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The Monologue Audition: A Practical Guide for Actors

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Title: The Monologue Audition: A Practical Guide for Actors
by Karen Kohlhaas, David Mamet
ISBN: 0-87910-291-8
Publisher: Proscenium Pub
Pub. Date: 01 September, 2000
Format: Paperback
Volumes: 1
List Price(USD): $16.95
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Average Customer Rating: 5 (2 reviews)

Customer Reviews

Rating: 5
Summary: Great Book
Comment: As an actor, I have found this book invaluable to my audition process & relative mental well-being.

After reading more acting books than I should have, I found this smart amplification of David Mamet's practical aesthetics a page-by-page, step-by-step relief. Much more than Mr. Mamet's book(s), this one transcends theatrical methodology, posturing and/or academic classification.

Kohlhaas shares techniques refined through her influential professional work & teaching at the legendary Atlantic Theatre Company. The New York-born ideas apply just as clearly & constructively to auditions here on the West Coast -or anywhere else, I imagine. They're also helpful in audition scene work and cold readings.

Taking a step further, this steady examination of the audition -or interview- process provides a winning approach to any and all analogous situations demanding a good first-impression, stand-alone confidence & persuasive communication.

Amid such seemingly powerless circumstances, Karen Kohlhaas shows you why and how to give yourself a break & focus on all the things that are still under your command. "Out of this nettle..." etc.etc.

I've recommended it to as many non-actors as actors -anyone faced with a public arena which, to borrow from Mr. Mamet, "if turned on its head," will open up paths of self-direction, self-discovery and betterment.

Rating: 5
Summary: the definition of brilliance and helpfulness
Comment: I had the glorious opportunity to study under Karen Kohlhaas for two years at the Atlantic Theater Company Acting School. She is one of the most inspiring individuals you would ever hope to meet; chiefly because of the practicality of her instruction and the confidence she inspires in her students.

There is a quality in her cadence, quite well transmitted into her writing, that gives one a remarkable sense of ease.

If you, like nearly all aspiring(and successful) actors, hate the audition process, this text can do divers good for your sanity.

To paraphrase Ms. Kohlhass, you are either good at auditioning or not, but when you turn so daunting process on its head, it can be made to serve you.

If you do not have the opportunity to experience Ms. Kohlhaas' instruction firsthand, this is an essential document.

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