The Actor's Book Of Contemporary Stage Monologues: More Than 150 Monologues From More Than 70 Playwr
Bernd Manison
For me the solution is time, and planning. I have never been good at learning lines, but I am good at planning. I set dates when I want to be off book, and I make sure I get there. If you know it takes you 3 weeks to learn lines, then give yourself 3 weeks! If it only takes you a few days, then give yourself a few days.
The Actor's Book of Contemporary Stage Monologues: More Than 150 Monologues from More Than 70 Playwr
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Acting teachers have been trying to solve this since Stanislavsky first formulated his acting method. For some teachers like Ivana Chubbuck the solve is substitution. For others like Stella Adler and Declan Donnellan it is the imagination, and finding ways to connect with the reality of the script. Whichever way you go, nothing can be rushed over and ignored. You must connect truthfully to your given circumstances and that is the key to an authentic and compelling performance.
Emotion comes up more than anything else when actors reach out to me. How do I connect with emotion? How do I cry? How can I be more emotional? And the funniest thing is that most of the major acting methodologies put little to no emphasis on emotion. Emotion is the by-product of going after what you want in the scene.
Whilst we want to be open to our emotions, they are not the objective. There are countless examples of people experiencing tragedy and feeling completely numb, or pragmatic, or angry. Our emotions are unpredictable, and they should be that way in our acting. When we focus on achieving certain emotions we become self indulgent, and the story is lost.
The solution is to spend your time discovering the writers intention. If you are working with a director or other actors, work with them. Investigate the scene and why it is part of the story. Once you discover that and can work out what you want in the scene and why you continue to be there, you will be able to play the scene truthfully.
First of all you need to relax. And yes nothing is more relaxing than someone just telling you to relax. But if you are comfortable and relaxed, for the most part, that solves the problem. Most actors, even early career actors, innately know when they are faking it. The problem is fear causes us to not commit, and to do weird stuff. The best way to find this relaxation is once again practice. The more you work on scenes and monologues the better you get. Especially if you can get on stage or screen and work in some environments that push you outside your comfort zone.
Directing the school play for the first time? Or maybe you've been directing plays with young people for a while, but are always looking for ways to improve. Anyone who wants to help young casts create memorable theatrical experiences for themselves and their audiences will benefit from Directing Kids, a comprehensive guide to directing and producing plays with young people.
A diverse collection of more than six dozen monologues from plays published by YouthPLAYS, for young actors ranging from middle school through university, ideal for auditions, classroom work and competition. Available as a paperback book for individual use or as an ebook that includes a photocopy license for classroom use.
Do your students want to write plays that will actually get produced? Or are you a budding young playwright yourself? Then meet your new best friend. Young Playwrights 101: Revised Edition will guide young writers from initial idea to submission and beyond. It's a complete course, organized in easy-to-follow lessons and filled with practical exercises designed to hone young writers' skills and get them writing better plays faster.
Fifteen short comedies, ideal for classroom use, competition or one-act festivals, offer teen actors the opportunity to tackle a wide variety of styles and subjects as they stretch their acting chops and tickle their funny bones.
Fifteen short plays, ideal for classroom use, competition or one-act festivals, offer middle school actors the opportunity to tackle a wide variety of styles and subjects in plays that range from light-hearted romps to serious looks at what it means to grow up.
Eight talented young writers chronicle our coming of age in this collection of winning one-acts from the New Voices competition. Whether it's lampooning teen rites of passage like college admissions or the dreaded driver's test, exploring relationships with families, friends and would-be significant others, or taking on serious issues like mental health and eating disorders, these playwrights pull no punches and write with honesty about the world in which they find themselves.
The four-year Actor Training Program provides intensive training in movement, voice, the Alexander Technique, and other core aspects of the craft, allowing students to develop a comprehensive, embodied understanding of the actor's work and to apply that understanding to a diverse dramatic repertoire in rehearsal and production.
An audition scheduling email, which contains a link to an online registration system, will be sent to applicants upon submission of a complete application, including application fee or fee waiver documentation. You will schedule your own audition via the online system.
Auditions have limited space, and some dates will fill to capacity. Therefore, it is highly recommended that you check your schedule carefully and register for your choice of audition date as soon as possible.
You will receive notification of your admission status (admit, waitlist, or deny) through your application status page no later than April 1. Should you be admitted and enroll, your final official transcripts, indicating your graduation date, must be received by July 1.
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Your application must be submitted online by the appropriate deadline. To begin, create your Juilliard Admissions Account, gather all of the required application materials, and follow the instructions to complete your application.
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Please write about why you have chosen to become an actor and your personal artistic goals. We encourage you to write frankly and openly about your life, your connection to your art, and how you see your art connecting to the world. Share your passion about people, politics, other art forms or anything that speaks to you.
Transcripts are an important component of the decision process. They help us determine if you have sufficient scholastic competence to succeed in coursework at the level for which you are applying. The transcript requirement will be placed on your checklist with a clear deadline at an appropriate point in the application process. DO NOT SEND YOUR TRANSCRIPT UNTIL YOU ARE REQUIRED TO SUBMIT IT.
In your application you will be required to identify two individuals who will provide letters of recommendation. The recommendations themselves are not due until later in the application timeline. Your recommenders will receive an email with a link to securely upload their letters to our application system. We will only accept recommendations received through our application system.
At least one of your recommendations should come from a teacher or theatre professional who has worked with you in a collaborative setting or seen your work on the stage and can address your work as an actor. If you are a first-time college applicant or home-schooled, the requirements for the second recommendation are as follows:
First-time College Applicants
One of your recommendations should come from a high school academic teacher, preferably in English, History, or other Language Arts course work. This will allow us to gain insight into your abilities in English and should acknowledge your speaking, reading, writing, and comprehension abilities.
Home-schooled Applicants
One of your recommendations should come from someone other than a parent who can address your speaking, reading, writing, and comprehension abilities. In addition, this recommendation should address your social maturity and ability to integrate well with other students and colleagues.
There is no specific layout required for the resume; however it must be uploaded in either a .pdf or .doc file format. Please do not submit program bios. The resume is used as a reference for faculty and the Admissions Committee.
Prescreening Required
Prescreening is required if you currently reside outside of the United States and Canada. This requirement does not depend on citizenship status or permanent address and cannot be waived. If you currently reside within the continental United States, you are not required to prescreen.