A Monologue is an Outrageous Situation! How to Survive the 60-Second Audition explains how to successfully tackle the "cattle call" acting audition with a sixty-second monologue. Through Q&As, tips, director's notes, and a glossary full of outrageous actions meant to inspire the actor into truly connecting with the piece, this book shows actors where and how to find a monologue, edit it, and give the best audition possible.
A Monologue is an Outrageous Situation! How to Survive the 60-Second Audition explains how to successfully tackle the "cattle call" acting audition with a sixty-second monologue. Through Q&As, tips, director's notes, and a glossary full of outrageous actions meant to inspire the actor into truly connecting with the piece, this book shows actors where and how to find a monologue, edit it, and give the best audition possible.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Herb Parker is the Associate Professor in the Division of Theatre and Dance, Department of Communication and Performance at East Tennessee State University. He is a recipient of the KCACTF "Excellence in Directing" Meritorious Achievement Award and a 35-year member of Actors Equity Association. He is the author of BARK LIKE A DOG! Outrageous Ideas for Actors published in 2013 by Spring Knoll Press.
Inhaltsangabe
Part One: A Monologue is...? 1. An Audition is an outrageous situation 2. The Sixty second Dilemma 3. What is a monologue? 4. A monologue is an Outrageous situation 5. What to Look for when choosing a Monologue 6. What to Avoid in a Monologue Part Two: Working on a Monologue 7. Read the Play 8. Ask the Stanislavski Question 9. Given Circumstances 10. Take 3 Tips from the script 11. Editing a Monologue-include Table 12. Piecing a monologue together-include Table 13. Memorize-ASAP 14. Blocking 15. How to Move (Because you must) 16. Monologue Pitfalls 17. Outrageous 18. Exercises and Improvs Part Three: Time to Audition 19. Steps of Your Audition 20. How Should I introduce my Monologue? 21. Where Should I place My Focus? Focus 1.0, 2.0 22. Should I take time to 'get into it' before I start? 23. Your Actual Run Time 24. Your Audition Must Show... 25. Your Sixty-second Audition Must Prove... 26. How much can the Auditors See in 60 seconds? 27. What Do the Auditors Want to See in a Call Back? 28. When Does the Audition Really Begin? 29. When Does the Audition End? Part Four: "Just a Few Notes." 30. Realism is Not Real 31. Positive 32. Negative 33. Playing Emotion 34. Playing Explosions 35. Playing Characters that are Rich 36. That are Poor 37. That are heroic 38. That are evil 39. That are courageous 40. That are cowardly 41. Crying and Yelling is Not Dramatic 42. Don't TRY to be Funny 43. Dress and Hygiene for Men 44. Dress and Hygiene for Women 45. Final Thought on Clothes 46. Tattoo is Taboo 47. Exit Epilogue Appendix 1. MONOLOGUE SUGGESTIONS 2. WHERE TO FIND MONOLOGUES 3. UNIFIED AUDITIONS 4. HEAD SHOT PRODUCTION
Part One: A Monologue is...? 1. An Audition is an outrageous situation 2. The Sixty second Dilemma 3. What is a monologue? 4. A monologue is an Outrageous situation 5. What to Look for when choosing a Monologue 6. What to Avoid in a Monologue Part Two: Working on a Monologue 7. Read the Play 8. Ask the Stanislavski Question 9. Given Circumstances 10. Take 3 Tips from the script 11. Editing a Monologue-include Table 12. Piecing a monologue together-include Table 13. Memorize-ASAP 14. Blocking 15. How to Move (Because you must) 16. Monologue Pitfalls 17. Outrageous 18. Exercises and Improvs Part Three: Time to Audition 19. Steps of Your Audition 20. How Should I introduce my Monologue? 21. Where Should I place My Focus? Focus 1.0, 2.0 22. Should I take time to 'get into it' before I start? 23. Your Actual Run Time 24. Your Audition Must Show... 25. Your Sixty-second Audition Must Prove... 26. How much can the Auditors See in 60 seconds? 27. What Do the Auditors Want to See in a Call Back? 28. When Does the Audition Really Begin? 29. When Does the Audition End? Part Four: "Just a Few Notes." 30. Realism is Not Real 31. Positive 32. Negative 33. Playing Emotion 34. Playing Explosions 35. Playing Characters that are Rich 36. That are Poor 37. That are heroic 38. That are evil 39. That are courageous 40. That are cowardly 41. Crying and Yelling is Not Dramatic 42. Don't TRY to be Funny 43. Dress and Hygiene for Men 44. Dress and Hygiene for Women 45. Final Thought on Clothes 46. Tattoo is Taboo 47. Exit Epilogue Appendix 1. MONOLOGUE SUGGESTIONS 2. WHERE TO FIND MONOLOGUES 3. UNIFIED AUDITIONS 4. HEAD SHOT PRODUCTION
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