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Creating solo performance

Author: Sean Bruno; Luke Dixon
Publisher: Abingdon, Oxon ; New York : Routledge, 2015.
Edition/Format:   Print book : EnglishView all editions and formats
Summary:
"Creating Solo Performance is an innovative toolbox of exercises and challenges focused on providing you, the performer, with engaging and inspiring ways to explore and develop your idea both on the page and in the performance space. The creation of a solo show may be the most rewarding, liberating and stressful challenge you will take on in your career. This book acts as your silent collaborator as you develop your  Read more...
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Genre/Form: Handbooks and manuals
Handbooks, manuals, etc
Document Type: Book
All Authors / Contributors: Sean Bruno; Luke Dixon
ISBN: 9780415719988 0415719984 9780415720007 0415720001
OCLC Number: 869904793
Description: xii, 273 pages ; 21 cm
Contents: Machine generated contents note: 1.Introduction to contemporary solo performance --
1.1.How to use this book --
1.2.Exercises and micro-performances --
1.3.Approaching exercises and micro-performances --
1.4.Narrative vs non-narrative performance --
1.5.As a workshop guide --
1.6.The chapters --
1.7.Which subjects make for a good solo performance? --
1.8.Why make solo performance? --
1.9.How long should my solo performance be? --
1.10.What if my idea has been done before? --
1.11.How do I keep my story ideas from being stolen? --
1.12.Where can I rehearse/work? --
1.13.How do I know if my work is any good? --
1.14.Why and how should I document my work? --
1.15.Where do I go with my show when it is done? --
1.16.Advice for practice --
2.Beginnings --
Introduction --
2.1.Exercise: Being your audience --
2.2.Exercise: Proustian biscuits --
2.3.Exercise: Openings --
2.4.Exercise: Starting points --
2.5.Exercise: Forming your script --
2.6.Exercise/micro-performance: Coming soon Note continued: 2.7.Exercise: First person or third man? --
2.8.Exercise: Job interview --
2.9.Exercise: Memory box --
2.10.Exercise: Scrap scripting --
2.11.Exercise: Building icebergs --
2.12.Exercise: Who's it for? --
2.13.Exercise: Defining your space --
2.14.Exercise: The Slave of the Ring --
2.15.Exercise: Big questions --
2.16.Exercise: Guiding question --
2.11.Exercise: Climaxes, turning points and transformations --
2.18.Exercise: Begin with an ending --
2.19.Exercise: Zoom lens --
2.20.Exercise: Application form --
2.21.Exercise: Voice warm up --
2.22.Exercise: Body warm tip --
2.23.Micro-performance: Cleansing the space --
2.24.Micro-performance: Evoking the story --
2.25.Micro-performance: Physical seeds --
2.26.Micro-performance: Orientation --
2.27.Micro-performance: The untold story --
2.28.Micro-performance: Cleaning up --
2.29.Micro-performance: Story time --
2.30.Micro-performance: My niche --
2.31.Case study: Judi Dench Note continued: 2.32.Case study: David Benson --
2.33.Case study: James Hodgson --
2.34.Case study: Emma Cooper --
2.35.Case study: Pat Holden --
3.Character/persona: Performer as vehicle --
Introduction --
3.1.Exercise: Stranger in a stranger land --
3.2.Exercise: Passport --
3.3.Exercise: Wheres and whys --
3.4.Exercise: Consequences --
3.5.Exercise: What's in a name? --
3.6.Exercise: Home and work --
3.7.Exercise: Who do you think you are talking to? --
3.8.Exercise: Six degrees of separation --
3.9.Exercise: Many voices --
3.10.Exercise: Who do you think you are? --
3.11.Exercise: Social networking --
3.12.Exercise: Questions and answers --
3.13.Micro-performance: Performing the answers --
3.14.Micro-performance: Flickering life --
3.15.Micro-performance: Becoming --
3.16.Micro-performance: Speed dating --
3.17.Micro-performance: Passport photo --
3.18.Micro-performance: Consequences --
3.19.Micro-performance: Clothing --
3.20.Micro-performance: Public confession Note continued: 3.21.Micro-performance: Private confession --
3.22.Micro-performance: Self-portrait --
3.23.Micro-performance: Daily grind --
3.24.Micro-performance: Manchurian candidate --
3.25.Micro-performance: A few of my favourite things --
3.26.Micro-performance: This song is my song --
3.27.Micro-performance: Good magic/bad magic --
3.28.Micro-performance: Train spotting --
3.29.Micro-performance: Objects --
3.30.Micro-performance: 10 Commandments --
3.31.Micro-performance: 2 characters, 1 performer --
3.32.Micro-performance: Multiple personality --
3.33.Case study: Geraldine Brennan --
3.34.Case study: Charles Dickens --
3.35.Case study: Simon Callow --
3.36.Case study: Susan Kingman --
3.37.Case study: Chris Savage King --
3.38.Case study: Lindsay Schusman --
3.39.Case study: Monde Wani --
3.40.Case study: Janice Perry --
3.41.Case study: La Ribot --
3.42.Case study: Natasha Davis --
3.43.Case study: Missy Maybe --
3.44.Case study: Joshua Seigel Note continued: 3.45.Case study: Joshua Sofaer --
3.46.Case study: Annie Sprinkle --
4.Generating material --
Introduction --
4.1.Exercise: What is it about? --
4.2.Exercise: Setting goals for a non-narrative piece --
4.3.Exercise: Basic conflicts --
4.4.Exercise: Simple plot --
4.5.Exercise: Complex plot --
4.6.Exercise: Transformation --
4.7.Exercise: Emulation I --
4.8.Exercise: Emulation 11 --
4.9.Exercise: Acts of admiration --
4.10.Exercise: Catalogue of work --
4.11.Exercise: A day in the life: Part 1 --
