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The plays in this volume of 5-Minute Plays are geared toward adults. Some are comedic, some are dramatic, some are realistic in style, while others are more unconventional. Their length makes them perfect for scene work in class. A few of the plays are written by playwrights who have established quite a reputation with their full-length plays, such as Don Nigro, Lee Blessing, Y York, and Sheila Callaghan. But most are by what I call exciting up-and-comers, such as Nicole Pandolfo, Merridith Allen, Andrew Biss, Adam Kraar, Stephanie Hutchinson, Judy Klass, John McKinney, Scott C. Sickles, Graham Techler, Eric Grant, Deanna Alisa Ableser, Kerri Kochanski, Lisa Bruna, and Grace Trotta.
This collection of 100 short (very short) plays from The Neo-Futurists’ acclaimed cult hit Too Much Light Makes the Baby Go Blind was originally published by Chicago Plays in 1993. The show presents 30 plays in 60 minutes, its ensemble of writer/performers generating between two and 12 new plays each week, as dictated by a roll of the dice. The material runs the gamut of style, tone, and topic: musical, confession, agit-prop, poetic gesture, physical comedy, puppet theater, audience interrogation, folk song, sex joke, and many more. The plays are funny, moving, challenging, powerful, and occasionally just plain weird. There is no fourth wall in Too Much Light Makes the Baby Go Blind — the show embraces the ideal that theater is created in the connection between audience and performer. Randomness, dynamism, speed, brevity, and planned obsolescence are celebrated and exploited to engage and refresh all participants. The plays stand as an entertaining document of the show's output, and they are ideal for scene study, auditions, and competitions.
Arranged by gender groupings, provides a selection of contemporary ten-minute plays by playwrights including David Henry Hwang, Tina Howe, Jon Jory, and Craig Lucas.
Collected from theaters across America, this new ten-minute collection of 23 plays reveals the power and pleasures of this tightly knit form. Plays for 3 Actors:Shot Americans (3W) by Kayla CaganLarry Gets the Call (2W, 1M) by Matt CasarinoShades (1W, 2M) by Mark Harvey LevineEvery Man (2W, 1M) by Michael NiedermanMolly Whuppie (2W, 1M) by Don NigroIt's Called Development (3W) by Anne PhelanAn Ongoing Examination of the True Meaning of Life (2W, 1M or 1W, 2M) by S. W. SenekPistachio Stories (2W, 1M) by Laura ShamasThe Searcher (1W, 2M) by Frederick StroppelMore (1W, 2M) by Jeff TabnickWeird Water (1W, 2M) by Robert Lewis VaughanDead Boy (2W, 1M) by Craig WrightPlays for 4 Actors:Vinny's Vision (4M) by Jim GordonBetting the Karmic House (1W, 3M or 2W, 2M) by Bill JohnsonInfant Morality (3W, 1M) by Craig PospisilHow to Speak Man (4M) by Sharyn RothsteinRemind Me Again (3W, 1M) by Sharyn RothsteinHell Hath Three Furies (3W, 1M) by Aoise StratfordA Moment of Your Undivided Attention (3W, 1M) by Alina TrowbridgePlays for 5 Actors:Tina at the Times or Below the Fold (2W, 3M) by Wendy MacLeodPlays for 6 or More ActorsToys in Babeland (1W, 8M) by Delilah GomezAt the time (5W, 3M) by Winter MillerSmall World (3W, 3M) by Tracey Scott WilsonD. L. LEPIDUS is a freelance critic and editor who has covered the New York theater scene for more than twenty-five years. Since 1993, his work has appeared in theater columns for Chelsea Clinton News and the Westsider.
