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A collection of one-act plays from American playwrights, which cover such themes as love, fantasy, politics, grief, marriage, crime, and deceit.
A collection of one-act plays from American playwrights, which cover such themes as love, fantasy, politics, grief, marriage, crime, and deceit.
A collection of one-act plays from American playwrights, which cover such themes as love, fantasy, politics, grief, marriage, crime, and deceit.
(Best American Short Plays). Best Monologues from Best American Short Plays, Volume One is a must for actors of all ages beginners as well as seasoned veterans and belongs in the libraries of all theater teachers looking for new and exciting material for their students. The monologues in this volume are excerpted from the outstanding series Best American Short Plays, an archive of works from many of the best playwrights active today, presenting taut, engaging single-character pieces that range from zany comedy to poignant tales of love and loss. Each monologue includes a short introduction and a reference identifying where to locate the entire play, should anyone choose to pursue production beyond the monologue. Long or short, serious or not, this collection is must-have material for anyone interested in acting. The monologues also succeed as excellent companions for the casual reader.
A collection of one-act plays from American playwrights, which cover such themes as love, fantasy, politics, grief, marriage, crime, and deceit.
A collection of one-act plays from American playwrights, which cover such themes as love, fantasy, politics, grief, marriage, crime, and deceit.
A collection of one-act plays from American playwrights, which cover such themes as love, fantasy, politics, grief, marriage, crime, and deceit.
Applause is proud to continue the series that for over 70 years has been the standard of excellence for one-act plays in America. As previous series editor Ramon Delgado wrote in his introduction to The Best American Short Plays of 1989, the choice of entries for each edition has been based on the same goal: “to include a balance among three categories of playwrights: 1) established playwrights who continue to practice the art and craft of the short play, 2) emerging playwrights whose record of productions indicate both initial achievement and continuing artistic productivity, and 3) talented new playwrights whose work may not have had much exposure but evidences promise for the future.” From its inception, The Best American Short Plays has identified new, cutting-edge playwrights who have gone on to establish award-winning careers, including Tennessee Williams, Edward Albee, Wendy Wasserstein, David Mamet, and Horton Foote. This volume, Bill Demastes' first edition as series editor, illustrates how well the short story play can grapple with the many dimensions of love. The selected plays present unique perspectives on the wide range of love's impact on our lives, each giving a thoroughly modern twist to the idea that life would be so much easier (but also much less interesting) if we could only avoid love's mercurial influence.
A collection of one-act plays from American playwrights, which cover such themes as love, fantasy, politics, grief, marriage, crime, and deceit.
In the late 1950s, Mike Nichols (1931–2014) and Elaine May (b. 1932) soared to superstar status as a sketch comedy duo in live shows and television. After their 1962 breakup, both went on to long and distinguished careers in other areas of show business—mostly separately, but sporadically together again. In Nichols and May: Interviews, twenty-seven interviews and profiles ranging over more than five decades tell their stories in their own words. Nichols quickly became an A-list stage and film director, while May, like many women in her field, often found herself thwarted in her attempts to make her distinctive voice heard in projects she could control herself. Yet, in recent years, Nichols’s work as a filmmaker has been perhaps unfairly devalued, while May’s accomplishments, particularly as a screenwriter and director, have become more appreciated, leading to her present widespread acceptance as a groundbreaking female artist and a creative genius of and for our time. Nichols gave numerous interviews during his career, and editor Robert E. Kapsis culled hundreds of potential selections to include in this volume the most revealing and those that focus on his filmmaking career. May, however, was a reluctant interview subject at best. She often subverted the whole interview process, producing instead a hilarious parody or even a comedy sketch—with or without the cooperation of the sometimes-oblivious interviewer. With its contrasting selection of interviews conventional and oddball, this volume is an important contribution to the study of the careers of Nichols and May.