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| one woman show monologues: Key Exchange Kevin Wade, 1982 The love lives of two cyclists are contrasted as one fights to save his marriage while the other avoids commitment. Background music. 9 scenes, 2 men, 1 woman, 1 exterior. |
| one woman show monologues: One Woman Show Cornelia Otis Skinner, 1984 |
| one woman show monologues: Spike Heels Theresa Rebeck, 1992 Pygmalion goes awry in contemporary comedy of manners which explores sexual harassment, misplaced amour and the possibility of a four sided love triangle.--Doollee.com. |
| one woman show monologues: The Vagina Monologues Eve Ensler, 2001-03-10 A landmark in women’s empowerment—as relevant as ever in the age of #MeToo—that honors female sexuality in all its complexity It’s been more than twenty years since Eve Ensler’s international sensation The Vagina Monologues gave birth to V-Day, the radical, global grassroots movement to end violence against women and girls. This special edition features six never-before-published monologues, a new foreword by National Book Award winner Jacqueline Woodson, a new introduction by the author, and a new afterword by One Billion Rising director Monique Wilson on the stage phenomenon’s global impact. Witty and irreverent, compassionate and wise, this award-winning masterpiece gives voice to real women’s deepest fantasies, fears, anger, and pleasure, and calls for a world where all women are safe, equal, free, and alive in their bodies. Praise for The Vagina Monologues “Probably the most important piece of political theater of the last decade.”—The New York Times “This play changed the world. Seeing it changed my soul. Performing in it changed my life. I am forever indebted to Eve Ensler and the transformative legacy of this play.”—Kerry Washington “Spellbinding, funny, and almost unbearably moving . . . both a work of art and an incisive piece of cultural history, a poem and a polemic, a performance and a balm and a benediction.”—Variety “Often wrenching, frequently riotous. . . . Ensler is an impassioned wit.”—Los Angeles Times “Extraordinary . . . a compelling rhapsody of the female essence.”—Chicago Tribune |
| one woman show monologues: Longest Acting Monologues Rafael Montero, AI, 2025-03-29 Longest Acting Monologues explores the fascinating world of extended theatrical speeches, examining the extraordinary skill and stamina required to deliver record-breaking performances. It delves into the anatomy of impactful monologues and the intense psychological and physical demands placed on actors. Did you know that some monologues can last for hours, testing the very limits of human endurance? The book also highlights how these performances push the boundaries of language and storytelling. The book traces the historical evolution of monologues, from classical drama to modern interpretations, showcasing how societal shifts have influenced their form and function. It analyzes exemplary monologues, dissecting their structure, themes, and the techniques playwrights use to captivate audiences. Furthermore, it provides insights into actor preparation, covering memorization, vocal training, and strategies for managing performance anxiety. By drawing upon performance reviews, interviews, and script analyses, Longest Acting Monologues offers a comprehensive view of these demanding performances. Structured to provide a deep understanding, the book begins by defining record-breaking monologues and then systematically explores their analysis, the actor's preparation, and their impact on theatre. This unique perspective on acting is valuable for theatre enthusiasts, actors, and drama students alike, offering insights into the dedication required to achieve excellence in the performing arts. |
| one woman show monologues: To See the Stars Cynthia Mercati, 2000 It's 1909 and the shirtwaist industry in New York is making profits of $50 million. But the young girls who work in the factories earn barely enough to live on, and their working conditions are brutal. When their pleas for help are rejected by the male-dominated union, the young girls who work at Johannsen's Shirtwaist Factory band together to fight for a better life. They endure beatings, starvation, and even prison but ultimately prevail ... This play is based on real people and actual events. |
| one woman show monologues: The Ultimate Scene and Monologue Sourcebook, Updated and Expanded Edition Ed Hooks, 2007-10-16 All actors and acting teachers need The Ultimate Scene and Monologue Sourcebook, the invaluable guide to finding just the right piece for every audition. This remarkable book describes the characters, action, and mood for more than 1,000 scenes in over 300 plays. This unique format is ideal for acting teachers who want their students to understand each monologue in context. Using these guidelines, the actor can quickly pinpoint the perfect monologue, then find the text in the Samuel French or Dramatist Play Service edition of the play. Newly revised and expanded, the book also includes the author’s own assessment of each monologue. |
