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Award Monologues for Men
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eBook - ePub
Award Monologues for Men
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About This Book
Award Monologues for Men is a collection of fifty monologues taken from plays written since 1980 that have been nominated for the Pullitzer Prize, the Tony and the Drama Desk Awards in New York, and The Evening Standard and Laurence Olivier Awards in London. The book provides an excellent range of up-to-date audition pieces, usefully arranged in age groups, and is supplemented with audition tips to improve your acting, and to ensure you give your best possible performance.
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Yes, you can access Award Monologues for Men by Patrick Tucker, Christine Ozanne, Patrick Tucker, Christine Ozanne in PDF and/or ePUB format, as well as other popular books in Media & Performing Arts & Acting & Auditioning. We have over one million books available in our catalogue for you to explore.
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20s
1 | Jon Robin Baitz | TEN UNKNOWNS | Judd |
2 | Bill C. Davis | MASS APPEAL | Mark |
3 | Bruce Graham | COYOTE ON A FENCE | Bobby |
4 | Richard Greenberg | THE AUTHORâS VOICE | Gene |
5 | Ron Hutchinson | RAT IN THE SKULL | Roche |
6 | Howard Korder | BOYSâ LIFE | Phil |
7 | Tony Kushner | ANGELS IN AMERICA: MILLENNIUM APPROACHES | Louis |
8 | John Leguizamo | FREAK | Johnny |
9 | Kenneth Lonergan | THIS IS OUR YOUTH | Dennis |
10 | Martin McDonagh | THE PILLOWMAN | Katurian |
11 | Terrence McNally | LOVE! VALOUR! COMPASSION! | Ramon |
12 | Michael Murphy | SIN (A CARDINAL DEPOSED) | Patrick |
13 | Peter Shaffer | AMADEUS | Mozart |
14 | Nicky Silver | PTERODACTYLS | Todd |
15 | Neil Simon | LAUGHTER ON THE 23RD FLOOR | Ira |
16 | Anna Deavere Smith | TWILIGHT: LOS ANGELES, 1992 | Michael |
17 | Tom Stoppard | ARCADIA | Valentine |
18 | Hugh Whitemore | ITâS RALPH | Dave |
19 | August Wilson | JITNEY | Shealy |
20 | Lanford Wilson | ANGELS FALL | Zappy |
21 | Mary Zimmerman | METAMORPHOSES | Phaeton |
1
TEN UNKNOWNS
Jon Robin Baitz
FIRST PERFORMANCES | New York 2001 |
AWARDS | Justin Kirk nominated for the Drama Desk Award for Outstanding Featured Actor in a Play. |
CHARACTER | Judd |
PLAYED BY | Justin Kirk |
CHARACTERâS AGE | late 20s |
TYPE | A rising young painter, and addict. |
TIME AND PLACE | 1992; an artistâs decrepit studio in a village in Mexico. |
SITUATION | Judd, a young painter, has been sent by the art dealer Trevor to help Malcolm Raphelson preparenew paintings for a major retrospective of his work. He is confronting his mentor about being cruellytreated, and suggests that his own work be used forthe retrospective. |
Judd: Shut up. I just want one thing: To know why? [Beat.] Why on earth did you do this to me? Look at me. This is what youâve done. [Beat. RAPHELSON can not speak. Totally articulate and clear-headed. He goes on, shaking his head, still baffled.] Why? Malcolm. The public nature of it. As soon as there were other people to witness this â you turned â The satisfaction. You made fun of me with Trevor, to my face, and worse, with her too. Any opportunity for indignity, humiliation: âCabbages for hands,â erasure, rewriting history to your own specs ⌠why? All the things you hated. The prospect of New York. Of what you would do to me â at a retrospective, in a gallery. Yow. I can imagine it â your constant digs and with so many people there â I donât understand it. I donât. Can you please try and explain it. [Beat. JUDD is in tears. He shakes his head.] Iâm sorry if I ⌠[Beat.] Did something â if I seemed â disrespectful or ⌠[Beat. There is silence. JUDD tries to pull himself together. He shakes his head.] I keep trying to figure out why you would possibly want to do this and I canât even â [Beat.] I wasnât around for all the years you watched yourself become invisible and more and more marginal ⌠It must have been ⌠[He stops. He nods. Suddenly clear to him.] I know what it is. [Beat. Simply amazed.] Take my work â sell it ⌠and sell it as your own â and you get your revenge on everyone â me â because I can actually paint â and these people whom you loathe, who did this to you. Itâs so malignant. Itâs brilliant and twisted. You get everything you want. Thatâs what this is. Revenge on all of us. [Pause.] Youâre a comic book villain, do you know that, Malcolm? And in case you hadnât noticed â up there â back in New York, theyâve declared that painting is dead. You have no idea how tiny the stakes are. [JUDD is suddenly absolutely certain and direct and compelled.] But you know who I am? I am a mute with great feeling, huge battles going on inside, storms, plagues ⌠but no way to express any of it. These useless skills. To execute a ⌠but otherwise impotent, nothing else. [Beat.] I loved you Malcolm, I would sit here and understand exactly what you wanted, what you were trying to do. Just a nod or a shake or twitch from you was enough. Fantastic. Magic. Collaboration, the sum bigger than the parts, I was never better, you were never braver â and however it worked â when we were together, something great â But then, alone, when I went off, I went through pad after pad, now I was fucked ⌠but all of it a blur, worthless. Dead. Nothing to say. Torn paper.
NOTES FOR THIS SPEECH:
âretrospectiveâ: art exhibit or exhibition showing an entire phase of an artistâs lifework.
Feel free to change words if necessary: See Note 3.
You start off on a high, and end up emotionally drained: See Note 4.
You have a wonderful moment of great realization, that you are the better painter, and it must show: See Note 5.
From TEN UNKNOWNS by Jon Robin Baitz. Copyright 2004 by Jon Robin Baitz. Used by permission of Grove/Atlantic, Inc.
2
MASS APPEAL
Bill C. Davis
FIRST PERFORMANCES | New York 1980; London 2006 |
AWARDS | Nominated for the Drama Desk Award for Outstanding New Play. |
CHARACTER | Mark |
PLAYED BY | Eric Roberts [US]; Brendan Patrick [UK] |
CHARACTERâS AGE | early 20s |
CHARACTERâS TYPE | He is a young trainee Catholic priest. |
TIME AND PLACE | Today; America, Sunday Mass in Father Farleyâs church. |
SITUATION | Father Farleyâs comfortable life style (and comfortable wealthy congregation) are disturbed when an intense seminarian comes into their parish with his idealism, to deliver his first sermon. |
Mark: Thank you, Father Farley. [MARK faces the...
Table of contents
- Cover
- Halftitle
- Title
- Copyright
- Dedication
- Contents
- Introduction
- Acknowledgements
- How to use this book
- Quick advice on Auditioning
- Notes on speeches
- Monologues for Men, 20s
- Monologues for Men, 30s
- Monologues for Men, 40s
- Monologues for Men, Over 50s
- Index of Playwrights
- Index of Plays
- Index of Actors
- Award list from 1980 to 2006