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" Creating your own monologue / "
Glenn Alterman.
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BL
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| Record Number
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978113
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b732483
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| Main Entry
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Alterman, Glenn,1946-
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| Title & Author
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Creating your own monologue /\ Glenn Alterman.
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| Edition Statement
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2nd ed.
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| Publication Statement
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New York :: Allworth Press,, ©2005.
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| Page. NO
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1 online resource (xxiii, 231 pages) :: illustrations
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| ISBN
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1581155611
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: 1621531066
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: 9781581155617
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: 9781621531067
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1581154291
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9781581154290
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| Bibliographies/Indexes
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Includes bibliographical references (pages 222-224) and index.
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| Contents
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The Monologue: Writing, Rehearsing, Performing -- A Definition of Terms What Is a Monologue? -- Types of Monologues -- What Is Performance Art? -- A Brief History of the One-Person Show -- Samuel Foote (1721-1777) Creates the One-Person Show -- George Alexander Stevens, the Father of the Monologue -- Charles Mathews -- Ruth Draper Perfects the Monologue -- Cornelia Otis Skinner -- Historical Monologues -- The Solo Show Today -- A Preliminary Look -- Questions to Ask Yourself before Starting Work on a Solo Show -- The Similarities/Differences between Being an Actor and Working as a Writer -- As an Actor, Do I Have the Necessary Skills to Create My Own Material? -- Pluses and Minuses, Assessing Specifically Where You Are Now -- Your Sense of Truth -- Ways to Work, Selecting Your Tools -- Writing -- What Is Creative Writing? -- Fear of Writing -- Journal Writing -- Using a Tape Recorder -- Improvising: "Are You Talkin' to Me?" -- Working Orally: In Front of an Audience -- Working Orally: Developing Your Stories Throughout the Day -- Preparing -- For Those Actors Who Know Which Type (Style) of Monologue They Want to Create For Those Actors Who Don't Know What Type of Solo Material They Want to Create -- Perking with an Idea -- Exercises to Help You with Your Solo Show, by Cheryl King -- Deciding When to Begin-- Guidelines for Creating Short or Audition Monologues -- Fundamentals of All Good Monologues -- To Whom Is the Character Speaking? -- Questions Every Monologue Must Answer -- About Autobiographical Monologues -- Another Way to Approach Autobiographical Material, by Cheryl King -- Storytelling Monologues -- Narrative and Dramatic Style -- Your Personal Style: Your Voice -- Examples of Different Voices and Styles -- From An Evening with Quentin Crisp by Quentin Crisp -- Winfred from Monster by Dael Orlandersmith -- Craig from Two Minutes and Under, Volume 3 by Glenn Alterman -- From An Evening with Shelly Mars by Shelly Mars -- From Gray's Anatomy by Spalding Gray -- Cudjoe From The Sun and the Moon Live in the Sky by Ellen Lewis -- From Safe by Taylor Mac -- Sam from Jails, Hospitals & Hip-Hop by Danny Hoch -- From Time on Fire by Evan Handler -- From Comedy You Can Dance To by Kate Clinton -- From Full Gallop by Mary Louise Wilson and Mark Hampton -- From I'm Breathing the Water Now by Bashore Halow -- From The Finger Hole by ty adams -- From A Kiss to Build a Dream On by Joe Pintauro -- Using Your Acting Technique to Create Character Monologues -- Working from the Outside in, as an Actor and Writer -- Working Internally as an Actor and Writer -- Starting to Write -- Two Scenarios -- Understanding Writer's Block -- Techniques for Dealing with Writer's Block -- Nothing, a Whole Lot of Nothing -- Writing about Painful Events -- Free-Writing: An Invaluable Exercise -- Clustering (or Webbing): Finding the Initial Core of Your Work -- Sal from Street Talk: Character Monologues for Actors by Glenn Alterman -- Creating Your Monologue: Structure and Process -- How We'll Be Working from Now On -- Comparing the Actor's and the Writer's Processes of Starting Out -- The Importance of the Narrator -- Your Opening Section: The First Paragraphs -- From Charlotte by Penny Arcade (from True Stories) -- Bernice from Two Minutes and Under, Volume 3 by Glenn Alterman -- From Swimming to Cambodia by Spalding Gray -- From Pretty Fire by Charlayne Woodard -- Blanka from Some People by Danny Hoch -- Jo from Eternal Pyramid by Anastasia Traina -- Master of the Stale from the play The Dark String by ty adams -- Developing Your Monologue -- Developing Your Role (As an Actor) -- Developing Your Monologue (As a Writer) -- The Ongoing Day-to-Day Work -- Working on Performance Art Pieces -- A Word about Songs, Music, and Dance in Monologue Plays -- Mixed Media -- That Old Devil, the Self-Censor -- Taking Mini-Breaks, Breathers -- Looking Over What You've Written So Far -- After the Break: Two Scenarios -- Working Till the End of the First Draft -- Developing Your Monologue II (The Ongoing Work) -- The "Who Wrote This Monologue, and What's It About?" Exercise -- Questions to Ask Yourself while Reading through Your Script -- At What