| one woman show monologues: The Contemporary American Monologue Eddie Paterson, 2015-12-17 Talk-show confessions, online rants, stand-up routines, inspirational speeches, banal reflections and calls to arms: we live in an age of solo voices demanding to be heard. In The Contemporary American Monologue Eddie Paterson looks at the pioneering work of US artists Spalding Gray, Laurie Anderson, Anna Deavere Smith and Karen Finley, and the development of solo performance in the US as a method of cultural and political critique. Ironic confession, post-punk poetry, investigations of race and violence, and subversive polemic, this book reveals the link between the rise of radical monologue in the late 20th century and history of speechmaking, politics, civil rights, individual freedom and the American Dream in the United States. It shows how US artists are speaking back to the cultural, political and economic forces that shape the world. Eddie Paterson traces the importance of the monologue in Shakespeare, Brecht, Beckett, Chekov, Pinter, O'Neill and Williams, before offering a comprehensive analysis of several of the most influential and innovative American practitioners of monologue performance. The Contemporary American Monologue constitutes the first book-length account of US monologists that links the tradition of oratory and speechmaking in the colony to the appearance of solo performance as a distinctly American phenomenon. |
| one woman show monologues: She Persisted Lawrence Harbison, 2021-11 A collection of ten-minute plays by women over forty. |
| one woman show monologues: Dramatic Interactions Nicoletta Marini-Maio, Colleen Ryan-Scheutz, 2011-01-18 Dramatic Interactions is a collection of essays on the flourishing and interdisciplinary subject of teaching foreign languages, literatures, and cultures through theater. With rich examples from a variety of commonly and less commonly taught languages, this book affirms both the relevance and effectiveness of using theater for foreign language learning in the most comprehensive sense of the term. It includes innovative approaches to specific theatrical texts and addresses numerous aspects of foreign language learning such as oral proficiency and communication, intercultural competence, the role of affect and motivation in foreign language study, multiple literacies, regional variations and dialect, literary analysis and adaptation, and the overall liberating effects of verbal and non-verbal self-expression in the foreign language. Dramatic Interactions renders accessible, efficacious, and enjoyable the study of languages, literatures, and cultures through theater with the hope of inspiring and facilitating the greater incorporation of theatrical texts and techniques in foreign language courses at every level. |
| one woman show monologues: Creating Your Own Monologue Glenn Alterman, 2005-09-01 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. |
| one woman show monologues: Contemporary American Monologues for Women Todd London, 2012-10-25 Audition monologues for female characters selected from recent works by American playwrights including Tony Kushner, Jon Robin Baitz, Constance Congdon, Paula Vogel, Donald Margulies, Emily Mann, Eric Bogosian, Nicky Silver, and others. Unique to the TCG monologue series is a bibliography of other works by the playwrights included. |
| one woman show monologues: The Teacher Monologues Mindy R. Carter, 2014-09-11 This book examines the experiences of four Conservatory style trained actors, who go onto complete teacher education programs. In keeping with a/r/tography this research uses social science methods and creative methods of data collection. Interviews and reflective writing about the participant’s educational and experiential backgrounds are complimented by the writing of monologues. Themes from the data collected during interviews, reflective writing and monologues led to the understandings that: there is a connection between developing consciousness and having a noetic experience; actor-teachers want to talk about their noetic experiences; residue is an a/r/tographic rendering used to describe the way that having an illuminating experience in theatre school affected the participants; and an immanent curriculum can be understood by theatrical engagement. In addition to exploring the interview data and monologues, time is spent understanding the works of Antonin Artaud, a prolific theatre artist and a/r/tography, a method of arts-based research. This theoretical and a/r/tographical investigation leads to the creation of Interludes. These Interludes, theorized as rhizomatic curricular offshoots, allow for multiple entry points into these new understandings and provide an example of how to bring together artful inquiry into an academic arena. AWARDS: 2013 American Educational Research Association (AERA) Arts Based Educational Research (ABER) Dissertation Honorable Mention 2013 Canadian Society for the Study of Education (CATE) Canadian Association of Teacher Education (CATE) PhD Dissertation Award of Distinction Link to Info: https://www.mcgill.ca/dise/about/academicstaff/carter Dr. Mindy R. Carter is an Assistant Professor at McGill University in the Department of Integrated Studies in Education. She has taught a range of education courses specializing in arts education and curriculum theory. Her research focuses on a/r/tography, teacher identity, teacher education, arts based educational research and curriculum. Her publications have addressed knowledge mobilization, democracy and arts education, the impact of autobiographical and a/r/tographical dispositions on teacher candidates and the impact of creating art on teacher’s pedagogical development and identity. She is actively involved in local and international arts education organizations. |
