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.

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.

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 course traces the history of the double-edged notion that the world might resemble a stage from its ancient roots to its current relevance in politics, social media, and gender expression, among other areas. We will explore these questions by reading performance texts and performance theory from classical to contemporary, by attending plays and watching films, and by visiting non-theatrical events in order to consider them as occasions for performance.

For AY2025-26 only, this course may be counted against the major requirement in lieu of TAPS 22900 Introduction to Theater and Performance Studies.

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.

This course will examine a range of media—dance, sculpture, film, literature, theater—from the 1960s to the present, tracing how artists have engaged in ecological thought and action as climate anxiety has ramped up over the past several decades.We will examine some historical case studies that demonstrate the role performance has played in activism and social change. We will contemplate the ways aesthetic practices have attempted to understand and engage with the non-human world. Moving through texts that register some of the affective and emotional coordinates of climate change—grief, dread, even cringe—we will land on a study of materiality, focusing on how rocks, stones, and other earthly materials both challenge and facilitate aesthetic expression. This course will survey some key topics in literary ecocriticism and performance studies, while also introducing students to an eclectic array of contemporary artists whose work is especially helpful for reflecting on how the field of aesthetics interacts with climate catastrophe. Together, we will attempt to identify what thinking about performance—whether live, mediated, artistic, or social—can tell us about the ecological conditions we inhabit, and how attending to ecology—the series of relations and interactions that sustain us—can reveal new things about performance.

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 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 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 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 adapts curriculum originally designed for the various schools of modern improvisation (including the iO, the Annoyance and The Second City) and brings it into the classroom. 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 takes students on a journey into the dazzling world of divas, queers, and drag performers who reshaped Latin America's cultural, social, and political repertoires. From Eva Perón's iconic political mythology and María Félix's femme fatale allure to the radical defiance of Pedro Lemebel and the cosmic magnetism of Walter Mercado, we will explore how these larger-than-life figures resisted and undermined heteronormative and misogynistic regimes. Engaging critical theory, queer studies, and aesthetic analysis, the course invites students to engage with the commodification of celebrity in the culture industry, the performative dynamics of identity, and queer culture's fascination with camp, glamour, and abjection. Revisiting concepts like the society of the spectacle and hyperreal personas, students will uncover how these icons transformed the public sphere and disrupted hegemonic power structures. The course also examines celebrity labor as affective production and the participatory cultures that turn fandom into a consumer community, and into a nostalgic and repetitive ritual in the context of digital neoliberalism. Through discussions, close readings of critical texts, and multimedia explorations of films and performances, students will learn how divas, queers, and drag performers redefined aesthetic innovation and became fearless agents of political subversion in the region and beyond. The course will be taught in Spanish and English.

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 explores the 360-degree nature of site-specific performance, creating immersive environments that engage audiences in shifting spatial narratives. It examines Antonin Artaud’s "Theater of Cruelty," which prioritizes visceral experiences and disrupts traditional storytelling for deeper emotional impact. Case studies include PunchDrunk’s Sleep No More, which reimagines Macbeth as a non-linear, interactive experience in a detailed hotel setting;.And Then She Fell by Third Rail, which crafts a surreal, Carroll-inspired world where spatial design shapes narrative interpretation; and Port of Entry in Chicago, which exemplifies audience-driven storytelling and reflects site-specific performance’s evolution.

For their final project, students will design performances within the Regenstein Library, leveraging its spaces for transformative experiences. Co-taught by Heidi Coleman and Shade Murray, the course redefines direction, design, and dramaturgy as active processes rather than fixed roles. Key texts include Off Sites (Ferdman), Making Site-Specific Theatre (Smith), The Punchdrunk Encyclopedia (Machon), and Performing Site-Specific Theatre (Birch & Tompkins).

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 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 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.

In this course, students will learn the basics of designing costumes for theatrical productions, encompassing the skills of theatrical rendering and sketching, as well as the implementation of the design and basic sewing techniques. Students will learn to adopt a vocabulary using the elements and principles of design, understand and experience the process intrinsic to producing costumes for the theater, analyze the production needs related to costumes, and prepare a finalized costume design for a theatrical production.

