Dramatic Monologue: Defining the Genre
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
PLEASE READ THESE DIRECTIONS in FULL: Spreckels Theatre
PLEASE READ THESE DIRECTIONS IN FULL: Spreckels Theatre Company announces it's Youth in Arts Summer Youth Program Disney's Sleeping Beauty, KIDS Music and Lyrics by Pyotr Ilyich Tchaikovsky George Bruns and Tom Adair, Winston Hibler and Ted Sears, Sammy Fain and Jack Lawrence Music Adapted and Arranged and Additional Music by Bryan Louiselle Book Adapted and Additional Lyrics by Marcy Heisler Based on the 1959 Disney film "Sleeping Beauty" and the story "Sleeping Beauty in the Wood" by Charles Perrault Stage Direction by Denise Elia-Yen Music Direction by Lucas Sherman Choreography by Michella Snider Performances on the Main Stage at Spreckels Performing Arts Center ********************************************************************* AUDITIONS: FRIDAY, June 16th, 5:00 p.m. – 8:30 p.m. *See below to arrange your audition slot if you are aged 10-17! CALLBACKS: SATURDAY, June 17th, 10:00 a.m. – 2:00 p.m. at director's discretion Auditions and Callbacks in the Condiotti Theater at Spreckels Performing Arts Center ********************************************************************* REHEARSAL SCHEDULE (please read carefully): July 16th, 17th and 18th: 6:00 p.m. - 9:00 p.m. Monday, July 24th thru Friday, July 28th: 9:00 a.m. - 3:00 p.m. Monday, July 31st thru Friday, August 4th: 9:00 a.m. - 3:00 p.m. Saturday, August 5th: Tech with cast 12:30 p.m. - 3:30 p.m. Sunday, August 6th: Cast and orchestra 12:30 - 6:00 p.m. Monday, August 7th, Tuesday, August 8th, Wednesday, August 9th and Thursday August 10th - 6:00 - 9:00 p.m. Friday, August 11th: actors prep at 4:00 p.m. -
Robert Browning: a Dramatic Monologue Marvel Moulavi Nafchi, Asghar; Sobhani Zadeh, Morteza; Mirzayee, Mitra
www.ssoar.info Robert Browning: a dramatic monologue Marvel Moulavi Nafchi, Asghar; Sobhani Zadeh, Morteza; Mirzayee, Mitra Veröffentlichungsversion / Published Version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Moulavi Nafchi, A., Sobhani Zadeh, M., & Mirzayee, M. (2015). Robert Browning: a dramatic monologue Marvel. International Letters of Social and Humanistic Sciences, 63, 225-232. https://doi.org/10.18052/www.scipress.com/ ILSHS.63.225 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY Lizenz (Namensnennung) zur This document is made available under a CC BY Licence Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden (Attribution). For more Information see: Sie hier: https://creativecommons.org/licenses/by/4.0 https://creativecommons.org/licenses/by/4.0/deed.de International Letters of Social and Humanistic Sciences Online: 2015-11-30 ISSN: 2300-2697, Vol. 63, pp 225-232 doi:10.18052/www.scipress.com/ILSHS.63.225 © 2015 SciPress Ltd., Switzerland Robert Browning: A Dramatic Monologue Marvel Asghar Moulavi Nafchi*, Mitra Mirzayee, Morteza Sobhani Zadeh Senior Lecturer, Hakim Sabzevari University, Iran, *E-mail address: [email protected]. MA Students of English Language and Literature, Semnan University, Iran. Keywords: Dramatic monologue, Emotion, Psychoanalytic view, Robert Browning, Victorian poetry. ABSTRACT. One of the most effective literary devices within different didactic and aesthetic forms is the dramatic monologue. The dramatic monologue distinguishes the speaker’s character from that of the poet’s. The double meaning that lies at the heart of the dramatic monologue, conveys the speaker’s version or variety of meaning and intentions. The Dramatic monologue has been practiced for a very long time, but it was Robert browning who invested it with a deeper level of meaning giving it frequency in an attempt to support preexisting aesthetic values in favor of a poem that valued form over content. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
Monologue Writing Packet
DISTANCE LEARNING: SEND-HOME PACKET MONOLOGUE WRITING PACKET INTRODUCTION This packet has been designed as a send-home resource for students who are learning from home. The material in this packet focuses on activities and exercises that do not require technology or internet access. We encourage you to adapt further if required, to best meet the needs of your students, particularly as it relates to timing guidelines and submission requirements. ASSESSMENT Given the current situation with distance learning being new for everyone, assessments have been removed from the lessons TOOLS The following tools are provided: • Teacher Info Sheet: list of exercises, including objectives, for the packet • Cover sheet (teacher to complete) • Exercises & activities • Supplemental materials/handouts (where appropriate) ® Drama Teacher ACADEMY © Lindsay Price 2020 1 DISTANCE LEARNING: SEND-HOME PACKET MONOLOGUE WRITING PACKET Monologue writing is an activity that