| one woman show monologues: The Wall of Water Sherry Kramer, 2000-12 The perfect rent-controlled New York City apartment has one fatal flaw - the roommate from hell. The play takes place on the day the newest roommate can't take it anymore. Classic humor of mistaken identity mixed with new-age twists. THE WALL OF WATER is farce with all the sharp edges showing - it is an intractably woven tale that tackles subjects as serious as death and as important as scientific inquiry, and everything in between. A farce about the nature of madness, the way it is infectious, how we treat it and how we decided who is and who isn't. A play with four leading roles for young women about strong women and the men who love and sometimes sedate them. ... THE WALL OF WATER quickly bursts through the dam of conventional theater for two hours of the kind of inspired and breathtaking chaos so rare on America's stages that we may have forgotten the word for it. The word is farce ... Even though Sherry Kramer's play is gleefully packed with all those most cherished elements of classic farce - mistaken identity, miscommunicated messages, misunderstood orders - the exasperations which fuel the play's wacky fires from start to finish are recognizably - and sometimes grimly - contemporary ... What distinguishes Kramer's farce from even her most esteemed European counterparts is four strong female roles at the heart of this eloquent craziness ... -Margaret Spillane, New Haven Independent |
| one woman show monologues: The 'd' Monologues Kaite O'Reilly, Phillip Zarrilli, 2018-09-05 These performance texts were written exclusively for performers identifying as Deaf, disabled or neuro-divergent. This unique collection of fictional dramatic monologues was written specifically for D/deaf and disabled performers (the 'd' of the title), informed by lived experience. But the 'd' could just as easily refer to difference, diversity, defiance, determination, desirability and a host of other delicious 'd's.... Covering a wide variety of form, content, and theatrical styles, the monologues offer fresh perspectives on difference and disability from across the UK and beyond. From biting satire to crip' pride, observational comedy to poignant revelations of life in contemporary Britain and beyond, these texts challenge and subvert ingrained preconceptions of disability and celebrate all the possibilities of human variety. This collection is the culmination of ten years work, with fictional monologues inspired by over 100 interviews, conversations and interactions with D/deaf and disabled individuals internationally. It brings together new and previously unperformed texts alongside monologues from In Water I'm Weightless (National Theatre Wales Cultural Olympiad 2012), the 70 minute stand alone one-woman show richard iii redux, co-written with Phillip Zarrilli, and the multilingual intercultural And Suddenly I Disappear: The Singapore/UK 'd' Monologues. The monologues offer a great resource for atypical performers as audition pieces and for companies and individuals as script-in-hand, full productions, solo shows or with larger casts. The variety of monologues enables flexible presentation as solo, choral or ensemble performances. |
| one woman show monologues: Monologues for Young Actors Lorraine Cohen, 1994-08 In professional and student theater alike, a good monlogue can often mean the difference between a Thank you . . . Next! and a call-back. But sometimes it's hard for an aspiring actor to find the absolutely right audition piece that suits his or her personal style, type or age group. Monologues For Young Actors is a unique and invaluable collection of dramatic speeches from some of the world's greatest plays -- chosen specifically for actors in their teens and early twenties. Whether you're looking for something comedic or tragic, contemporary or classic, unorthodox or naturalistic, this superb compilation has the monologue you need -- an indispensible tool to help you hone you craft . . . and land that role. |
| one woman show monologues: Feminism From A to Z Gayle E. Pitman, 2017-10-23 Dive into Feminism From A to Z for an accessible primer on history, current events, and essential issues through the lens of feminist theory and perspective. Not only will you learn something about yourself, your community, your people, and your world, you will discover kick-ass call-to-action suggestions and resources to take your feminism to a higher level! A book for all teens — no matter what gender you are — about feminism: what it is, what it means, and how to do it...from A to Z. Written by the author of the Stonewall Award-winning book, This Day in June, Feminism From A to Z is an alphabetical primer on feminism for teen girls. Each chapter examines a topic that offers call-to-action exercises incorporated into each lesson. Includes an introduction to readers on how to use the book and an alphabetical list of ways to take feminist action. |
| one woman show monologues: The Audition: Monologues with Direction Jon Jory, 2020-01-01 Conquer the audition! This truly unique collection of 52 original monologues with accompanying direction is the perfect tool for the aspiring student actor or drama classroom. Master director Jon Jory has crafted these gender-neutral pieces exploring heartache, hilarity, and everything in between. Student actors and theater teachers rejoice! Bonus material includes 10 Shakespeare monologue selections with advice and tips for tackling the Bard. Drama & Comedy Monologues. 1-2 minutes 52 original, gender-neutral pieces, 10 Shakespeare selections |
| one woman show monologues: The Female Man Joanna Russ, 2018-05-08 Four alternate selves from radically different realities come together in this “dazzling” and “trailblazing work” (The Washington Post). Widely acknowledged as Joanna Russ’s masterpiece, The Female Man is the suspenseful, surprising, darkly witty, and boldly subversive chronicle of what happens when Jeannine, Janet, Joanna, and Jael—all living in parallel worlds—meet. Librarian Jeannine is waiting for marriage in a past where the Depression never ended, Janet lives on a utopian Earth with an all-female population, Joanna is a feminist in the 1970s, and Jael is a warrior with claws and teeth on an Earth where male and female societies are at war with each other. When the four women begin traveling to one another’s worlds, their preconceptions on gender and identity are forever challenged. With “palpable anger . . . leavened by wit and humor” (The New York Times), Russ both employs and upends genre conventions to deliver a wickedly satiric and exhilarating version of when worlds collide and women get woke. This ebook includes the Nebula Award–winning bonus short story “When It Changed,” set in the world of The Female Man. |