Stage Design: Worldbuilding explores various forms and processes of designing scenery for live performance. Emphasizing a cohesive reading of text, contextual and historical research, and visual and thematic analysis, the course also covers the documentation required to realize a production. Students will learn how to create and present key deliverables including storyboards, models, drafting, and paint elevations. The course examines diverse approaches and aesthetics in theater, dance, opera, and devised work. Conversations with guest artists will illuminate personal and cultural aesthetics and assigned readings will introduce major trends in modern stage design.

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

This course explores the role played by the Shakespearean canon in the shaping of Western ideas about Blackness, in long-term processes of racial formation, and in global racial struggles from the early modern period to the present. Students will read Shakespearean plays portraying Black characters (Othello, Titus Andronicus, The Tempest, and Antony and Cleopatra) in conversation with African-American, Caribbean, and Post-colonial rewritings of those plays by playwrights Toni Morrison, Amiri Baraka, Bernard Jackson, Djanet Sears, Keith Hamilton Cobb, Aimé Césaire, Derek Walcott, Lolita Chakrabarti, and film-makers Max Julien and Jordan Peele. This course is open to MAPH students and to PhD students upon request.

This workshop will explore the underlying mechanics that have made plays tick for the last 2,500-odd years, from Euripides to Shakespeare to Büchner to Caryl Churchill, Suzan-Lori Parks, and Annie Baker, etc. Students will be asked to shamelessly steal those playwrights' tricks and techniques (if they're found useful), and employ them in the creation of their own pieces. Designed for playwrights at any level (beginning or advanced), the workshop's primary goals will be to develop a personal sense of what "works" on stage within the context of what's worked in the past, and to generate a one-act play, start to finish.

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.

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 studio course introduces students to a wide range of methods for creating choreography while considering the complex relationship between bodies, form, aesthetics, cultural contexts, technology platforms, and performance objectives. Grounded by interdisciplinary inquiry and ethical collaboration practices, the course will provide students with a robust toolkit for experimentation and play within dance and movement-based work, including compositional structures, improvised scoring, and choreographic prompts that are inspired by students’ unique thematic interests. The course also invites students to consider how choreographic methods can be activated as problem-solving tools across disciplines. Supplementary readings and viewings will drive discussion and analysis while giving students a broad understanding of how choreography engages current social and political issues.

This course examines the ways histories of US intervention in Latin America have been engaged in cultural practice. We assess the history of US intervention by reading primary documents alongside cultural artifacts including film, performance and visual art, song, music, and poetry. The course begins with the Cuban revolution and ends with the ongoing crisis in Puerto Rico.

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.

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 course invites students to engage with feminism—and its many intersections—not just as a question of representation but as a method for theatrical composition and presentation. We will ask why a performance might be deemed "feminist" and will analyze the specific dramaturgical strategies used to stage feminist questions and provocations, including erasure, saturation, fabulation, distortion, and others we will discover together. Students will learn to recognize and interpret feminist dramaturgy, and will adopt this disposition in practice. Drawing from feminist theory, trans studies, critical race studies and queer theory, we will examine how these frameworks inform the work of playwrights, performance artists, devised theater makers, and choreographers.

This acting course will introduce students to the fundamentals of performing early modern drama. Working with plays by Shakespeare, John Lyly, Christopher Marlowe, Margaret Cavendish and other playwrights of the period, we will draw on performance techniques developed by Shakespeare & Company, which focus on the voice, physical gesture, collaboration, and play. Required readings and viewing assignments will supplement our class work by providing context, inspiration, and an introduction to a variety of artists. The course will culminate in a performance of scenes and monologues.

"What is storytelling? It can be said that it is the oldest form of observing, synthesizing, and communicating feelings thoughts and information."—Temujin the Storyteller. Every day we use stories to communicate. This course provides students with an overview of the art and practice of storytelling. Chicago is a storytelling town from the Moth to Second Story and from Story Slams to traditional storytelling; performance artists give voice to a wide range of expression. Throughout this learning experience, students will be encouraged to explore the world of storytelling and to nurture their creative voices. Students will create and adapt tales focusing on personal experience, folklore, history, and ethnography. We will learn through participation and observation. The creative experiences in this course will enable students to further their skills in: oral presentation, story construction, performance, artistic critique, and analysis. Students will develop and perform stories from at least three distinct areas of experience. The course provides a creative space for learning and exploration.

