Courses

This course introduces students to a range of theatrical concepts and techniques, including script analysis and its application to staging, design and acting. Throughout, we investigate how theater – as a collaborative art form – tells stories. Students will act, direct, and design. In doing so, they will gain an understanding of a variety of processes by which scripts are realized in the theater, with an emphasis on the text’s role in production rather than as literature.

This course introduces fundamental concepts of performance in the theater with emphasis on the development of creative faculties and techniques of observation, as well as vocal and physical interpretation. Concepts are introduced through directed reading, improvisation, and scene study.

This course offers an introduction to a number of significant dramatic works and seminal figures in the theorization of theater and performance. But the course's aspirations go much further: we will be concentrating upon the intersection of interpretation and enactment, asking how these pieces appear on stage and why. This will not be merely descriptive work, but crucially it will be interpretive and physical work. Students will prepare and present applied interpretations-that is, interpretations that enable conceptual insights to take artistic form. Throughout, we will be searching for that elusive combination of philological rigor, theoretical sophistication, and creative inspiration-probing the theoretical stakes of creativity and testing the creative implications of analytic insights.

This course explores the interplays between romance, attractions, and distractions through in-class discussions of theoretical works and the possibilities of practical creative application. The paradox of instant gratification and prolonged desire will be considered as well as the values of shock, suspense, and subtlety. Texts will include classic and contemporary drama, vampire cult fiction, fairy tales, films, and theoretic source material. Working 4-dimensionally, we will examine how theorized stagings can evoke and undermine sentimentality. This course will constantly question how analysis itself can be a performative practice and how performance can serve as a critical endeavor.The course will culminate in a series of original scenes to be shown at the end of the quarter. Experience in dramatic analysis or performance not required.

This studio-based course with a seminar component offers an overview of the formal practices and contemporary trends that shape dance as an art form. The class is designed for students who seek to gain a working knowledge of dance and deepen their physical skills. A range of contemporary dance forms and practices will be covered. Topics may include modern dance, hip hop, partnering techniques, social dance forms, improvisation, somatic practices, dance composition, and more. Lectures, viewings, and discussion will support experiential practice components. No previous experience with dance or performance is required. This course meets the general education requirement in the arts.

Though we often imagine a divide between the physical practice of dance training and the intellectual practice of dance history and theorization, in reality they overlap: movement training is embodied research and a form of intellectual labor, while dance theorization and scholarship is deeply connected to the physicality of thought. This course offers an introduction to dance with an integrated approach to thinking and doing. Students will explore a range of embodied research methodologies that draw from improvisational forms, codified techniques, and social and cultural dance practices. No prior dance experience is required for this hybrid seminar/ studio course.

This hybrid seminar focuses on American contemporary playwrights who have made a significant and commercial impact with regard to dramatic form in the past 20 years. Playwrights will include, Tracy Letts, Annie Baker, Lynn Nottage, Quiara Alegria Hudes, Ayad Akhtar, and Amy Herzog. Textual analysis is consistently oriented towards staging, design, and cultural relevancies. Work for the course will include research papers, presentations, and scene work.

Italian culture has been continuously enriched by oral artistic practices that transcend the written page through the bodies and voices of performers. The content of this course will analyze various oral traditions from the Italian context, ranging from courtly lyric poetry of the Middle Ages to the vibrant contemporary performance poetry scene. Additionally, the course will examine the interplay between oral traditions and marginalized communities, with a particular focus on the exploration of female voices—from Renaissance mystical performances to feminist oral history practices in the 1970s—while also considering the polyvocal influence of immigration and the use of regional dialects. The course will integrate artistic content with theoretical material on the topic of voice (Agamben, Bologna, Cavarero, Frasca), as well as insights from media studies, feminist and queer studies, critical race studies, and performance theory. By the conclusion of this course, students will be able to deconstruct the traditional dichotomy between written text
and oral practices by recognizing the mutual exchange between the two and incorporate Italian
oral traditions into the traditional literary canon.

Reading knowledge of Italian required. Class will be conducted in English with a separate
discussion section available for students seeking credit for the Italian major/minor. Readings will
be in Italian and in English.

This course is a deep investigation into the possibility of dramaturgy as intrepid and curious storytelling and the role of the dramaturg in building worlds with playwrights, inhabiting worlds with productions, and cultivating worlds with audiences and institutions. We will think across discipline about the methodologies that make dramaturgy a heuristic knowledge practice. We will think critically about existing genealogies, best practices, and innovations in the theatre industry. Most importantly, we will engage in our own civic-minded dramaturgical practice and how engaged, thoughtful storytelling might have impacts beyond the walls of the classroom and the theatre.

This course will examine what happens to the American Family Drama on stage when the 'family' is queer. Working in dialogue with a current production at Court Theatre, we will move beyond describing surface representations into an exploration of how queering the family implicates narrative, plot, character, formal conventions, aesthetics and production conditions (e.g. casting, venues, audiences, marketing and critical reception). Texts will include theatrical plays and musicals, recorded and live productions, and queer performance theory. This course will be a combined seminar and studio, inviting students to investigate through readings, discussion, staging experiments, and a choice of either a final paper or artistic project.