4.12.Exercise: A day in the life: Part 2 --
4.13.Exercise: Hot off the presses --
4.14.Exercise: Discovering vocabulary --
4.15.Exercise: Presenting the research --
4.16.Exercise: Creating a ritual --
4.17.Exercise: A game --
4.18.Exercise: Leaving the island --
4.19.Exercise: The butterfly effect --
4.20.Exercise: Dreams --
4.21.Exercise: Rorschach --
4.22.Exercise: Interpreting history --
4.23.Exercise: The hybrid --
4.24.Micro-performance: Personification Note continued: 4.25.Micro-performance: The artist's way --
4.26.Micro-performance: Reading and divination --
4.27.Micro-performance: Object story tellers --
4.28.Micro-performance; The animal within --
4.29.Micro-performance: The list speech --
4.30.Micro-performance: Different perspectives --
4.31.Micro-performance: Micro-musical --
4.32.Micro-performance: Verbal snapshot --
4.33.Micro-performance: The fairy tale version --
4.34.Micro-performance: Cinematic trailer --
4.35.Case study: Reverend Billy --
4.36.Case study: Tiny Ninja Theater --
4.37.Case study: Forced Entertainment --
5.Creating, mapping and using your performance space --
Introduction --
5.1.Exercise: Mapping your space --
5.2.Exercise: Labyrinth --
5.3.Exercise: Are we there yet? --
5.4.Exercise: How do we know we are at the end? --
5.5.Exercise: Yadda yadda yadda, blah di blah --
5.6.Exercise: Snakes and ladders / The dice man --
5.7.Exercise: Site specific --
5.8.Exercise: Promenade Note continued: 5.9.Exercise: Virtual spaces --
5.10.Micro-performance: Making an entrance --
5.11.Micro-performance: Conducting your score --
5.12.Micro-performance: Making an exit --
5.13.Micro-performance: Blocking --
5.14.Case study: Ken Dodd --
5.15.Case study: La Ribot --
5.16.Case study: Rose English --
5.17.Case study: Little Madam --
5.18.Case study: Yoshi Oida --
5.19.Case study: Germaine Acogny --
5.20.Case study: Reverend Billy --
5.21.Case study: Jude Cowan Montague --
5.22.Case study: Rainbow George and Peter Cook --
5.23.Case study: Jane Turner --
6.Approaching technology --
Introduction --
6.1.Exercise: Listening to your environment --
6.2.Exercise: A soundscape to establish sound, time, place --
6.3.Exercise: Music to establish mood --
6.4.Exercise: Subjective sound --
6.5.Exercise: Sound journey --
6.6.Exercise: Open mic night --
6.7.Exercise: Light and landscape --
6.8.Exercise: Lighting locations and mood --
6.9.Exercise: Subjective light Note continued: 6.10.Exercise: Video projection --
6.11.Exercise: Backdrop --
6.12.Exercise: Location scout --
6.13.Exercise: Projection: Facts and figures --
6.14.Exercise: Projection: Scenes from the real world --
6.15.Exercise: Smell-o-vision --
6.16.Exercise: All the virtual world's a stage ... --
6.17.Micro-performance: Memory --
6.18.Micro-performance: Dreams --
6.19.Micro-performance: Virtual venue --
6.20.Micro-performance: Beyond the budget --
6.21.Micro-performance: Music be your guide --
6.22.Micro-performance: Holiday slideshow --
6.23.Micro-performance: The trial --
6.24.Micro-performance: The interrogator --
6.25.Case study: Krapp's Last Tape --
6.26.Case study: Eric Bogosian --
6.27.Case study: Laurie Anderson --
6.28.Case study: Day In Dig Nation --
6.29.Case study: Fronteras Americanas --
6.30.Case study: Paula Varjack --
6.31.Case study: Chris Savage King --
6.32.Case study: Eleanor Sikorski --
7.Structures and endings --
Introduction Note continued: 7.1.Exercise: Mapping your performance --
7.2.Exercise: Creating a compass --
7.3.Exercise: The essay --
7.4.Exercise: Five-act structure --
7.5.Exercise: Three-act structure --
7.6.Exercise: Breadcrumbs --
7.7.Exercise: Parallel stories --
7.8.Exercise: Natural structures --
7.9.Exercise: Blown off course --
7.10.Exercise: Overwriting the map --
7.11.Exercise: Travel brochure --
7.12.Exercise: Time frames --
7.13.Exercise: Cause and effect --
7.14.Exercise: Alphabetise --
7.1,5.Exercise: How to --
7.16.Exercise: Correspondence --
7.17.Exercise: Rooms --
7.18.Exercise: Freestyle --
7.19.Exercise: Denouement --
7.20.Exercise: I've changed --
7.21.Exercise: Epilogue --
7.22.Micro-performance: The letter --
7.23.Micro-performance: The exhibition --
7.24.Micro-performance: Mix tape --
7.25.Micro-performance: A recipe --
7.26.Micro-performance: Treasure island --
7.27.Case study: Debbie Yearsley --
7.28.Case study: Diabola Balsa Note continued: 7.29.Case study: Daniel Kitson --
8.Collaboration --
Introduction --
8.1.Exercise: Tell me about it --
8.2.Exercise: Creating a good image --
8.3.Exercise: Search engine --
8.4.Exercise: Assembling a team --
8.5.Exercise: Contracts and obligations --
8.6.Exercise: Lighting out loud --
8.1.Exercise: Sounding aloud --
8.8.Exercise: Fundraising: Adventures in crowd sourcing --
8.9.Exercise: The preview --
8.10.Exercise: Communicating with the audience --
8.11.Exercise: The feedback form --
8.12.Exercise: First show --
8.13.Exercise: Taking feedback --
8.14.Exercise: Preparing the revival --
8.15.Exercise: The sequel --
8.16.Exercise: Archiving/publishing --
8.17.Micro-performance: Your journey --
8.18.Micro-performance: Exorcising failure --
8.19.Micro-performance: Five years on --
8.20.Cum study. Gemma Whelun --
8.21.Case study: Fakir Mustapha --
8.22.Case study: Helen Spackman --
8.23.Case study: Anna Pavlova --
8.24.Case study: Willem Van Ekeren Note continued: 8.25.Case study: Charles Ross --
8.26.Case study: Amanda Palmer.
Responsibility: Sean Bruno and Luke Dixon.