| one woman show monologues: Arnold Wesker Reade W. Dornan, 2014-05-01 The only collection of essays on one of Britain's Angry Young Men, this book contains discussions of most of Wesker's published plays with an emphasis on the more recent works. Essays reevaluate the plays that made Wesker a household name in Britain (the Trilogy, TheKitchen , and Chips with Everything). Clive Barker, co-director of Centre 42, gives a fresh account of that movement, and playwright Paul Levitt provides a previously unrecorded history of Caritas, Blood Libel,and Shylock. A personal profile of Wesker by novelist Margaret Drabble is reprinted from an earlier article. Original essays cover the theory and practice of theatre-Wesker's in-text stage directions, British television's adaptation of his plays, and an actor's and a director's perspectives on working with the playwright. Major international Weskerian critics are assembled here: Klaus Peter Mÿller and Heiner Zimmermann from Germany; Rossana Bonadei, Angela Locatelli, and Alessandra Marzola from Italy; Keith Gore, Glenda Leeming, Martin Priestman, Jeremy Ridgman, Margaret Rose, and Robert Wilcher from Great Britain; Menakshi Ponnuswami from India; Robert Gross, Kimball King, and Robert Skloot from the United States. These essays take a wide range of critical approaches from an exploration of gender, to semiotics, biography, and the New Historicism. This is the most comprehensive collection of criticism on Arnold Wesker to date. Every major Weskerian scholar writing in English has contributed a piece to this casebook. Originating in Germany, Italy, Great Britain, India, and the United States, their essays create an international cultural context for Wesker's plays. They also position his work among his contemporaries, in his historical era, and in the political and theatrical environment that defines his world. Furthermore, they form a biographical profile of Wesker, often giving us firsthand accounts of turning points in his career. Finally, some essays evaluate and interpret the major plays, dissecting and scrutinizing the formal elements that make them distinct. Their critical approaches are varied in that they make liberal use of semiotics, Bakhtinian and communication theory, cultural studies, and traditional readings. Their contributions compose a multi-faceted view of Wesker's life and work setting out fresh arguments for all his plays. |
| one woman show monologues: Slam Speeches Katie Redford, Madelyn Smedley, Joanna Gay, Ambreen Razia, Debra Baker, Lauren Douglin, Steph Lacey, Meg Mortell , 2019-06-03 A versatile collection of monologues written by 8 writer / performers who all share one thing in common; they've all successfully written and performed their pieces at TriForce's Monologue Slam. Due to the writers being from a variety of different backgrounds, there are a vast range of perspectives for performers to explore. Between them, as both writers and performers, they have a wealth of TV, film and theatre experience and are passionate about writing monologues that not only connect with a performer but with a diverse audience too. Whether you're auditioning for Monologue Slam, drama school or for any other showcasing opportunities, this book offers a mix of heart-warming, witty and gripping speeches for you to get your teeth into. |
| one woman show monologues: A Historical Dictionary of British Women Cathy Hartley, 2013-04-15 This reference book, containing the biographies of more than 1,100 notable British women from Boudicca to Barbara Castle, is an absorbing record of female achievement spanning some 2,000 years of British life. Most of the lives included are those of women whose work took them in some way before the public and who therefore played a direct and important role in broadening the horizons of women. Also included are women who influenced events in a more indirect way: the wives of kings and politicians, mistresses, ladies in waiting and society hostesses. Originally published as The Europa Biographical Dictionary of British Women, this newly re-worked edition includes key figures who have died in the last 20 years, such as The Queen Mother, Baroness Ryder of Warsaw, Elizabeth Jennings and Christina Foyle. |
| one woman show monologues: One Woman Show Cornelia Otis Skinner, 1974 |
| one woman show monologues: Counting on Marilyn Waring Margunn Bjørnholt, Ailsa McKay, 2014-03-01 This edited volume maps new advances in theories and practices in feminist economics and the valuation of women, care and nature since Marilyn Waring’s groundbreaking critique of the system of national accounts, If Women Counted (1988). It features theoretical, practical and policy oriented contributions, empirical studies, and new conceptualizations, theorizations and problematizations of defining and accounting for the value of nature and unpaid household work, eco-feminism, national and international policy processes, gender budgeting, unpaid care and HIV/AIDS policy, activism and artwork, and mirrors the wide-ranging impact and resonance of Waring’s work as well as the current frontiers of feminist economics. |