This course is designed to introduce students to foundational concepts and critical skills relevant to the study of theater and performance. In addition to wide-ranging readings and discussions, students will attend a variety of performances and screenings representing a cross-section of genres, interpretive styles, and institutional settings. Although the course will be directed by John Muse, it will be divided into discrete units, each led by a different instructor from the TAPS teaching staff. Thus, students will gain exposure to a variety of teaching styles, areas of expertise, and approaches to the field. The course is open to all undergraduate students as an elective; it also serves as a required course for all TAPS majors.

This course employs a practice in the fundamental theory of play direction and the role of the director in collaboration with the development of textual analysis. By examining five diversely different texts using three different approaches to play analysis (Aristotle, Stanislavski, Ball) students begin developing a method of directing for the stage in support of the written text. In alternating weeks, students implement textual analysis in building an understanding of directorial concept, theme, imagery and staging through rehearsal and in-class presentations of three-minute excerpts from the play analysis the previous week. The culmination is a final five-minute scene combining the tools of direction with a method of analysis devised over the entire course.

This course explores the writing process of the playwright as well as familiarizes students with some preeminent modern and contemporary American playwrights. Students will investigate play structure, forms, formatting and theatrical elements. In this course students will read a range of plays, complete weekly writing exercises, work together as a collective of writers and ultimately craft the beginning of an original full-length play. Expect to study the theatrical text as well as diving into the process of writing.

This class explores and replicates the professional theatrical process of new musical development, beginning with the concept for a show and ending with its premiere performance as an invited staged reading. Students will serve as book writers, lyricists, composers (Writing Team), and/or directors, music directors, actors, singers, and dramaturgs (Artistic Team) as they work together to craft and polish a new and viable work of musical theater. This class studies the art and theory behind theatrical storytelling, songwriting, directing, and originating new roles as actors, and students will work on their feet each week to bring their unique perspectives and skills to the creation of a new musical script, score, and performance. Creators with any amount of material towards a new musical (a full-length draft, a portion of a script and score, OR an outline) are encouraged to submit their work to selmegreen@uchicago.edu and lbdanzig@uchicago.edu beginning in Spring Quarter 2024, before this course is offered in Fall 2024. Students interested primarily in writing and/or composing should enroll in TAPS 24080 New Musical Development: Writing Team, while students primarily interested in acting, directing, music directing, and dramaturgy should enroll in TAPS 24081 New Musical Development: Artistic Team. Questions? Curiosities? Please contact Scott Elmegreen (selmegreen@uchicago.edu) and Leslie Buxbaum (lbdanzig@uchicago.edu). Consent required.

This class explores and replicates the professional theatrical process of new musical development, beginning with the concept for a show and ending with its premiere performance as an invited staged reading. Students will serve as book writers, lyricists, composers (Writing Team), and/or directors, music directors, actors, singers, and dramaturgs (Artistic Team) as they work together to craft and polish a new and viable work of musical theater. This class studies the art and theory behind theatrical storytelling, songwriting, directing, and originating new roles as actors, and students will work on their feet each week to bring their unique perspectives and skills to the creation of a new musical script, score, and performance. Creators with any amount of material towards a new musical (a full-length draft, a portion of a script and score, OR an outline) are encouraged to submit their work to selmegreen@uchicago.edu and lbdanzig@uchicago.edu beginning in Spring Quarter 2024, before this course is offered in Fall 2024. Students interested primarily in writing and/or composing should enroll in TAPS 24080 New Musical Development: Writing Team, while students primarily interested in acting, directing, music directing, and dramaturgy should enroll in TAPS 24081 New Musical Development: Artistic Team. Questions? Curiosities? Please contact Scott Elmegreen (selmegreen@uchicago.edu) and Leslie Buxbaum (lbdanzig@uchicago.edu). Consent required.

This course is designed to help the emerging writer focus their creativity into a viable feature film project and screenplay. This includes structure, format, exposition, characterization, dialogue, voice-over, and other aspects of visual storytelling for the screen. Weekly meetings include a brief lecture period, screenings of scenes from selected films, extended discussion, assorted readings and writing assignments. Because this is primarily a writing class, students should expect to deliver four to five pages of written material—including story development materials or screenplay pages—each week.

This course introduces students to the dance styles and performance aesthetics that are foundational to American musical theater. Moving between seminar discussion and studio practice, the course will integrate historical, theoretical, and embodied approaches to traditional and contemporary jazz dance, as well as the vernacular and social dance forms that led to the birth of musical theater. Students will have the opportunity to learn iconic choreography sequences and no previous dance experience is necessary. Readings, viewings, and written assignments will contextualize embodied work.

This course introduces students to a range of dance and performance practices from the region of South Asia and its related diaspora. Throughout, we will explore critical examinations of South Asian dance and performing arts to consider history, identity, politics, and creativity. This course combines both theoretical study and movement practice and will investigate a range of research approaches and movement styles. No prior dance or performance experience is required.

