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?If brevity is the soul of a good audition, then these titles will prove a great resource. . . . ? CHOICEThis anticipated volume in Smith and Kraus?s highly-praised 60 Seconds to Shine Series, 221 One-Minute Monologues from Classic Plays, is the next book auditioning actors must have, created specifically for those who have only one minute to showcase their talent and need a short classic monologue for their repetoire. The editors have assembled a unique collection for men and women including monologues from a diverse selection of classic plays by authors such as: ?Aeschylus?Chekhov?Euripides?Filipo?Goethe?Goldoni?Havel?Kleist?Marivaux?Moliere?Pirandello?Rostand?Santander?Schnitzler?Scribe?Shakespeare?Sophokles?WedekindEach monologue embodies a well-defined character and includes strong emotional content. These monologues are not from dusty old translations from the 1950s ? all have been recently translated and use language that speaks to modern audiences. The monologues are organized by gender and indexed by tone and author to help the actor identify those most suited to the actor?s needs. Each monologue is introduced with character and scene information to help the actor understand the context of the selection.IRENE ZIEGLER ASTON is an actor, teacher, playwright, and novelist. She has taught speech, oral interpretation, and acting at Eastern Michigan University, and the University of Richmond, where she was an Artist in Residence.JOHN CAPECCI holds a Ph.D. in Speech Communication and has nearly twenty years experience coaching, teaching, and presenting public performances. He is an editor, along with Irene Ziegler, of The Ultimate Audition Book II: 222 Monologues from Literature, Two Minutes and Under, The Ultimate Audition Book III: 222 Monologues, Two Minutes and Under from the Movies, and The Ultimate Audition Book IV: 222 Comedy Monologues, Two Minutes and Under.
"If brevity is the soul of a good audition, then these titles will prove a great resource." - CHOICEActors looking for short pieces to work on in class or to use for auditions need look no further. This volume is loaded with choices from contemporary and classic plays, novels, and stories. Shakespeare, Molière, and Chekhov are represented, along with contemporary writers such as Philip Roth and Steve Tesich. Many of the monologues in this book are from less well-known authors, making it the perfect choice for actors looking for something fresh¿something auditioners have never seen before.JOHN CAPECCI holds a Ph.D. in Speech Communication and has nearly twenty years experience coaching, teaching, and presenting public performances. John has taught communication techniques and performance theory and practice to high school, undergraduate, graduate, and adult learners. He also has published essays on the performance of literature.IRENE ZIEGLER ASTON is an actor, teacher, playwright, and novelist. Most recently, she played Maggie Runyon in The Contender (nominated for two academy awards) and can currently be seen as Mrs. Laughlin in Showtime¿s series, Going to California. She has taught speech, oral interpretation, and acting at Eastern Michigan University, Old Dominion University, and the University of Richmond, where she was an Artist in Residence.John and Irene have co-edited The Ultimate Audition Book II: 222 Monologues from Literature, Two Minutes and Under; The Ultimate Audition Book III: 222 Monologues, Two Minutes and Under from the Movies; and The Ultimate Audition Book IV: 222 Monologues, Two Minutes and Under.
This book offers a selection of brief monologues for audition or for class acting purposes, where a character is defined, where there is strong emotional content and where there is a resonant ending. --introd.
This collection offers short, fresh monologues drawn from sources other than plays, and we're very happy with the wide variety of works we've gathered-161 of them-for use in auditions, classes, competitions, or simply, for your reading pleasure. But, perhaps our title is a bit misleading. Certainly, you'll find many great monologues here from "literature": novels, novellas, short stories, poems, and short-short stories. But when you search for monologue material outside the usual world of dramatic literature, you begin to see and hear-as we did-monologues everywhere: in blogs, essays, creative nonfiction, online journals, memoirs, op ed pieces, oral histories, even in e-mail spam. And all of these forms are represented in this collection. Are they all "literature"? We'll sidestep that question and simply say that each text was chosen because it is everything a monologue should be: a short, self-contained, well-written excerpt that features a unique voice or character, and contains some change in thought, emotion, or action. Each offers an intriguing glimpse into the mind or life of a captivating persona. Literature? Who cares? They're good monologues. How to use this book. At the back of this volume, you'll find all 161 monologues indexed according to age, tone, and voice, to help identify those most suited to your needs: Age is noted exactly only when specified by the author. More often, we've indicated an age range (20s, 20s-30s). In some instances, we've used a plus sign to show the character could be older than indicated, as in 40+. Use our suggested ranges as a general guide. Tone refers to whether a monologue falls into one of the following general categories: comic, dramatic, or seriocomic.
(Applause Acting Series). Lawrence Harbison has selected 100 terrific monologues for men from contemporary plays, all by characters between the ages of 18 and 35 perfect for auditions or class. There are comic monologues (laughs) and dramatic monologues (no laughs). Most have a compelling present-tense action for actors to perform. A few are story monologues and they're great stories. Actors will find pieces by star playwrights such as Don Nigro, Itamar Moses, Stephen Adly Guirgis, and Terence McNally; by exciting up-and-comers such as Nicole Pandolfo, Peter Sinn Nachtrieb, Crystal Skillman, Greg Kalleres, Reina Hardy, and J. Thalia Cunningham; and information on getting the complete text of each play. This is a must-have resource in the arsenal of every aspiring actor hoping to knock 'em dead with his contemporary piece after bowling over teachers and casting directors alike with a classical excerpt.
Audition monologues selected from plays first published in American theatre magazine since 1985.