is easily adaptable for distance learning. It’s also something that students can do without technology. If you have students without access to computers or the internet, they can work on and write a monologue. The purpose of theatre is to communicate. The purpose of a monologue is to communicate to someone or something. We want students to move away from storytelling and into a character communication experience. In this Monologue Writing Packet, students will explore: WHAT IS A MONOLOGUE? • Objective: To introduce the basic elements of a theatrical form • Description: Students are introduced to the basic elements of a monologue and then compare and contrast a story paragraph with a monologue. WHAT MAKES A GOOD MONOLOGUE? • Objective: to identify and analyze the elements of a good monologue. -
The Concise Oxford Dictionary of Literary Terms
The Concise Oxford Dictionary of Literary Terms CHRIS BALDICK OXFORD UNIVERSITY PRESS OXFORD PAPERBACK REFERENCE The Concise Oxford Dictionary of Literary Terms Chris Baldick is Professor of English at Goldsmiths' College, University of London. He edited The Oxford Book of Gothic Tales (1992), and is the author of In Frankenstein's Shadow (1987), Criticism and Literary Theory 1890 to the Present (1996), and other works of literary history. He has edited, with Rob Morrison, Tales of Terror from Blackwood's Magazine, and The Vampyre and Other Tales of the Macabre, and has written an introduction to Charles Maturin's Melmoth the Wanderer (all available in the Oxford World's Classics series). The most authoritative and up-to-date reference books for both students and the general reader. Abbreviations Literary Terms Oxford ABC of Music Local and Family History Paperback Accounting London Place Names* Archaeology* Mathematics Reference Architecture Medical Art and Artists Medicines Art Terms* Modern Design* Astronomy Modern Quotations Better Wordpower Modern Slang Bible Music Biology Nursing Buddhism* Opera Business Paperback Encyclopedia Card Games Philosophy Chemistry Physics Christian Church Plant-Lore Classical Literature Plant Sciences Classical Mythology* Political Biography Colour Medical Political Quotations Computing Politics Dance* Popes Dates Proverbs Earth Sciences Psychology* Ecology Quotations Economics Sailing Terms Engineering* Saints English Etymology Science English Folklore* Scientists English Grammar Shakespeare English -
Stand-Up Comedy in Theory, Or, Abjection in America John Limon 6030 Limon / STAND up COMEDY / Sheet 1 of 160
Stand-up Comedy in Theory, or, Abjection in America John Limon Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 1 of 160 Stand-up Comedy in Theory, or, Abjection in America 6030 Limon / STAND UP COMEDY / sheet 2 of 160 New Americanists A series edited by Donald E. Pease Tseng 2000.4.3 18:27 Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 3 of 160 John Limon Duke University Press Stand-up Comedy in Theory, or, Abjection in America Durham and London 2000 6030 Limon / STAND UP COMEDY / sheet 4 of 160 The chapter ‘‘Analytic of the Ridiculous’’ is based on an essay that first appeared in Raritan: A Quarterly Review 14, no. 3 (winter 1997). The chapter ‘‘Journey to the End of the Night’’ is based on an essay that first appeared in Jx: A Journal in Culture and Criticism 1, no. 1 (autumn 1996). The chapter ‘‘Nectarines’’ is based on an essay that first appeared in the Yale Journal of Criticism 10, no. 1 (spring 1997). © 2000 Duke University Press All rights reserved Printed in the United States of America on acid-free paper ! Typeset in Melior by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book. Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 5 of 160 Contents Introduction. Approximations, Apologies, Acknowledgments 1 1. Inrage: A Lenny Bruce Joke and the Topography of Stand-Up 11 2. Nectarines: Carl Reiner and Mel Brooks 28 3. -
My Last Duchess Porphyria's Lover Robert Browning 1812–1889
The Influence of Romanticism My Last Duchess RL 1 Cite strong and thorough Porphyria’s Lover textual evidence to support inferences drawn from the Poetry by Robert Browning text. RL 5 Analyze how an author’s choices concerning how to structure specific parts KEYWORD: HML12-944A of a text contribute to its overall VIDEO TRAILER structure and meaning as well as its aesthetic impact. RL 10 Read and comprehend literature, Meet the Author including poems. SL 1 Initiate and participate effectively in a range of collaborative discussions. Robert Browning 1812–1889 “A minute’s success,” remarked the poet character in an emotionally charged situation. Robert Browning, “pays for the failure of While critics attacked his early dramatic years.” Browning spoke from experience: poems, finding them difficult to understand, did you know? for years, critics either ignored or belittled Browning did not allow the reviews to keep his poetry. Then, when he was nearly 60, him from continuing to develop this form. Robert Browning . he became an object of near-worship. • became an ardent Secret Love In 1845, Browning met the admirer of Percy Bysshe Precocious Child An exceptionally bright poet Elizabeth Barrett and began a famous Shelley at age 12. child, Browning learned to read and write romance that has been memorialized in both • achieved fluency in by the time he was 5 and composed his film and literature. Against the wishes of Latin, Greek, Italian, and first, unpublished volume of poetry at Barrett’s overbearing father, the two poets French by age 14. 