Students will write short plays or one longer play that experiment(s) with queer form. We will consider linear and non-linear structures, disrupting expectations, subverting conventions, and shifting between the fictional world of the play and the real-time presence of the audience. We will focus on how form is integral to queer content. Students are welcome to bring in projects in progress or the germ of an idea, including original stories, adaptations or autobiographical material. Designers interested in ‘writing’ from a designer perspective are also welcome. Our work will be in dialogue with the new musical Out Here at Court Theatre, for which instructor Leslie Buxbaum is the book writer & co-lyricist. Students will meet production collaborators and be invited to production activities that fall within winter quarter.

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 studio course delves into the principles and practice of contemporary modern dance. Students will learn a series of movement sequences that progress from floor work to standing combinations and traveling phrases, building the skills to move with efficiency, gravity, and dynamics within the body and in space. Explorations of modern dance lineages will also include somatic techniques, improvisation, and the cultivation of an individual movement voice. Readings, viewings, and journal responses will supplement a bi-weekly studio practice, connecting student’s embodied experiences to the historical and cultural contexts that gave rise to modern and contemporary dance practices. Prior dance or movement experience is encouraged for this course.

This course explores the relationship between dancing bodies and gender identity in locations such as the stage, nightclubs, on social media, in film, and on the streets. Anchored in intersectional perspectives, the course examines dance as a site of personal and cultural history, resistance, and protest, while also considering its connections to nation and race. The aim of this course is to explore how ideas about gender and sexuality have shaped formal and aesthetic approaches to dance, even as dance serves as a space for contesting normative ideologies. This discussion-based seminar includes film screenings, guest artist sessions, and a final creative project. No previous dance experience required.

Production in Chicago Theater offers an in-depth exploration of the many departments that collaborate to create a theatrical production. Combining hands-on experience with theoretical study, students will gain a comprehensive understanding of the creative, technical, and organizational processes involved in live performance. Through practical assignments and expert-led discussions, students will engage with key areas such as set design, lighting, sound, costumes, props, stage management, and production management. We will examine the history, theories, and practices behind each department while providing opportunities for real-world production experience, fostering collaboration, problem-solving, and project management. By the end of the course, students will have a well-rounded perspective on the complexities of theatrical production and an appreciation for the collective effort required to bring a performance to life.

Explore how physical model making can be a tool for artists to envision, test, and manifest built environments. Students will create scale models using industry-standard scenic design tools, materials, and hands-on techniques as well as experiment with more environmentally responsible alternatives. Projects will be designed and built in response to theatrical texts and to changes we would like to see in our own homes and communities. Conversations and readings will highlight the role of artists in climate change discourse, which includes storytelling to inspire awareness, optimism, and change, and conceiving an ecologically conscious reality that can sustain future generations. The course will culminate in students presenting a complete physical scale model of an imagined space followed by peer critique.

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

This course investigates what we mean by "performance practice as research", as well as the related formulations practice as research, arts-based research, arts-led research, performance as research, etc. It will primarily, though not entirely, take the form of a seminar, with the expectation that studio work will follow in companion components of the TAPS PhD program and/or other venues. This course is intended for doctoral students seeking to understand and develop the relationship (and non-relationship) between arts practice and academic research without insisting on a particular approach or outcome. Through readings, case studies, discussions, and small artistic experiments, students will puzzle through their own idiosyncratic constellations of methods and interests, and so gain clarity about expansive and not always obviously intersecting bodies of work. While the course is designed for TAPS PhD students, other graduate students who find this mode of performance-based inquiry relevant to their work are welcome to apply. Please contact the instructor for further information.