Point Should You Have Someone Else Read What You've Written? -- Selecting the Right Person to Read Your Monologue -- Performing the First Draft for a Director -- Performing the First Draft as a "Work in Progress" for an Audience -- Making Repairs: Rewriting -- Revising and Reshaping -- The Three Golden Rules of Revising -- The Subconscious and Rewrites -- Completing Work on Your Monologue -- Things to Keep in Mind in Your Closing -- Knowing When the Monologue Is Ready to Be Performed -- A Checklist to Decide Whether Your Monologue Is Ready to Be Performed -- Preparing to Perform -- Selecting a Director -- Working with the Director in Rehearsal -- Rehearsing the Audition Monologue -- Performing the Piece -- Marketing Your Solo Show -- Preparing Your Marketing Package -- Management/Booking Agencies That Handle Solo Artists -- Part II. Interviews with Monologue Writers and Performers. Lanie Robertson -- Sarah Jones -- Writing as an Antidote Validation My Unconventional Route Rehearsing in Front of the Audience Advice to Other Actors -- Spalding Gray -- Aural Autobiography -- Rewriting My Sense of Reality The Dance of Dialogue -- Mary -- Louise Wilson -- Inspiration Lists, Linkage, and Index Cards Development Collaborations -- Charlayne Woodard -- Keeping My Chops First You Talk, Then You Write Rehearsal -- Living It, Breathing It -- Tim Miller -- Starting Out, Being Out -- Performance-Making -- Taking the Audience on a Journey -- Advice to Actors Starting Out -- Danny Hoch -- I Never Wanted to Be a Writer -- Some People -- What I'm Trying to Say, How I'm Trying to Say It -- Writing and Rehearsal -- Who's Your Audience? -- It's Not about the Money -- Dael Orlandersmith -- Why I Started Bringing the Darkness to Light -- Dreams and Alchemy -- Processless Process -- Quentin Crisp -- Talking to People -- Developing the Show -- Getting the Audience to Like You -- Marilyn Sokol -- Different Incarnations -- Improvisational Way of Working Using Therapy as a Tool -- Evan Handler -- Disclosing the Self How and Why I Started My Agenda -- Developing the Piece -- Rehearsals and Rewrites -- Out on a Limb -- Advice to Writers -- Shelly Mars -- Pushing the Envelope -- Developing My Process -- What's Theater for? -- Brian Dykstra -- What Led Up to It? -- Career Control Awareness -- Talking about Whatever I Want -- Politics, Elections, and the News -- Rehearsal -- The First Performance ... And the Aftermath -- Finding the Funny Passion -- Penny Arcade -- Trying to Get a Job -- Phase Two -- The Type of Artist -- I Am Bonding with the Audience -- Self-Censoring -- Whatever Works -- Kate Clinton -- Starting in Stand-Up -- What Teaching Taught Me -- The Arc of the Show -- Topical Anthropologist -- A Natural High -- Changing the System -- Ann Randolph -- The Freedom a Solo Show Allows -- Journaling and Music -- Rewrites, Rewrites, Rewrites, and Mel Brooks and Anne Bancroft -- Self-Doubts -- Rehearsals -- Some Advice for Actors -- Part III. Interviews with Directors of One-Person Shows. Peter Askin -- How to Talk to Actors -- The Difference Between a Regular Play and a Solo Play -- Directing -- John Leguizamo -- Working on Political Animal -- Hedwig and the Angry Inch -- Dael Orlandersmith -- How the Rehearsal Process Varies -- Knowing When It's Ready -- My Advice to Actor-Writers -- Jo Bonney -- Visual Artist to Director -- The Difference Between Solo Shows and Ensemble Pieces -- Staging a Solo Show -- Working with Eric Bogosian and Danny Hoch -- Developing the Piece in Front of an Audience -- Things to Keep in Mind -- Christopher Ashley -- Fires in the Mirror -- Blown Sideways through Life -- Table Work and Physical Life -- Individually Tailored -- Directing -- What Makes a Good Solo Show -- Marcia Jean Kurtz -- The Words Should Be Wonderful -- Working with Movement -- How I Rehearse -- David Bar Katz -- Creating a Freak -- Finding the Drama -- Displaying Your Passion and Your Pain -- Appendix A. Artist Colonies Where You Can Develop Your Solo Show -- Appendix B. Theaters That Accept Solo Material -- Appendix C. Publishers of Solo Material -- Appendix D. Playwriting Competitions That Accept Solo Material -- Appendix E. Applying for Grants -- Appendix F. Literary Agents -- Appendix G. Recommended Books -- Appendix H Internet Resources.
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| Abstract
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In the second edition of this popular guide, actors learn to use their skills to write monologues, performance art pieces, and one-person plays. Updated to include exclusive interviews and tips on marketing, this guide helps actors create their own exciting performance opportunities and follow in the footsteps of Elaine Stritch, Billy Crystal, John Leguizamo, and other stunningly successful writer-performers of one-person shows. The author, an award-winning actor, breaks down the writing process into simple steps, coaching the reader through each stage of the creative journey.
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Acting-- Auditions.
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Monodramas-- Authorship.
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Monologue-- Authorship.
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One-person shows (Performing arts)
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Acting-- Auditions.
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LANGUAGE ARTS DISCIPLINES-- Composition Creative Writing.
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LANGUAGE ARTS DISCIPLINES-- Rhetoric.
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One-person shows (Performing arts)
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REFERENCE-- Writing Skills.
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| Dewey Classification
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808.2/45
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| LC Classification
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PN1530.A48 2005eb
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