Costume Design is an essential element in conveying a character’s story. This course will explore design elements from archetypal characters, while interrogating concepts of movement, space, and structure. Explorations in the Bauhaus, film, and dance will illuminate the relationships between opposites in storytelling. Students will develop a design vocabulary, build skills in rendering and sketching, and prepare a final costume design highlighting heroes and villains.

This course explores live theatrical and digital performance, centering on surprise as a key element of performance. We will examine performance instigators and media activists who use experimental tactics to stage, document, and amplify their work. Through studying examples, exploring theoretical underpinnings, and creating art in this mode, we will investigate how performance can surprise, provoke, and delight—without relying on traditional resources such as space, time, money, or institutional support. What makes these forms resonate? What are their cultural and social reverberations?

Games are one of the most prominent and influential media of our time. This experimental course explores the emerging genre of "alternate reality" or "transmedia" gaming. Throughout the quarter, we will approach new media theory through the history, aesthetics, and design of transmedia games. These games build on the narrative strategies of novels, the performative role-playing of theater, the branching techniques of electronic literature, the procedural qualities of video games, and the team dynamics of sports. Beyond the subject matter, students will design modules of an Alternate Reality Game in small groups. Students need not have a background in media or technology, but a wide-ranging imagination, interest in new media culture, or arts practice will make for a more exciting quarter.
PQ: Third- or fourth-year standing. Instructor consent required. To apply, submit writing through online form: https://forms.gle/QvRCKN6MjBtcteWy5; see course description. Once given consent, attendance on the first day is mandatory. Questions: mb31@uchicago.edu

This two-quarter sequence is open only to fourth-year students who are majoring and/or minoring in theater and performance studies.

This is a reading and research course for independent study.

This course will introduce students to the burgeoning field of immersive puzzle design. Students will develop, implement, and playtest puzzles that are suited for a range of experiences: from the tabletop to the immersive, from online puzzle hunts to broad-scoped alternate reality games (ARG). Students in this course will work directly with master puzzler Sandor Weisz, the commissioner of The Mystery League.

Racine’s tragedies are often considered the culminating achievement of French classicism. Most famous for his powerful re-imaginings of Greek myth (Phèdre, Andromaque), his tragic universe nevertheless ranged considerably wider, from ancient Jewish queens to a contemporary Ottoman harem. We will consider the roots (from Euripides to Corneille) of his theatrical practice as well as its immense influence on future writers (from Voltaire to Proust, Beckett and Genet)

This course explores the relationship between dance and history. Rather than investigating the history of dance, we will focus on how incorporating dance can alter the practice of historical research and representation (including public history), and on how history has informed classical and contemporary concert dance since the late 19th century. Through our weekly studio practice we also hope to develop new ways of representing and embodying history through dance. The course will examine the traditional, historical language of storytelling in certain disciplines of dance, and will seek to create a refreshed, relevant language of gesture and intention in the studio that might effectively convey narrative. Our focus will be European and American classical, modern, and contemporary concert dance since the 19th century, but students are welcome to explore other genres, cultural contexts, and moments in their research and in discussion.

Assignments will include readings as well as viewing existing choreographic works on video; discussion of these texts and videos; engaging in conversation with contemporary choreographers, writing analyses of dances informed by the readings; attending relevant performances in Chicago, and participating each week in a studio-based class session in which we explore, through movement, the themes under consideration that week. You do not need to have any dance experience to take this course, but you must be willing to move.

This team-taught course explores the challenges of staging Richard Wagner’s sprawling 19th-century tetralogy The Ring of the Nibelung in the 21st century. The course will offer an introduction to The Ring, including its complicated place in history (including its reception and production history), and how it has been thought about in recent musicology and critical theory. But first and foremost, we will be exploring how the piece is being staged today. To that end, we will explore four productions of the tetralogy that are currently being prepared at leading opera houses around the world – in Munich, London, Berlin, and Oslo – speaking, via Zoom, with artistic directors and the production teams about their ideas and ambitions. What are the interpretive challenges and opportunities in staging this mammoth work? How do these productions seek to engage the tetralogy’s exceedingly complicated aesthetic ambitions, political baggage, and production history? And how do specific geographical, cultural, and historical conditions affect the artistic project of each production? Our discussions will encompass a range of fields, approaches, and topics. Among the themes we plan to examine are the aspiration to aesthetic totalization, the politics of community, the relationship between canonicity and critique, the notion of distress or emergency (the German term is Not), and some astonishingly lurid fantasies of family life—mostly of family dissolution. Moreover, we will approach the question of the relevance of The Ring and of opera (including Wagner’s ambitions to create “the artwork of the future”) in our time. Insofar as Friedrich Nietzsche and Theodor Adorno stand at the origins of critical Wagner studies, their work will inform ours. But we will also consider more recent work, including writings by Carolyn Abbate, Alain Badiou, Nicholas Ridout, and Slavoj Zizek. Suitable for advanced undergraduates and beginning MA & PhD students. A knowledge of German and/or music history is welcome but not required. An active interest in – and a willingness to think critically and creatively about – the practices of interpretation on stage is essential.