This class explores the new play development process from first to second draft and will culminate in a staged reading at the end of the quarter. All the roles of a traditional production process will be a part of this class, with students serving as: playwrights, directors, actors, and dramaturgs. What happens once the playwright is ready to invite in collaborators to develop a script? How does each person bring their unique point of view to the play? How can this process serve both the play and the artists involved? The class is studying the art, theory and process of development as well as working on our feet to try our hands at what we are discovering. We will work to develop student plays in which a first draft is already written.

Playwrights with a complete, first draft of a play are encouraged to submit their work for this course and will be selected the quarter before this course is offered. To apply, please send your script and note of introduction to ddemayo@uchicago.edu.

Students interested in taking on any of the other designated roles of a production team (actors, directors, dramaturgs) should select either TAPS 20450 New Play Development: Playwrights and Dramaturgs OR TAPS 20451 New Play Development: Directors and Actors. Once enrolled, course instructors will assign tasks taking into consideration student interest. For further information on the course or how to enroll, please contact ddemayo@uchicago.edu.

This class explores the new play development process from first to second draft and will culminate in a staged reading at the end of the quarter. All the roles of a traditional production process will be a part of this class, with students serving as: playwrights, directors, actors, and dramaturgs. What happens once the playwright is ready to invite in collaborators to develop a script? How does each person bring their unique point of view to the play? How can this process serve both the play and the artists involved? The class is studying the art, theory and process of development as well as working on our feet to try our hands at what we are discovering. We will work to develop student plays in which a first draft is already written.

Students interested in taking on these designated roles of a production team (actors, directors, dramaturgs) should select either TAPS 20450 New Play Development: Playwrights and Dramaturgs OR TAPS 20451 New Play Development: Directors and Actors. Once enrolled, course instructors will assign tasks taking into consideration student interest. For further information on the course or how to enroll, please contact ddemayo@uchicago.edu.

Playwrights with a complete, first draft of a play are encouraged to submit their work for the companion course TAPS 24050 and will be selected the quarter before this course is offered. To apply, please send your script and note of introduction to ddemayo@uchicago.edu.

The performance score is a visual/textual work unto itself. Scores also provide performers and audiences with a language to understand the work. In this way, scores are documents of performative world-building while at the same time offering pathways into those worlds. This is a course about producing writing, drawing, and trace-making for the purpose of some other action – the performance of some unknown. Students will consider, in particular, how diasporic artists and writers have used writing, drawing, and mark-making as tools for inhabiting and re-enlivening performances of the past, theoretical performances, and those performances difficult to transcribe or translate. Students will have several opportunities over the course of the term to create and perform scores including their own in various media.

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.

This course will cover the rich representation of university life in non-professional Renaissance drama (including student-written plays, hazing plays, moralities, and satirical pamphlets, as well as intriguing fragments from lost plays), and the tantalizing glimpses this subject that the public stage offer. Plays include Love's Labour's Lost, The Parnassus Plays, Michaelmas Term, The Marriage of Wit & Science, and several neo-Latin plays in English translation. It will also provide a deep dive into the student scrapbooks of the late 16th / early 17th centuries; students will assemble their own album amicorum based on this curious and compelling form of self-documentation. Half of the course meetings will be taking place in the Regenstein Library's Special Collections.

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.

This interdisciplinary course examines key topics, trajectories and analytical methods in the study of gender and sexuality, approaching them in the context of modern and contemporary South Asia. As a constellation of mutually diverse yet interconnected postcolonial nations, the South Asia context pushes us to reflect on how questions of gender and sexuality are animated, constituted, and represented, especially within non-Euro/American frameworks. What theoretical concepts have universal purchase, and what is only ever legible in a local register? How do the forces of global capital and imperial power intervene in these processes? What role do religion, language, caste and class play? We will address these questions through the lens of performance, drawing on ethnographic, textual, visual and filmic sources from various South Asian regions, communities and languages (in translation). We will journey through a range of sites and scenes, including courtesan cultures, queer nightlife, drag performances, classical dance forms, dramatic texts, political protests, and more.

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.

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.

