Monodrama II: Performing the Solo Piece

You have a draft. Now you have to stand up. This course takes a solo script onto its feet: direct address as a physical problem rather than a literary one, how one body builds a place with no set, what an audience does to a piece that a room alone never reveals, objectives and actions as tools for finding what a line is DOING, status and the psychological gesture, voice and breath for sixty minutes of speaking, memorisation that survives nerves, how to rehearse alone without going stale or going numb, the technical minimum for lights and sound when you are also the operator, and how to take a piece in front of people and change it afterwards. Includes the safety practice that solo autobiographical work requires and that nobody warns performers about. Part two of two: Monodrama I writes the draft.

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