Creating Your Own Monologue

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Format: Trade Paper
Pub. Date: 1999-11-01
Publisher(s): Allworth Press
List Price: $14.95

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Summary

This text aims to help both fledgling and experienced actors to learn how tose their acting skills to write successful monologues, performance artieces and one-person plays. The author breaks down the writing process intoimple, easy-to-follow steps, providing tips for brainstorming, importantuestions to ask along the way, and words of wisdom from admired actors andcriptwriters.;The author coaches readers through each stage of the creativeourney, from gathering the essential tools and preparing to write, toetting started, expanding and tightening dialogue, developing character,diting and rewriting, rehearsing the final piece, and playing to audiences.ncluded are interviews with writers and directors, techniques for marketingnd promoting one-person shows and information about artists communities,ompetitions and grants.

Author Biography

Glenn Alterman is an award-winning writer, actor, playwright, and screenwriter.

Table of Contents

Acknowledgments ix
Introduction xi
Six Ways to Get the Most out of This Book xiv
A Definition of Terms
1(4)
What Is a Monologue?
Types of Monologues
What Is Performance Art?
A Brief History of the One-Person Show
5(4)
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
9(4)
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
13(6)
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
19(4)
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
Deciding When to Begin
Guidelines for Creating Short or Audition Monologues
23(4)
Fundamentals of All Good Monologues
27(16)
To Whom Is the Character Speaking?
Questions Every Monologue Must Answer
About Autobiographical Monologues
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
Dael Orlandersmith
John W. from Two Minute Monologs
Glenn Alterman
From An Evening with Shelly Mars
Shelly Mars
From Gray's Anatomy
Spalding Gray
Sam from Jails, Hospitals and Hip-Hop
Danny Hoch
From Time on Fire
Evan Handler
From Oh My Goddess
Sherry Glaser
From Comedy That You Can Dance To
Kate Clinton
From Full Gallop
Mary Louise Wilson and Mark Hampton
Using Your Acting Technique to Create Character Monologues
43(4)
Working from the Outside in, as an Actor and Writer
Working Internally as an Actor and Writer
Starting to Write
47(10)
Inspiration
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
Glenn Alterman
Beginning Your Monologue: Structure and Process
57(8)
How We'll Be Working from Now On
Comparing the Actor's and 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)
From Michael by Glenn Alterman (from Uptown)
From Swimming to Cambodia
Spalding Gray
From Pretty Fire
Charlayne Woodard
Blanka from Some People
Danny Hoch
Developing Your Monologue
65(6)
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 'til the End of the First Draft
Developing Your Monologue II (The Ongoing Work)
71(8)
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
79(4)
Things to Keep in Mind in Your Closing
Knowing When the Monologue Is Ready to Be Performed
A Checklist to Decide if Your Monologue Is Ready to Be Performed
Preparing to Perform
83(4)
Selecting a Director
Working with the Director in Rehearsal
Rehearsing the Audition Monologue
Performing the Piece
Marketing Your Solo Show
87(4)
Preparing Your Marketing Package
Management/Booking Agencies That Handle Solo Artists
Interviews with Monologue Writers and Performance Artists
91(44)
Spalding Gray
Mary Louise Wilson
Charlayne Woodard
Danny Hoch Dael
Orlandersmith
Quentin Crisp
Marilyn Sokol
Evan Handler
Shelly Mars
Penny Arcade
Sherry Glaser
Kate Clinton
Interviews with Directors of One-Person Shows
135(22)
Peter Askin
Jo Bonney
Christopher Ashley
Marcia Jean Kurtz
David Bar Katz
Appendix A: Artist Colonies Where You Can Develop Your Solo Show 157(4)
Appendix B: Theaters That Accept Solo Material 161(6)
Appendix C: Publishers of Solo Material 167(4)
Appendix D: Playwriting Competitions That Accept Solo Material 171(4)
Appendix E: Applying for Grants 175(2)
Appendix F: Literary Agents 177(4)
Permissions 181(2)
About the Author 183(2)
Index 185

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