and visual perception and the ways that dance becomes both the story and the means of telling it on screen. Enrollment limited to 17.
TAPS 1280Q. Hybrid Art (VISA 1800L).
Interested students must register for VISA 1800L.
TAPS 1280S. Libretto Workshop for Musical Theatre.
This class is not only for the aspiring librettist but for any student desiring insight into the craft of book writing for musical theater. The course will cover the basics of storytelling (plot, character development conflict, etc.) but specifically in terms of the musical. It will also detail the fundamentals of lyric writing, musical narrative and basic composition. We will examine three libretti (SWEENEY TODD: the classic horror, LITTLE SHOP of HORRORS, the modern sci-fi and RENT, the contemporary adaptation). There will be lectures, group discussions, talks with guest professionals, and analysis of student assignments. Enrollment limited to 15 sophomores, juniors, and seniors.
|(M. Gardley)
TAPS 1280V. Theatre and Conquest in the Americas, from Cortes to NAFTA.
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.
TAPS 1280Y. Issues in Performance Studies.
Explores myriad ways of thinking, doing and talking about performance using the values, theories and practices of performance studies as a field of study. Students will study a variety of actions and sites as performance, from everyday life, conversion spectacles, surgical procedures, museum installations, dance and tourist shows to ethnological displays, among others. There will be several opportunities for us to visit some of these sites as participant-observers, critics, artists and performers. The objective is not so much to pin down a genre or category of performance as it is to understand performance variously as an analytic and practice, a form of lived history and way of being, and a critical formulation or formation beyond traditional theater practice.
TAPS 1281A. Director/Designer Collaborative Studio.
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.
TAPS 1281C. Memory Plays: Theatricality and Time.
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." WRIT
TAPS 1281J. Farce.
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.
TAPS 1281K. New Media Theory and Composition: Performing With Media.
This studio course is for choreographers, directors, film-makers, performance artists, musicians, designers or anyone interested in the collision between New Media (primarily projection and sound environments) and performance of all kinds. Through the creation of new works we will explore practical issues, compositional strategies, and aesthetic aspects of hybrid performance. Beginning with a series of short studies, students will collaborate to create midterm pieces. Final projects may be collaborative or 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 specific technologies. Enrollment limited to 12.
TAPS 1281M. Introduction to Costume Construction.
An introduction to the study and practice of core costume construction skills. Topics include basic machine, hand sewing and patterning techniques.
TAPS 1281N. Practice: Exploring Contemplative Practice in Creative Process.
An experimental dialogue between Buddhist and Catholic Contemplative Practices as a ground for creating performance works; an interdisciplinary/interfaith/inter-institutional exploration. Students from both Brown and RISD will be participating. Instructor permission is required and will be granted on the basis of a) an interview with one of the teachers (which may be scheduled at the time of the first session), and b) a short statement of goals and intentions (reasons for taking the course) not to exceed one page, due to firstname.lastname@example.com prior to the first session. Enrollment limited to 12.
TAPS 1281O. Acting Outside the Box: Race, Class, Gender and Sexuality in Performance.
Examines the relationship between social and cultural identities and their representations in dramatic literature and performance. Students will be expected to read critical essays and plays, conduct research, and prepare to act in scenes that challenge the actor to confront the specifics of character and situation beyond the Eurocentric ideal. The goal is to strengthen the actor's ability to construct truly meaningful characters by removing any reliance of "type" and/or immediate "identification" with the characters they will portray. Instructor permission required; interested students must come to the first class, fill out an application and participate in a sample class. Accepted students will be notified by the third class meeting. You must show up to every class meeting in order to keep your application active throughout the registration process. Enrollment limited to 18. DPLL
|(K. Moore)
TAPS 1281P. Under One Roof: Interdisciplinary and Intermedial Art.
In this course, students from various arts disciplines will develop interdisciplinary/intermedial projects inspired by the resources and architecture of the Granoff Center for the Creative Arts. They will also study a wide range of historic and contemporary collaborations, providing them with diverse models to emulate - or reject. This is primarily a studio course using the inside and outside of the Granoff Center as a canvas/studio/stage. Lectures, readings, media, guest artists, scholars, and field trips will be included. Instructor override required for registration. Mandatory S/NC.
TAPS 1281Q. Introduction to Dance Studies.
This course introduces students to dance studies by outlining a critical history of the field in close connection to a range of artistic practices from the early twentieth century to the present. How have choreographers and dancers experimented with the traditions, conventions, and forms of dance? Looking at a wide range of choreographers and movements, including Cunningham, Bausch, Rainer and Paxton, we will examine the ways in which dance practices engage with the production of meanings and values while exploring alternative modes of subjectivity, and how these experiments propose new forms of engagement with broad artistic, social, and political fields.
|(N. Solomon)
|(N. Solomon)
TAPS 1281R. mujeres ARRIBA! Feminist Playwrights in Spanish Theater.
How have contemporary women playwrights contributed to socio-political movements in Spain? This seminar introduces students to some of the most celebrated (and often silenced) Spanish women dramatists of the 20th and 21st centuries. We will look at the historical, cultural and political context surrounding selected plays, to understand the dramaturgical, revolutionary and historical significance of each theater text. Identity, gender, sexuality, patriarchal values, feminist, political thought will be central to discussion. The class will be taught in English. The writings are in Spanish so the students should be bilingual or able to read in Spanish.
TAPS 1281S. The Precarious University (HMAN 1970E).
Interested students must register for HMAN 1970E.
TAPS 1281T. Native Americans in the Media: Representation and Self-Representation on Film (ETHN 1890G).
Interested students must register for ETHN 1890G.
TAPS 1281U. Africana Dance in the US.
In this course we will seek to gain an embodied, historico-cultural perspective on Africana dance in the U.S. through reading dance scholarship and also engaging in dance practice. We will consider "vernacular" dances hip-hop and break dancing as well as works by choreographers including Katherine Dunham, Bill T. Jones, Urban Bush Women, and Alvin Ailey. Encountering the early reception and continuing influence of traditional African dance, we will investigate whether African-American dance might embody a narrative or distillation of black bodies' histories in the U.S.
TAPS 1281V. Spectatorship - Moving Bodies Perceiving Bodies.
In this course we will examine the action of perceiving live dance and physical theater. Drawing from perceptual philosophy and psychology, ethnographic studies, affect theory, neuroscience, and critical theory, we will challenge the characterization of spectatorship as a passive affair. Instead, we will consider how social "top-down" and social factors (including ethnicity, cultural habitus, and gender identity) and "bottom-up" and physical factors (such as proximity and athletic or dance training) amalgamate to create our unique perceptual experiences. Special attention will be given to differing articulations of the concept of kinesthetic empathy. Readings include: Sedgwick, Merleau-Ponty, Foucault, Butler, Carlson, and Rancière.
TAPS 1281W. Artists and Scientists as Partners.
This course focuses on current research on and practices in arts and healing, with an emphasis on dance and music for persons with Parkinson's Disease (PD) and Autism (ASD). Includes guest lecturers, readings, field trips, and site placements. Admission to class will be through application in order to balance the course between self-identified artists and scientists and those primarily interested in PD and those primarily interested in ASD. Enrollment limited to 30.
|(J. Strandberg)
|'To Be Arranged'
TAPS 1281Z. Artists and Scientists as Partners: Theory to Practice.
