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Dramatic monologue is a type of poetry written in the form of a speech of an individual character. M.H. Abrams notes the following three features of the dramatic monologue as it applies to poetry: The single person, who is patently not the poet, utters the speech that makes up the whole of the poem, in a specific situation at a critical moment
Solo performance enjoyed an unprecedented artistic and commercial vogue in the United States during the second half of the nineteenth century (John S. Gentile Calls it the golden age of platform performance). Literary historians often associate the Victorian period with the highest development of the dramatic monologue as a poetic form. There ...
Title Year Writer(s) Tony Olivier Notes [1]; All the Way: 2012 Robert Schenkkan: 2014: Won both Tony Awards for which it was nominated. Amadeus: 1979 Peter Shaffer
Lélio consists of six musical pieces presented by an actor who stands on stage in front of a curtain concealing the orchestra, chorus and solo singers. The actor's dramatic monologues explain the meaning of the music in the life of the artist. The work begins and ends with the idée fixe theme, linking Lélio to the Symphonie fantastique.
Bertha M. Wilson (pen name, B. M. Wilson; August 14, 1874 – 1936) was an American dramatist, critic, and dramatic actress, who earned a reputation throughout the Central United States. She leased some of her monologues, sketches, drills, and plays to educators and professionals.
The Fantasticks is a 1960 musical with music by Harvey Schmidt and book and lyrics by Tom Jones.It tells an allegorical story, loosely based on the 1894 play The Romancers (Les Romanesques) by Edmond Rostand, concerning two neighboring fathers who trick their children, Luisa and Matt, into falling in love by pretending to feud.
His monologue from '96 was by far one of the funniest monologues to date. With his takes on the election, his life after being on the show, and his ability to make regular life seem so hilarious.
Not I takes place in a pitch-black space illuminated only by a single beam of light. This spotlight fixes on an actress's mouth about eight feet above the stage, [1] everything else being blacked out and, in early performances, illuminates the shadowy figure of the Auditor who makes four increasingly ineffectual movements "of helpless compassion" during brief breaks in the monologue where ...