This course will explore the evolving relationship between moving bodies and video technologies. From early filmmakers using dancers as test subjects, to movie musicals and contemporary dance for the camera festivals, mediatization of the body continues to challenge the ephemerality of live dance performance. This course focuses on the growing field of screendance, videodance, or dance-on-camera, working to define this hybrid genre and to understand the collaborative roles of choreographer, director, dancer, cameraman, and video editor. This course is both a practical and scholarly approach to the genre of screendance, each component essential to a full understanding and mastery of the other. Course work will be divided between the studio and the classroom. For the studio component, students will learn basic video editing and filming techniques. For the classroom component, students will be asked to watch screendance and read a cross-section of criticism. Assignments will be both technological and choreographic (making screendance) and scholarly (written reflections and a seminar paper).

Taught by Daniéle Wilmouth

Arguably the most debated political theorist of all time due to The Prince, Machiavelli genuinely aspired to be remembered for his creative prowess. He explored various literary genres, such as short stories, dialogues, satirical poetry, letter writing, and, notably, theater, where he demonstrated mastery with The Mandrake, an exemplary Renaissance comedy. This course aims to reintegrate these two aspects of Machiavelli: the serious politician and the facetious performer, a Janus-faced figure who serves as a precursor of both Hobbes and Montaigne. We will revive the image of this “Renaissance man,” and, through him, shed light on his era and fellow humanists by restoring their intellectual unity of prescription and laughter. Indeed, we will discover that Machiavelli encourages us not to take things, including him and ourselves, too seriously!

This course offers a critical introduction to theories of performance and performativity across a transnational scope. We will read theories of performance that explore the relationship between text, body and audience alongside the history of performative theory and its afterlives in queer and affect theory. Drawing on comparative literary method, this course presents texts both within and beyond the Euro-American canon, across languages, and across disciplines to consider how empire and post-coloniality, race and ethnicity, and gender and sexuality shape performances and the publics that they address. We will think about the relationship between performance and politics and how performance as both an aesthetic genre and theoretical concept shapes the relationship between text, language, and embodied experience and explore the role of the spectator and their participatory function in the making of performances.

This course introduces students to a range of theatrical concepts and techniques, including script analysis and its application to staging, design and acting. Throughout, we investigate how theater – as a collaborative art form – tells stories. Students will act, direct, and design. In doing so, they will gain an understanding of a variety of processes by which scripts are realized in the theater, with an emphasis on the text’s role in production rather than as literature.

This course introduces fundamental concepts of performance in the theater with emphasis on the development of creative faculties and techniques of observation, as well as vocal and physical interpretation. Concepts are introduced through directed reading, improvisation, and scene study.

This course offers an introduction to a number of significant dramatic works and seminal figures in the theorization of theater and performance. But the course's aspirations go much further: we will be concentrating upon the intersection of interpretation and enactment, asking how these pieces appear on stage and why. This will not be merely descriptive work, but crucially it will be interpretive and physical work. Students will prepare and present applied interpretations-that is, interpretations that enable conceptual insights to take artistic form. Throughout, we will be searching for that elusive combination of philological rigor, theoretical sophistication, and creative inspiration-probing the theoretical stakes of creativity and testing the creative implications of analytic insights.

Approaching theatrical design as a visual art, we will achieve a basic understanding of the theory, methodology and artistic expression fundamental to each area of design for the stage—scenic, costume, lighting and sound. We will learn how each discipline approaches and executes visual (aural in the case of sound) communication involved in the design process. Students will learn the professional design process, from contracting through production. Projects for this course will be completed using a combination of mediums and materials. If students are away from campus, there will be discussions of what materials may suit each student best based on available resources. Creativity in execution of visual communication will be of great importance. Students will learn to show collaborators ideas instead of talking about them.

This studio-based course with a seminar component offers an overview of the formal practices and contemporary trends that shape dance as an art form. The class is designed for students who seek to gain a working knowledge of dance and deepen their physical skills. A range of contemporary dance forms and practices will be covered. Topics may include modern dance, hip hop, partnering techniques, social dance forms, improvisation, somatic practices, dance composition, and more. Lectures, viewings, and discussion will support experiential practice components. No previous experience with dance or performance is required. This course meets the general education requirement in the arts.

This course is a practical introduction to the art and craft of songwriting for musical theater. Students will analyze and practice song form, storytelling through music, and the writing of lyrics and melody for character and tone. In addition to presenting and workshopping new song material weekly, students will learn about orchestration, arrangement, and the structure of the theatrical score by discussing standout examples of the genre. As individuals or in teams of two, students will develop a catalog of character- and story-driven songs to be performed in cabaret at the end of the quarter. A basic ability to read music is expected; experience in songwriting is not required.

This course is designed to introduce students to foundational concepts and critical skills relevant to the production process in theater. Students will track a play’s journey from text to stage, working to understand each phase of the production process as well as the various players who create this collaborative art form, including but not limited to designers and technicians. Additionally, students will attend a variety of performances, tour Chicago-area theaters, meet with guest theater artists and technicians and construct their own production guide. Students will gain exposure to a variety of areas of expertise, theater spaces and approaches to the field of theater and performance production. The course is open to all undergraduate students.