This course focuses on the application of current research in neuroscience, education, narrative medicine, and best practices in the arts for persons with neurological disorders. Through site placements, students will provide arts experiences (primarily dance and music) for persons with Parkinson's Disease (PD) and Autism Spectrum Disorders (ASD). Course also includes guest lecturers, readings, field trips, curriculum development, ethnographic research, and planning of and participation in a convening of artists and scientists engaged in holistic healing
|(J. Strandberg)
|(J. Strandberg)
TAPS 1290. Advanced Costume Design.
Costume design and rendering approaches to various genres of performing arts, including opera, musicals, and dance. Designed for the serious student of theatrical design. Advanced work on rendering emphasizing character, practicality, line, form, and color. Lab required.
TAPS 1300. Advanced Set Design.
The examination of the working relationship between designer and director. An emphasis on the design abilities needed to communicate varied visual approaches. Developing the creative, theatrical vocabulary needed to turn a director's vision into a fully articulated set design. A substantial amount of plays will be read and researched. Drafting and model rendering techniques will be applied. Prerequisite: TAPS 1280F. Instructor approval required prior to registration. Enrollment limited to 10.
TAPS 1310. Advanced Modern Dance.
Designed for dancers who have attained an advanced level in any dance technique. The purpose is to help such dancers come to understand both intellectually and kinesthetically the diversity of one of the few indigenous American art forms: modern dance. Enrollment limited to 40. S/NC.
|(S. Turner)
|(S. Turner)
TAPS 1311K. Hamlet, in Theory (ENGL 1311K).
Interested students must register for ENGL 1311K.
|'To Be Arranged'
TAPS 1320. Choreography.
Designed for those who have had some experience in composition and would like to work, under supervision, on making dances. Emphasizes making full-length dances for small and large groups and demands a sophisticated use of space, dynamics, and music. Further emphasis on viewing and interpreting classic and contemporary works from a choreographic viewpoint. S/NC.
TAPS 1325. Composing Dance: Experiments in Movement and Performance.
This course introduces students to the histories and methodologies; meanings and functions of experimental choreography in specific artistic, social, and political contexts. We examine the ways in which choreographers and dancers have experimented with the traditions and forms of dance, by mapping a series of interdisciplinary gestures in relation to creative and critical fields. The course builds on a series of composition exercises and creative assignments to culminate with the making and showing of a dance performance. No experience of dance is required, but an interest in thinking and experimenting with the roles of dance across art, society, and academia.
TAPS 1330. Dance History: The 20th Century.
An exploration of the major figures and trends in modern dance. While the main focus of the course is on American Dance, attention is given to earlier European and other dance traditions that have contribited to the American dance heritage. May be of particular interest Americanists, art historians, dancers, and theatre majors.
TAPS 1335. Movement Theory: Choreography, Modernity, Subjectivity.
This seminar examines theatrical choreography as a defining art of western modernity. Drawing from the publication of Chorégraphie in 1700––from the Greek khoreia (dancing) and graphein (writing)––as a system of dance notation, the course will follow the transformation of the relation between the score and the event; writing and moving; philosophy and dance from the Baroque period to contemporary experimentations. This course seeks to enable students to apply a diverse set of languages and concepts to the study of dance; to equip them with the critical tools through which to experience, analyze, and write on dance as a culturally meaningful practice.
|(N. Solomon)
TAPS 1340. Dance Styles.
This course focuses on the diverse styles, techniques and movement theories of Modern Dance. The students will practice the techniques and styles and will also study biographical material, view films, and attend live performances when possible. Enrollment limited to 40. S/NC.
|(J. Strandberg)
|(J. Strandberg)
TAPS 1350. Dance Performance and Repertory.
Half course credit each semester. A study of dance repertory through commissioned new works, reconstruction, coaching, rehearsal, and performance. Guest artists and consultants from the American Dance Legacy Institute. Enrollment is by audition. Limited to skilled dancers. Instructor permission required. S/NC.
|(J. Strandberg)
|(J. Strandberg)
TAPS 1360. Dance Performance and Repertory.
A study of dance repertory offered through commissioned new works, reconstruction, coaching, rehearsal, and performance. The course will explore the phenomenology of dance, audience-performer connection, theatre production and dance criticism, among other topics. Enrollment is by audition. Limited to skilled dancers. S/NC.
|(J. Strandberg)
|(J. Strandberg)
TAPS 1370. New Works/World Traditions.
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.
|(M. Bach-Coulibaly)
|(M. Bach-Coulibaly)
|(M. Bach-Coulibaly)
TAPS 1380. Mise en Scene.
A reconstruction of the idea of a stage and a frame on the evidence of theory, novels, plays, and especially films-the seen and the unseen-using the organizing strategies of mystery. Art's "impossible" brokering of the real and the representational in a dialectic of space is considered from a multiplicity of perspectives in diverse works. Enrollment limited to 20. Instructor permission required. WRIT
|(S. Golub)
TAPS 1390. Contemporary Mande Performance.
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. Students must attend the first class meeting, as final enrollment is determined by application/tryout.
|(M. Bach-Coulibaly)
|(M. Bach-Coulibaly)
|(M. Bach-Coulibaly)
|(M. Bach-Coulibaly)
|(M. Bach-Coulibaly)
|(M. Bach-Coulibaly)
TAPS 1400. Advanced Performance.
An investigation into abstract and nonlinear modes of performance, working from fragmentary and recombined narrative, dramatic, and found sources. Seeks to evolve a conceptual approach to performance of the individual actor-director-writer through supervised and independent exercises and projects. Prerequisite: TAPS 0230. For juniors and especially seniors. Enrollment limited to 20. WRIT
|(S. Golub)
|(S. Golub)
TAPS 1410M. Shakespeare and Philosophy (COLT 1410M).
Interested students must register for COLT 1410M.
TAPS 1410Z. Perspectives on Shakespeares Comedies (COLT 1410Z).
Interested students must register for COLT 1410Z.
|'To Be Arranged'
TAPS 1420. Global Queer Performance.
What is queer performance from a global perspective? Within the U.S., this might refer to theater, visual and sonic practices, or styles of lesbian, gay, bisexual and transgender writ large. In the world outside the U.S., such an identitarian narrative has gained some traction through the discourse of global queering, which renders an understanding of same-sex formations through Pride Parades, pink-dollar tourism, gay marriage and Western-LGBT cultures. There is, however, much debate as to what queer means, and how it translates. This course uses queer performance to consider how we might understand sexual minorities in the U.S. and the world. Enrollment limited to 20 students. WRIT
TAPS 1430. Russian Theatre and Drama.
An overview of Russian theatre and drama from the 18th century to the late 20th century. Emphasis on plays as texts and historical documents, and on theatrical conditions, productions, and innovations. All readings are in English. Russian area studies concentrators are encouraged to enroll. Instructor permission required. WRIT
|(S. Golub)
TAPS 1500A. Advanced Playwriting: Invitation to the Devout Life..