| one woman show monologues: Counting on Marilyn Waring: New Advances in Feminist Economics Margunn Bjonhold, 2014-09-01 This second edition, which includes an epilogue by Marilyn Waring, maps new advances in theories and practices in feminist economics and the valuation of women, care and nature since Marilyn Waring’s 1988 groundbreaking critique of the system of national accounts, If Women Counted. It features theoretical, practical and policy oriented contributions, empirical studies, and new conceptualizations, theorizations and problematizations of defining and accounting for the value of nature and unpaid household work, eco-feminism, national and international policy processes, unpaid care and HIV/AIDS policy, activism and artwork, and mirrors the wide-ranging impact and resonance of Waring’s work as well as the current frontiers of feminist economics. |
| one woman show monologues: No Kidding Henriette Mantel, 2013-04-16 In No Kidding, comedy writer Henriette Mantel tackles the topic of actually not having kids. This fascinating collection features a star-studded group of contributors-including Margaret Cho, Wendy Liebman, Laurie Graff, and other accomplished, funny women—writing about why they opted out of motherhood. Whether their reasons have to do with courage, apathy, monetary considerations, health issues, or something else entirely, the essays featured in the pages of No Kidding honestly (and humorously) delve into the minds of women who have chosen what they would call a more sane path. Hilarious, compelling, and inspiring, No Kidding reveals a perspective that has too long been hidden, shamed, and silenced-and celebrates an entire population of women who have decided that kids are just not right for them. Additional contributors include Janette Barber, Cheryl Bricker, Valri Bromfield, Cindy Caponera, Bonnie Datt, Jeanne Dorsey, Nora Dunn, Jane Gennaro, Julie Halston, Debbie Kasper, Sue Kolinsky, Maureen Langan, Beth Lapides, Bernadette Luckett, Merrill Markoe, Andrea Carla Michaels, Vanda Mikoloski, Judy Morgan, Judy Nielsen, Susan Norfleet, Suzanne O’Neil, Jennifer Prediger, Kathryn Rossetter, Betsy Salkind, Patricia Scanlon, Jeanette Schwaba Vigne, Nancy Shayne, Carol Siskind, Ann Slichter, Tracy Smith, Suzy Soro, Amy Stiller, and Nancy Van Iderstine. |
| one woman show monologues: My Roots and Blossoms Diantha Ain, 2011-07-19 In the early twentieth century in the United States, times and activities were radically different from the present day. The pace of everyday life was considerably slower, and children were allowed much more freedom, especially in country towns like Colonia, New Jersey, where this story begins. As a new development of custom homes emerges in this pastoral setting, new friendships and families grow with it, allowing their lives to mix and blend with each other. This was the world that Diantha Ain lived in as a child. In this collection of stories and verse, share in the joys, troubles, and sorrows that life brought to her and her family. The stressful news of the world interrupted daily life only in brief segments on the radio. Ain recalls a simple, four-room schoolhouse with six grades that offered exceptional opportunities for young minds and spirits. In My Roots and Blossoms, you will follow a precocious little girl through the Great Depression during the 1930s, as she finds the inspiration, creativity, courage, faith, and ambition that eventually shape her entire life. This charming collection of remembrances, poetry, and memories of years past will charm young and old alike. |
| one woman show monologues: Ebony , 2006-06 EBONY is the flagship magazine of Johnson Publishing. Founded in 1945 by John H. Johnson, it still maintains the highest global circulation of any African American-focused magazine. |
| one woman show monologues: Fight Like a Girl Megan Seely, 2007-01-15 A blueprint for the next generation of feminist activists Fight Like a Girl offers a fearless vision for the future of feminism. By boldly detailing what is at stake for women and girls today, Megan Seely outlines the necessary steps to achieve true political, social and economic equity for all. Reclaiming feminism for a new generation, Fight Like a Girl speaks to young women who embrace feminism in substance but not necessarily in name. With an eye toward what it takes to create actual change, Seely offers a practical guide for how to get involved, take action and wage successful events and campaigns. The book is full of valuable resources for novice and committed activists alike, including such features as “How to Write a Press Release,” “Guidelines to a Good Media Interview,” “A Feminist Shopping Guide,” and a list of over 100 Fabulous Feminist Resources, including organizations, websites, and events to attend. Each chapter is full of ideas, both big and small, for ways to get involved, get active, and make a difference. Exploring such issues as body image and self-acceptance, education and empowerment, health and sexuality, political representation, economic justice, and violence against women, Fight Like a Girl looks at the challenges that women and girls face while emphasizing the strength that they independently, and collectively, embody. Seely delves into the politics of the feminist movement, exploring both women's history and current–day realities with easy-to-follow lists and timelines like those on “Women Who Made a Difference,” “Chronology of the U.S. Women's Movement,” and “Do's and Don'ts for Young Feminists.” A Third Wave manifesto as well as an introduction to feminism for a new generation, Fight Like A Girl is a powerful blueprint for young women today. |