THE STORIES: Four disparate works demonstrate David Ives' mastery of the short form. THE OTHER WOMAN is a dark drama of sexual obsession within a marriage, as Thomas's sleepwalking wife, Emma, becomes his mistress without knowing it. (1 man, 1 woma
Home of the most popular one-act plays for student actors, Playscripts, Inc. presents 15 of their very best short comedies. From a blind dating debacle to a silly Shakespeare spoof, from a fairy tale farce to a self-hating satire, this anthology contains hilarious large-cast plays that have delighted thousands of audiences around the world. Includes the plays The Audition by Don Zolidis, Law & Order: Fairy Tale Unit by Jonathan Rand, 13 Ways to Screw Up Your College Interview by Ian McWethy, Darcy's Cinematic Life by Christa Crewdson, The Whole Shebang by Rich Orloff, A Funny Thing Happened on the Way to Fifth Period by Jason Pizzarello, Small World by Tracey Scott Wilson, The Absolute Most Cliched Elevator Play in the History of the Entire Universe by Werner Trieschmann, The Seussification of Romeo and Juliet by Peter Bloedel, Show and Spell by Julia Brownell, Cut by Ed Monk, Check Please by Jonathan Rand, Aliens vs. Cheerleaders by Qui Nguyen, The Brothers Grimm Spectaculathon by Don Zolidis, 15 Reasons Not To Be in a Play by Alan Haehnel
Why would most people endure unwanted or unsatisfying touch, rather than speak up for their own boundaries and desires? It's a question with a myriad of answers - and one that Dr. Betty Martin has explored in her 40+ years as a hands-on practitioner, first as a chiropractor and later as a Somatic Sex Educator, Certified Surrogate Partner and Sacred Intimate. In her client sessions, she noticed a pattern wherein many clients would "allow" or go along with discomfort or unease rather than speak up for what they wanted or didn't want. Betty discovered there was a major component missing for people -- the confidence that we have a choice about what is happening to us. In her framework, "The Wheel of Consent(R)" Betty traces the fundamental roots of consent back to our childhood conditioning. As children, we are taught that to be "good" we must ignore our body's discomfort and be compliant: to finish our food even if we're full, to go to bed - even if we're not tired, to let relatives hug and kiss us even if we don't want to. We learn that our feelings don't matter more than what is happening, and that we don't have a choice but to go along, whether or not we want it. As adults, this conditioning remains with us until we have an opportunity to unlearn it, which is why consent violations are often only called out after the violation has occurred - because we have not been taught or empowered to notice our boundaries, much less value or express our internal signals as the unwanted action is happening. In this book, Betty guides the reader through the Wheel of Consent framework, and shares practices to help us recover the ability to notice what we want and set clear boundaries. While the practices are based on exchanges of touch, they can also be learned without touch. In these practices, we discover that the Art of Giving includes knowing our own limits so we can be more generous within those limits, and not give beyond our capacity - a common problem which creates feelings of resentment or martyrdom. We also discover that the Art of Receiving invites us to notice and ask for what we really want, and not just what we think we are supposed to want. This knowledge, and its embodied practice, is foundational for creating clear agreements and bringing more satisfaction into relationships. While much of consent education focuses on noticing what we don't want, or prevention of violation, Betty has developed a "pleasure-forward" approach to teaching consent. By first accessing and awakening (sometimes re-awakening) our bodies' relationship to pleasure and what we want, we can practice noticing and verbalizing what we don't want. Such an approach provides a more holistic frame in which to unlearn the childhood conditioning that taught us to be silent and compliant, and in which individuals can learn to ask for what they want and state what they don't, in a more empowered way. The implications of this approach to consent education extends beyond touch and intimate relationships. When we forget how to notice what we really want, we lose our inner compass. When we continue to go along with things we don't feel are right, we lose our ability to speak up against injustice. This has a profound effect on society. We allow all manner of inequality, corruption, theft of natural resources and our planet's future health - because "going along with it" feels normal. The Wheel of Consent offers a deeply nuanced way to practice consent as an agreement that brings integrity, responsibility, and empowerment into human interaction, starting with touch and relationships, and further expanding our understanding of consent to social issues of equality and justice.
