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. / https://dc.etsu.edu/etsu_books/1155/thumbnail.jpg

This thesis investigates ideas of interiority and thought in relation to the building of self identity. I express them through the visual means of text and photography, resulting in a conceptual self-portrait by way of installation. Concerned with what thought terrain might look like and the way information perceived though the senses is stored, I explore the overdetermined evidence provoked by the unconscious. By the study of my own inner monologue in response to everyday rituals, I bring attention to the fragmented and overwhelming anxieties, fears, associations and fabrications of the mind - moments that often go unnoticed, but help concretize my experience of being in the world. The thesis is made up of 80% practice and 20% written exegesis.

Ce mémoire-création est composé de deux parties. La première est une réflexion sur la sensation comme lien entre le jeu et l'écriture. La deuxième est constituée du texte théâtral Soliloques. L'objectif de cette recherche est de réfléchir sur le transfert possible du stock de sensations qu'un acteur a accumulées par le jeu et dont il peut se servir pour l'écriture. Cette réflexion est élaborée à partir d'une expérimentation: une série d'improvisations solos filmées dans huit lieux non théâtraux, comme première étape de récriture d'un texte dramatique. La partie réflexion de ce mémoire expose d'abord certaines théories du jeu développées par Constantin Stanislavski, Michael Checkhov et Lee Strasberg, afin de réfléchir au rôle de la sensation dans le jeu de l'acteur. Quelques écrits sur la sensation comme source d'inspiration en danse et en écriture poétique ajoutent à la réflexion. Ensuite, le rapport entre le corps du créateur et son environnement est analysé à partir des travaux de Richard Schechner aux Etats-Unis et de la pratique du metteur en scène québécois Éric Jean. Puis, les enseignements de Checkhov et de Strasberg sur la mémoire sensorielle sont exposés pour expliquer le passage de la sensation du jeu (improvisations) à l'écriture de Soliloques. Les écrits de ces auteurs et praticiens constituent le cadre théorique de ce mémoire. Le dernier chapitre de la partie réflexion explique comment la sensation a été abordée et traitée dans le travail de l'actrice et comment elle se transpose dans l'écriture. Cette analyse permet d'identifier, de définir et de justifier tes sensations qui ont traversé tes différentes étapes du processus d'écriture, des improvisations jusqu'à la dernière version de Soliloques. Ce mémoire conclut que les sensations constituent une puissante source d'inspiration pour la création en état de jeu et pour l'écriture. La mémoire sensorielle permet d'inspirer l'actrice-auteure pendant tout le processus de création, en plus d'agir comme le lien entre le jeu à l'écriture. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Sensations, Mémoire sensorielle, Corps, Lieu réel, Improvisation, Théorie du jeu, Écriture dramatique et soliloque.

The present thesis is a study of Robert Browning¡¦s male narrators in his dramatic monologues that deal with problematic man-woman relationships. Being a renovator of the poetic genre of dramatic monologue, Browning employs it to present men¡¦s innermost struggle and obscure emotions in love. While the Victorian gender stereotype emphasizes men¡¦s preoccupation with the business world, he demonstrates men¡¦s intense relation with love. In his poems depicting man-woman relationships, men¡¦s struggles are mainly caused by their eagerness to retain their masculinity, namely, the patriarchal order. This thesis is to explore the concept of masculinity in Browning¡¦s poems. It examines Browning¡¦s typical egoistic men and men¡¦s fantasy about women¡¦s passion. Browning¡¦s female narrators are also discussed to underscore the male-dominated viewpoint on man-woman relationships. Meanwhile it explores Browning¡¦s artist characters, including artists as narrators and not as narrators. Close textual analysis will be made of a selection of poems from Dramatic Lyrics (1842), Dramatic Romances and Lyrics (1845), Men and Women (1855), and Dramatis Personæ (1864) to see the poet¡¦s pondering upon men¡¦s twisted emotions.

The object of this thesis is to study the monologue, a dramatic genre that re-emerged on the Spanish literary scene in the 1970s. Despite the fact that a number of well-known Iberian playwrights have cultivated this genre assiduously over the past three decades, their work has received relatively little critical attention from either academic or theatre circles. What is sought here, therefore, is the means to demonstrate the importance and richness of the monologue as an autonomous dramatic creation. To do this it was necessary to establish a sufficiently large corpus--some eighty long and short monologues--and identify those particular conventions and the structural diversity that would make possible the formulation of a theory of connected language functions in the monologue by adapting existing theoretical principles to the study of this singular genre. The application of this theoretical construct enabled me to determine the nature of the functions of expression, communication and persuasion present in the discourse of a single speaker. / Specifically, in considering the function of expression I reflect both upon the coherent discourse that derives from the (exterior) verbalization of (interior) thought and emotion, and upon the objectives and consequences of such expressions of the mental and emotional states of the individual. Secondly, I focus attention on the same verbal discourse inasmuch as it reflects the complex function of communication manifested in both an immanent and in a transcendental form. Such complexity derives from the fact that, if verbal discourse here is enunciated either in isolation or before an interiorized addressee (a fictional being), it is always emitted in the "presence" of an external addressee (the theatre audience/or reader). Finally, my study of the function of persuasion underscores the idea of empowerment: the authority of the word that is wielded by the monologist upon his/her addressee(s), a verbal manipulation that takes place both within the fictional world and beyond. / In short, this thesis seeks to show how the monologue as a fictional dramatic genre questions the viability of interpersonal relationships.

This thesis examines the reinvention and resurgence of the monologue as a contemporary performance mode. It focuses on four pioneering practitioners: Laurie Anderson, Spalding Gray, Karen Finley and Anna Deavere Smith. The study reviews historical developments in monologue and analyses contemporary innovations made to the form. It also responds to debate on the use of postmodern aesthetic techniques in performance, as a means of critically engaging with and commentating on Western, specifically American, culture and politics. The hypothesis of this study is that monologue, as it is examined in this work, is a biopolitical form. It is biopolitical, as this analysis will show, in the sense that it is a linguistic, communicational and creative response to the conditions of global capitalism in the West. The study argues that the term monologue is increasingly inadequate to the discussion of these new forms of solo speech and performance and proffers the term “post-monologue” as a means of furthering consideration of the monologue beyond the terms of current understandings. It opens the way towards future manifestations of the form that offer critically effective, and affective, commentary on world events.

This thesis investigates ideas of interiority and thought in relation to the building of self identity. I express them through the visual means of text and photography, resulting in a conceptual self-portrait by way of installation. Concerned with what thought terrain might look like and the way information perceived though the senses is stored, I explore the overdetermined evidence provoked by the unconscious. By the study of my own inner monologue in response to everyday rituals, I bring attention to the fragmented and overwhelming anxieties, fears, associations and fabrications of the mind - moments that often go unnoticed, but help concretize my experience of being in the world. The thesis is made up of 80% practice and 20% written exegesis.

Diss. Ph. D.--Faculty of arts--University of Birmingham, 1991. / Titre cité translittéré du grec selon ISO/R 843 (1968). Résumé en grec. Bibliogr. p. 364-384.

Thesis (D. Min.)--Southwestern Baptist Theological Seminary, 1995. / Includes bibliographical references (leaves 149-156).

Thèse--Lettres--Paris IV, 1972. / Bibliogr. p. 538-546. Index.