| Acknowledgments |
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ix | |
| Introduction |
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| Six Ways to Get the Most out of This Book |
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xiv | |
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1 | (4) |
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A Brief History of the One-Person Show |
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5 | (4) |
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Samuel Foote (1721--1777) Creates the One-Person Show |
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George Alexander Stevens, the Father of the Monologue |
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Ruth Draper Perfects the Monologue |
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9 | (4) |
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Questions to Ask Yourself Before Starting Work on a Solo Show |
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The Similarities/Differences between Being an Actor and Working As a Writer |
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As an Actor, Do I Have the Necessary Skills to Create My Own Material? |
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Pluses and Minuses, Assessing Specifically Where You Are Now |
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Ways to Work, Selecting Your Tools |
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13 | (6) |
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What Is Creative Writing? |
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Improvising: ``Are You Talkin' to Me?'' |
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Working Orally: In Front of an Audience |
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Working Orally: Developing Your Stories throughout the Day |
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19 | (4) |
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For Those Actors Who Know Which Type (Style) of Monologue They Want to Create |
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For Those Actors Who Don't Know What Type of Solo Material They Want to Create |
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Guidelines for Creating Short or Audition Monologues |
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23 | (4) |
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Fundamentals of All Good Monologues |
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27 | (16) |
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To Whom Is the Character Speaking? |
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Questions Every Monologue Must Answer |
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About Autobiographical Monologues |
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Narrative and Dramatic Style |
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Your Personal Style: Your Voice |
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Examples of Different Voices and Styles |
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From An Evening with Quentin Crisp by Quentin Crisp |
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John W. from Two Minute Monologs |
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From An Evening with Shelly Mars |
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Sam from Jails, Hospitals and Hip-Hop |
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From Comedy That You Can Dance To |
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Mary Louise Wilson and Mark Hampton |
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Using Your Acting Technique to Create Character Monologues |
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43 | (4) |
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Working from the Outside in, as an Actor and Writer |
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Working Internally as an Actor and Writer |
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47 | (10) |
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Understanding Writer's Block |
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Techniques for Dealing with Writer's Block |
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Nothing, a Whole Lot of Nothing |
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Writing about Painful Events |
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Free-Writing: An Invaluable Exercise |
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Clustering (or Webbing): Finding the Initial Core of Your Work |
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Sal from Street Talk: Character Monologues for Actors |
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Beginning Your Monologue: Structure and Process |
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57 | (8) |
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How We'll Be Working from Now On |
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Comparing the Actor's and Writer's Processes of Starting Out |
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The Importance of the Narrator |
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Your Opening Section: The First Paragraphs |
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From Charlotte by Penny Arcade (from True Stories) |
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From Michael by Glenn Alterman (from Uptown) |
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From Swimming to Cambodia |
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Developing Your Monologue |
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65 | (6) |
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Developing Your Role (as an Actor) |
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Developing Your Monologue (as a Writer) |
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The Ongoing Day-to-Day Work |
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Working on Performance Art Pieces |
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A Word about Songs, Music, and Dance in Monologue Plays |
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That Old Devil, the Self-Censor |
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Taking Mini-Breaks, Breathers |
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Looking Over What You've Written So Far |
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After the Break: Two Scenarios |
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Working 'til the End of the First Draft |
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Developing Your Monologue II (The Ongoing Work) |
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71 | (8) |
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The ``Who Wrote This Monologue, and What's It About?'' Exercise |
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Questions to Ask Yourself while Reading through Your Script |
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At What Point Should You Have Someone Else Read What You've Written? |
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Selecting the Right Person to Read Your Monologue |
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Performing the First Draft for a Director |
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Performing the First Draft as a ``Work in Progress'' for an Audience |
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Making Repairs: Rewriting |
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The Three Golden Rules of Revising |
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The Subconscious and Rewrites |
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Completing Work on Your Monologue |
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79 | (4) |
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Things to Keep in Mind in Your Closing |
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Knowing When the Monologue Is Ready to Be Performed |
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A Checklist to Decide if Your Monologue Is Ready to Be Performed |
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83 | (4) |
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Working with the Director in Rehearsal |
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Rehearsing the Audition Monologue |
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87 | (4) |
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Preparing Your Marketing Package |
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Management/Booking Agencies That Handle Solo Artists |
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Interviews with Monologue Writers and Performance Artists |
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91 | (44) |
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Interviews with Directors of One-Person Shows |
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135 | (22) |
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| Appendix A: Artist Colonies Where You Can Develop Your Solo Show |
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157 | (4) |
| Appendix B: Theaters That Accept Solo Material |
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161 | (6) |
| Appendix C: Publishers of Solo Material |
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167 | (4) |
| Appendix D: Playwriting Competitions That Accept Solo Material |
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171 | (4) |
| Appendix E: Applying for Grants |
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175 | (2) |
| Appendix F: Literary Agents |
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177 | (4) |
| Permissions |
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181 | (2) |
| About the Author |
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183 | (2) |
| Index |
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185 | |