In contemporary performing arts, projection design is more integral than ever, enhancing immersive experiences and challenging traditional staging conventions. This course explores the projection designer’s process on projects including drama, opera, dance, musical theater, and themed entertainment. Students investigate, discuss, and prepare for the design challenges found in each unique production environment. We will emphasize integrating imagery and video in a theatrical context as well as installation work. Students will become familiar with the most common varieties of projection design equipment and software–including Adobe Suite as well as playback software for theater including Qlab and Isadora, and will learn standard procedures and practices for a projection designer. Final projects will culminate with a live projection mapping presentation.

In film, sound design is expressive, immersive, and dense, but once complete it’s fixed in time forever. This course will explore ways to translate the technical and narrative approaches of cinematic sound design to the dynamic context of live performance (dance, theater, puppetry, etc.). Using a variety of tools and practices from Ableton Live to field recording, students will learn how to create cinematic sonic experiences that are responsive to and imbued with liveness. Final projects will culminate in an evening of live sound-based performances.

In film, sound design is expressive, immersive, and dense, but once complete it’s fixed in time forever. This course will explore ways to translate the technical and narrative approaches of cinematic sound design to the dynamic context of live performance (dance, theater, puppetry, etc.). Using a variety of tools and practices from Ableton Live to field recording, students will learn how to create cinematic sonic experiences that are responsive to and imbued with liveness. Final projects will culminate in an evening of live sound-based performances.

Each week will focus on a particular sense or sensation (sound, touch, horror, wonder, etc.) in works of premodern Japanese theater and fiction, paying particular attention to performance (broadly defined to include noh, kabuki, and puppet theater as well as comic storytelling and spectacle shows) as a public site for the exploration of intimacy and alienation, the circulation of feelings, and the staging of somatic difference. Considering, for example, anti-theatrical bias and discourses of contagion, scenes of possession and physical transformation, and the psychologizing of emotion and the senses, the course will engage with theories of embodiment, emotions, disability, and wonder. All readings will be available in English.

This course will explore how an actor uses movement as a tool to communicate character, psychological perspective and style. The foundation of our movement work will center on the skills of balance, coordination, strength, flexibility, breath control and focus. Building on the skills of the actor both in terms of naturalistic character work and stylized theatrical text. Students will put the work into practice utilizing scene work and abstract gesture sequences through studying the techniques of Michael Chekov, Vsevolod Meyerhold, Anne Bogart, Complicite and Frantic Assembly.

In this course we will explore the relations between dreaming and waking life using a broad interdisciplinary approach. Our point of departure will be psychological, cultural, and religious understandings of dreams. On the basis of the readings and the skills and backgrounds of participants, the class will develop a "performance installation" around the liminal spaces of dream and wakefulness. Readings will include literary texts by Apuleius, Calderon, Shakespeare, Schnitzler, and Neil Gaiman, and theoretical texts by Freud, Jung, Klein, and Winnicott.

This course is an advanced, project-oriented writing workshop with an emphasis on dramatic structure, storytelling through music, and the exploration of character as practical matters. Each student will propose a new, full-length musical and will work towards the creation of a first draft over the course of the quarter. In addition to presenting and workshopping new scene or song material weekly, students will study, discuss, and draw inspiration from standout examples of the genre. Students will present excerpted readings from their musicals at the end of the course. Some experience in writing for musical theater is expected.

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.

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.

Students will be given a unique opportunity to create a collaborative, site-based work that culminates in a final performance at UChicago’s Logan Center for the Arts. 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 Logan Center that will provide context to the building’s departments, exhibitions, programming, and its relationship to geography and community. Assigned readings, viewings, and conversations with guest artists will delve into the relationship between embodied performance and the sites where it happens—including multidisciplinary community-oriented spaces such as the Logan Center—and will consider the material relationship between bodies, objects, and architecture as well as the digital flows of choreography projected on buildings and exchanged online.