Abstract:

"Creating Solo Performance is an innovative toolbox of exercises and challenges focused on providing you, the performer, with engaging and inspiring ways to explore and develop your idea both on the page and in the performance space. The creation of a solo show may be the most rewarding, liberating and stressful challenge you will take on in your career. This book acts as your silent collaborator as you develop your performance, by helpfully arranging exercises under the following headings: Beginnings Creating characterGenerating material Using your performance spaceTechnologyEndingsCollaboration Exercises can be explored in sequence, at random or according to your specific needs and interests as a performer. By enabling you to create a bespoke formula that best applies to your specific subject, area of interest, style and discipline, this book will become an indispensable resource as you produce your solo show, "--

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Publisher Synopsis

"A welcome addition to an actor's bookshelves." - Susan Elkin, The Stage

 
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    schema:description "Note continued: 5.9.Exercise: Virtual spaces -- 5.10.Micro-performance: Making an entrance -- 5.11.Micro-performance: Conducting your score -- 5.12.Micro-performance: Making an exit -- 5.13.Micro-performance: Blocking -- 5.14.Case study: Ken Dodd -- 5.15.Case study: La Ribot -- 5.16.Case study: Rose English -- 5.17.Case study: Little Madam -- 5.18.Case study: Yoshi Oida -- 5.19.Case study: Germaine Acogny -- 5.20.Case study: Reverend Billy -- 5.21.Case study: Jude Cowan Montague -- 5.22.Case study: Rainbow George and Peter Cook -- 5.23.Case study: Jane Turner -- 6.Approaching technology -- Introduction -- 6.1.Exercise: Listening to your environment -- 6.2.Exercise: A soundscape to establish sound, time, place -- 6.3.Exercise: Music to establish mood -- 6.4.Exercise: Subjective sound -- 6.5.Exercise: Sound journey -- 6.6.Exercise: Open mic night -- 6.7.Exercise: Light and landscape -- 6.8.Exercise: Lighting locations and mood -- 6.9.Exercise: Subjective light"@en ;
    schema:description "Note continued: 4.25.Micro-performance: The artist's way -- 4.26.Micro-performance: Reading and divination -- 4.27.Micro-performance: Object story tellers -- 4.28.Micro-performance; The animal within -- 4.29.Micro-performance: The list speech -- 4.30.Micro-performance: Different perspectives -- 4.31.Micro-performance: Micro-musical -- 4.32.Micro-performance: Verbal snapshot -- 4.33.Micro-performance: The fairy tale version -- 4.34.Micro-performance: Cinematic trailer -- 4.35.Case study: Reverend Billy -- 4.36.Case study: Tiny Ninja Theater -- 4.37.Case study: Forced Entertainment -- 5.Creating, mapping and using your performance space -- Introduction -- 5.1.Exercise: Mapping your space -- 5.2.Exercise: Labyrinth -- 5.3.Exercise: Are we there yet? -- 5.4.Exercise: How do we know we are at the end? -- 5.5.Exercise: Yadda yadda yadda, blah di blah -- 5.6.Exercise: Snakes and ladders / The dice man -- 5.7.Exercise: Site specific -- 5.8.Exercise: Promenade"@en ;
    schema:description "Note continued: 8.25.Case study: Charles Ross -- 8.26.Case study: Amanda Palmer."@en ;
    schema:description "Note continued: 3.21.Micro-performance: Private confession -- 3.22.Micro-performance: Self-portrait -- 3.23.Micro-performance: Daily grind -- 3.24.Micro-performance: Manchurian candidate -- 3.25.Micro-performance: A few of my favourite things -- 3.26.Micro-performance: This song is my song -- 3.27.Micro-performance: Good magic/bad magic -- 3.28.Micro-performance: Train spotting -- 3.29.Micro-performance: Objects -- 3.30.Micro-performance: 10 Commandments -- 3.31.Micro-performance: 2 characters, 1 performer -- 3.32.Micro-performance: Multiple personality -- 3.33.Case study: Geraldine Brennan -- 3.34.Case study: Charles Dickens -- 3.35.Case study: Simon Callow -- 3.36.Case study: Susan Kingman -- 3.37.Case study: Chris Savage King -- 3.38.Case study: Lindsay Schusman -- 3.39.Case study: Monde Wani -- 3.40.Case study: Janice Perry -- 3.41.Case study: La Ribot -- 3.42.Case study: Natasha Davis -- 3.43.Case study: Missy Maybe -- 3.44.Case study: Joshua Seigel"@en ;