A practice-based class designed to promote prompt, connected and original writing for the live environment. We move through the regular practice of assorted exercises to the development of a completed script by the end of the term. Inquiry is guided by selected readings in esthetic theory, philosophy and theology (Anne Carson, St. Vincent de Paul, Simone Weil, others). Previous playwriting experience preferred. Instructor permission required. WRIT
TAPS 1500B. Splendor Solis: Memory, Alchemy and Performance Writing.
A playwriting course, centered on readings, in-session exercises and a final assignment relating to various theories of memory, mystical thinking, and philosophies that link material practice with spiritual exercises (in particular, alchemy). The final project is an original 25 page play. Reading averages 80 pages/week; two to ten pages of original dramatic material due each session, with a 250 My Courses post on the reading due for the upcoming meeting. Enrollment limited to 15 Graduate/Undergraduate students in any program. Recommended Prerequisites: Introductory Playwriting; preference given to students who have completed an Intermediate Playwriting course. Ten-page writing sample. S/NC WRIT
TAPS 1500E. Performance Making in Community.
Community performance has been used to encourage dialogue, give voice, bear witness, practice resistance, heal from traumatic events, celebrate - among many other purposes and processes. This course will explore the theories, methods, and results of community-based performance techniques and programs through a combination of study and experience. Includes a weekly seminar for discussing readings/writings, practicing the performance-making process, and exploring pedagogies, as well as a significant field work component: a collaborative performance project with a community partner, Everett Dance Theater/The Carriage House School. Enrollment limited to 17; instructor permission required and can be obtained at the first class meeting. DPLL
TAPS 1500G. Special Topics in Playwriting: Gravity and Grace – Seven Ways of Writing.
A playwriting course centered on readings, in-session exercises and a series of assignments relating to navigations of the inexplicable: how do we say what we can't say? How do we say it elegantly, freely, insistently? We'll be writing seven distinct plays en route to a final play; each of the shorter addresses a different principle in the works of Simone Weil (metaxu, decreation, evil), Martin Heidegger (va Giorgio Agamben – Dasein, Eleusis, Ereignis), and Ikkyu (zen). Weekly sessions include discussion of assigned reading, reading take-home exercises, and guided in-session writing. The final project is an original full-length play. Prerequisite: TAPS 0100 or 0200. Enrollment limited to 17. Instructor permission required.
TAPS 1500H. Advanced Writing for Performance.
This course is an intense examination of the craft of writing scripts for the stage from germinal idea through production by analyzing students work in workshops, reading scripts and attending local performances. Students will learn proper script format, story outline and structure, characterization, plot and the nuts and bolts of the script writing business. Moreover, they will write a full-length play or a series of one-acts. They will also be required to read and critique each other's work and bring a significant number of script copies to class for workshop. Prerequisite: TAPS 0100 and 0200. Enrollment limited to 17.
|(M. Gardley)
TAPS 1500I. Screenwriting.
Screenwriting is a course designed to familiarize the neophyte screenwriter with the basic principles of writing for the silver-screen. By closely examining produced films, in-depth readings of both good and bad scripts, and through the writing of our own, we will gain an understanding of how screenplays are written, and written well. The course will provide a foundation in the basics of the three-act act structure, dramatic action, character arc, the revision process, and an introduction to the business of screenwriting. By the end of the semester we will have produced and polished a 10 page/minute manuscript. Enrollment limited to 17.
|(M. Gardley)
TAPS 1500J. Script Adaptation.
This class aims to develop skills and techniques for the creation of new dramatic works based upon previously published or performed material. The unit explores the process of creating a script from previously published source material. To achieve this goal, we will explore the problems inherent in creating dramatic material from source material of various forms. The module will enhance core skills in scriptwriting, dramaturgy and script analysis. Weekly classes will include lecture and discussion, readings, film screenings and writing exercises. Enrollment limited to 17.
|(M. Gardley)
TAPS 1500L. Acting Together on the World Stage: Writing and Political Performance.
Practical research in art for social change, with an emphasis on writing and composition, resulting in a series of solo and group devised performances (or well articulated proposals). Each week, in-session writing and devising exercises, coupled with a discussion of critical readings and case histories, build to projects that may be constructed solo or in small groups. Final projects may take the form of carefully constructed, achievable plans for long-range implementation. Students wil be required to attend special workshops, field trips, and performances as scheduled through this semester; this schedule will be available at the first class. Enrollment limited to 12.
TAPS 1500M. Advanced Playwrighting: Guhahamuka.
Guhahamuka is a Kinyarwanda word meaning "breathlessness," sometimes applied to the wordlessness that befalls the survivors of trauma. We will progress through a series of graduated exercises design to work-out the fundamentals of writing for the live encounter, with an emphasis on the uses of testimony, and language that pushes into spaces where language doesn't fit, doesn't belong, fails, converts itself to different energies. How a writer's technique images spiritual practice, and avails of the useful impossibilities of incarnation and transcendence. Taking on a practical language from contemplative traditions as means of ordering the writer's craft.
TAPS 1520. Seminar in Theatre Arts.
Seminar designed for senior theatre arts concentrators, required during Semester VII. Topics focus on career planning and theatre arts subjects not dealt with in other courses. Enrollment limited to seniors.
|(D. Ruppel)
TAPS 1530. Guest Artist Series: Contemporary Interdisciplinary Performance.
A semester of performances/master classes featuring the work of invited guests, each a performer/practitioner in multi-media, multi-disciplinary solo performance. The instructor curates the series, moderates discussions, supervises reading lists, and assesses students. Enrollment limited to 17. Not open to first year students.
TAPS 1610. Political Theatre of the Americas.
This course explores political theatre and performance in Latin America, the US and Canada. The primary concern will be the use of performance in indigenous rights, queer rights, and gender equity campaigns as well as general critiques of socioeconomic inequity. The course examines the strategies used by actors in theatrical performances, performance art, and political protests that use the tools of performance. Exploration is of the rich relationship between politics and performance. There are no prerequisites, but one course in either Latin American Studies or Theatre and Performance Studies is recommended. DPLL
TAPS 1630. Performativity and the Body: Staging Gender, Staging Race.
This course examines how we develop and interrogate different meanings around our bodies through performance practices in everyday life and on stage. Specifically, we analyze how race and gender are regulated, reinforced, reworked, and subverted through embodied modes of performance. We explore how raced and gendered bodies are constructed, reconstructed, and deconstructed through everyday performances of self from fashion to food to surgery. We will also examine works by playwrights, visual artists, and theatre artists who deploy performance practices to make, unmake, and remake historical, social, and political understandings of our bodies as raced and gendered. WRIT
|(A. Nye)
TAPS 1640. Theatre and Conquest in Greater Mexico: From Cortes to NAFTA.
Explores the intimate relationship between theatre and conquest in the Americas 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 threatrical procedures of the conquest and examine theatrical representation as a methodology of conquest in the Americas.
TAPS 1650. 21st Century American Drama.
Course is designed to familiarize students with contemporary American playwriting from 2000-2005. We will explore how these plays reflect our current moment with attention to conceptions of gender, sexuality, national identity, trauma and memory. Playwrights may include Jorge Cortinas, Sarah Ruhl, Tony Kushner, Juilana Francis, Sabina Berman, and Carl Hancock Rux. WRIT
TAPS 1670. Latino/a Theatre and Performance.
