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Monologues are an essential part of every actor's toolkit. Actors are required to perform monologues regularly throughout their career: preparing for drama school entry, showcasing skills for agents or auditioning for a role. Following on from the bestselling first volume (2008), this book showcases selected monologues from some of the finest modern plays by some of today's leading contemporary playwrights. These monologues contain a diverse range of quirky and memorable characters that cross cultural and historical boundaries. The pieces are helpfully organised into age-specific groups: 'Teens', 'Twenties', 'Thirties' and 'Forties plus'.
Monologues are an essential part of every actor's toolkit. Actors are required to perform monologues regularly throughout their career: preparing for drama school entry, showcasing skills for agents or auditioning for a role. Following on from the bestselling first volume (2008), this book showcases selected monologues from some of the finest modern plays by some of today's leading contemporary playwrights. These monologues contain a diverse range of quirky and memorable characters that cross cultural and historical boundaries. The pieces are helpfully organised into age-specific groups: 'Teens', 'Twenties', 'Thirties' and 'Forties plus'.
Foreword by Kwame Kwei-Armah How many Black British plays can you name? Inspired by both classical and contemporary plays, The Oberon Book of Monologues for Black Actors gives readers an insight into some of the best cutting-edge plays written by black British playwrights, over the last sixty years. This collection features over twenty speeches by Britain’s most prominent black dramatists. The monologues represent a wide-range of themes, characters, dialects and styles. Suitable for young people and adults, each selection includes production information, a synopsis of the play, a biography of the playwright and a scene summary. The aim of this collection is that actors will enjoy working on these speeches, using them to help strengthen their craft, and by doing so, help to ensure these plays are always remembered.
Monologues are an essential part of every actor's toolkit. Actors need them for drama school entry, training, showcases and when auditioning for roles in the industry. Edited by Dee Cannon, author of the bestselling In-Depth Acting, this book showcases selected monologues from some of the finest modern plays by some of today's leading contemporary playwrights. The monologues contain a diverse range of quirky and memorable characters that cross cultural and historical boundaries, and comes in a brand new format, with a notes page next to each speech, acting as an actor's workbook as well as a monologue resource.
Monologues are an essential part of every actor’s toolkit. Actors are required to perform monologues regularly throughout their career: preparing for drama school entry, showcasing skills for agents or auditioning for a role. Following on from the bestselling first volume (2008), this book showcases selected monologues from some of the finest modern plays by some of today’s leading contemporary playwrights. These monologues contain a diverse range of quirky and memorable characters that cross cultural and historical boundaries. The pieces are helpfully organised into age-specific groups: ‘Teens’, ‘Twenties’, ‘Thirties’ and ‘Forties plus’.
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.
A brand-new collection of original audition pieces written by and for actors of colour, commissioned by Tamasha Theatre Company and edited by Titilola Dawudu, with a foreword by Noma Dumezweni. Hear Me Now is a unique collection of over eighty original audition monologues, expressly created by a range of award-winning writers brought together by producer Titilola Dawudu and Tamasha Theatre Company. They're ideal for actors of colour searching for speeches for auditions or training, writers, teachers, and theatre-makers who are passionate about improving diversity. The book provides varied, nuanced stories that expand beyond the range of existing material available – from a cross-dressing Imam, to the first Black Prime Minister, the British Indian girl with dreams of becoming a country music star, or the young Black boy who loves baking as much as football – Hear Me Now is an essential tool for actors of colour to showcase their range, and seeks to inspire, empower, and create a legacy for generations to come.
'A book that will stand the test of time' – Pierce Brosnan An essential guide to the Stanislavski technique, filtering out the complexities of the system and offering a dynamic, hands-on approach. Provides a comprehensive understanding of character, preparation, text, subtext and objectives. How to prepare for drama school and professional auditions How to develop a 3-dimensional, truthful character Preparation exercises to help you get in character Rehearsal guidelines An appendix of Transitive/Active Verbs and more
"I'm a scientist. I don't 'believe' in anything." The study of climate science is the cool degree at the university where Dr Diane Cassell is a lead academic in Earth Sciences. At odds with the orthodoxy over the causes of climate change, she finds herself increasingly vilified and is forced to ask if the issue is becoming political as well as personal. Could the belief in anthropogenic global warming be the most attractive religion of the 21st century. What evidence do we need before deciding on policy? Winner of the 2011 Evening Standard Theatre Best New Play Award.
He’s just your type. But hold on. He’s about to tell you he’s got HIV. How will you respond emotionally? Brush it aside and practise safe sex? Go on to a deeper relationship? Or do you walk away? In these eloquently interwoven and often funny monologues Patrick Cash invites you to explore these emotions of living with a virus that attacks the emotions as well as the body.