This hybrid studio/seminar course offers an overview of the formal techniques, cultural contexts, and social trends that shape current Black social and vernacular dance practices. Modules will be built around Black social culture by looking at key histories and theories around Black dance, music and other cultural aesthetics from hip hop to house. As part of our exploration, we will cover themes such as: the Great Migration, the range of Black social dance forms from blues, jazz, disco, and dancehall that have influenced the evolution of hip hop and house on global scale; and the spectrum of social spaces from clubs to lounges and public events that have been critical to preserving Black cultural heritage and creating safe spaces for belonging and flourishing. Selected readings and viewings will supplement movement practice to give historical, cultural, and political context.

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.

This course will move between three sites of inquiry to investigate the social and material history of an evergreen trope: the domestication of a refractory servant or wife. From rare book libraries and museum collections, we will track the common features of popular entertainments that traffic in this scenario. We will then bring our findings to bear in a theatre lab environment, where we will assay scenes from The Taming of the Shrew, The Tamer Tamed, and the City Madam. (Drama, Pre-1650)

This course examines key texts from antiquity through the 18th century related to music and sound. “Literature” is construed broadly to include the many genres in which music or sound play a principle part: philosophical and scientific essays; anecdotes, biographies, and tales; poems and informal essays; songbooks, formularies, and scores; encyclopedias and manuals. The course will be organized historically and thematically. Some of the issues we hope to investigate: the role of music in ritual and governance; theories of the voice and sound production; the translation of sound into words, and what is lost and gained; the pictorial representation of sound and listening; the relation between music and emotion; the social roles of musicians and entertainers; and the cultural significance of musical instruments.

This co-taught, in-person seminar will take up the philosophical, social, and political problem of how love relates to music as both experience and idea with a focus on Greece and the wider Mediterranean. Whether staged and performed, publicly shared, or privately consumed, love and music pervade time and place, shaping diverse genres, engaging different media, and articulating numerous domains of human life and the public sphere. Yet the mediation of love experiences through music remains radically undertheorized. The seminar “Love/ Music” will think about what the love/ music nexus demands as an object of ethnographic and historical study and as a theoretical entity. The course has a binary scope, being both theoretical and hands-on ethnographic (including historical ethnography). Thus its syllabus includes sessions addressing seminal theoretical readings alongside sessions structured as “ethnographic workshops” variously addressing the problematic of the “love / music relation.” 

Over the course of the quarter, students will carry out short ethnographic assignments designed to train them to think theoretically while doing field research or creative projects with an ethnographic sensibility, fusing and playfully unsettling the boundaries between the artistic, the ethnographic, and the philosophical. Assignments will range from experimentation with multimodal and sensory ethnographic methodologies, dialogic, reflexive and (auto)ethnographic narrative, field-note or historical-ethnographic writing, and oral history, to creative work (e.g. making playlists, podcasts, radio essays, short films, sound art, performatively reinventing archival material, or the like), thereby fusing the boundaries between the fictional, the artistic, the ethnographic, and the historical.

Writings by Christina Woolner, Hilton Als, Luis Manuel García-Mispireta, Eva Iliouz, Roland Barthes, Alain Badiou, Martin Stokes, Marta Savigliano, Wayne Koestenbaum, Mladen Dolar, and James Davidson will figure among the readings.

Requirements: Each student will do 1) two small ethnographic projects for the “ethnographic workshops” (held in sessions 4, 6, and 8) and 2) a 4-5,000-word final term paper. In lieu of a fully written term paper, students may do a creative or ethnographic project, developed in consultation with the instructors.

The course will be capped at twelve graduate students. It is open to students from all academic units.

NOTE ON SCHEDULE 

This seminar will meet twice weekly for five weeks on Mondays 1:30-4:20 and Thursdays 2:00-4:50 from April 20 until May 18. A tenth session held on Thurs. May 21 will be devoted to student presentations. Students are required to attend all sessions in person.

Additionally, on Friday, May 15, students will participate in a workshop of the multi-year international project “Love / Music: Problematics of a Relationship.” The workshop, held under the sub-rubric of “Methodologies from across Disciplinary and Practice-based Terrains” and hosted by the Franke Institute for the Humanities, will focus on how different disciplines, diverse in their methods for dealing with love, have been approaching the love /music nexus as a disciplinary issue, and might reconsider it in empirical and theoretical terms.