This course will be an introduction to Latino/a theatre concentrating on the following themes: borders, diaspora and exile, political and personal identities, sexuality, gender and violence, and latino re-imagination of U.S. and Latin history. We will read Chicano/a, Cuban American and Nuyorican drama and performance art. No prerequisites.
TAPS 1690. Performance, Art, and Everyday Life.
Provides an introduction to performance-based art. Some knowledge of the historical avant-garde is required. The class will explore site-specific work, time-based work, life art, body art, instruction art and a variety of intermedial artwork. Theories of "theatricality" and "performativity" will be explored as will expressive properties of repetition, excess, mimesis, banality, mobility, framing, failure and shock. Enrollment limited to 16.
TAPS 1700A. Voices Beneath the Veil (AFRI 1110).
Interested students must register for AFRI 1110.
TAPS 1700B. African American Folk Traditions and Cultural Expression (AFRI 1120).
Interested students must register for AFRI 1120.
TAPS 1700C. Advanced RPM Playwriting (AFRI 1050A).
Interested students must register for AFRI 1050A.
TAPS 1700D. Intermediate RPM Playwriting (AFRI 1050D).
Interested students must register for AFRI 1050D.
TAPS 1700E. Introduction to Post-Colonial African and African Diasporic Theatre (AFRI 1050H).
Interested students must register for AFRI 1050H.
TAPS 1700F. RPM Africana Music History and Vocal Performance (AFRI 1050J).
Interested students must register for AFRI 1050J.
TAPS 1700G. Roots of African American Fiction: Oral Narrative through Richard Wright (AFRI 1050M).
Interested students must register for AFRI 1050M.
TAPS 1700H. Art and Civic Engagement: Creativity/Reality (AFRI 1050P).
Interested students must register for AFRI 1050P.
TAPS 1700I. RPM Playwriting (AFRI 1050E).
Interested students must register for AFRI 1050E.
TAPS 1700J. Musical Performance and Theatricality (MUSC 1680).
Interested students must register for MUSC 1680.
TAPS 1700K. Site- Specific Writing in Brown's Historical Spaces (AMST 1570).
Interested students must register for AMST 1570.
TAPS 1700L. African American Musical Theatre (MUSC 1905D).
Interested students must register for MUSC 1905D.
TAPS 1700V. Voices Beneath the Veil (AFRI 1110).
Interested students must register for AFRI 1110.
TAPS 1710A. Open Source Culture (MCM 1700N).
Interested students must register for MCM 1700N.
TAPS 1710B. Radical Media (MCM 1700P).
Interested students must register for MCM 1700P.
TAPS 1720. Queer Relations: Aesthetics and Sexuality (ENGL 1900R).
Interested students must register for ENGL 1900R.
TAPS 1730. Stage from Page: Ancient Greek Drama in Performance (CLAS 1750M).
Interested students must register for CLAS 1750M.
TAPS 1740. Artful Teaching: Intersecting the Arts with Foreign and Second Language Acquisition (POBS 1740).
Interested students must register for POBS 1740.
TAPS 1900R. Queer Relations: Aesthetics and Sexuality (ENGL 1900R).
Interested students must register for ENGL 1900R.
|'To Be Arranged'
TAPS 1970. Independent Reading and Research.
Intensive reading and research on selected topics arranged in terms of special needs and interests of the student. A written proposal must be submitted to the instructor and the chair of the theatre arts department before the project can be approved. Section numbers vary by instructor. Please check Banner for the correct section number and CRN to use when registering for this course.
TAPS 1990. Senior Honors Thesis Preparation.
To be taken by all students accepted into the theatre arts honors program. Section numbers vary by instructor. Please check Banner for the correct section number and CRN to use when registering for this course.
TAPS 2100. Seminar in Dramatic and Theatrical Theory.
Theory of drama from Greeks to Grotowski. Raises questions that are crucial to thinking about directing and acting in the theatre-the nature of theatrical space, political and aesthetic implications of mimesis and narrative form, and the role of theatre in society. Enrollment limited to 20.
TAPS 2120. Revolution as a Work of Art.
A study of Russian revolutionary culture and new personhood, ca. 1905-1930, with readings from Russian fiction, philosophy, art criticism, dramatic and political theory, and cultural and theatre history. Topics include the revolution of the spirit, the culture of the future, iconography and spectacle, charismatic authority, and revolutionary terror. For graduate students and qualified juniors and seniors. All readings are in English. Those who can may read some materials in Russian. Enrollment limited to 20. WRIT
TAPS 2200A. Abstraction and Resistance.
A study of the uses of abstraction in modernist and postmodern theatre and drama, film, painting, and narrative fiction and of the engagement of resistance as a performative strategy for conceptualizing such nominally unframed and alogical texts. The works of selected theatre directors and playwrights, philosophers and theorists, novelists, filmmakers, and artists are examined and discussed. WRIT
TAPS 2200E. Historiography.
This graduate seminar is dedicated to a thorough examination of theater and performance historiography. The course will consider methodologies of writing about the past, concentrating on analyzing the writing of history and examining how historical information is obtained, imagined and disseminated in our field, where embodied practice is crucial to thinking. This course will necessarily consider how historiography is understood with the discipline of history as well as performance and theatre studies.
|(P. Ybarra)
TAPS 2200F. Archive Culture, Memory, and Repetition.
If live performance is ephemeral, what is its function in archive culture? Theatre, visual culture, orature, and "performatives" will be explored for temporality, memory, and remains. Enrollment limited to 20. Written permission required. S/NC
TAPS 2200G. Performance, Photography, and the Live Border.
What are the limits of approaching live performance as essentially ephemeral? What is at stake in the lines drawn between media histories and theatre histories that account for the "still"? Questions such as these will be posed across media as we explore histories of photography and tableaux vivant, as well as critical theories in performance studies, visual studies, art history, media studies, and theatre studies. We will look at images documenting violence, images re-presenting documented violence, and violence to documentary images in the course of a broader conversation about the "life" or "liveness" of the still. Enrollment limited to 20.
TAPS 2200I. Wittgenstein, Writing and Performance.
Performance is the ideal forum in which to discuss Wittgenstein's philosophy, especially as the latter involves rigorous close reading of the physical and metaphysical identities of words, thought and action in the construction of discernible and livable roles and courses of action and understanding within the given circumstances of the mysterious world into which we are born. Wittgenstein's aphoristic writing, which creates a poetic structure, along with the necessary incompleteness of Wittgenstein's thought expression and the wide range of philosophical interpretations of his work by numerous artists and theorists underscore the liveliness of Wittgenstein's writing as creative texts in themselves. Enrollment limited to 17 juniors, seniors, and graduate students. Instructor permission required.
TAPS 2200J. A Little History of Spectator Studies.