    schema:description "Note continued: 6.10.Exercise: Video projection -- 6.11.Exercise: Backdrop -- 6.12.Exercise: Location scout -- 6.13.Exercise: Projection: Facts and figures -- 6.14.Exercise: Projection: Scenes from the real world -- 6.15.Exercise: Smell-o-vision -- 6.16.Exercise: All the virtual world's a stage ... -- 6.17.Micro-performance: Memory -- 6.18.Micro-performance: Dreams -- 6.19.Micro-performance: Virtual venue -- 6.20.Micro-performance: Beyond the budget -- 6.21.Micro-performance: Music be your guide -- 6.22.Micro-performance: Holiday slideshow -- 6.23.Micro-performance: The trial -- 6.24.Micro-performance: The interrogator -- 6.25.Case study: Krapp's Last Tape -- 6.26.Case study: Eric Bogosian -- 6.27.Case study: Laurie Anderson -- 6.28.Case study: Day In Dig Nation -- 6.29.Case study: Fronteras Americanas -- 6.30.Case study: Paula Varjack -- 6.31.Case study: Chris Savage King -- 6.32.Case study: Eleanor Sikorski -- 7.Structures and endings -- Introduction"@en ;
    schema:description "Note continued: 2.7.Exercise: First person or third man? -- 2.8.Exercise: Job interview -- 2.9.Exercise: Memory box -- 2.10.Exercise: Scrap scripting -- 2.11.Exercise: Building icebergs -- 2.12.Exercise: Who's it for? -- 2.13.Exercise: Defining your space -- 2.14.Exercise: The Slave of the Ring -- 2.15.Exercise: Big questions -- 2.16.Exercise: Guiding question -- 2.11.Exercise: Climaxes, turning points and transformations -- 2.18.Exercise: Begin with an ending -- 2.19.Exercise: Zoom lens -- 2.20.Exercise: Application form -- 2.21.Exercise: Voice warm up -- 2.22.Exercise: Body warm tip -- 2.23.Micro-performance: Cleansing the space -- 2.24.Micro-performance: Evoking the story -- 2.25.Micro-performance: Physical seeds -- 2.26.Micro-performance: Orientation -- 2.27.Micro-performance: The untold story -- 2.28.Micro-performance: Cleaning up -- 2.29.Micro-performance: Story time -- 2.30.Micro-performance: My niche -- 2.31.Case study: Judi Dench"@en ;
    schema:description ""Creating Solo Performance is an innovative toolbox of exercises and challenges focused on providing you, the performer, with engaging and inspiring ways to explore and develop your idea both on the page and in the performance space. The creation of a solo show may be the most rewarding, liberating and stressful challenge you will take on in your career. This book acts as your silent collaborator as you develop your performance, by helpfully arranging exercises under the following headings: Beginnings Creating characterGenerating material Using your performance spaceTechnologyEndingsCollaboration Exercises can be explored in sequence, at random or according to your specific needs and interests as a performer. By enabling you to create a bespoke formula that best applies to your specific subject, area of interest, style and discipline, this book will become an indispensable resource as you produce your solo show, "--"@en ;