| one woman show monologues: The Routledge Anthology of Women's Theatre Theory and Dramatic Criticism Catherine Burroughs, J. Ellen Gainor, 2023-09-29 The Routledge Anthology of Women's Theatre Theory and Dramatic Criticism is the first wide-ranging anthology of theatre theory and dramatic criticism by women writers. Reproducing key primary documents contextualized by short essays, the collection situates women’s writing within, and also reframes the field’s male-defined and male-dominated traditions. Its collection of documents demonstrates women’s consistent and wide-ranging engagement with writing about theatre and performance and offers a more expansive understanding of the forms and locations of such theoretical and critical writing, dealing with materials that often lie outside established production and publication venues. This alternative tradition of theatre writing that emerges allows contemporary readers to form new ways of conceptualizing the field, bringing to the fore a long-neglected, vibrant, intelligent, deeply informed, and expanded canon that generates a new era of scholarship, learning, and artistry. The Routledge Anthology of Women's Theatrical Theory and Dramatic Criticism is an important intervention into the fields of Theatre and Performance Studies, Literary Studies, and Cultural History, while adding new dimensions to Feminist, Gender and Sexuality Studies. |
| one woman show monologues: Hollywood, Interrupted Andrew Breitbart, Mark Ebner, 2005-03-10 Hollywood, Interrupted is a sometimes frightening, occasionally sad, and frequently hysterical odyssey into the darkest realms of showbiz pathology, the endless stream of meltdowns and flameouts, and the inexplicable behavior on the part of show business personalities. Charting celebrities from rehab to retox, to jails, cults, institutions, near-death experiences and the Democratic Party, Hollywood, Interrupted takes readers on a surreal field trip into the amoral belly of the entertainment industry. Each chapter — covering topics including warped Hollywood child-rearing, bad medicine, hypocritical political maneuvering and the complicit media — delivers a meticulously researched, interview-infused, attitude heavy dispatch which analyzes and deconstructs the myths created by the celebrities themselves. Celebrities somehow believe that it's their god-given right to inflict their pathology on the rest of us. Hollywood, Interrupted illustrates how these dysfunctional dilettantes are mad as hell... And we're not going to take it any more. |
| one woman show monologues: My Other Women Pauline Carey, 2010 Andrea, born in 1939, arrives in Toronto in her teens with the sole ambition of becoming an actress. She appears in new Canadian plays, develops a script for her own one-woman show, becomes a teacher who helps students discover new forms of theatre, and a director of experimental plays. While she seldom strays from the purity of live theatre, she has a brief spell of astonishment when she becomes a commercial star, selling chewing gum and making money. As she explores the arts with the growth of Canadian theatre, Andrea also explores her sexuality with the availability of the Pill. The three main loves of her life are three married men all of whom work in the arts. As each of these men falls out of her life, she unwittingly draws around her their three wives -- not only as friends, but as co-workers. A manager, an artist and a pianist all see their lives enhanced and their careers invigorated as they join Andrea in her projects, while Andrea remains forever silent on the past. |
| one woman show monologues: Building Character Amy Cook, 2018-02-28 What can we learn about how we understand each other and ourselves by examining the casting we find on stage and film—the casting we find perfect and the casting we find wrong? Building Character examines how the process of “casting” an actor in a part creates a character and how this can be usefully understood through deploying theories from the cognitive sciences. A casting director may match the perceived qualities of an actor with the perceived qualities of the character, but the combination is also synergistic; casting a character creates qualities. While casting directors do this professionally, all of us do this when we make sense of the people around us. This book argues that we build the characters of others from a sea of stimuli and that the process of watching actors take on roles improves our ability to “cast” those roles in our daily lives. Amy Cook examines the visible celebrity casting, such as Robert Downey Jr. as Ironman or Judi Dench as Bond’s M, the political casting of one candidate as “presidential” and another as “weak,” the miscasting of racial profiling and sexual assault, and the counter casting that results when actors and characters are not where or who we expect. |
| one woman show monologues: Divided Lives Rosalind Rosenberg, 2008-05-13 In this lively and informed exploration of women's lives in the larger context of U.S. social and political history, Rosalind Rosenberg shows how American traditions of federalism, racial and ethnic diversity, geographic mobility, and relative abundance have both aided and hindered women's strides toward equality. |
| one woman show monologues: Street Talk Glenn Alterman, 1991 |
| one woman show monologues: Teen Boys' Comedic Monologues That Are Actually Funny Alisha Gaddis, 2015-06 You wanna be funny for your audition? This book of monologues, written by people who are actually funny for a living, has your back. This incredibly hysterical, cutting-edge monologue book will give the teen actor the extra bang he needs to land the perfect comedic role! Teen Boys' Comedic Monologues That Are Actually Funny features monologues by writers and comics who have written for and/or performed on Saturday Night Live, The Tonight Show, Last Comic Standing, E! Entertainment, Comedy Central Stage, and many, many more. This book is the answer to the comedic monologue needs of teen actors everywhere! |