This course is about the pleasures of watching and listening at theatre, and how theatrical experiences may relate to how people watch and listen elsewhere. We'll look at periodical publication and moral philosophy in 18th-century Britain, farce in mid-19th-century Germany, bourgeois homes in late 19th-century Norway, to understand the role of going to the theatre in the formation of bourgeois subjectivity. We'll also look at cinema and international sport to understand bourgeois theatre-going as a historically-specific cultural practice, and to ask questions about the consequences of its role in the universalization of a certain subjectivity in colonial and post-colonial situations. Enrollment limited to 15.
TAPS 2200K. Digital Performance (MUSC 2210).
Interested students must register for MUSC 2210.
TAPS 2200N. Liveness: Performance and Neoanimism in Late Capitalism.
Has the "affect economy's" 24/7 live shifted medial maps distinguishing live from object arts? As animacy and inanimacy warp, do orientations to duration, participation, and relation shift? Can liveness extend to the Paleolithic in today's "new materialist" imaginary? If "Cinema is Dead," does it join theatre as a zombie form? Modernist "animism," "totemism," and "primitivism" provide a backdrop to recent returns to animism in Chen, Bennet, Latour and others. Does theatre's separation from ritual and possession demand rethinking via "relationscapes" and the critical turn to affect theory? Art/performance, theatre, cinema will be under discussion, from Euripides Bacchae to Gucci Bacchae.
|(R. Schneider)
TAPS 2270B. Performance in a Virtual World (MUSC 2270B).
Interested students must register for MUSC 2270B.
|'To Be Arranged'
TAPS 2300. Pedagogy: Prep and Practice.
In the second year of the three-year MFA Playwriting Program, students are required to teach undergraduates Introductory and Intermediate Playwriting. This course readies MFAs for their teaching in advance of their time at the head of the classroom, provides them with mentorship during the conduct of their teaching, and assesses their experience at the end of their assignments. It is an intensive seminar, where the head of the Playwriting Program meets with students individually and as a team, sharing in the evolutions of curricular design and practice, offering close comment and tailored assignments (suggested readings; writing tasks).
|(E. Ehn)
|(E. Ehn)
TAPS 2310. Graduate Playwriting.
With Word as the bodying forth into social reality of original experience, the structures, purposes and ethical risks of writing for performance are examined; experienced through the reading of each other's works-in-progress, through the reading of essays and in session exercises. Must be taken by playwriting grad students every semester in residence. May be taken multiple times for credit. Undergraduates will be admitted with permission of the instructor. Contact email@example.com using "Grad PW" in the subject line. Permission will be given once manuscripts have been reviewed. S/NC
|(E. Ehn)
|(E. Ehn)
TAPS 2315. Collaborative Languages.
A course for artists and scholars to develop a lexicography for theatrical collaboration. The course will explore a variety of collaborative approaches to performance creation through practical exercises, viewing archival video of contemporary performers, guest lecturers, and analyzing collaborative techniques used by a variety of performance creators. This course is limited to participants in the MFA program in acting, directing and playwriting. Instructor permission required. S/NC.
TAPS 2320. Writing is Live Seminar.
The Writing is Live Seminar is a specialty course designed to provide students who are interested in writing for performance with a framework for producing their own work (in collaboration or self-produced) for the Writing is Live Festival and future productions, workshops, and readings. The focus of the class is on understanding the development and application of economics, structure, implementation and staging of performances, as well as marketing strategies and tactics for gaining audience awareness and producing for specific spaces. Enrollment limited to 12 MFA playwriting students.
TAPS 2355P. The Politics of Precariousness and Resilience (POLS 2355).
Interested students must register for POLS 2355.
|'To Be Arranged'
TAPS 2400A. Concepts of Space and Time in Media Discourses (HMAN 2970C).
Interested students must register for HMAN 2970C.
TAPS 2410. Habits of Living: Affect and New Media (MCM 2100I).
Interested students must register for MCM 2100I.
TAPS 2420. Habits of Living: Affect and New Media (HMAN 2970I).
Interested students must register for HMAN 2970I.
TAPS 2500. Acting, Brown/Trinity Rep Consortium.
This course is open only to students of the Consortium. It will include fundamental exercises, textual analysis, rehearsal techniques, character and scene work designed to provide the student actor with a working method based upon the general principles of the Stanislavski system. A major part of this course will include rehearsal and performance responsibilities.
|(S. Berenson)
|(S. Berenson)
TAPS 2510. Voice: Power and Range for the Actor.
This course is open only to students of the Consortium. It will provide a progression of exercises to free, develop and strengthen the voice as the actor's instrument. The classes focus on relaxation, physical awareness, breath, freeing the channel for sound developing the resonators, releasing the voice from the body, articulation, self-expression, and the link to text and acting.
|(S. Berenson)
TAPS 2520. Movement: Form, Center and Balance.
This course is open only to students of the Brown University/Trinity Rep MFA Consortium program. It will develop a physical vocabulary through floor work, choreographed combinations and movement improvisation, helping the actor develop an understanding of space, strength of movement, and physical life onstage.
|(S. Berenson)
TAPS 2530. Directing: Composition and Staging.
This course is open only to the MFA Consortium program. It will include information and exercises addressing how to stage a play, balance the space, and transition from scene to scene. It will also focus on the director's responsibility to the actors, and ways in which to help them create their roles.
|(S. Berenson)
TAPS 2550. Acting: Realism and Modernism.
This is a two-credit course and is open only to students of the MFA Consortium program. This is a scene study class with an emphasis 20th century playwrights. In addition to the works of Anton Chekhov, students may perform scenes from plays by Tennessee Williams, Arthur Miller, Clifford Odets, Wendy Wasserstein, Peter Parnell, Paula Vogel, Edward Albee and Harold Pinter.
|(S. Berenson)
TAPS 2560. Voice: Phonetics.
This course is open only to students of the Brown University/Trinity Rep MFA Consortium program. The course will teach articulation, self expression, and link to text and acting. Additional work is devoted to speech and diction, with an introduction to the International Phonetic Alphabet (IPA) and a progression through Standard American Speech to rudimentary dialect work.
|(S. Berenson)
TAPS 2570. Movement: Physical Life and Language.
This course is open only to students of the Brown University/Trinity Rep MFA Consortium program. It will help the student incorporate text and physicality in order to create the inner and outer life of a character. Special attention will be given to the student's repetitive physical patterns, and new ways will be explored in examining the internal and external life of a character.
|(S. Berenson)
TAPS 2580. Directing: Collaboration with the Playwright.
This course is open only to students of the MFA Consortium program. It will focus on issues of collaboration between the playwright and the director. Each director will be assigned to work on a new script in cooperation with a playwright. A workshop production will be staged and open to the public.
|(S. Berenson)
TAPS 2600. Acting: Shakespeare and Moliere.
This is a two-credit course and is open only to students of the MFA Consortium program. This is a scene study class with an emphasis on the problems of style and language in the plays of Moliere and Shakespeare.
|(S. Berenson)
TAPS 2610. Voice: Verse Text.
This course is open only to students of the MFA Consortium program. It will include advanced vocal work and an introduction to singing in performance. Rhythm and rhyme will be explored in relation to lyrics and verse.
|(S. Berenson)
TAPS 2620. Movement: The Alexander Technique.
This course is open only to students of the MFA Consortium program. This class will provide a step-by-step understanding and application of The Alexander Technique, which helps to develop body alignment, range of motion, and inner stillness.
|(S. Berenson)
TAPS 2630. Directing: The Director's Vision.