The hottest collection of 10-minute plays by American playwrights for 2009, The Best Ten-Minute Plays of 2008 for 3 or More Actors is part of the essential 2-book set for producers looking for high-quality plays and professors who need relevant and engaging material for their class work. Lawrence Harbison has assembled the most compelling comedies, dramas, fantasies, and mysteries of the year a chronicle of what this year's playwrights had to say about the world around them.Plays for Two Men and One WomanThe Adventures of . . . by Kathleen WarnockAntarctica by George FreekHow to Survive in Corporate America (A Manual in Eight Steps) by Ian AugustIn the Trap by Carl L. WilliamsMoon Man by Jami BrandliOctober People by Mark LambeckThe Other Shoe by Lisa SolandThe Perfect Red by Paola Soto HornbuckleSqualor by Gina GionfriddoThree Turkeys Waiting for Corncobs by Don NigroTo Darfur by Erik Christian HansonWhatever Happened to Finger Painting, Animal Crackers, andAfternoon Naps? by Nora ChauPlays for One Man and Two WomenThe Answer by Vanessa DavidDo-Overs by Larry HammGloom, Doom, and Soul-Crushing Misery by Robin Rice LichtigThe Growth by Chris Shaw SwansonMeasuring Matthew by Patrick GabridgeNight Terrors by Wendy MacLeodZachary Zwillinger Eats People by Lauren D. YeePlays for Three WomenThe Baby War by Laura CottonSexual Perversity in Connecticut by Mike FolieSister Snell by Mark TroyPlays for Three MenCurrent Season by Vanessa DavidThe Title Fight by Ian AugustPlays for Two Men and Two WomenIntervention by Mark LambeckPlays for Three Men and One WomanGuys, Only Guys! by Jerome ParissePlays for Two Men and Three WomenThe Birthday Knife by Jerome ParissePlays for Three Men and Three WomenCabfare for the Common Man by Mark Harvey LevinePlays for Four Men and One WomanA Case of Anxiety by Mark Harvey LevineFear of Spheres by Lisa LoomerAbout the AuthorFor over thirty years Lawrence Harbison was in charge of new play acquisition for Samuel French, Inc., during which time he was responsible for the first publication of such luminaries as Jane Martin, Don Nigro, Tina Howe, Theresa Rebeck, Jose Rivera, William Mastrosimone, Charles Fuller, and Ken Ludwig, among many others; and the acquisition of musicals such as SMOKE ON THE MOUNTAIN, PUMP BOYS AND DINETTES, A...MY NAME IS ALICE, and THREE GUYS NAKED FROM THE WAIST DOWN. He is currently Senior Editor for Smith and Kraus Publishers, Inc., the nation's largest theatrical trade publisher, for whom he edits annual anthologies of best plays by new playwrights, best ten-minute plays, best monologues for men and for women and best stage scenes. For many years he wrote a column on his adventures in the theater for the Chelsea News and The Westsider and now writes this weekly column for Smith and Kraus's web site smithandkraus.com. He has also served as literary manager or literary consultant for several theaters, such as Urban Stages and American Jewish Theatre. He is a member of the NYC press corps and is an Outer Critics Circle member. He has served many times over the years as a judge and commentator for various national play contests and lectures regularly at colleges and universities.
FACT: All emerging actors are looking for an advantage - well this is it! Never again do actors (or drama teachers) have to go searching for that ideal Monologue to work on. In this book there are plenty of choices between comedy and drama, for male and female actors. Whether using them for Theatre, Film or Television application, these Monologues will provide a refreshing approach to any performance. 30 ORIGINAL monologues written by Albert Jamae; professional writer/actor of 25 years. Perfect for Auditions, Workshops, Showreels or Competitions! Contains 10 monologues, each in 1,2 & 3 minute versions for total flexibility. WARNING: Some material contains course language and adult themes. CONTENTS: Dramatic List DAMAGE CONTROL: a politician attempts to reassure the public during a disaster. DUTY: an estranged father awakens to his duty as a parent. HOLDING ON: a single mother has had enough. LIFELINE: a mother/ father tries to convince the court they're a fit parent. SAFE PLACE: a lawyer tries to convince the court that a mother is unfit to have her kids. Comedy List DEADLY DAUGHTER: an embittered daughter delivers the eulogy. DIRECTOR'S FURY: a director struggles with an amateur cast doing Macbeth. MANLY BITS IN PIECES: a virgin trying to understand his sexuality. STALKER: a star struck fan unravels her (or his) obsession. THOU DOG: a courtly virgin declines a sexual offer from a sleazy suitor. Testimonials: "After endless hours searching for that 'right' monologue I stumbled across a real gem titled 'Director's Fury' penned by Albert Jamae. I have chosen to perform 'Director's Fury' at Manchester's Monologue Slam as it is a cracking no nonsense piece and will really grab an audience's attention, as well as this I have now been introduced to a marvelous collection of monologues that I plan use at many castings in the future. For those looking for a monologue that is a little bit different and individual but yet can still hold a good sense of reality, then Jamae is your man!" Leo Flanagan: Actor - Manchester, United Kingdom. "I have been teaching adults, teenagers, and youngsters 7-10 yrs old, recently for Industry Actors HQ in Brisbane, and have used a great deal of Albert Jamae's scripts in the workshops. The scripts are mercifully short, relevant and interesting, and most importantly, students relate to the situations. The scripts allow actors to make a variety of choices to enhance their performances. I thoroughly recommend these scripts to all drama teachers, casting people, and of course actors who should have the volumes online and in hard copy waiting for that time when they have to produce a monologue at a moment's notice!" Sue Manger: Casting Associate - McLeod's Daughters. Casting Director - The Young Doctors, Bellamy, and Australia's Most Wanted. "Hooray for an original Australian audition manual! This will be a great addition to any Australian actor's bag of tricks; concise, entertaining and in our own vernacular." Caitlin MacDougall: Actress - The Alice, Always Greener "This audition manual is a great idea and a must for every actor. There are few around for an Australian market and few that are as simple and straight forward in delivery and style. It will also be a useful tool for Casting Directors, with unique and interesting pieces to work with in order to see various actor's strengths and weaknesses." Wizzy Evans: Casting Director - The Secret Life of Us, Last Man Standing
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