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Monologues for Young Actors
In professional and student theater alike, a good monlogue can often mean the difference between a "Thank you . . . Next!" and a call-back. But sometimes it's hard for an aspiring actor to find the absolutely right audition piece that suits his or her personal style, type or age group. Monologues For Young Actors is a unique and invaluable collection of dramatic speeches from some of the world's greatest plays -- chosen specifically for actors in their teens and early twenties. Whether you're looking for something comedic or tragic, contemporary or classic, unorthodox or naturalistic, this superb compilation has the monologue you need -- an indispensible tool to help you hone you craft . . . and land that role.
The Classical Monologue
First Published in 1993. Routledge is an imprint of Taylor & Francis, an informa company.
The 'd' Monologues
These performance texts were written exclusively for performers identifying as Deaf, disabled or neuro-divergent. This unique collection of fictional dramatic monologues was written specifically for D/deaf and disabled performers (the 'd' of the title), informed by lived experience. But the 'd' could just as easily refer to difference, diversity, defiance, determination, desirability and a host of other delicious 'd's.... Covering a wide variety of form, content, and theatrical styles, the monologues offer fresh perspectives on difference and disability from across the UK and beyond. From biting satire to crip' pride, observational comedy to poignant revelations of life in contemporary Brita...
The Manyfacèd Glass
The hazy settings and amorphous auditors of Tennyson's dramatic monologues are often contrasted-at Tennyson's expense-with Browning's more vivid, concrete realizations. Hughes argues that Tennyson's achievements in the genre are, in fact, considerable, that his influence can be traced in such major figures as T. S. Eliot, and that the monologue occupies a far more central position in Tennyson's poetic achievement than has hitherto been acknowledged. Hughes' study challenges the traditional view of Tennyson's inferior achievement, and her account of the elements and operation of the dramatic monologue, especially as demonstrated by three of its most important practitioners, will be of interest to all those concerned with the monologue as a poetic mode.
The Dramatic Monologue
In The Dramatic Monologue, Elisabeth A. Howe defines the characteristics of the subject as a genre, clearly differentiating it from the lyric poem. One feature she discusses is the double voice of the dramatic monologue - the reader hears simultaneously the voices of the poet and the speaker. This dialogical effect distinguishes the dramatic monologue both from lyric poetry and from narrative poems written in the first person. The use of a persona allows the poet to distance himself or herself from the poem. Howe investigates the origins of the dramatic monologue before examining poems by Browning and Tennyson, both masters of the form and both largely responsible for its popularity with late-nineteenth-century readers and poets. She offers close readings of Browning's "The Bishop Orders His Tomb at Saint Praxed's Church" and Tennyson's "Tithonus". Later chapters include detailed analyses of dramatic monologues by twentieth-century poets, including Ezra Pound's "Marvoil", T.S. Eliot's "Portrait of a Lady", and poems by Robert Frost, Randall Jarrell, and the contemporary poet Richard Howard.
Dramatic Monologue (Routledge Revivals)
First published in 1977, this book looks at the versatile literary form of dramatic monologue. Although it is often associated with Browning and other poets writing between 1830 and 1930, the concept has been employed by diverse poets of multiple periods such as Ovid, Chaucer, Donne, Blake, Wordsworth, Philip Larkin and Ted Hughes. In this study, Alan Sinfield demonstrates and analyses the range and adaptability of the form through detailed examples. He shows that the technique maintains a shifting and uncertain balance between the voices of the poet and of his created speaker; when extended, as in Maud, Amours de Voyage, The Ring and the Book, and The Wasteland, the use of dramatic monologue raises questions of personality and perception. In the second part of the text, the author discusses the origins of Victorian and Modernist dramatic monologue in the dramatic complaint and the Ovidian verse epistle of earlier periods, offering a new interpretation of the value of dramatic monologue to Browning and Tennyson. Through his writing, Alan Sinfield successfully highlights the eternal vibrance of the form.
Moving Movie Monologues
We would like to bring the writing of Esme Bates to the attention of film and TV makers. New to our publishing scene these deeply moving monologues on gritty subjects such as stillbirth, death, chronic illness, autism and memory loss are, frankly, world-class.
Stages of Self
The dramatic monologue has attracted considerable critical attention in English but is rarely considered relevant to French poetry and has generally been ignored in studies of comparative literature. In Stages of Self, various poems by Jules Laforgue, Stephane Mallarmé, and Paul Ambroise Valery are analyzed to show that they conform to the norms of the genre even though they bear little surface resemblance to the dramatic monologues by Browning, Pound, or Eliot. Traditionally, a dramatic monologue is a poem spoken by an identified persona placed in a dramatic situation. This description fits poems such as L'Après-midi d'un faune and La Jeune Parque, though the persona and the drama are qui...
The Cambridge Companion to Victorian Poetry
This Companion to Victorian Poetry provides an introduction to many of the pressing issues that absorbed the attention of poets from the 1830s to the 1890s. It introduces readers to a range of topics - including historicism, patriotism, prosody, and religious belief. The thirteen specially-commissioned chapters offer insights into the works of well-known figures such as Matthew Arnold, Robert Browning and Alfred Tennyson, and the writings of women poets - like Michael Field, Amy Levy and Augusta Webster - whose contribution to Victorian culture has in more recent years been acknowledged by modern scholars. Revealing the breadth of the Victorians' experiments with poetic form, this Companion also discloses the extent to which their writings addressed the prominent intellectual and social questions of the day. The volume, which will be of interest to scholars and students alike, features a detailed chronology of the Victorian period and a comprehensive guide to further reading.