This course is open only to students of the MFA Consortium program. Under close supervision, students will direct projects at the Consortium. Each student will be responsible for the creation of either a new or an established script. Students will meet regularly with the faculty to discuss process and progress.
|(S. Berenson)
TAPS 2650. Acting: Problems of Style.
This is a two-credit course and is open only to students of the MFA Consortium program. This is a scene study class with an emphasis on the problems of style and language in non-realistic plays. In addition to advanced work on Shakespeare's texts, the course will explore other playwrights, possibly including Ibsen, Strindberg, Shaw and Beckett.
|(S. Berenson)
TAPS 2660. Voice: Singing with Joy.
This course is open only to students of the MFA Consortium program. Students will work on music, both as soloists and in small groups. The course will address issues of sight reading, breath support, phrasing, and how to stage a song for performance.
|(S. Berenson)
TAPS 2670. Movement: Stage Combat, Clowning, and Other Physical Form.
This course is open only to students of the MFA Consortium program. It will offer basic instruction in many physical areas including, but not limited to stage combat, juggling, mime, tumbling and clowning.
|(S. Berenson)
TAPS 2680. Directing: Critical Analysis.
This course is open only to students of the MFA Consortium program. It will include issues of directing, as well as the concerns of an Artistic Director and Associate Artistic Director. Each student will be expected to assistant direct a professional production at Trinity Rep Company.
|(S. Berenson)
TAPS 2700. Acting: Monologue Performance.
This is a two-credit course and is open only to students of the Brown University/Trinity Rep MFA Consortium program. Acting assignments will include solo work presented in a variety of ways. These might include a selection of monologues and songs presented by the students to show the full range of his or her abilities. A performance might also include a solo piece written by the student and presented as a single-actor production.
|(S. Berenson)
|(S. Berenson)
TAPS 2710. Voice: Dialects and Accents.
This course is open only to students of the Brown University/Trinity Rep MFA Consortium program. This course will teach actors various American regional dialects and international accents including British, Irish, Italian and Russian. Students will examine the language with the use of the International Phonetic Alphabet, and will be expected to perform using the regionalisms and dialect and then teach it to the rest of the class.
|(S. Berenson)
TAPS 2720. Physical Theatre.
This course is open only to students of the Brown University/Trinity Rep MFA Consortium program. This course will explore various kinds of physical theatre, and ways in which the actor can be free, spontaneous and open in rehearsal and performance. Areas of exploration will include Commedia, mask and yoga.
|(S. Berenson)
TAPS 2730. Directing: Design in the Collaborative Process.
This is a two-credit course and is open only to students of the Brown/ Trinity Rep MFA Consortium program. Directing students will study theatrical design including stage settings, costumes, lights and sound. Particular focus will be given to ways in which a director works with a designer to establish his or her vision of the play. Areas of study will include blueprints, floor plans, renderings and focus.
|(S. Berenson)
TAPS 2750. Acting and Directing: Practical Application.
This is a two-credit course and is open only to students of the Brown University/Trinity Rep MFA Consortium program. The course will prepare acting students for a graduate showcase which will be performed in New York City and Los Angeles for agents, casting directors, and other professionals in the industry. Directing students will stage a New York showcase of their work for agents, artistic directors, and other theatre professionals. The course will also cover audition and interview techniques. Video work will be explored in detail, examining the difference between stage and on-camera direction and performance.
|(S. Berenson)
TAPS 2760. Professional Performance.
This is a two-credit course and is open only to students of the Brown University/Trinity Rep MFA Consortium program. It will include performance work in a variety of venues including, but not limited to, Trinity Rep's mainstage. Work might include major and/or minor roles at Trinity, as well as understudy responsibilities for the professional company. Based on their participation in this course, students will be awarded their union cards so that they are able to enter the professional area upon graduating.
|(S. Berenson)
TAPS 2770. Directing: Practical Application.
This is a two-credit course and is open only to students of the Brown University/Trinity Rep MFA Consortium program. Each student will direct a professional full-scale production in one of Trinity Rep's theatres. In addition to directorial duties, students will assist in casting and designing the play, and will be fully involved in areas of budget, publicity, press relations, marketing and development.
|(S. Berenson)
TAPS 2890A. Theatricality: Labor, Time, Affect.
No description available.
TAPS 2970. Comprehensive Examination Preparation.
For graduate students who have met the tuition requirement and are paying the registration fee to continue active enrollment while preparing for a preliminary examination.
|'To Be Arranged'
|'To Be Arranged'
TAPS 2975. Thesis Workshop.
For graduate playwrights, in their second and third years, rehearsing and revising their thesis projects. May be taken multiple times for credit. Must be taken both semesters in the second and third year.
TAPS 2980. Graduate Level Independent Reading and Research.
A program of intensive reading and research on selected topics arranged in terms of special needs and interests of the student. Section numbers vary by instructor. Please check Banner for the correct section number and CRN to use when registering for this course.
TAPS 2981. Master's Thesis Research.
Section numbers vary by instructor. Please check Banner for the correct section number and CRN to use when registering for this course.
TAPS 2990. Thesis Preparation.
For graduate students who have met the tuition requirement and are paying the registration fee to continue active enrollment while preparing a thesis.
