Audition Arsenal for Men in Their 30s: 101 Monologues by Type, 2 Minutes and under (Monologue Audition Series)

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Overview

Prepare your audition repertoire with the most innovative monologue series to date-Audition Arsenal! Are you tired of buying monologue books only to discard half of the pieces because they are outside of your age range? Not anymore! The first four books in this breakthrough series are for:

Women in their 20s Men in their 20s
Women in their...
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Overview

Prepare your audition repertoire with the most innovative monologue series to date-Audition Arsenal! Are you tired of buying monologue books only to discard half of the pieces because they are outside of your age range? Not anymore! The first four books in this breakthrough series are for:

Women in their 20s Men in their 20s
Women in their 30s Men in their 30s

That means 101 monologues per book, 2 minutes and under, that are all usable by you! And it gets even better.The Audition Arsenal books are organized by type so you will have dynamic, memorable, contemporary monologues that demonstrate your ability to handle any role. Each type is defined by a specific personality trait, allowing you to showcase the qualities crucial to a particular character or role. In addition, choosing contrasting types is a great way to show your range in general auditions. The types are broken down by tone-comedic, dramatic, or seriocomic.
Searching is easy, accurate, and fun! Here are the types you will find in this book:
Wacky/Quirky/Odd Awkward/Nervous/Uneasy
High-Strung/Neurotic/Stressed-Out Romantic/In Love
Angry/Fed Up Melodramatic
Vulnerable/Hurt/Exposed Joyful/Enthusiastic/Excited
Persuasive/Inspirational Troubled/Pained

The Audition Arsenal series is a priceless resource for acting teachers and coaches, and the perfect tool to prepare you to land your next role-no matter what it calls for. Monologues for your gender, in your age range, by type and tone- getting cast has never been this easy!
Read More Show Less

Editorial Reviews

Booklist
"Young actors who have searched for audition material written in the voice of teenage characters will welcome this resource."
Smith and Kraus
"Janet Milstein's Ultimate Audition Book for Teens Volume I is our all-time best seller."
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Product Details

  • ISBN-13: 9781575253992
  • Publisher: Smith & Kraus, Inc.
  • Publication date: 5/28/2005
  • Series: Monologue Audition Series
  • Pages: 137
  • Product dimensions: 10.52 (w) x 4.12 (h) x 0.28 (d)

Table of Contents

INTRODUCTION ix
TIPS FOR SELECTING AND PREPARING A MONOLOGUE xii

Wacky/Quirky/Odd
Men-Oh-Pause by Lauren D. Yee (comic)
4 Murders by Brett Neveu (seriocomic)
Billy and Dago by Charles Evered (comic)
Neverland by Jonathan Dorf (comic)
FYI by Barbara Lhota and Janet B. Milstein (comic)
Tapster by N. M. Brewka (comic)
Black Now Blue by Adam Simon (seriocomic)
Spare Somethin’? by Barbara Lhota and Janet B. Milstein (comic)
The Alien Hypothesis by William Borden (seriocomic)
The Wet Science by Benjamin Sahl (comic)
Johnny Flip’s Fate by Chris Howlett (seriocomic)

Intimidating/Tough/Dangerous
Out of Place by David Robson (dramatic)
Erin Go Bragh-less by John Shea (dramatic)
The Food Chain by Keith Huff (seriocomic)
A Few Small Repairs by David Robson (seriocomic)
Whatever Happened to Godot? by Jonathan Dorf (comic)
How to Draw Mystical Creatures by Ellen Margolis (dramatic)
The Testimony of Gary Alan Richards by Rohn Jay Miller (dramatic)
Untold Crimes of Insomniacs by Janet Allard (dramatic)
Hay by Cynthia Franks (dramatic)
In the Coop by Andrea Goyan (dramatic)

Joyful/Enthusiastic/Excited
Grunions by Barbara Lindsay (comic)
The Line Shack by Kevin M. Lottes (seriocomic)
4 Murders by Brett Neveu (seriocomic)
4 Murders by Brett Neveu (seriocomic)
If This Isn’t Love by Jonathan Bernstein (seriocomic)
Big Night by N. M. Brewka (dramatic)
Pitchin’ Pennies at the Stars by Jeanette D. Farr (seriocomic)

Blunt/Direct
The Art of the Forecast by Dennis Schebetta (comic)
Bridewell by Charles Evered (comic)
Rights to Act by Dominic Taylor (dramatic)
The Great Hugo Barnes by Dennis Schebetta (seriocomic)
(a) Dream in an Airport by Adam Simon (comic)
The Moment of Truth from Crazyology by Frank Higgins (comic)
Pitchin’ Pennies at the Stars by Jeanette D. Farr (comic)
Hurricane Iris by Justin Warner (seriocomic)
Finding Faith from Skin & Bone by Lisa Rosenthal (comic)
The Cost of Mathematics by L. Pontius (dramatic)
The Mushroom Treatment by Adam Simon (seriocomic)