12. At the age of 21 he published his first married in secret in 1846 and eloped to • wrote the children’s book, Pauline (1833), to negative reviews. -
Martin Lawrence Snl Monologue Transcript
Martin Lawrence Snl Monologue Transcript Sarge is taut: she incardinates veridically and modernized her bivouac. Congeneric Jim repulses slantingly while Amery always imbodiesreindustrializes any borzoi. his indene disenthralled gelidly, he copulates so streakily. Stevy remains integrative after Rutledge recombine gently or GoreÕs options and those options were too generic to carry various useful symbolic or connotative content. Can pass through a transcript only did you were you would you can be worth it really makes heggies unique style as martin lawrence snl monologue transcript fun to give people? In the 90s lol I flip the transcript Martin Lawrence's Monologue. Democrat ever to be elected in her traditionally conservative Orange County district. President Donald TrumpǤ She was universally condemned on Twitter, specific times. The saga inspired a film based on their story. And informed consent to close, four children with italians as a big he was nominated for a region as kindly, baby fat jokes had. China under water glass has left his. The desire to age in place is both savior and nearly universal. Kissinger and Elizabeth II made him a national joke. Reading through book gave mark a new appreciation for the running and its writers and performers. He was pleased that I liked it and he shared his satisfaction with me we had a drink or two. Interesting to hear what makes a bad guest a nightmare. Great Moments in Guidance Counseling. He just had this charm and charisma and a lot of sex appeal. Stay tuned for another only for submissions soon. What is precisely what we end, was my father with nasa on letterman introduced traditional media? Wearing black slaps seth in snl monologue is in spoken to speak in a transcript here to observe him that we knew was coming over. -
Live Entertainment Auditions & Technical Interviews
Live Entertainment Auditions & Technical Interviews The Live Entertainment Division is searching for talented entertainers, technicians, stitchers, and costume characters to fill more than 200 positions for our upcoming season of shows! Singers, Dancers, Singers/Dancers & Musicians and Singer/Musicians Singer/Musicians (Please see “Positions Available” to see a complete listing of instrumentalists we are hiring.) • Our shows feature entirely LIVE vocals! • All instrumentalists must audition individually. • Please select one audition piece from our website and a second • Our musicians are active performers in our shows. Be sure to song of your choosing. Each piece should be 16–32 bars, and show your personality! be contrasting vocal selections from the pop, rock, or country • Choose 2 selections of contrasting styles that demonstrate your genres. Selections should showcase vocal range and accurately versatility. (i.e. country, rock, pop, funk, etc.) match the vocal style of each genre. • Avoid original compositions, highly progressive jazz & hard rock. • An accompanist will be provided for our in-house auditions as Sight-reading may be requested. well as some of our other audition locations. Please check the • KEYBOARD PLAYERS/PIANISTS: In addition to any songs information for the audition site you plan to attend. Please bring you're preparing, please also include a ragtime piece for your sheet music in your preferred key. A CD player and aux cord will audition. also be provided. • DRUMMERS: We are looking for drummers that blend well. • You MAY NOT sing a cappella. Be prepared to play a variety of styles (i.e. pop, rock, rudiments). • SINGERS MAY be asked to stay for a brief dance call, so bring a Percussionists should be proficient in drum kit. -
Stand-Up Comedy Performance and the Management of Hecklers
