The book contains 64 monologues designed specifically for use in the audition process. These monologues were derived from the Last Frontier Theatre Conference, one of the longest running theater conferences of its kind, held every year in Valdez, Alaska from 2009 to 2012. The monologues are honed for freshness, length, and effect and are designed for actors who are taking an audition/monologue workshop. Also included are some tips on creating monologues by Last Frontier Director Dawson Moore and for acting with the monologues by actor and mentor, Laura Gardner, both of whom selected and edited the monologues. The monologues are catagorized by gender and sorted by age of the speaker.
(Applause Books). 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 ( A Streetcar Named Desire ), Edward Albee ( Who's Afraid of Virginia Woolf ), Wendy Wasserstein ( The Heidi Chronicles ), David Mamet ( Glengarry Glen Ross ), and Horton Foote ( The Trip to Bountiful ). This volume is Barbara Parisi's fifth edition as series editor. The volumes of the new millennium include the work of playwrights Murray Schisgal, Adam Kraar, Theodore Mann, David Ives, and Mark Medoff, among others, and tackle complex human issues through diverse theatrical styles and a wide range of character perspectives.
Amelia spends her days under the watchful eye of her mother, doing the same nothing she has done for years. Yet when Bingo arrives at her local community center, a talking Bingo chip convinces Amelia that forming her own game is the way out of this life and away from her controlling mother. However, as her mother begins acting like a newly arrived sister, and the chip becomes increasingly dominating, Amelia discovers her new life is nothing as she imagined. -This is a full length dark comedy play, with a cast of 3 females, 1 male, and a minimal set.
As a director and instructor, and adminstrator of the Jane Chambers Memorial Playwriting Award, Haring-Smith draws on her experience in the theatre, arguing that actors constantly use the same sources for monologues. This second volume presents material from significant female playwrights.
Glenn Alterman, author of Two Minutes and Under, Volumes I, II and III has written this, his seventh book of original monologues. These one-minute gems are specifically written for those one-minute auditions that pop up more and more often. There are exciting and engaging monologues here for all types, ages, genders, and personalities. The Library Journal¿s review of Alterman¿s Two Minutes and Under series states, ¿Actors looking for challenging, contemporary audition material should find a gold mine here.¿ Anna Marie Kostura, NBC Director of Daytime Programming, calls Alterman¿s monologues ¿Topnotch, offering the serious actor an emotional field day.¿GLENN ALTERMAN is one of the country¿s foremost monologue and audition coaches, having helped thousands of actors in their search for (and preparation of) monologues, as well as creating their own material for solo shows. In 1994 he created The Glenn Alterman Studio (www.glennalterman.com), and through its auspices he has worked privately as a monologue and audition coach and at colleges, universities, and acting schools all around the country. Alterman presently lives in New York City where he is working on a new commissioned play, completing a screenplay, coaching actors, giving seminars, and occasionally working in film and TV.
The right monologue can make or break your audition. Actors should feel inspired, connected, and passionate about the piece they are performing. If you haven't found that special piece yet, discover what thousands of actors world-wide have--the monologues of modern playwright, Tara Meddaugh. They are fresh, unique, and many are designed specifically as complete 2-minute audition plays. Whether you are searching for a dark comedy, an absurd piece, or a heartfelt drama, you will find many choices in this compilation of monologues. Whichever you choose, you can be assured that your audience, director, or producer will appreciate watching you perform a piece they have not heard hundreds of times before. Well written, fun, energetic and passionate, the work of Tara Meddaugh will help you wow your audience, and leave a most memorable impression.
On the night of the first-ever White House movie screening, First Daughter Margaret Wilson must find a way to break with her past and become her own woman. Yet at a showing of the infamous epic The Birth of a Nation she is forced to fend off advances from a young minister, confront her own racial intolerance, and somehow live up to her duty to her father and to her country without completely losing her mind. After Birth of a Nation is a farcical sendup of politics, piety, racism, and our fractured American experiment.
As wind sweeps through a garden, its inhabitants must confront the volatile effects of Mother Nature, as well as their own evolving natures. The story follows several short, intertwined pieces, as Carrot and Potato, taught to be enemies from birth, struggle to remain friends, Tulip wants more out of life than only her partner, and two pieces of pollen attempt to make a dangerous jump from a dying flower to a fresh one. Through sacrifice and friendship, they must not only survive their trials, but also come to populate another generation. This play is a one-act dark comedy/drama told in a series of five connected movements.
This work covers the canon of playwright Edward Albee, perhaps best known as the author of Who’s Afraid of Virginia Woolf? Comprehensive entries detail the plays and major characters. Other features include biographical information and insights into Albee’s artistic beliefs, his understanding of the playwright’s responsibility, the importance of music in drama, and the technical craft of writing plays.