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One-act play

A one-act play is a concise form of dramatic literature structured as a single act, distinct from multi-act plays, and typically performed in 20 to 60 minutes while centering on a unified incident, theme, or emotional arc to engage and arouse the audience.^[1] It emerged as an independent genre in the late 19th century, evolving from shorter theatrical pieces like vaudeville sketches and curtain-raisers, with early prominence gained through works such as Maurice Maeterlinck's The Intruder (1890).^[2] This development aligned with the rise of experimental theaters and a shift toward more focused, economical storytelling in response to the elaborate full-length dramas of the era. The form gained widespread popularity in the early 20th century, particularly through the efforts of playwrights like J.M. Barrie, who pioneered grouping multiple one-acts into evening productions, and Anton Chekhov, who viewed the distinction from full-length plays as primarily quantitative.^[2] August Strindberg also contributed significantly with compact works like Miss Julie and Creditors, which emphasized psychological intensity within a brief timeframe.^[3] In the United States and Ireland, little theaters and repertory groups, such as the Irish Players, adopted one-acts almost exclusively for their accessibility, fostering amateur and professional experimentation.^[2] Structurally, one-act plays mirror the short story in their economy, featuring a limited cast of 2 to 7 characters—often with one dominant figure—a single setting, and a plot that builds swiftly from exposition to a late climax and resolution without extended subplots.^[1] They rely heavily on dialogue for characterization and suspense, imply backstory and implications beyond the action, and adhere to principles of unity to achieve a total emotional effect, as articulated by scholars like Percival Wilde, who described them as "an orderly representation of life, arousing emotion in an audience."^[2]^[1] Beyond the stage, one-act plays hold educational value in teaching dramatic analysis, stagecraft, and performance skills, often featured in school festivals since the mid-20th century to promote cooperation and character interpretation among young actors.^[4] Notable modern examples include works by Edward Albee, Arthur Miller, and Sam Shepard, which continue to explore social and psychological themes in this compact format. Their versatility spans genres from comedy and farce to tragedy and melodrama, making them a staple in contemporary theater for both professional and community productions.^[4]

Definition and Characteristics

Definition

A one-act play is a dramatic work consisting of a single act, typically performed without intermissions and centered on a unified action or episode that arouses emotion in the audience.^[1] As defined by playwright and theorist Percival Wilde, it represents "an orderly representation of life, arousing emotion in an audience," emphasizing its concise form as a complete theatrical entity.^[1] Similarly, Bernard Grebanier describes it as "an elaboration of a single, significant incident," highlighting its focus on a tightly knit narrative without the expansive development of longer forms.^[1] Unlike multi-act plays, which follow classical structures such as three or five acts to build and resolve complex plots across intermissions, one-act plays sustain a continuous narrative flow, akin to a short story in prose literature.^[1] This structure prioritizes economy, limiting the scope to one primary incident, fewer characters, and a single setting to maintain momentum and intensity.^[1] While a one-act play remains indivisible as a whole, it may incorporate multiple scenes within that single act to advance the action, provided they contribute to the unified episode without breaking the overall continuity.^[5] The typical duration of a one-act play ranges from 20 to 60 minutes, allowing for a complete dramatic arc in a compact timeframe.^[1] A common subgenre involves even shorter works designed for competitions or festivals, often limited to 18 to 40 minutes to fit contest formats and ensemble performances.^[6] These pieces emphasize precision and impact, making them ideal for educational and community theater settings.^[7]

Key Characteristics

One-act plays emphasize structural unity, drawing on Aristotle's classical unities of time, place, and action to create a focused dramatic experience. The unity of time confines the action to a short period, often within a single day or less, eliminating intervals and allowing for continuous narrative flow. Similarly, the unity of place restricts the setting to one simple location, minimizing elaborate scenery or transitions. The unity of action ensures a single dominant plot without subplots, concentrating on one central conflict that builds to a decisive climax, thereby heightening dramatic intensity and achieving a unified impression.^[8] In terms of conciseness and economy, one-act plays typically last 20 to 60 minutes and feature a limited cast of 2 to 7 characters, with minimal exposition to propel the story forward efficiently. This brevity demands tight plotting, where every element—dialogue, action, and character interaction—serves the core conflict, avoiding unnecessary details or backstory. Such economy enables rapid character development through implication rather than elaboration, making the form ideal for exploring immediate tensions or revelations.^[1] Thematically, one-act plays often center on a singular idea, moral dilemma, or epiphany, distilling complex human experiences into a pointed critique or insight without digressions. Stylistically, they rely heavily on purposeful dialogue and subtext to convey meaning, prioritizing verbal economy over descriptive stage directions; this approach lends itself to innovative forms, such as monologues or elements of absurdism, where implication drives the emotional impact.^[9]^[8] The brevity of one-act plays offers distinct advantages, including the opportunity for bold experimentation in structure and theme, as the short format reduces risks associated with longer works and encourages creative risks. This accessibility also makes them particularly suitable for emerging playwrights, providing a manageable canvas to master essentials like conflict and resolution while fostering innovation in theater.^[9]