    schema:description "Note continued: 3.45.Case study: Joshua Sofaer -- 3.46.Case study: Annie Sprinkle -- 4.Generating material -- Introduction -- 4.1.Exercise: What is it about? -- 4.2.Exercise: Setting goals for a non-narrative piece -- 4.3.Exercise: Basic conflicts -- 4.4.Exercise: Simple plot -- 4.5.Exercise: Complex plot -- 4.6.Exercise: Transformation -- 4.7.Exercise: Emulation I -- 4.8.Exercise: Emulation 11 -- 4.9.Exercise: Acts of admiration -- 4.10.Exercise: Catalogue of work -- 4.11.Exercise: A day in the life: Part 1 -- 4.12.Exercise: A day in the life: Part 2 -- 4.13.Exercise: Hot off the presses -- 4.14.Exercise: Discovering vocabulary -- 4.15.Exercise: Presenting the research -- 4.16.Exercise: Creating a ritual -- 4.17.Exercise: A game -- 4.18.Exercise: Leaving the island -- 4.19.Exercise: The butterfly effect -- 4.20.Exercise: Dreams -- 4.21.Exercise: Rorschach -- 4.22.Exercise: Interpreting history -- 4.23.Exercise: The hybrid -- 4.24.Micro-performance: Personification"@en ;
    schema:description "Note continued: 7.1.Exercise: Mapping your performance -- 7.2.Exercise: Creating a compass -- 7.3.Exercise: The essay -- 7.4.Exercise: Five-act structure -- 7.5.Exercise: Three-act structure -- 7.6.Exercise: Breadcrumbs -- 7.7.Exercise: Parallel stories -- 7.8.Exercise: Natural structures -- 7.9.Exercise: Blown off course -- 7.10.Exercise: Overwriting the map -- 7.11.Exercise: Travel brochure -- 7.12.Exercise: Time frames -- 7.13.Exercise: Cause and effect -- 7.14.Exercise: Alphabetise -- 7.1,5.Exercise: How to -- 7.16.Exercise: Correspondence -- 7.17.Exercise: Rooms -- 7.18.Exercise: Freestyle -- 7.19.Exercise: Denouement -- 7.20.Exercise: I've changed -- 7.21.Exercise: Epilogue -- 7.22.Micro-performance: The letter -- 7.23.Micro-performance: The exhibition -- 7.24.Micro-performance: Mix tape -- 7.25.Micro-performance: A recipe -- 7.26.Micro-performance: Treasure island -- 7.27.Case study: Debbie Yearsley -- 7.28.Case study: Diabola Balsa"@en ;
    schema:description "Note continued: 7.29.Case study: Daniel Kitson -- 8.Collaboration -- Introduction -- 8.1.Exercise: Tell me about it -- 8.2.Exercise: Creating a good image -- 8.3.Exercise: Search engine -- 8.4.Exercise: Assembling a team -- 8.5.Exercise: Contracts and obligations -- 8.6.Exercise: Lighting out loud -- 8.1.Exercise: Sounding aloud -- 8.8.Exercise: Fundraising: Adventures in crowd sourcing -- 8.9.Exercise: The preview -- 8.10.Exercise: Communicating with the audience -- 8.11.Exercise: The feedback form -- 8.12.Exercise: First show -- 8.13.Exercise: Taking feedback -- 8.14.Exercise: Preparing the revival -- 8.15.Exercise: The sequel -- 8.16.Exercise: Archiving/publishing -- 8.17.Micro-performance: Your journey -- 8.18.Micro-performance: Exorcising failure -- 8.19.Micro-performance: Five years on -- 8.20.Cum study. Gemma Whelun -- 8.21.Case study: Fakir Mustapha -- 8.22.Case study: Helen Spackman -- 8.23.Case study: Anna Pavlova -- 8.24.Case study: Willem Van Ekeren"@en ;
    schema:description "Note continued: 2.32.Case study: David Benson -- 2.33.Case study: James Hodgson -- 2.34.Case study: Emma Cooper -- 2.35.Case study: Pat Holden -- 3.Character/persona: Performer as vehicle -- Introduction -- 3.1.Exercise: Stranger in a stranger land -- 3.2.Exercise: Passport -- 3.3.Exercise: Wheres and whys -- 3.4.Exercise: Consequences -- 3.5.Exercise: What's in a name? -- 3.6.Exercise: Home and work -- 3.7.Exercise: Who do you think you are talking to? -- 3.8.Exercise: Six degrees of separation -- 3.9.Exercise: Many voices -- 3.10.Exercise: Who do you think you are? -- 3.11.Exercise: Social networking -- 3.12.Exercise: Questions and answers -- 3.13.Micro-performance: Performing the answers -- 3.14.Micro-performance: Flickering life -- 3.15.Micro-performance: Becoming -- 3.16.Micro-performance: Speed dating -- 3.17.Micro-performance: Passport photo -- 3.18.Micro-performance: Consequences -- 3.19.Micro-performance: Clothing -- 3.20.Micro-performance: Public confession"@en ;
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    .

