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These performance texts were written exclusively for performers identifying as Deaf, disabled or neuro-divergent. This unique collection of fictional dramatic monologues was written specifically for D/deaf and disabled performers (the 'd' of the title), informed by lived experience. But the 'd' could just as easily refer to difference, diversity, defiance, determination, desirability and a host of other delicious 'd's.... Covering a wide variety of form, content, and theatrical styles, the monologues offer fresh perspectives on difference and disability from across the UK and beyond. From biting satire to crip' pride, observational comedy to poignant revelations of life in contemporary Britain and beyond, these texts challenge and subvert ingrained preconceptions of disability and celebrate all the possibilities of human variety. This collection is the culmination of ten years work, with fictional monologues inspired by over 100 interviews, conversations and interactions with D/deaf and disabled individuals internationally. It brings together new and previously unperformed texts alongside monologues from In Water I'm Weightless (National Theatre Wales Cultural Olympiad 2012), the 70 minute stand alone one-woman show richard iii redux, co-written with Phillip Zarrilli, and the multilingual intercultural And Suddenly I Disappear: The Singapore/UK 'd' Monologues. The monologues offer a great resource for atypical performers as audition pieces and for companies and individuals as script-in-hand, full productions, solo shows or with larger casts. The variety of monologues enables flexible presentation as solo, choral or ensemble performances.
In professional and student theater alike, a good monlogue can often mean the difference between a "Thank you . . . Next!" and a call-back. But sometimes it's hard for an aspiring actor to find the absolutely right audition piece that suits his or her personal style, type or age group. Monologues For Young Actors is a unique and invaluable collection of dramatic speeches from some of the world's greatest plays -- chosen specifically for actors in their teens and early twenties. Whether you're looking for something comedic or tragic, contemporary or classic, unorthodox or naturalistic, this superb compilation has the monologue you need -- an indispensible tool to help you hone you craft . . . and land that role.
Through the deconstruction of these monologues, actors will learn to develop and maintain solo scenes that will communicate six important elements about their casting suitability. Developing the proper mindset and applying this deconstruction process will best prepare the actor for selecting an appropriate monologue from any source and delivering achievable performance goals.
The first and only book where ALL of the AUDITION MONOLOGUES are ACTIVE! Every performance piece has been carefully crafted so the characters express an immediate need to one invisible partner in the present moment. These 76 original monologues are the kind that actors and teachers are looking for and casting directors in today's market place want to hear. The monologues are 45-120 seconds in length, conform to the standards espoused by casting professionals concerning appropriate language usage and subject matter, and are acceptable to perform at professional auditions, colleges, high schools, and competitions. The book also includes a section on how to choose an active monologue that is right for you and your type. Are you tired of buying monologue books with the hopes of finding one good piece out of a handful that are actually active? Look no further. "Active Monologues That Directors Want to Hear" is the book for you! A key objective of this book series is to provide actors and teachers easy access to appropriate active pieces for auditions and class work. To this end, Bell Crandall Publishing seeks talented writers to submit two of their best active monologues for an opportunity to have their work published in a future volume. See page 92 for details.
As professional directors and teachers who work with young and adult actors at the Tony Award-Winning American Conservatory Theater, Slaight and Sharrar have years of experience helping actors uncover the dynamics of the monologue, as acting exercise and as audition material. Now in their impressive third volume of age-appropriate monologues, culled from plays by substantial playwrights from an international field, the editors have assembled an impressive collection to take the actor/director/teacher to new levels of sophistication and breadth. The volume's introduction is a concise guide to today's audition obstacles and how to overcome them. As in their other award-winning collections, Slaight and Sharrar have selected character speeches from the finest dramatic literature. In addition, they have included a special section on the use of the song lyric as an exciting and useful exercise in solo work. Some of the writers included are: Edward Albee, Lee Blessing, Constance Congdon, Kia Corthron, Bob Dylan, Horton Foote, Timothy Mason, Sharman Macdonald, Lynn Nottage, Adam Rapp, George Bernard, Shaw Shakespeare, Sam Shepard, John M. Synge
A collection of one hundred monologues from New York's "New Dramatists."
Audition monologues for female characters selected from recent works by American playwrights including Tony Kushner, Jon Robin Baitz, Constance Congdon, Paula Vogel, Donald Margulies, Emily Mann, Eric Bogosian, Nicky Silver, and others. Unique to the TCG monologue series is a bibliography of other works by the playwrights included.
"Classical Monologues for Women" contains monologues from English plays from the 16th, 17th, and 18th centuries, and American plays of the 18th century.
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.
She was going to stab her doctor, but she wrote a book instead. Years later, Willa Goodfellow revisits her account of the antidepressant-induced hypomania that hijacked her Costa Rican vacation and tells the rest of the story: her missed diagnosis of Bipolar 2, how she’d been given the wrong medications, and finally, her process of recovery. Prozac Monologues is a book within a book—part memoir of misdiagnosis and part self-help guide about life on the bipolar spectrum. Through edgy and comedic essays, Goodfellow offers information about a mood disorder frequently mistaken for major depression as well as resources for recovery and further study. Plus, Costa Rica. · If your depression keeps coming back . . . · If your antidepressant side effects are dreadful . . . · If you are curious about the bipolar spectrum . . . · If you want ideas for recovery from mental illness . . . · If you care for somebody who might have more than depression . . . . . . This book is for you.