Vulnerable/Hurt/Exposed
St. Colm’s Inch by Robert Koon (dramatic)
A Good Solid Home by Barbara Lhota and Janet B. Milstein (dramatic)
Last Love by Peter Papadopoulos (dramatic)
Last Love by Peter Papadopoulos (dramatic)
Let a Hundred Flowers Bloom by David Zellnik (dramatic)
Romance by Barbara Lhota (dramatic)
Whispers in the Wind by Melissa Gawlowski (dramatic)
Todd and Guy Go Camping by Barbara Lindsay (seriocomic)
Marvel by Joshua Scher (dramatic)
What He Can’t Tell You by Mark Loewenstern (dramatic)
Untold Crimes of Insomniacs by Janet Allard (seriocomic)

Angry/Fed Up
Castles on the Coast of North Carolina by John Michael Manship
(dramatic)
The Good King by John Shea (dramatic)
The Pyre by Terri Campion (dramatic)
Ten Acrobats in an Amazing Leap of Faith by Yussef El Guindi
(dramatic)
A Bad Week for Therapy by Barbara Lhota and Janet B. Milstein
(comic)
Management Orientation by Adam Simon (dramatic)
Management Orientation by Adam Simon (dramatic)
Traces by Charles Evered (dramatic)
If Only by Barbara Lhota and Janet B. Milstein (dramatic)
Moving Picture by Dan O’Brien (dramatic)

Persuasive/Inspirational
I-2195 by Barbara Lindsay (dramatic)
Aunt Raini by Tom Smith (dramatic)
Good News by Joshua Scher (comic)
Stuck Outside of Dayton with the Bob Dylan Blues Again
by Dennis Schebetta (seriocomic)
Games by Jeannine Coulombe (dramatic)
Marvel by Joshua Scher (dramatic)
Dangerous by Tom Smith (dramatic)
Ten Acrobats in an Amazing Leap of Faith by Yussef El Guindi
(seriocomic)
Out of Place by David Robson (dramatic)
Some Place on the Road… by Julius Galacki (comic)
Management Orientation by Adam Simon (seriocomic)

Haunted/Guilt-Ridden
The Cowboy Who Used a Dally Rope by Dylan Guy (dramatic)
Shining Sea by Jonathan Dorf (dramatic)
Shining Sea by Jonathan Dorf (seriocomic)
Into the Wind by Adrienne Perry (dramatic)
The Last Stand of the Comanche Rider by Elise Forier (dramatic)
Strangers in Lamaze by Mark W. Cornell (seriocomic)
The Hope Campaign by Erica Rosbe (seriocomic)
System Eternal by Chance D. Muehleck (dramatic)
Don’t Dance Me Outside by William Borden (dramatic)
Couldn’t Say by Christopher Wall (dramatic)

Romantic/In Love
Paralyzed July by Kevin M. Lottes (dramatic)
A Death Defying Act by Barbara Lindsay (dramatic)
AlligatoR by Jeremy Menekseoglu (seriocomic)
Wall Street Hymn by James Armstrong (comic)
Flung by Lisa Dillman (seriocomic)
7out by Allan Staples (seriocomic)
A Greater Good by Keith Huff (seriocomic)
Horatio by Chris Stezin (seriocomic)
The Big Vig by Jason Furlani (seriocomic)

High-strung/Neurotic/Stressed-Out
Practicing Peace by Kelly DuMar (comic)
Olfactory Test from Occupational Hazards by Mark McCarthy
(seriocomic)
Open Spaces by Susan Kim (comic)
"Will You Please Shut Up?" by Dan O’Brien (comic)
The Usual by Barbara Lindsay (seriocomic)
The Cup by Barbara Lhota and Janet B. Milstein (comic)
Ticked Off in Toledo by Justin Warner (comic)
In the Centerfold by Jonathan Bernstein (comic)
Stopgap by Mary Portser (comic)
Burning Down the House by Barbara Lhota and Janet B. Milstein
(dramatic)
Nirvana by Barbara Lindsay (dramatic)
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Introduction

