A wide ranging selection of some of the best stage monologues from the last ten years. The book provides a varied and dramatic challenge for the professional, student and amateur actor, for auditions, classes or rehearsals.
Intended for students and children taking part in speech and drama competitions and exams, this book contains a range of audition speeches. It includes female, male and unisex speeches selected from both plays and children's books. Where relevant the author has indicated how a speech could be shortened for younger children. There is also an introductory section with contributions from Alan Ayckbourn, Carol Schroder (teacher and examiner for the London Academy of Music and Dramatic Art), Richard Carpenter (TV writer) and Ed Wilson (Director of the National Youth Theatre) and senior casting directors for the RSC, TV and film. This edition has been freshly revised to include 10 new speeches from well known recent productions as well as children's books including Harry Potter. 'A superb compilation' Amateur Stage
Monologues are an essential part of every actor's toolkit. Actors need them for drama school entry, training, showcases and when auditioning for roles in the industry. Edited by Dee Cannon, author of the bestselling In-Depth Acting, this book showcases selected monologues from some of the finest modern plays by some of today's leading contemporary playwrights. The monologues contain a diverse range of quirky and memorable characters that cross cultural and historical boundaries, and comes in a brand new format, with a notes page next to each speech, acting as an actor's workbook as well as a monologue resource.
This book of contemporary monologues for women includes pieces from the best of the last three decades of contemporary playwriting, from Howard Brenton and Bryony Lavery to Charlotte Jones and Mark Ravenhill. Including extracts from plays by award-winning British playwrights, there are pieces both serious and comic providing the actor with all the challenges of performing contemporary plays. The book is an invaluable resource for auditions, acting class, competitions and rehearsals. A fuller appreciation of each monologue is provided by Chrys Salt's invaluable commentaries, giving clues as to possible direction and setting each piece in the context of the play as a whole.Praise for Chrys Salt's Make Acting Work: "A really useful book for every actor to own" Prunella Scales; "This book should be part of every resourceful actor's armoury" Annette Badland
With an impressive array of speeches from a diverse range of first-class playwrights, the Faber Book of Monologues is an indispensable guide to new, untapped, and cutting-edge material. Designed for use in professional auditions as well as student workshops, each volume contains over twenty-five selections, ranging in age from twenty to sixty-five, which are culled from a rich variety of tragic, comic, realist and absurdist works by the most vibrant new playwrights, as well as critically-acclaimed pieces from established masters such as Richard Greenberg, David Hare, Neil LaBute, and Yasmina Reza. In order to foster a more nuanced association between the actor and the material, each selection includes insightful character commentary, staging and vocalization recommendations, and references to past great performances. A thoughtful introduction, written by critic Jane Edwardes, provides helpful hints for the nerve-wracking audition process.
A brand-new collection of original audition pieces written by and for actors of colour, commissioned by Tamasha Theatre Company and edited by Titilola Dawudu, with a foreword by Noma Dumezweni. Hear Me Now is a unique collection of over eighty original audition monologues, expressly created by a range of award-winning writers brought together by producer Titilola Dawudu and Tamasha Theatre Company. They're ideal for actors of colour searching for speeches for auditions or training, writers, teachers, and theatre-makers who are passionate about improving diversity. The book provides varied, nuanced stories that expand beyond the range of existing material available – from a cross-dressing Imam, to the first Black Prime Minister, the British Indian girl with dreams of becoming a country music star, or the young Black boy who loves baking as much as football – Hear Me Now is an essential tool for actors of colour to showcase their range, and seeks to inspire, empower, and create a legacy for generations to come.
The Pitchfork Disney heralded the arrival of a unique and disturbing voice in the world of contemporary drama. Manifesting Ridley's vivid and visionary imagination and the dark beauty of his outlook, the play resonates with his trademark themes: East London, storytelling, moments of shocking violence, memories of the past, fantastical monologues, and that strange mix of the barbaric and the beautiful he has made all his own. The Pitchfork Disney was Ridley's first play and is now seen as launching a new generation of playwrights who were unafraid to shock and court controversy. This unsettling, dreamlike piece has surreal undertones and thematically explores fear, dreams and story-telling. First produced in 1991, it has gone on to be recognised as the annunciation of Ridley's dark and seductive world.
Condemned by the mother of Jamie Bulger and acclaimed by the critics - for tackling the subject of child killers - this is the controversial new play from the winner of the Sunday Times Playwriting Prize 2001 Few kids have a secret as chilling as Timmy's. Stephanie loves Raquel to death. Acutely topical, darkly satirical and brutally uncompromising - these two monologues explore the shattering of childhood innocence. "The play opens up a moral minefield. Who can, or should, consent to what? Can anyone consent to something on the behalf of another? What power can anyone, a person or a community, have over the mind and life of another? Morris's play sends you out in a state of moral turbulence." (John Peter, Sunday Times) "For once, the play at the eye of an Edinburgh storm is a good one" - Guardian "This 70-minute play would alone have been worth a trip to Edinburgh" - Sunday Times "If The Age of Consent had been written by the sainted Alan Bennett it would be acclaimed as a triumph" - Daily Telegraph The Age of Consent is published to tie in with its London premiere at the Bush Theatre in January 2002