<http://experiment.worldcat.org/entity/work/data/2064172709#Topic/performing_arts_general> # PERFORMING ARTS--General
    a schema:Intangible ;
    schema:name "PERFORMING ARTS--General"@en ;
    .

<http://id.loc.gov/authorities/subjects/sh85000692> # Acting--Auditions
    a schema:Intangible ;
    schema:name "Acting--Auditions"@en ;
    .

<http://id.worldcat.org/fast/1045852> # One-person shows (Performing arts)
    a schema:Intangible ;
    schema:name "One-person shows (Performing arts)"@en ;
    .

<http://id.worldcat.org/fast/796147> # Acting--Auditions
    a schema:Intangible ;
    schema:name "Acting--Auditions"@en ;
    .

<http://viaf.org/viaf/308229432> # Sean Bruno
    a schema:Person ;
    schema:familyName "Bruno" ;
    schema:givenName "Sean" ;
    schema:name "Sean Bruno" ;
    .

<http://viaf.org/viaf/44006602> # Luke Dixon
    a schema:Person ;
    schema:familyName "Dixon" ;
    schema:givenName "Luke" ;
    schema:name "Luke Dixon" ;
    .

<http://worldcat.org/isbn/9780415719988>
    a schema:ProductModel ;
    schema:isbn "0415719984" ;
    schema:isbn "9780415719988" ;
    .

<http://worldcat.org/isbn/9780415720007>
    a schema:ProductModel ;
    schema:isbn "0415720001" ;
    schema:isbn "9780415720007" ;
    .


Content-negotiable representations

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