|'To Be Arranged'
|'To Be Arranged'
Erik T. Ehn
Erik T. Ehn
Professor of Theatre Arts and Performance Studies
John Emigh
Professor Emeritus of Theatre Arts and Performance Studies and English
Spencer Golub
Professor of Comparative Literature; Professor of Slavic Studies; Professor of Theatre Arts and Performance Studies
Lowry Marshall
Professor Emerita of Theatre Arts and Performance Studies
Rebecca Schneider
Professor of History of Art and Architecture; Professor of Theatre Arts and Performance Studies
Clinical Professor
Stephen Berenson
Clinical Professor of Theatre Arts and Performance Studies
Curt Columbus
Clinical Professor of Theatre Arts and Performance Studies
Thomas O. Jones
Clinical Professor of Theatre Arts and Performance Studies
Brian McEleney
Clinical Professor of Theatre Arts and Performance Studies
Brian Mertes
Clinical Professor of Theatre Arts and Performance Studies
Daniel A. Stein
Clinical Professor of Theatre Arts and Performance Studies
Associate Professor
Elmo Terry-Morgan
Associate Professor of Africana Studies and Theatre Arts and Performance Studies
Patricia Ybarra
Associate Professor of Theatre Arts and Performance Studies
Assistant Professor
Marcus Gardley
Assistant Professor of Theatre Arts and Performance Studies
Kym Moore
Assistant Professor of Theatre Arts and Performance Studies
Senior Lecturer
Michelle R. Bach-Coulibaly
Senior Lecturer in Theatre Arts and Performance Studies
Nancy R. Dunbar
Senior Lecturer Emerita in Theatre Arts and Performance Studies
Julie A. Strandberg
Senior Lecturer in Theatre Arts and Performance Studies
Barbara I. Tannenbaum
Senior Lecturer in Theatre Arts and Performance Studies
Ronald M. Cesario
Lecturer in Theatre Arts and Performance Studies
Timothy C. Hett
Lecturer in Theatre Arts and Performance Studies
John R. Lucas
Lecturer Emeritus in Theatre, Speech and Dance
Michael P. McGarty
Lecturer in Theatre Arts and Performance Studies
Barbara M. Reo
Lecturer in Theatre Arts and Performance Studies
Adjunct Professor
Barry M. Prizant
Adjunct Professor of Theatre Arts and Performance Studies
Adjunct Lecturer
Constance M. Crawford
Adjunct Lecturer in Theatre Arts and Performance Studies
Kali Michelle Quinn
Adjunct Lecturer in Theatre Arts and Performance Studies
Brandon W. Shaw
Adjunct Lecturer in Theatre Arts and Performance Studies
Teaching Associate
Aleksandra Lange Baryshnikov
Teaching Associate in Theatre Arts and Performance Studies
Olivia R. D'Ambrosio
Teaching Associate in Theatre Arts and Performance Studies
D'Arcy C. Dersham
Teaching Associate in Theatre Arts and Performance Studies
Tyler Dobrowsky
Teaching Associate in Theatre Arts and Performance Studies
Carol GIll
Teaching Associate in Theatre Arts and Performance Studies
Melissa Kievman
Teaching Associate in Theatre Arts and Performance Studies
Deborah Salem Smith
Teaching Associate in Theatre Arts and Performance Studies
Christine Stevens
Teaching Associate in Theatre Arts and Performance Studies
Theatre Arts and Performance Studies
The Department of Theatre Arts and Performance Studies (TAPS) is the intellectual and artistic center for the aesthetic, historical, literary, practical, and theoretical explorations of performance in global perspective – theatre, dance, speech, time-based art, and even performative "roles" in everyday life. The TAPS concentration offers three tracks with many points of overlap among them: Performance Studies, Theatre Arts, and Writing for Performance. Concentrators gain exposure to a broad spectrum of performance modes and methods -- acting, directing, dance, and writing, and chose an avenue of focus among them. Everyone graduates having studied craft, gained familiarity with history, and investigated the role of performance arts in culture.
Theatre Arts Track
This concentration combines the study of dramatic literature, theatre history, performance theory, and studio work in the various theatre arts. All concentrators in Theatre Arts will gain practical experience through the study of acting and directing as well as in the technical production of plays, preparing students in the practical study of a cross-section of the vital aspects of theatre craft, including one class in either dance or speech. An essential aim of the concentration track is the engagement of students in performance procedures (acting, dancing, directing, choreography, design, playwriting, dramaturgy, etc.) in order to experience the inter-relationships among social contexts, dramatic texts and theatrical enactments. Along with practical study in craft, concentrators will graduate having studied theatre history and performance theory in global perspective. The study of theatre history provides a Theatre Arts concentrator with the necessary background to understand a variety of dramatic and theatrical forms. The study of performance theory enhances a student's ability to ask fundamental questions about the role of theatre in social, political, cultural and cross-cultural arenas.
Of the ten courses required, at least four must be in theatre history and dramatic and theatrical theory that forms a backbone for further study in these areas. Students should take at least one course that exhibits geographic or topical breadth beyond what might loosely be called "mainstream" Euro-American tradition. Basic courses in technical theatre and design are required of all students, as is a senior seminar, taken by students in their seventh semester. The remaining three courses for the concentration may be taken in areas of applied theatre arts (though this is not a requirement); there are sequences of courses available in acting/directing, playwriting, design/technical theatre, and dance.
Students wishing to enroll as concentrators in Theatre Arts and Performance Studies and take the Theatre Arts track should see the undergraduate Theatre Arts track advisor, in order to discuss options that will best serve their interests.
Required Courses
|Introduction to Technical Theatre and Production
|Performance Theory and World Theatre History: Paleolithic to Medieval
|Performance Historiography and Theatre History
|Twentieth-Century Western Theatre and Performance
|Select one of the following:
|Persuasive Communication
Any dance history or practice course.
Any design or theatre production course
|Three electives to be selected from applied design, performance, or writing areas and/or from relevant theoretical and text-based studies throughout the university, at least one of which must show geographical breadth. These classes must be approved by the concentration advisor.
|Seminar in Theatre Arts
|Total Credits
Performance Studies Track
The Performance Studies track in the Theatre Arts and Performance Studies concentration offers a base for students interested in a variety of performance forms, performance media, or in intermedial art. A concentrator in this track will study the multiple modes in which live performance articulates culture, negotiates difference, constructs identity, and transmits collective historical traditions and memories. Because Performance Studies is not primarily invested in one performance mode over another (such as theatre or dance), a concentrator will gain exposure to a broad spectrum of performance modes. Studying ritual, play, game, festival, spectacle and a broad spectrum of "performance behaviors" under the umbrella of Performance Studies, a concentrator will graduate having investigated the role of performance in culture, including performative acts in everyday life, political enactment, ritual behavior, aesthetic or representational practices, and social role or the performance of subjectivity. The history of aesthetic performance practices (such as the histories of theatre and/or dance) will be an important part of this track, serving to ground inquiry into the broader spectrum of performance study. Students will craft their electives on this track from a wide selection of courses both within the Department of Theatre Arts and Performance Studies and across the university. The study of performance behavior across mediums such as dance, theatre, ritual, and orature allows for geographic and historical flexibility as not all cultures parse theatre from dance, nor, historically, genres of religious or political ritual from genres of entertainment, play, or game.
At least two of the ten required classes must show geographic or cultural breadth, and be approved as such by the undergraduate concentration advisor. Participation in practical classes in modes of performance is also required.
Students wishing to enroll as concentrators in Theatre Arts and Performance Studies and take the Performance Studies track should see the undergraduate Performance Studies track advisor, in order to discuss options that will best serve their interests.
Required Courses
|Performance Theory and World Theatre History: Paleolithic to Medieval
|Performance Historiography and Theatre History
|Select three of the following (one of which must show geographical breadth). Other Department courses not on this list may be considered with approval of the Concentration Advisor:
|Twentieth-Century Western Theatre and Performance
|Masking, Trancing, Performing, and Spectating in Non-Western and Circumpacific Performance
|New Theories for a Baroque Stage
|Issues in Performance Studies
|Acting Outside the Box: Race, Class, Gender and Sexuality in Performance
|Dance History: The 20th Century
|Mise en Scene
|Contemporary Mande Performance
|Russian Theatre and Drama
|Performance Making in Community
|Political Theatre of the Americas
|Performativity and the Body: Staging Gender, Staging Race
|Theatre and Conquest in Greater Mexico: From Cortes to NAFTA
|21st Century American Drama
|Latino/a Theatre and Performance
|Performance, Art, and Everyday Life
|Revolution as a Work of Art
|Black Lavender: Black Gay/Lesbian Plays/Dramatic Constructions in the American Theatre
|Voices Beneath the Veil
|African American Folk Traditions and Cultural Expression
|Two full credit courses based in performance craft in either Acting, Directing, Speech, Dance, Design, Literary Arts (with a performance emphasis), Visual Arts, or Music. These classes must be approved by the concentration advisor.
