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This volume features monologues taken from historical and legendary sources.
This groundbreaking new series is for truly young actors- monologues, scenes, and technique book for the elementary school set. Each book builds on the one before it, so skills grow as students grow. Often, young children are given work written for older actors that is difficult for them to understand and retain. This material is comprehensible, relatable, and fun. For all the young characters and performers, there is finally a book for you!And within this series, an exciting collection that breaks down barriers: Square pegs don?t fit into round holes. It''s that simple.Specifically for young actors of Hispanic descent, M. Ramirez has written a group of books for second, third, fourth generation immigrant kids who don''t often feel included in a lot of the literature they?re surrounded with. References to abuelos, abuelas, and other cultural specifics help make these performance pieces a little more accessible to kids who might or might not be speaking English as a second language. all with a specific flavor that will help young actors find their voices and stretch themselves, performing pieces that speak not only about them, but directly to them.Because of the Latino flavor incorporated into this material, these kids can focus on what they are meant to focus on performing without any cultural barriers.KIDS: These books tell you about how to act and give you some excellent characters to play! There are also many, many games and activities. (P.S. They may also make you the smartest kid you know!)TEACHERS: This series provides ample material for classroom use. In addition, the Teacher''s Guide will give tips and ideas to use in classrooms.PARENTS: If you''ve got a natural performer in the house, this book provides some simple pieces for auditioning, horsing around, or performing in the living room. These books are both fun and educational.AGENTS/MANAGERS: These monologues are immediate and active, with different emotions and levels within each monologue. Great for auditions.Everyday life was never so nutty! Inside you''ll find imaginative "what if" pieces for would-be princesses, cowboys, robots, and superheroes as well as real-life issues like unfair bedtimes, making new friends, and the horrible taste of broccoli. At this stage in life there are lots of firsts, too, like going to a new school and losing your teeth, so there are plenty of topics for children to connect with. "short, accessible selections on common topics such as games, families, food, friends, school, and wishes. The true-to-life experiences and emotions are delivered in a child''s voice and run the gamut from funny to serious. . . . The book has several classroom applications, including public speaking, memorization, journal writing, and storytelling. While there are other monologue titles for elementary children . . . the selections in My First Monologue Book are much shorter and easier to memorize or analyze."SCHOOL LIBRARY JOURNALKRISTEN DABROWSKI is a writer, actress, teacher, and director residing in New York City. Kristen has written eighteen books so far for Smith and Kraus, including The Ultimate Audition Book for Teens 3, 11, and 12; the 10+ series of short plays, scenes and monologues (6 volumes); the Teens Speak series (4 volumes), 20 Ten-Minute Plays for Teens 1; and The Ultimate Monologue Book for Middle School Actors 1 and 4. Additionally, she is author of Clown: A Love Story, a full-length play for 5 actors. Kristen is a member of Actors Equity and The Dramatists Guild.M. RAMIREZ is a Miami native and a graduate of NYU?s Dramatic Writing program. His monologues and scenes for young actors have won Critic?s Choice Awards at Thespian Society Competitions at District, State, and National Levels. He is a two-time winner of the Latino Playwriting Award from the Kennedy Center''s American College Theatre Festival. His plays have been produced at Fringe NYC, the Mad Cat Theatre Company, City Theatre''s Summer Shorts, and Actors Theatre of Louisville.
For actors, acting students, and film buffs, this book of more than 100 movie monologues has the juiciest roles that will help you create the perfect audition. Whether you need a long or short part, you'll find great selections of male and female characters for all types across diverse age ranges. Use this reference for the featured scenes from screenplays of such classics as Adam’s Rib by Ruth Gordon and Garson Kanin, The Goodbye Girl by Neil Simon, The French Lieutenant’s Woman by Harold Pinter, and The Conversation by Francis Ford Coppola, among others.
From a New York Times–bestselling author, short stories of the privileged class, spanning a century of New York history:“Urbane, humorous . . . a treat to read.” —Library Journal Sublime master of manners, exquisite critic of the upper crust, and beloved American author Louis Auchincloss is at his wry, brilliant best with this collection of ten short stories about New York aristocracy. Drawing on a century of Manhattan high society, Auchincloss weaves a set of perfectly crafted, intimate portrayals of the struggles and dramas of the elite. From a woman faced with choosing love or prestige when marrying to a man torn between loyalty to his family and country when called to war to a matchmaker handling a rogue romance, these glamorous yet all-too-human tales present a remarkable tableau of the American upper class. A series of “finely etched portraits of the kind of men we’ve become used to meeting in [Auchincloss’s] fiction,” Manhattan Monologues stands as a remarkable achievement of short fiction, a legend of American letters at his insightful best (The New York Times Book Review). “For the sheer elegance of his prose, Louis Auchincloss deserves a large and enthusiastic following.” —The Baltimore Sun
In this companion volume to her highly successful Callback, Ginger Howard Friedman, a veteran casting director, playwright and teacher, reveals her winning formula for a monologue audition that lands you the part. She explains her essential rules for a successful audition, then selects scenes from 16 plays and adapts them into monologues, comic and serious, for men and women of all ages.