Redefining the monologue book.When Eric Kraus approached me about editing a new series of monologue books based on character type, some questions immediately came to mind: Was this type as in theater or film? Most specific types fall under film, yet monologues are rarely used for film or on-camera. For theater there are really only three main types: Leading Man/Lady, Ingénue/Young Man, and Character Actors. If I wanted to offer more detailed types, what criteria would be most useful? Would profession be considered a type? How about funny? Could social status define type? In addition, I considered what was needed in a monologue book that had not yet been addressed. How would I improve upon the monologue books I own? What would make a book more valuable? How could I create a book to solve the problems my students are constantly voicing? As an actor, writer, and monologue coach, I wanted this new monologue series to give actors what they truly need for auditions. I had my own ideas about what I would find useful, but I decided to poll some actors to get their input, as well. The actors had a lot of common requests that confirmed my initial instincts. Most importantly this series would need to maximize the number of monologues an actor would actually use from one source. To do that, the traditional monologue book would need to be reinvented. How are the books in this series better?
When I was studying acting in college, I’d always wished that there were monologue books just for actors in their twenties. And my dream books would have taken it a step further and been separated by gender to increase the number of monologues in one book that specifically applied to me. Now, I am presenting that to you - Women 20s, Men 20s, Women 30s, and Men 30s. No more skipping over pages and pages because the characters are out of your age range or not for your gender. Within each book, the choices are plentiful, and you’re sure to find pieces that fit your specific needs. That brings me to the next revolutionary feature of the Audition Arsenal series: The books are organized by type. By type, I’m referring to the most prominent quality the monologue reveals about the actor. So instead of being typed somewhat generically (e.g., waitress or Ingénue), the monologues are designed to show you possess the qualities crucial to a particular character or role. Auditioning for a Harry Kondoleon play? Check out the High-strung/Neurotic/Stressed-Out category. Want to get a callback for that Durang play? Prepare one of the Wacky/Quirky/Odd pieces. Not only can you use these monologues to audition for a specific role, but you can use them to show your range in general auditions. When asked to prepare two contrasting pieces, you can go beyond simply a comedic and a dramatic (or a contemporary and a classical, if requested), and demonstrate significantly contrasting personas. Put yourself in the director’s chair. Which would be more interesting to see an actor perform - a blunt, strong comedic piece with a blunt, strong dramatic piece or a vulnerable comedic piece with an intimidating/dangerous dramatic? As actors, we must remember that directors are often meeting us for the first time and might assume that we can play only what we show them. So by all means show them! Think of the different impressions you make with your classmates versus coworkers, or on a first date versus a job interview. The pieces you choose tell directors something about you and your capabilities. Sell your strengths, cast yourself against your usual type, and prepare your personal "arsenal" of monologues so you’ll be ready for any upcoming audition - no matter what it calls for.Here are some additional bonuses you’ll find in this series:

* The monologues are two minutes and under - some are one minute and under - to fit the time constraints of auditions.
* Very few, if any, of the monologues sound classical. Why? If you are required to do a classical and a contemporary monologue, you want them to contrast as much as possible.
* Only a small number of the monologues require dialects or accents. Why? The rule of thumb is to avoid dialect pieces in auditions unless they are specifically requested. If your accent is not dead-on directors tend to focus on the accent rather than the acting.
* There are 101 monologues to choose from in each book!
* The monologues are from plays as opposed to self-contained pieces. Some of the writers, kindly, at my request, edited the pieces slightly or pasted dialogue so that the monologues would be better suited to audition situations. However, when you read the play, you will see the bulk of the monologue in the same form and that the character and his or her situation have not changed.
* I have included a Tips section in each book containing helpful information that pertains to the selection and preparation of monologues. I hope you find this new monologue series to be as valuable, time-saving, and innovative as I have set out to make it. In this particular book, I anticipate that you’ll find a plethora of monologues to use for upcoming auditions. But don’t let that stop you from checking out all of the books in the Audition Arsenal series. I wish you the best of luck in all of your endeavors. And when auditioning, have fun and break a leg!
Janet B. Milstein
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Foreword

Prepare your audition repertoire with the most innovative monologue series to date-Audition Arsenal! Are you tired of buying monologue books only to discard half of the pieces because they are outside of your age range? Not anymore! The first four books in this breakthrough series are for:

Women in their 20s Men in their 20s
Women in their 30s Men in their 30s

That means 101 monologues per book, 2 minutes and under, that are all usable by you! And it gets even better.The Audition Arsenal books are organized by type so you will have dynamic, memorable, contemporary monologues that demonstrate your ability to handle any role. Each type is defined by a specific personality trait, allowing you to showcase the qualities crucial to a particular character or role. In addition, choosing contrasting types is a great way to show your range in general auditions. The types are broken down by tone-comedic, dramatic, or seriocomic.
Searching is easy, accurate, and fun! Here are the types you will find in this book:
Wacky, Quirky, Odd Persuasive, Inspirational
High-strung, Neurotic, Stressed-out Intimidating, Tough, Dangerous
Blunt, Direct Joyful, Enthusiastic, Excited
Angry, Fed Up Romantic, In love
Vulnerable, Hurt, Exposed Haunted, Guilt-riddenThe Audition Arsenal series is a priceless resource for acting teachers and coaches, and the perfect tool to prepare you to land your next role-no matter what it calls for. Monologues for your gender, in your age range, by type and tone-getting cast has never been this easy!
Read More Show Less

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