This course adapts curriculum originally designed for the various schools of modern improvisation (including the iO, the Annoyance and The Second City). Listening skills, the ability to work well with others as a team, and building scene work organically are highlighted. You will leave this class a better communicator, with interpersonal tools that support other facets of your life.

This course introduces students to the works of early modern female playwrights from England--including Elizabeth Cary, Aphra Behn, and Margaret Cavendish--and from Continental Europe (in translation)--including the French Marguerite de Navarre (Comedy of Mont-de-Marsan), the Italian Margherita Costa (The Buffoons), the Spanish Ana Caro (The Courage to Right a Woman’s Wrongs) and the Mexican Sor Juana Ines de la Cruz (Narcissus), among others. In this course, we will read and think through the complex plays and lives of those brilliant authors through various critical lenses such as intersectional feminism, transnationalism, and premodern critical race studies.

This course has a strong component of movement practice and is open to students of any experience level who are willing to move with creativity and generosity. The course takes a broad look at dance improvisation, exploring in equal parts key theoretical readings, historic and contemporary performance examples, and movement practices in the classroom. On its surface, improvisation is often understood to be based on total freedom or openness, where any movement choice can be made. Here, the notion of freedom in improvisation is reconsidered through the sociopolitical realities of how dancers’ bodies move through society, and across the studio or stage.

This course places equal emphasis on the theory and practice of modern stage lighting. Applying real world observations and research with practical applications students will learn the mechanical properties of lighting equipment; how to create, read, and execute a lighting plot; the functions of lighting in a theatrical context; color and design theory; and how to read a text as a lighting designer. Diverse perspectives in designing with light include rigorous practicum requirements in group projects and exposure to various designers and philosophies.

This two-quarter sequence is open only to fourth-year students who are majoring and/or minoring in theater and performance studies.

This advanced acting course builds upon fundamental acting training and develops advanced skills for the performer. The focus will be on acting methods that are useful for multiple types of material; best practices in monologue, scene study, and ensemble work; and multiple approaches toward rehearsal processes. In preparation for weekly in-class performance work, students will be required to collaborate with scene partners outside of class and to dedicate themselves to a disciplined practice of self-study. For enrollment in this course, please submit a Statement of Intent at this link: https://forms.gle/KduDPpafN58XcRnw8. Questions? Email vwalden@uchicago.edu.

This course probes the nature and limits of theater by exploring a range of theatrical texts from various centuries whose relation to performance is either partially or fully virtual, including philosophical dialogues, closet dramas, drama on social media, remote online theater on platforms like Zoom, algorithmic and AI theater, mixed reality performance, and transmedia performance. One unit of the course attends to experiments in remote theater since the COVID-19 pandemic.

Open to select undergraduate students with instructor consent.

This course will explore the role of the teaching artist with a focus on school and community-based arts education, arts integration, teaching practice and curriculum design. Students will research the field of teaching artistry, explore models for arts education, and develop and implement plans for teaching a specific art form in a community setting. The course will carefully consider cultural competence, collaborative learning, and approaches to teaching practice.

The goal of this playwriting workshop is for each student to end the quarter with a first draft of a full-length play. In addition to generating new material on a weekly basis, students will be expected to attend two Chicago-based productions for in-class discussion and criticism.

From 2000-2018, the graphic novelist Jason Lutes published Berlin, a sprawling, formally inventive, & idiosyncratic account of life in the German capital city during the years just prior to National Socialism. Court Theatre, the Tony award winning professional theater on the UChicago campus, has commissioned the playwright Mickle Maher to prepare an adaptation of Lutes’ novel for Court’s 2024-25 season; David Levin is the collaborating dramaturg. This interdisciplinary team-taught seminar invites students into the process of adaptation, exploring a range of practical, conceptual & artistic challenges. The course will take place in two locations: at Court Theatre (where we will attend rehearsals for the world premiere production) and in a theater lab on campus, where we will consider a range of critical and creative materials – e.g., Lisa Kron and Jeanine Tesori’s adaptation of Alison Bechdel’s graphic novel Fun Home or Walter Ruttmann’s 1927 film “Berlin: Symphony of a Metropolis” – to establish a dialogue between Lutes’ novel, its progenitors, and the work in Court’s rehearsal room. An additional & significant component of our work will involve creative exercises. Students will prepare adaptations of their own – first, of Lutes’ novel, then of works of their own choosing. Artists from Court’s production will join us for workshop sessions. The seminar aims to serve as a creative and critical forum, exploring the challenges of adaptation while generating diverse forms of practice.

This course gives students the opportunity to learn repertory and new works by professional guest choreographers and faculty, culminating in a weekend of performances at Logan Center for the Arts. Within an immersive quarter-long production schedule, students will be exposed to a wide array of movement vocabularies, choreographic methods and performance aesthetics, while also gaining practical skills within the many facets of professional production work. Readings, viewings, and weekly journals will supplement studio and production work, connecting each student’s experience to broader conversations within dance and performance studies. With a range of performance and production opportunities, this course will accommodate and challenge both trained dancers and movement-curious beginners.