| one woman show monologues: Applied Theatre: Women and the Criminal Justice System Caoimhe McAvinchey, 2020-02-06 Applied Theatre: Women and the Criminal Justice System offers unprecedented access to international theatre and performance practice in carceral contexts and the material and political conditions that shape this work. Each of the twelve essays and interviews by international practitioners and scholars reveal a panoply of practice: from cross-arts projects shaped by autobiographical narratives through to fantasy-informed cabaret; from radio plays to film; from popular participatory performance to work staged in commercial theatres. Extracts of performance texts, developed with Clean Break theatre company, are interwoven through the collection. Television and film images of women in prison are repeatedly painted from a limited palette of stereotypes – 'bad girls', 'monsters', 'babes behind bars'. To attend to theatre with and about women with experience of the criminal justice system is to attend to intersectional injustices that shape women's criminalization and the personal and political implications of this. The theatre and performance practices in this collection disrupt, expand and reframe representational vocabularies of criminalized women for audiences within and beyond prison walls. They expose the role of incarceration as a mechanism of state punishment, the impact of neoliberalism on ideologies of punishment and the inequalities and violence that shape the lives of many incarcerated women. In a context where criminalized women are often dismissed as unreliable or untrustworthy, the collection engages with theatre practices which facilitate an economy of credibility, where women with experience of the criminal justice system are represented as expert witnesses. |
| one woman show monologues: Encyclopedia of Italian Literary Studies Gaetana Marrone, Paolo Puppa, 2006-12-26 The Encyclopedia of Italian Literary Studies is a two-volume reference book containing some 600 entries on all aspects of Italian literary culture. It includes analytical essays on authors and works, from the most important figures of Italian literature to little known authors and works that are influential to the field. The Encyclopedia is distinguished by substantial articles on critics, themes, genres, schools, historical surveys, and other topics related to the overall subject of Italian literary studies. The Encyclopedia also includes writers and subjects of contemporary interest, such as those relating to journalism, film, media, children's literature, food and vernacular literatures. Entries consist of an essay on the topic and a bibliographic portion listing works for further reading, and, in the case of entries on individuals, a brief biographical paragraph and list of works by the person. It will be useful to people without specialized knowledge of Italian literature as well as to scholars. |
| one woman show monologues: Cultural Encyclopedia of the Body Victoria Pitts-Taylor, 2008-09-30 Pop culture and the media today are saturated with the focus on the aesthetics of the human body. Magazines and infotainment shows speculate whether this or that actress had breast implants or a nose job. Americans are not just focusing on celebrities but on themselves too and today have unprecedented opportunities to rework what nature gave them. One can now drop in to have cosmetic surgery at the local mall. Contemplating the superficial nature of it all grows tiresome, and pop culture vultures and students can get a better fix for their fascination with the body beautiful through the cultural insight provided in this amazing set. Cultural Encyclopedia of the Body is a treasure trove of essays that explore the human body alphabetically by part, detailing practices and beliefs from the past and present and from around the world that are sometimes mind-blowing and eye-popping. Body parts are examined through a multifaceted cultural lens. Readers will explore how the parts are understood, what they mean to disparate societies, how they are managed, treated, and transformed, and how they are depicted and represented. The entries draw from many disciplines that are concerned to some degree or another with human bodies, including anthropology archeology, sociology, religion, political history, philosophy, art history, literary studies, and medicine. The encyclopedia proffers information on a number of cultures, tribes, and customs from East and West. Ancient practices to the latest fad, which in fact might continue ancient practices, are illuminated. Other considerations that arise in the essays include comparisons among cultures, the changing perceptions of the body, and issues of race, gender, religion, community and belonging, ethnicity, power structures, human rights. |
| one woman show monologues: Monologues for Actors of Color Roberta Uno, 2000 This collection features 45 monologues excerpted from contemporary plays and specially geared for actors of color. Robert Uno has carefully selected the monologues so that there is a wide-range of ethnicities included: African American, Native American, Latino and Asian American. Each monologue comes with an introduction with notes on the characters and stage directions to set the scene for the actor.--Publisher. |
"One-to-one" vs. "one-on-one" - English Language & Usage Stack …
Apr 19, 2012 · You may use one-to-one when you can identify a source and a destination. For eg., a one-to-one email is one sent from a single person to another, i.e., no ccs or bccs. In …
relative pronouns - Which vs Which one - English Language …
The "one" could imply that of the alternates only ONE choice is possible, or permitted. "Which" alone could indicate several choices from the set of alterates could be selected in various …
Which is correct vs which one is correct? [duplicate]
Aug 11, 2019 · When using the word "which" is it necessary to still use "one" after asking a question or do "which" and "which one" have the same meaning? Where do you draw the line …
Is the possessive of "one" spelled "ones" or "one's"?