|Two additional courses in the academic study of performance and performance culture(s) to be culled from those listed above as well as other courses in the Department of Theatre Arts and Performance Studies or throughout the university in consultation with advisor. For example:
|RPM: Traditional and Contemporary Elements of Intertribal Indigenous Theater in America
|African American Folk Traditions and Cultural Expression
|The Anthropology of Play
|The Practice and Theory of Everyday Life
|City as Modernity:Popular Culture, Mass Consumption, Urban Entertainment in Nineteenth-Century Paris
|Race as Archive
|World Music Cultures (Africa, America, Europe, Oceania)
|Music, Drama and Religion in India
|Sacrifice and Society
|Seminar in Theatre Arts
|Total Credits
Writing for Performance Track
Concentrators explore the craft and sensibility of writing for live performance in the broad context of art in a changing society. Moving through a graduated series of skill-based writing classes, students additionally encounter theater history in core courses and focused seminars, engage with the practical aspects of production, and relate theatre to other disciplines. Writing is viewed neither as an alienated cause nor a terminal outpost, but as a co-equal aspect of a creative ecology, sharing space with orature, acting, scenography, ethics, and all fields that focus attention, invoke fascination, and alert the will to the possibilities of transformation.
Ten courses are required: A minimum of two writing-skills classes relevant to live performance; a writing or composition class outside of live performance (literature, screenplay, computer programming, video editing); a technical production class; a performance-based class; and ; one elective drawn from inside or outside the department that broadens the cultural and disciplinary reach of the track, for example concerning the study of social phenomena from a scientific, philosophical, or political perspective (chosen in consultation with an advisor); senior seminar.
Students wishing to enroll as concentrators in Theatre Arts and Performance Studies on the Writing for Performance track should see the undergraduate Writing for Performance track advisor, in order to discuss options that will best serve their interests.
Required Courses
|Playwriting I (or other equivalent Introductory level Playwriting course, to be approved by the advisor)
|Select one of the following:
|Advanced RPM Playwriting
|Intermediate RPM Playwriting
|RPM Playwriting
|Unpublishable Writing
|Reading, Writing and Thinking for the Stage
|Advanced Playwriting
|What Moves at the Margins
|Playwriting II
A course from the TAPS 1500 series (A-Z)
|A writing or composition class in a discipline outside of playwriting (e.g., literature, screenwriting, digital media), to be approved by advisor. For example:
|Solo Performance
|Libretto Workshop for Musical Theatre
|Script Adaptation
|Wild Literature in the Urban Landscape
|Ethnic Writing
|Fiction I
|Poetry I
|Fiction Writing II
|Poetry Writing II
|Digital Language Art II
|Cave Writing
|Strange Attractors: Adaptations/Translations
|Short Fiction Experiments
|Acting Together on the World Stage: Writing and Political Performance
|Introduction to Technical Theatre and Production
|Performance Theory and World Theatre History: Paleolithic to Medieval
|Twentieth-Century Western Theatre and Performance
|One performance-based class. Options include Acting, Directing, Speech, Dance, Visual Arts, Music, or Sign Language.
|Select two additional Theatre/Performance History/Theory classes to be culled from those listed below, as well as other courses in the Department of Theatre Arts and Performance Studies or throughout the university in consultation with advisor:
|Performance Historiography and Theatre History
|Masking, Trancing, Performing, and Spectating in Non-Western and Circumpacific Performance
|Dance History: The 20th Century
|New Theories for a Baroque Stage
|Mise en Scene
|Contemporary Mande Performance
|Advanced Performance
|Global Queer Performance
|Russian Theatre and Drama
|Political Theatre of the Americas
|Performativity and the Body: Staging Gender, Staging Race
|Theatre and Conquest in Greater Mexico: From Cortes to NAFTA
|21st Century American Drama
|Latino/a Theatre and Performance
|Performance, Art, and Everyday Life
|Black Lavender: Black Gay/Lesbian Plays/Dramatic Constructions in the American Theatre
|Voices Beneath the Veil
|African American Folk Traditions and Cultural Expression
|Revolution as a Work of Art
|Abstraction and Resistance
|Seminar in Theatre Arts
|Total Credits
For all concentrators, regardless of track:
In cases where dual concentrations are declared, the Department allows two courses to be counted toward both concentrations.
The Capstone is a culminating project/experience designed by the student that fulfills the concentration track. TAPS capstones can take a variety of forms, such as a solo performance or dance piece, the writing of a play, an honor's thesis or a design project, or directing a production. Students begin working on their capstone in the required senior seminar course, which is offered in the fall term. Capstone projects may be completed in either the fall with the termination of the Seminar, or in the subsequent spring term.
The standard pattern above, plus an honors thesis course taken in Semester VII (TAPS 1990), the topic of which would be determined before Semester VII. Candidates for the honors program should have an outstanding academic record and must apply to the Department by April 1 of Semester VI. Proposals can be submitted electronically. Honors are awarded for theses in all concentration tracks. All theses are substantive pieces of writing. Some these are strictly academic. Other honors theses may include a creative component (such as the directing of a play, a solo performance piece, the study and performance of a major role, or the design of a production) but the thesis itself will be a critical, written work based in research relative to that artwork. For plays submitted for honors, the essay should accompany the play, reporting on the research and the process of writing, though the play itself counts as the substantive written work. See the Honors Advisor for more information about proposal and thesis guidelines.
Theatre Arts and Performance Studies
The Department of Theatre Arts and Performance Studies offers the following graduate programs:
- Doctor of Philosophy (Ph.D.) in Theatre Arts and Performance Studies.
For more information on admission and program requirements, please visit the following website: http://www.brown.edu/academics/gradschool/programs/theatre-arts-and-performance-studies
Master of Fine Arts (M.F.A) in Playwriting. For more information on admission and program requirements, please visit the following website: http://www.brown.edu/academics/gradschool/programs/theatre-arts-and-performance-studies-0
Master of Fine Arts (M.F.A.) in Acting or Directing through the Brown University/Trinity Rep MFA Program. For more information on admission and program requirements, please visit the following website: http://www.brown.edu/academics/gradschool/programs/theatre-browntrinity-rep-acting-directing


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Friendship Roses Knitting Pattern - PDF Download
Friendship Roses PDF knitting pattern
Yellow roses are the symbol of friendship. These roses are worked flat, sewn up to assemble, and there are photos in the pattern to aid in making up.
Worked in DK weight yarns.
Skill level: Intermediate (easy to knit but requires a bit of sewing to assemble)
This product is a PDF file of my knitting pattern. It is not the finished item or paper copy. You will receive a download link in your confirmation email, which will expire after 4 uses and within 36 hours, so please save your copy to your computer/device as soon as you receive it.

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You know you love having Ritchey stuff adorning your bike. And whether you're a mountain madman, or a road warrior, the Ritchey WCS C260 stem is a good way to shave grams, beef up your front-end strength, and get your bike that much more dialed into performance territory.
Item No. » YS-WCS
Nashbar No price available.
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Home • Power Products • Surge Protectors • Part Number 51W1-19210
Surge Protector, Flat Rotating Plug, 6 Outlet, Gray Horizontal Outlets, Plastic, Power Cord 10 foot
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