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Since it is "the ambition of every dramatic monologue" to "attain some end," and that end is "to accomplish something in the monologue, by way of the monologue itself," it is the immediate audience of the monologue that determines whether the speaker accomplishes the transformative effects that, Pearsall argues, every dramatic monologist actively and intentionally seeks (pp.
It can just as easily refer to any of the fifteen monologists as it could to Addie (or even to Agamemnon).
Unlike most theaters' second stages, it's not a space for experimental work or not-ready-for-primetime plays, monologists or two-handers; it's a space for fully realized theatrical presentations.
Only a few poets consistently and consciously avoid this strategy, but they strike me as mere monologists.
Arguing that women use autobiography and performance for expression and as a means of controlling their public and private selves, the contributors of these 11 essays examine the lives and work of a variety of artists ranging from actors as working women in the eighteenth century to monologists and performance artists today.
Apart from the singing we were entertained by story tellers, monologists, comedians and a whole variety of artists, both amateur and professional.
This leads critics to overemphasize mad monologists like the Underground Man, due to these figures' easily identifiable moral failings.
There are the old-style revival meetings known as talk shows, the personal websites on which a camera thrillingly follows the site-owner through his or her day at home, the "storytelling" monologists reciting their lives on stages throughout the country.
113) A number of American monologists and lecturers on humor occupied the British platform in the later 1850s, of whom perhaps the most successful was Stephen Rumbold, who toured in 1859-60 with a comic lecture on contemporary literature.
But it's apparent that you are not working in the same genre as monologists such as Gray and Keillor, which is why I think of your work--but not theirs--as poetry (which is not an evaluative comment but a comment on genre).
4) In both cases, the monologues are "cast in first-person/present tense" ("Exchange" 265), and the monologists become "substitute" narrators.
Which brings me, to a related problem: the futility of advocating dialogue with monologists is not merely an academic matter.