Recently diagnosed with prostate cancer and approaching surgery, Jack McCallum wanted to tackle the confusion, misconceptions, and conflicting medical advice that so many men struggle with when thinking about the disease. So he got to work writing The Prostate Monologues. Through the lens of his own experience, McCallum attacks the nitty-gritty questions about prostate cancer that men think about (but may be too bashful to ask their doctors) with honesty and humor. For example, “When is it safe to attempt intercourse, or at least, self-inflicted orgasm?” Or, if you have surgery, “What’s it like the first time you shop for adult diapers?” With wry humor, McCallum decodes the sometimes-confusing jargon of medical professionals so that it is understandable and relatable to “regular” men. Prostate cancer is the second most common cancer among men and the second most fatal. Worse than the obvious commonality and mortality of the disease, though, is the fact that prostate cancer can rob a man of his manhood. Accordingly, McCallum handles the subject not only with care and knowledge, but also with good cheer. Through the honest telling of his own story, and drawing on the latest research, McCallum shares insight into what’s worked for him—and what’s proven to work—in surviving cancer with your sense of humor intact.
This unique anthology provides a wealth of material for actors and acting students, and a wonderful overview of the best recent plays for anyone interested in theatre. The more than 150 monologues cover a diverse range of subjects, and offer a variety of dramatic styles and moods. Each monologue is introduced with a short description of the plot, setting, and character type by the leading plauwrights of our time. Featured dramatists include: Christopher Durang, Wendy Wasserstein, Lanford Wilson, Wallace Shawn, Tina Howe, Caryl Churchill, Athol Fugard, Beth Henley, Sam Shepard, David Henry Hwang, Harry Kondoleon, John Patrick Shanley, Larry Shue, Michael Weller, David Rabe, Marsha Norman, August Wilson, Albert Innaurato, Jules Feiffer, Harold Pinter, David Hare, Jose Rivera, Tom Stoppard, John Guare, David Mamet, Charles Fuller, William Matrosimone, Robert Patrick, Miguel Pinero
This collection of short monologues for boys and girls deals with such topicsas pets, parents, friends, and school.
A diverse collection of monologues featuring the voices of women through the ages Drawn from poetry, fiction, diaries, journals, and documents of public record, these selections, although not originally intended for theatrical or cinematic performances, offer unique dramatic opportunities for actors, speakers, students, or anyone interested in women’s studies. Stefan Rudnicki has brought together selections from well-known as well as obscure authors, providing a tremendous range of women’s perspectives from a variety of sources: poems by Elizabeth Barrett Browning, Emily Dickinson, Christina Rossetti, and Sappho, among others; passages from Mary Shelley’s journal, the diaries of Anais Nin, and the memoirs of Isadora Duncan; polemics from Mary Wollstonecraft and Joan of Arc, as well as Susan B. Anthony’s “On Woman’s Right to Suffrage”; and selections from the novels of Emily and Charlotte Bronte, Jane Austen, Ursula K. LeGuin, and others.
First published in 1977, this book looks at the versatile literary form of dramatic monologue. Although it is often associated with Browning and other poets writing between 1830 and 1930, the concept has been employed by diverse poets of multiple periods such as Ovid, Chaucer, Donne, Blake, Wordsworth, Philip Larkin and Ted Hughes. In this study, Alan Sinfield demonstrates and analyses the range and adaptability of the form through detailed examples. He shows that the technique maintains a shifting and uncertain balance between the voices of the poet and of his created speaker; when extended, as in Maud, Amours de Voyage, The Ring and the Book, and The Wasteland, the use of dramatic monologue raises questions of personality and perception. In the second part of the text, the author discusses the origins of Victorian and Modernist dramatic monologue in the dramatic complaint and the Ovidian verse epistle of earlier periods, offering a new interpretation of the value of dramatic monologue to Browning and Tennyson. Through his writing, Alan Sinfield successfully highlights the eternal vibrance of the form.