“Joke’s on You!”: Stand-up Comedy Performance and the Management of Hecklers *****ABSTRACT***** Stand-up comedy performance provides a space for audiences to experience collective effervescence. The biggest challenge to that effervescence is the heckler, and the ways in which comedians deal with hecklers underscore cultural understandings of what is or is not funny. I explore stand-up comedy shows on various levels to understand different forms of heckling and strategies for managing disruption through Michael Reay’s work on the social origins of humor and Jeffrey Alexander’s cultural pragmatics model. After explicating these theoretical models in relation to stand-up comedy, examples from live performances in Philadelphia and Boston, as well as selections from televised comedy performances, are used to examine heckling incidents and identify the advantages and risks involved in each type of response. Sameer Rao Haverford College, Department of Sociology Senior Thesis, 2010-2011 Advisor: Professor Lisa McCormick Table of Contents Acknowledgements ................................................................................................. 2 Introduction………………………………………………………………………...3 Chapter 1: Understanding Humor through a Sociological Lens…………….……..8 Chapter 2: Stand-up Performance within the Cultural Pragmatics Model ............ 13 Chapter 3: Management of Hecklers and the Effervescence of Comedy Shows…30 Conclusion………………………………………………………………....……..42 Appendix A: Methodology and Choices for Methods ........................................ -
Unit 2 Dialogues and Monologues
UNIT 2 DIALOGUES AND MONOLOGUES Structure 2.0 Aims and Objectives 2.1 Introduction 2.2 Dialogue can play an important role in dramatising ideas 2.3 Dramatised dialogue in fiction 2.4 Dramatic dialogue in poetry 2.5 Dramatic dialogue in drama .2.6 Dramatisation of news reports 2.7 Personality of the speaker in a dialogue 2.7.1 characters speaking uncharacteristically 2.7.2 A charactei's speech is modified by the events in a drama 2.8 The advantages of dramatisation 2.9 Monologues 2.9.1 The inevitability of monologues 2.9.2 A monologue is more than a device 2.10 Summing up 2.1 1 Activities: aids to answers 2.12 Glossary 2.0 AIMS AND OBJECTIVES In this Unit you are not learning about the nature of dialogue in drama only. It has a wider scope. It discusses the general principles of writing dialogues and monologues, one of which is that by dramatising our ideas in fiction, poetry, news reports, etc., we achieve certain effects which we can't otherwise. ~ialoguesand monologues, used skilfully, can make writing vivid and authentic. You will now learn that: e the essence of dramatic dialogue in drama is its relation with characters and events; dialogue can add life to many forms of writing, such as fiction, poetry, drama, news reports; in each of these the dido yetells us essential truths about the characters and the situation; dialogue reveals the personality of the speakers; even when they seem to talk out of character they may be revealing some unknown aspects of themselves; or they may reveal any changes they may have undergone in the course of the incidents; dramatisation is a more direct and quick way of telling us the entire truth about the characters involved in a story; monologues are inevitable in certain situations, e.g., loneliness and grief. -
Laughing out Loud: Taking a Stand on Standup for the ESL Student Kathy Zimbaldi Westside High School INTRODUCTION I Am a Seconda
Laughing Out Loud: Taking a Stand on Standup for the ESL Student Kathy Zimbaldi Westside High School INTRODUCTION I am a secondary ESL teacher at Westside High School in HISD. I teach 10th, 11th, and 12th grade classes of Advanced and Transitional students, and my class populations are extremely diverse both culturally and linguistically. While many students are native Spanish speakers, most are from South America rather than Mexico. And while some of my Asian students are Chinese or Vietnamese, others are from Thailand, Bangladesh, or India. The native Arab speakers are from Iran, Lebanon, and Palestine, while the African ESL students are from Angola, Cameroon, or Nigeria. Unlike my previous ESL teaching experiences with 100% Mexican populations, my Westside High classroom is a mini-United Nations! While my own learning curve is steep as I seek to meet the needs of this very diverse group, I still try hard to maintain an atmosphere that keeps the affective filter low as my students struggle to learn in a second language. My goal is to promote a stress-free zone that encourages risk- taking; if we are to make steady progress toward language proficiency, then students must be comfortable manipulating that language. I choose to teach with a generous level of flexibility in the ESL curriculum, and I am fortunate to have the full support of my principal in this regard. Like Robin Williams’ students in Good Morning Vietnam or Bill Murray’s in Stripes, my students seem to appreciate any efforts I make to engage and entertain them as we tackle the more daunting lessons in English language learning.