Audio storytelling insinuates itself into the day-to-day unlike other narrative forms. People listen to podcasts while they do the dishes, drive to work, or walk the dog. In this hands-on course, we will learn to produce a podcast from idea to final sound mix, and explore the unique opportunities that the podcast form affords the storyteller. Students will complete several short audio exercises, and one larger podcast project. The class will be held remotely, with an emphasis on remote recording techniques and what it means to document this moment using tools of non-fiction, fiction, and oral history.

Augusto Boal argues that theatre is “rehearsal for the revolution.” Boal’s Theatre of the Oppressed provides key strategies for collaboratively crafting dramatic narrative. These strategies challenge the conventional Aristotelian structure that privileges a single protagonist and subordinates other stories. Instead, Boal structures a poetics in which the “spect-actor” contributes their voice. Students will engage in devising and embodiment exercises in Image Theatre, Newspaper Theatre, Forum Theatre, and more, by interpreting texts (e.g., religious texts, constitutional documents, or political manifestos), interrogating current events, exploring public narratives, and valuing diverse learning styles. Students will contextualize destinations for the course material according to the aesthetic and academic questions that they bring into the classroom. To consider ethical concerns surrounding participatory theatre, we will examine arts groups past and present that employ the techniques of the Theatre of the Oppressed. Readings include Boal, Freire, Jan Cohen-Cruz, Michael Rohd, bell hooks, and Knight and Schwarzman.

This seminar explores the interplay of history, fantasy, and theatricality in one of the masterpieces of early Qing chuanqi drama, Changsheng dian 长生殿 (Palace of Lasting Life, 1688), Hong Sheng's 洪昇dramatization of the famous tragic romance between the Tang Emperor Xuanzong and his most favored concubine Lady Yang Yuhan. The play alternates between a restaging of the An Lushan rebellion based on the playwright’s research into historical sources and the creation of a parallel fantastical universe in the forms of purgatory and paradise. These seemingly contradictory trends—the increased concern with historical accuracy in drama and the fascination with spectacular, supernatural worlds—are fundamental to many seventeenth-century chuanqi plays. To understand the play’s genealogy, we will read influential earlier treatments of the Xuanzong/ Lady Yang romance, but we will also examine the play in light of its relationship to contemporary events, particularly the fall of the Ming, and to contemporary debates on historical drama and the role of the playwright in the publication and production of theatrical works. The course will include consideration of the “afterlife” of the play by screening some dvds of important live performances

Prerequisites: Good command of classical Chinese.

This course introduces students to a range of theatrical concepts and techniques, including script analysis and its application to staging, design and acting. Throughout, we investigate how theater – as a collaborative art form – tells stories. Students will act, direct, and design. In doing so, they will gain an understanding of a variety of processes by which scripts are realized in the theater, with an emphasis on the text’s role in production rather than as literature.

This course introduces fundamental concepts of performance in the theater with emphasis on the development of creative faculties and techniques of observation, as well as vocal and physical interpretation. Concepts are introduced through directed reading, improvisation, and scene study.

This course offers an introduction to a number of significant dramatic works and seminal figures in the theorization of theater and performance. But the course's aspirations go much further: we will be concentrating upon the intersection of interpretation and enactment, asking how these pieces appear on stage and why. This will not be merely descriptive work, but crucially it will be interpretive and physical work. Students will prepare and present applied interpretations-that is, interpretations that enable conceptual insights to take artistic form. Throughout, we will be searching for that elusive combination of philological rigor, theoretical sophistication, and creative inspiration-probing the theoretical stakes of creativity and testing the creative implications of analytic insights.

This studio-based course with a seminar component offers an overview of the formal practices and contemporary trends that shape dance as an art form. The class is designed for students who seek to gain a working knowledge of dance and deepen their physical skills. A range of contemporary dance forms and practices will be covered. Topics may include modern dance, hip hop, partnering techniques, social dance forms, improvisation, somatic practices, dance composition, and more. Lectures, viewings, and discussion will support experiential practice components. No previous experience with dance or performance is required. This course meets the general education requirement in the arts.

Though we often imagine a divide between the physical practice of dance training and the intellectual practice of dance history and theorization, in reality they overlap: movement training is embodied research and a form of intellectual labor, while dance theorization and scholarship is deeply connected to the physicality of thought. This course offers an introduction to dance with an integrated approach to thinking and doing. Students will explore a range of embodied research methodologies that draw from improvisational forms, codified techniques, and social and cultural dance practices. No prior dance experience is required for this hybrid seminar/ studio course.

