Autumn

In Fall quarter of fourth year, TAPS majors are required to enroll in TAPS 29801 BA Colloquium I (000 credits), the first part of a two-quarter sequence devoted to the preparation of the TAPS BA project. The colloquium is a weekly forum in which students develop their projects with close mentorship from course instructors and other TAPS faculty and professional staff, with feedback and participation from their peers in a close-knit cohort, and in accordance with a carefully designed set of deadlines. During Spring Quarter of the fourth year, students will publicly present BA projects in the TAPS BA ‘new works festival’. TAPS minors are invited to participate in TAPS 29801 without credit.

This course introduces the creative and technical processes of designing and building scenery for theatrical performance. Students learn how to translate a script or performance concept into a visual environment through research, sketching, drafting, model-making, and paint elevations.. Students gain hands-on experience with stage mechanics, materials, and tools in the scene shop while learning how to interpret a text through design. For interested students, the scenic design and technology process can extend to other performance forms including dance, installation and site-specific work. No prior design or technical experience is required.

In this course, students will develop an understanding of the basic methods and techniques involved in garment construction, including hand sewn stitches and fasteners, proper use and operation of sewing machinery, the practical use of fabrics and textiles, the manipulation of commercial patterns, and approaches to garment finishing. In addition, they will research and analyze clothing from particular historical periods in relation to theater, performance, and fashion. Students will develop a sewing technique portfolio that will allow for practicing the skills needed to produce finished garments, and as a final project, construct a completed garment using industry methodologies and construction standards.

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.

This course spans three quarters of attendance and is open to all students from all areas of the University. Dance technique classes meet weekly for 90 minutes. For each quarter you may choose one of three technique tracks: classical dance (primarily ballet), modern/contemporary, or Afro-diasporic forms (hip-hop, jazz, West African). Classes are taught by some of Chicago’s most recognized dance professionals and are open to all levels of experience.

To earn 100 units for your engagement in dance technique classes, you must earn a grade of ‘P’ in each of three courses. Ordinarily, dance technique courses are taken in consecutive quarters and you must attend eight of the ten class sessions offered during any given quarter to earn the subsequent grade of ‘P.’ Any interruptions to enrolling in consecutive quarters (e.g., summer session and/or travel abroad) would need to be approved by the Director of Undergraduate Studies and Director of Dance in Theater and Performance Studies. There is no option to enroll for a quality grade. For more information and for consent to enroll, please contact Julia Rhoads, Director of Dance: jrhoads1@uchicago.edu.

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.

Students who are participating in the TAPS autumn quarter Pro Show as either performers or design/production assistants may opt in for course credit after securing approval from the Director of Performance and completing additional assignments.

This course offers an intensive laboratory setting in which to imagine and create movement-based performance from an interdisciplinary perspective. Weekly sessions include guided prompts to generate a range of material—writing, choreography, physical theater, song, visual design, improvisational scores, and more—that will serve individual and collaborative projects. An ensemble-based approach and ongoing mentorship from the instructor will support students to develop and refine their performance objectives. The process-based course will culminate with an informal performance of final projects. No prior experience in devised performance is required, but students should come with a willingness to experiment and play across a range of vocabularies.

This course explores "immersive performance," "alternate reality," and "transmedia" gaming, culminating in student projects for a Spring 2026 immersive event at The Regenstein Library, co-hosted by the Fourcast Lab at The University of Chicago. Through the history of interactive performances from Tudor-era spectacles to tabletop games like Dungeons & Dragons and Nordic LARPS students will develop skills in scriptwriting, character creation, improvisation, digital platforms, and experience design.

We will examine Live Action Role-Playing (LARP) and Alternate Reality Games (ARG), analyzing how these formats blur the lines between reality and performance while fostering audience engagement. By dissecting their mechanics, students will learn to craft interactive narratives that build community and invite participation.

Collaboration with library staff will be essential, allowing students to utilize the library’s resources and spaces for creative storytelling. The course embraces the idea of libraries as hubs of cultural innovation, positioning them as both venue and partner in immersive storytelling. Guest lecturers, including Patrick Jagoda, Ashlyn Sparrow, Sandy Weisz, and David Feiner, will provide insights into immersive storytelling, game design, and audience interaction, offering professional perspectives on participatory experiences.

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.