Solo
portes grátis
Solo
The Everything Guide to Writing, Performing, and Producing Your One-Person Show
Malinowski, Arlene; Ganey, Julie
Northwestern University Press
01/2026
304
Mole
Inglês
9780810149717
15 a 20 dias
Descrição não disponível.
Take the Plunge!
You Can Do It
What the Heck Do I Write About?
Getting Words on the Page
Be Accountable for Your Actions
There's More Than One Way to Get Where You're Going
Fourteen Types of Solo Shows
The Nuts, Bolts & Buckles of Your Play
Seven Keys That Make a Solo Show Work
Your Brain's Got a Soft Spot
Story vs. Anecdote
The Beginning
The Middle
The End
Something at Stake
Essential Questions
Your Work is Going to Suck
People Your Play
Building Characters
Types of Narrators
Dialogue: Finding the Voice of Your Characters
Make a Scene!
Telling the Stories of Others
Making a Good Show Better
The Power of POV
Make it Multisensory
In General, Be Specific
Untangling Tenses
Universal Truth
Four Ways to Never Just Tell
Write from the Scar
Humor & Levity
Truth vs. Accuracy
Putting it Together Bit by Bit
Who Needs Narrative Structure?
An Organizing Principle
Stitching, Knitting & Using Narrative
Theatrical Elements
Create Some White Space
Construction & Deconstruction
Writing & Rewriting (Ugh)
Getting Feedback (Eeeeek)
Editing Techniques (Yikes)
How Do You Know When Your Solo Show is Done?
Rehearsing and Performing
The Great Script Debate
Acting for Solo
Bringing Characters to Life
Do I Really Need a Director?
How Will You Rehearse?
When Should the Writer Leave the Room?
Performing Your Show (Hallelujah! Finally Doing It!)
Reviews
Selling Yourself
Finding a Venue
In Solo, You Are Your Own Brand
Creating PR Materials
Press Releases & Media Kits
Getting Butts into Seats
Fundraising for Your Show
Festivals, Fringe & Touring
Protecting Your Work
The Ghost Light
Acknowledgements
Credits
You Can Do It
What the Heck Do I Write About?
Getting Words on the Page
Be Accountable for Your Actions
There's More Than One Way to Get Where You're Going
Fourteen Types of Solo Shows
The Nuts, Bolts & Buckles of Your Play
Seven Keys That Make a Solo Show Work
Your Brain's Got a Soft Spot
Story vs. Anecdote
The Beginning
The Middle
The End
Something at Stake
Essential Questions
Your Work is Going to Suck
People Your Play
Building Characters
Types of Narrators
Dialogue: Finding the Voice of Your Characters
Make a Scene!
Telling the Stories of Others
Making a Good Show Better
The Power of POV
Make it Multisensory
In General, Be Specific
Untangling Tenses
Universal Truth
Four Ways to Never Just Tell
Write from the Scar
Humor & Levity
Truth vs. Accuracy
Putting it Together Bit by Bit
Who Needs Narrative Structure?
An Organizing Principle
Stitching, Knitting & Using Narrative
Theatrical Elements
Create Some White Space
Construction & Deconstruction
Writing & Rewriting (Ugh)
Getting Feedback (Eeeeek)
Editing Techniques (Yikes)
How Do You Know When Your Solo Show is Done?
Rehearsing and Performing
The Great Script Debate
Acting for Solo
Bringing Characters to Life
Do I Really Need a Director?
How Will You Rehearse?
When Should the Writer Leave the Room?
Performing Your Show (Hallelujah! Finally Doing It!)
Reviews
Selling Yourself
Finding a Venue
In Solo, You Are Your Own Brand
Creating PR Materials
Press Releases & Media Kits
Getting Butts into Seats
Fundraising for Your Show
Festivals, Fringe & Touring
Protecting Your Work
The Ghost Light
Acknowledgements
Credits
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
disability; CODA; wavelength theater; social justice; conflict resolution; accessibility; Goodman Theater; Lifeline Theater; Solo performance; One-person show; Theatre; Storytelling; Solo show; Writing solo shows; Playwriting; Solo Show Acting techniques; Actor writer; Solo artist; Marketing a solo show; Personal narrative performance; Live lit; Spoken Word; Writing for actors; WriterPerformer; Producing a one-person show; Ada Cheng; Rachel Goodstein; Charles Askenaizer; David Boyle; Jasmin Cardenas; John Michael Colgin; Amanda Delheimer; Ilesa Duncan; Melissa DuPrey; Ann Filmer; Laura Force Scruggs; Khanisha Foster; Elizabeth J. Gerard; Wendy Hammers; Richard Henzel; Tekki Lomnicki; Dorothy Milne; Victoria Montalbano; Kurt Naebig; R.C. Riley; Stephanie Rogers; Connie Shirakawa; Janna Sobel; Molly Surowitz; Willa Taylor; Penelope Walker; Ric Walker.; Solo; comedy; toolkit; theme; openings; tone; revision; Proust; ethics; truth; technique; sound; props; special effects; feedback; Mike Birbiglia; drama; acting; brainstorming; character; obstacles; specificity; scene; symbolism; accuracy; experimentation; music; choreography; money; vulnerability; Fleabag; stage; accountability; stakes; audience; endings; complex; monologue; design; fair use; mak up; timing; performance; practice; dialect; lighting; puppets; costume; rehearsal; scrip; gesture; pace; physicality; director; actor; headshot; review; strategy; branding; press; publication; superstition
Take the Plunge!
