I realised after writing the monologues and getting feedback from some very good actors that I have a skill writing for the ear, something quick, something interesting, if I know the story and the character.
It'd be good to have other strings to my bow, apart from just film and TV, and since they are very slow to get of the ground, why not take a look at something for theatre? (or not even theatre, Dermott mentioned just doing things on the street, or in bars, or in toilets)
It doesn't cost an arm and a leg to do it. Plus I can do great promo's using my video skills, to sell the show to a theatre and use the writing and contacts to draw in actors.
It's a good way to get good work of the ground and it's a lot of fun. Plus, you can't fucking download a play.
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So, with all that in mind I thought maybe the best place to start was a ONE HANDER. What da fuck do I know about one-handers?
Here's a bit from Wiki, which is interesting because the woman in question, whose written a book called Extreme Exposure, defines the solo performer as a storyteller. That makes perfect sense to me, since one of the best plays I've ever seen was that one woman show in Queens with the Aboriginal lady (albeit a dude sat in the back and played guitar to help with the travel and the audiences attention)
In the preface of the book Extreme Exposure, editor Jo Bonney uses the term "solo performance" to encompass those performers who do not necessarily have a comedic history. She suggests that "at the most basic level, despite their limitless backgrounds and performance styles, all solo performers are storytellers."
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This tradition, of storytelling, appeals to me.
Resources
Eric Bogsonian - An example of how Eric Bogosian builds a character can be found in the published version of his show Wake Up And Smell the Coffee, by Theatre Communications Group, New York.
Krapp's Last Tape - I have it already.
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