Indefinite pronouns like one and somebody: one's, somebody's. The possessive of the pronoun one is spelled one's. There are many types of pronouns. Unfortunately, people explaining the …
pronunciation - Why is "one" pronounced as "wan", not "oh-ne ...
one and once are pronounced differently from the related words alone, only and atone. Stressed vowels often become diphthongs over time (Latin bona → Italian buona and Spanish buena ), …
difference - Which one is correct, "in the USA" or "in USA"?
Oct 18, 2016 · So, to answer the question, "Where was this car made?" (assuming the car was made in Detroit), one could say any of the following: It was made in the United States. It was …
Which is it: "1½ years old" or "1½ year old"? [duplicate]
Feb 1, 2015 · It would come much more naturally to a native speaker to say not "That man is a 50-year-old" [note also the hyphenation here] but "That is a 50-year-old man"; similarly, not …
Is "Jack of all trades, master of none" really just a part of a longer ...
Furthermore if, when one hears the phrase, one often thinks of the words which tend immediately to follow it: 'Master of none', it is worth remembering the saying in fullest version: 'Jack of all …
idioms - "On one hand" vs "on the one hand." - English Language ...
Mar 2, 2019 · Diachronically, one and an are cognate and semantically related; ān was adj. “one“ in OE (which didn't have the article). “ōn[e]” separated as a n./pron. with the sense of unity …
in two weeks/ weeks' or week's time? | WordReference Forums
Apr 10, 2008 · They agree - one week's time, two weeks' time. Both sources are listed in the sticky thread at the top of this forum. For more general discussion about apostrophes and …
"One-to-one" vs. "one-on-one" - English Language & Usage Stack …
Apr 19, 2012 · You may use one-to-one when you can identify a source and a destination. For eg., a one-to-one email is one sent from a single person to another, i.e., no ccs or bccs. In …
relative pronouns - Which vs Which one - English Language …
The "one" could imply that of the alternates only ONE choice is possible, or permitted. "Which" alone could indicate several choices from the set of alterates could be selected in various …
Which is correct vs which one is correct? [duplicate]
Aug 11, 2019 · When using the word "which" is it necessary to still use "one" after asking a question or do "which" and "which one" have the same meaning? Where do you draw the line …
Is the possessive of "one" spelled "ones" or "one's"?
Indefinite pronouns like one and somebody: one's, somebody's. The possessive of the pronoun one is spelled one's. There are many types of pronouns. Unfortunately, people explaining the …
pronunciation - Why is "one" pronounced as "wan", not "oh-ne ...
one and once are pronounced differently from the related words alone, only and atone. Stressed vowels often become diphthongs over time (Latin bona → Italian buona and Spanish buena ), …
difference - Which one is correct, "in the USA" or "in USA"?
Oct 18, 2016 · So, to answer the question, "Where was this car made?" (assuming the car was made in Detroit), one could say any of the following: It was made in the United States. It was …
Which is it: "1½ years old" or "1½ year old"? [duplicate]
Feb 1, 2015 · It would come much more naturally to a native speaker to say not "That man is a 50-year-old" [note also the hyphenation here] but "That is a 50-year-old man"; similarly, not …
Is "Jack of all trades, master of none" really just a part of a longer ...
Furthermore if, when one hears the phrase, one often thinks of the words which tend immediately to follow it: 'Master of none', it is worth remembering the saying in fullest version: 'Jack of all …
idioms - "On one hand" vs "on the one hand." - English Language ...
Mar 2, 2019 · Diachronically, one and an are cognate and semantically related; ān was adj. “one“ in OE (which didn't have the article). “ōn[e]” separated as a n./pron. with the sense of unity …
in two weeks/ weeks' or week's time? | WordReference Forums
Apr 10, 2008 · They agree - one week's time, two weeks' time. Both sources are listed in the sticky thread at the top of this forum. For more general discussion about apostrophes and …