Performance exists in repetition. Theater is a space where we continue to bring the past to the present, making new moments while maintaining old memories. In this class, we will explore the relationship between performance and repetition by looking at how classical performance in East Asia continue/discontinue on modern stages. From Royal Shakespeare Company’s translation and adaptation of Yuan drama to avant-garde Japanese theatre’ artists recycling of classical performance training techniques, from museum performances that breathe life into the collected theatrical objects to underground variety theater that revives Edo-kabuki––all the materials in the class center on the ways in which modern East Asia negotiates with the disruption of traditions as well as social and personal dislocations that modernity has brought about. By closely looking at a variety of cases, we will consider: How does performance provide us alternative lens to probe into the changing cultural values, historical backgrounds, and social identities in East Asia? What are some ways that we can rethink the premodern/modern divide in East Asian Studies? How can the studies of East Asian performance, both classical and modern, enrich our understandings of the interplay between theater, history, and memory?

Instinctively we know what a classic is and does in our culture. From Coca Cola to Air Jordans, a classic is a material artifact that resonates across time, class, race, creed and nationality. A classic has staying power, whether it evolves, remains fresh, or re-invents itself in new contexts. In drama, a classic is a more fraught concept. The tradition of a classic canon has been rightly and thoroughly critiqued as racist, misogynist, and exclusionary. In spite of this, the idea of a classic still abides and holds sway in the cultural imaginary. Taught by Associate Artistic Director Gabrielle Randle-Bent, this course takes as its point of departure that Court Theatre is “The Center for Classic Theatre.” We begin with the question: What are the practical, critical, and dramaturgical implications for an institution committing to the production of classic work? We will read literary and dramatic criticism to better understand the idea of classic text, we will study the structure of modern regional theatre to interrogate the economic necessity for the production of classic work on contemporary stages, and finally we will read canonical, a-canonical, and new works of theatre to begin to articulate a dramaturgy of Classic Theatre on our own terms.

This course addresses techniques and modes of observation and their application to scene study. Observation study is used to strengthen acting choices, build the physical world of the play, and create original, vital characterizations. It also serves to deepen awareness of group dynamics; integrate symbolic, psychological, and physical meaning in a character's behavior; and guide the process of breaking down a scene. Students will perform observation exercises and apply their discoveries to scene work.

This is a “maker’s” course that takes full advantage of working in a design lab to create a portfolio of short solo performance that could be stand-alone pieces, or further developed into longer works or possibly a TAPS BA thesis. Through the quarter we will examine varied approaches that include personal narrative, adaptation, object work, and projections while investigating the unique performer-to-audience dynamic. Benefiting from a historical approach that originates in the performance art work of the 1970’s through contemporary approaches to stand-up, students will research and present on artists including Marina Abramović, Spalding Gray, Anna Deavere Smith, Taylor Mac, Hannah Gadsby, Tig Notaro, Lynn Needle, Heidi Schrek, César Cadabes, and Debra Ann Byrd. Students will generate new works through in-class and take-home assignments and this quarter will culminate in a final showing of selected work for an invited audience. Prior experience is not required.

In traditional artistic mediums, the self is presented as a narrator, a figure on a canvas, a moving image on a screen or a character on stage. Using contemporary digital technology, new selves appear within emerging forms of storytelling. What selves are these? We will take a hands-on approach to answering this question, exploring the nexus between performance, embodiment and digital representation with an eye to storytelling and dramatic narrative. Students will conduct experiments in data-based digital art, multimedia performance (blending theater and film including live-feed techniques), and virtual reality technologies. Students will accordingly be asked to create original artworks using digital technology to tell stories ranging from the personal to the mythological and even more-than-human, exploring a range of perspectives, personas and cutting-edge storytelling techniques.

This course is a hands-on introduction to Neo-Futurism: a method of transforming your own thoughts, feelings, and experiences into creative, task-oriented, audience-participatory, non-illusory, unique theatrical events. Students are encouraged to find their own voice as fully rounded theater artists by writing, directing, and performing their own short performances using their own lives as source material. By pursuing the goal of absolute truth on stage, we focus on an alternative to narrative Realism by embracing such elements as deconstruction, found-text, collage, abstraction, sythesis, and chaos. Classes consist of original group exercises as well as presentations of weekly performance assignments.

This is a highly participatory, exploratory class designed for students to study, write and perform dramatic texts. We will read the short stories and major plays of Anton Chekhov and identify signature elements of Chekhovian structure, style and themes. We will read plays that reinterpret, reimagine or recontextualize his work, including works by Thomas Bradshaw, Haruki Murakami, Tanya Saracho, Zach Galifianakis, Claude Miller and Regina Taylor. Working in small groups, we will devise our own short performances in response to Chekhov and how they relate to ourselves, other cultures, and other eras. We will use Chekhov's precise, compassionate yet unsentimental writing as a launchpad to explore theatre, short story and acting in the 20th and 21st Centuries.

The creation of a TV Pilot is a unique, exciting, and demanding task for a writer. In addition to the responsibility of telling a compelling story, writers are also charged with setting up a “world” and establishing characters and plotlines that will sustain the show over multiple episodes and seasons. In this class, we will delve into the processes required to succeed in this challenging endeavor. This includes creation of pitch materials, plot and character development, outlining, creation of a show bible, and ultimately, writing the pilot episode of an original TV series.

