The book contains 64 monologues designed specifically for use in the audition process. These monologues were derived from the Last Frontier Theatre Conference, one of the longest running theater conferences of its kind, held every year in Valdez, Alaska from 2009 to 2012. The monologues are honed for freshness, length, and effect and are designed for actors who are taking an audition/monologue workshop. Also included are some tips on creating monologues by Last Frontier Director Dawson Moore and for acting with the monologues by actor and mentor, Laura Gardner, both of whom selected and edited the monologues. The monologues are catagorized by gender and sorted by age of the speaker.

(Applause Books). Applause is proud to continue the series that for over 70 years has been the standard of excellence for one-act plays in America. As previous series editor Ramon Delgado wrote in his introduction to The Best American Short Plays of 1989 , the choice of entries for each edition has been based on the same goal: "to include a balance among three categories of playwrights: 1) established playwrights who continue to practice the art and craft of the short play, 2) emerging playwrights whose record of productions indicate both initial achievement and continuing artistic productivity, and 3) talented new playwrights whose work may not have had much exposure but evidences promise for the future." From its inception, The Best American Short Plays has identified new, cutting-edge playwrights who have gone on to establish award-winning careers, including Tennessee Williams ( A Streetcar Named Desire ), Edward Albee ( Who's Afraid of Virginia Woolf ), Wendy Wasserstein ( The Heidi Chronicles ), David Mamet ( Glengarry Glen Ross ), and Horton Foote ( The Trip to Bountiful ). This volume is Barbara Parisi's fifth edition as series editor. The volumes of the new millennium include the work of playwrights Murray Schisgal, Adam Kraar, Theodore Mann, David Ives, and Mark Medoff, among others, and tackle complex human issues through diverse theatrical styles and a wide range of character perspectives.

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.

A collection of monologues about what men are thinking in the new millennium and how they're putting those thoughts and feelings into theatrical expression.

Can you really write a play that lasts a minute? The one minute play offers a unique challenge to actors, directors and writers: how do you create a whole world, where actors have room to perform and where audiences have a true experience all in 60 seconds? One Minute Plays: A Practical Guide to Tiny Theatre demystifies the super-short-form play, demonstrating that this rich, accessible format offers great energy and variety not only to audiences but to everyone involved in its creation and performance. This handbook includes: An anthology of 200 one-minute plays selected from the annual Gone in 60 Seconds festival. A toolbox of exercises, methodologies and techniques for educators, practitioners and workshop leaders at all levels. Tips and advice on the demands of storytelling, inclusivity and creative challenges. Detailed practical information about creating your own minute festival, including play selection, running order, staging and marketing. Drawing on a wealth of experience, Steve Ansell and Rose Burnett Bonczek present an invaluable guide for anyone intrigued by the art of creating, producing and performing a one minute play.

The work in The Playwrights' Center Monologues for Men is finely crafted, entertaining, often poignant, and features the best playwriting in present-day American theater.

Editors Tori Haring-Smith and Liz Engelman present fifty-nine previously unpublished monologues written by some of the most inspiring and exciting women now emerging onto the international stage