You Can Do It
What the Heck Do I Write About?
Getting Words on the Page
Be Accountable for Your Actions
There's More Than One Way to Get Where You're Going
Fourteen Types of Solo Shows
The Nuts, Bolts & Buckles of Your Play
Seven Keys That Make a Solo Show Work
Your Brain's Got a Soft Spot
Story vs. Anecdote
The Beginning
The Middle
The End
Something at Stake
Essential Questions
Your Work is Going to Suck
People Your Play
Building Characters
Types of Narrators
Dialogue: Finding the Voice of Your Characters
Make a Scene!
Telling the Stories of Others
Making a Good Show Better
The Power of POV
Make it Multisensory
In General, Be Specific
Untangling Tenses
Universal Truth
Four Ways to Never Just Tell
Write from the Scar
Humor & Levity
Truth vs. Accuracy
Putting it Together Bit by Bit
Who Needs Narrative Structure?
An Organizing Principle
Stitching, Knitting & Using Narrative
Theatrical Elements
Create Some White Space
Construction & Deconstruction
Writing & Rewriting (Ugh)
Getting Feedback (Eeeeek)
Editing Techniques (Yikes)
How Do You Know When Your Solo Show is Done?
Rehearsing and Performing
The Great Script Debate
Acting for Solo
Bringing Characters to Life
Do I Really Need a Director?
How Will You Rehearse?
When Should the Writer Leave the Room?
Performing Your Show (Hallelujah! Finally Doing It!)
Reviews
Selling Yourself
Finding a Venue
In Solo, You Are Your Own Brand
Creating PR Materials
Press Releases & Media Kits
Getting Butts into Seats
Fundraising for Your Show
Festivals, Fringe & Touring
Protecting Your Work
The Ghost Light
Acknowledgements
Credits
You Can Do It
What the Heck Do I Write About?
Getting Words on the Page
Be Accountable for Your Actions
There's More Than One Way to Get Where You're Going
Fourteen Types of Solo Shows
The Nuts, Bolts & Buckles of Your Play
Seven Keys That Make a Solo Show Work
Your Brain's Got a Soft Spot
Story vs. Anecdote
The Beginning
The Middle
The End
Something at Stake
Essential Questions
Your Work is Going to Suck
People Your Play
Building Characters
Types of Narrators
Dialogue: Finding the Voice of Your Characters
Make a Scene!
Telling the Stories of Others
Making a Good Show Better
The Power of POV
Make it Multisensory
In General, Be Specific
Untangling Tenses
Universal Truth
Four Ways to Never Just Tell
Write from the Scar
Humor & Levity
Truth vs. Accuracy
Putting it Together Bit by Bit
Who Needs Narrative Structure?
An Organizing Principle
Stitching, Knitting & Using Narrative
Theatrical Elements
Create Some White Space
Construction & Deconstruction
Writing & Rewriting (Ugh)
Getting Feedback (Eeeeek)
Editing Techniques (Yikes)
How Do You Know When Your Solo Show is Done?
Rehearsing and Performing
The Great Script Debate
Acting for Solo
Bringing Characters to Life
Do I Really Need a Director?
How Will You Rehearse?
When Should the Writer Leave the Room?
Performing Your Show (Hallelujah! Finally Doing It!)
Reviews
Selling Yourself
Finding a Venue
In Solo, You Are Your Own Brand
Creating PR Materials
Press Releases & Media Kits
Getting Butts into Seats
Fundraising for Your Show
Festivals, Fringe & Touring
Protecting Your Work
The Ghost Light
Acknowledgements
Credits
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
disability; CODA; wavelength theater; social justice; conflict resolution; accessibility; Goodman Theater; Lifeline Theater; Solo performance; One-person show; Theatre; Storytelling; Solo show; Writing solo shows; Playwriting; Solo Show Acting techniques; Actor writer; Solo artist; Marketing a solo show; Personal narrative performance; Live lit; Spoken Word; Writing for actors; WriterPerformer; Producing a one-person show; Ada Cheng; Rachel Goodstein; Charles Askenaizer; David Boyle; Jasmin Cardenas; John Michael Colgin; Amanda Delheimer; Ilesa Duncan; Melissa DuPrey; Ann Filmer; Laura Force Scruggs; Khanisha Foster; Elizabeth J. Gerard; Wendy Hammers; Richard Henzel; Tekki Lomnicki; Dorothy Milne; Victoria Montalbano; Kurt Naebig; R.C. Riley; Stephanie Rogers; Connie Shirakawa; Janna Sobel; Molly Surowitz; Willa Taylor; Penelope Walker; Ric Walker.; Solo; comedy; toolkit; theme; openings; tone; revision; Proust; ethics; truth; technique; sound; props; special effects; feedback; Mike Birbiglia; drama; acting; brainstorming; character; obstacles; specificity; scene; symbolism; accuracy; experimentation; music; choreography; money; vulnerability; Fleabag; stage; accountability; stakes; audience; endings; complex; monologue; design; fair use; mak up; timing; performance; practice; dialect; lighting; puppets; costume; rehearsal; scrip; gesture; pace; physicality; director; actor; headshot; review; strategy; branding; press; publication; superstition