The classroom will function as part development workshop and part informal TV writer’s room. Through weekly reading and writing assignments we will dissect successful entries into the TV space and tap into our artistic inspirations to evolve our show concepts. From there, we would collaborate as a class by actively brainstorming and workshopping our scripts and series. By the end of the quarter, each student will complete a draft of an original pilot script, as well as a short “Series Bible” detailing the broader scope of the show.

With the forthcoming publication of Dancing on the Third Coast: Chicago Dance Histories as text (University of Illinois Press, eds. Susan Manning and Lizzie Leopold), this course would take students out of the classroom to experience, historicize, and critically engage with dance across the city. Students will ask how social and theatrical dancing has shaped the city, and how the city in turn has shaped dancing bodies-in nightclubs and in settlement houses, at world's fairs and in theaters, on film and in the street. With the new historical perspective and critical view, students will produce a dance event as a final project.

This course explores how theater as a form interrogates the theatricality, character, story and community of sports. It will also investigate the theater of sporting events. We will read plays about sports, attend plays and sporting events, and definitely get on our feet and play. We will ask the questions: How can theater convincingly embody the world of sports? How do sports use theatricality to connect with their audience?

This course will explore ways in which the ephemeral elements of sound, light, and projected image can function in traditional and non-traditional spaces. Assigned readings and conversations with guest artists will expand students' relationships with cinema and performance. We will examine layered approaches to storytelling structures including applications in installations, shadow-play, live video mixing, and dance. Using a variety of tools we will apply concepts that cover the augmentation of the aural and visual dimension to create performative work. Final projects will culminate in an evening of work presented in a site-specific format.

We are living in an age of unprecedented movements and migrations of populations, some voluntary, many under extreme duress. The course will focus on the lives of those who have in one form or another lived through this great displacement. On the basis of material developed through our examinations and experimentations, we will create a performance installation piece. The “archive” for the piece will be drawn from a variety of sources: plays, essays, popular and social media, student-conducted interviews. Further material will be generated through acting exercises and our own work with video and visual arts.

Never in the history of western theater has brevity gotten so much attention. Festivals around the world are devoted to plays five minutes in length or less; perhaps the most revered playwright of the 20th century, Samuel Beckett, guided his career towards the writing of smaller and smaller works; Chicago’s Neofuturists have profitably run their show of “thirty plays in sixty minutes” for over thirty years; Twitter accounts disseminate multiple two to three line scripts daily; and sketch comedy continues to evolve and thrive.

This course will give an overview of the development of the very short play over the last one hundred and twenty years, but will primarily focus on the writing and development of same, asking students to complete — through workshop prompts — 20 to 30 scripts by end of quarter. A particular effort will be made to bring “traditional” elements of standard-length plays — character, arc, anagnorisis, pathos, backstory, etc — to these miniatures, to test and expand their assumed limitations.

This course traces the creative, political, and scholarly legacies of Katherine Dunham (1909-2006), exploring the immeasurable impact of her career as a dancer, choreographer, anthropologist, activist, and creator of the Dunham Technique. Students will merge embodied practice with in-class discussions of theoretical texts, questioning the role of Black dance traditions of the 20th century in helping shape transnational and Black diaspora studies. In keeping with the geographic scope of Dunham’s practice and research, we will engage Black dance and social movements of the Caribbean, Latin America, the United States, and beyond. Central concepts of performance ethnography, Caribbean studies, and Black feminisms will anchor an investigation of dance as an intellectual process and as social action. We will contemplate the methods of artist-activists and artist-scholars in traversing disciplines and foregrounding new fields of thought. This course will balance training with a certified practitioner in Dunham Technique with field studies, archival research, and short choreographic experiments while taking advantage of concurrent city-wide events celebrating Dunham’s legacy. No previous dance experience is required, and students should be prepared to engage through the body as well as intellectually in each class.

This course gives students the unique opportunity to create a collaborative, site-based work that culminates in a final performance at UChicago’s Smart Museum of Art. Using embodied research methods that respond to site through moving, sensing, and listening, we’ll explore the relationship between the ephemerality of movement and the materiality of bodies and place, and consider how the site-based contexts for dance shift how it is perceived, experienced, and valued. Our quarter-long creation process will begin with a tour of the Smart Museum, guided by curators and members of the Public Practice team, that will provide context to the museum’s exhibitions, programming, and its relationship to geography and community. Assigned readings, viewings, and conversations with guest artists will delve into the relationship between dance and the sites where it happens, including museums—from the material relationship between bodies, objects, and architecture to the digital flows of choreography online.

This class explores the potential of the podcast as a form of ethical artistic and social practice. Through the lens of oral history and its associated values—including prioritizing voices that are not often heard, reciprocity, complicating narratives, and the archive—we will explore ways to tell stories of people and communities in sound. Students will develop a grounding in oral history practices and ethics, as well as the skills to produce compelling oral narratives, including audio editing, recording scenes and ambient sound, and using music. During the quarter, students will have several opportunities to practice interviewing and will design their own oral history project. This class is appropriate for students with no audio experience, as well as students who have taken TAPS 28320 The Mind as Stage: Podcasting.