Creating Solo Performance.

Creating Solo Performance.

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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, liberati...

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Bibliographic Details
Author / Creator: Bruno, Sean.
Other Authors / Creators:Dixon, Luke.
Format: eBook Electronic
Language:English
Imprint: London : Taylor & Francis Group, 2014.
Subjects:
Acting > Auditions.
One-person shows (Performing arts) > Handbooks, manuals, etc.
Electronic books.
Local Note:Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2023. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.
Online Access:Click to View
Table of Contents:
  • Cover
  • Half Title
  • Title Page
  • Copyright Page
  • Table of Contents
  • 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
  • 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
  • 2.17 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 up
  • 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
  • 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
  • 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
  • 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 II
  • 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
  • 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
  • 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
  • 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 Bogosia.
  • 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
  • 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
  • 7.15 Exercise: How to
  • 7.16 Exercise: Correspondence
  • 7.17 Exercise: Rooms
  • 7.18 Exercise: Freestyle
  • 7.19 Exercise: Dénouement
  • 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
  • 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
  • 8.7 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.

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