History

Ancient and Early Origins

The origins of the one-act play can be traced to ancient Greek theater, where satyr plays emerged as brief, comedic interludes accompanying the three tragedies in a tetralogy performed at the Dionysia festival. These short works, typically lasting less than an hour, provided comic relief through burlesque and mythological satire, featuring a chorus of satyrs led by Silenus. Euripides' Cyclops, dating to around 421 BCE, exemplifies this form as the only complete surviving satyr play; it retells Odysseus's encounter with Polyphemus from Homer's Odyssey in a lighthearted, standalone structure that contrasts the preceding tragedies' gravity.^[10]^[11]^[12] In the medieval period, one-act structures evolved within allegorical morality plays, which served didactic purposes by dramatizing the soul's journey toward salvation through personified virtues and vices. These plays, performed by amateur guilds or clergy, emphasized moral instruction in a concise format suitable for communal audiences. The anonymous English Everyman, composed in the late 15th century and possibly adapted from the Dutch Elckerlijc, represents this tradition as a single-act fable where the protagonist confronts death and seeks companions for the afterlife, ultimately finding solace only in Good Deeds. Its unified narrative arc, confined to essential allegorical encounters, underscores the form's focus on spiritual brevity over extended plotting.^[13]^[14] Early modern Europe saw further development of one-act plays through comedic and religious interludes that integrated music, dance, and allegory. In 17th-century France, Molière's The Forced Marriage (1664), a comédie-ballet, satirizes marital conventions in a short, self-contained format blending spoken dialogue with Lully's compositions, performed as a courtly diversion rather than a full evening's entertainment. Similarly, in Spain, Pedro Calderón de la Barca elevated the auto sacramental, a one-act religious drama centered on the Eucharist, blending symbolism and spectacle; these works, such as El gran teatro del mundo, were staged annually on Corpus Christi, adhering to a compact structure to convey theological mysteries efficiently.^[15]^[16]^[17] Throughout these eras, the brevity of one-act plays aligned with their ritualistic roles in festivals and ceremonies, where time constraints and communal participation favored concise formats over multi-act epics. In ancient Athens, satyr plays punctuated the Dionysia to balance solemnity with revelry, while medieval morality plays like Everyman were enacted during religious feasts to reinforce doctrine amid processions. This suitability for episodic, audience-integrated settings preserved the form's vitality across cultures.^[18] The classical unities of time, place, and action, derived from Aristotle's Poetics and formalized in Renaissance theory, profoundly influenced the one-act play's transition to modern structures by emphasizing narrative compression and singularity. These principles encouraged playwrights to craft unified, self-contained dramas that avoided digressive subplots, paving the way for the form's adoption in later concise theatrical experiments.

19th and 20th Century Development

In the 19th century, the one-act play gained popularity in Europe and America as a concise form suited to the demands of vaudeville and amateur theater, often serving as curtain raisers or afterpieces to longer productions.^[19] These short works provided quick, accessible entertainment amid the rapid urbanization and industrialization of the era, appealing to working-class audiences with limited time and resources for leisure.^[20] Pioneering examples include Anton Chekhov's The Bear (1888), a comedic exploration of human emotions in a single confrontation, and August Strindberg's The Stronger (1889), a monologue-driven drama highlighting psychological tension.^[21] These pieces marked a shift toward more introspective and realistic short drama, influencing the form's literary evolution. The early 20th century saw a boom in one-act plays, integrating them into realism and modernism while expanding their reach through professional and experimental stages. Lord Dunsany's The Gods of the Mountain (1911), a fantastical allegory performed at the Abbey Theatre, exemplified the form's potential for poetic and symbolic depth, inspiring a wave of innovative short works.^[22] This period's growth was fueled by the need for affordable, adaptable content in emerging theater circuits, bridging 19th-century traditions with avant-garde experimentation. Mid-20th-century innovations further transformed the one-act play, incorporating influences from absurdism and existentialism to probe themes of isolation and meaninglessness. Samuel Beckett's Krapp's Last Tape (1958), a solo performance reflecting on regret through recorded memories, became a landmark in this vein, emphasizing minimalism and introspection.^[23] In the United States, the Little Theatre movement, emerging around 1910 and peaking in the 1920s–1930s, championed one-act plays as vehicles for community-driven, non-commercial drama, fostering grassroots productions nationwide.^[24] During the interwar period (1918–1939), one-act plays were institutionalized in repertory theaters for their versatility in rotating bills and adapted into radio dramas, capitalizing on the medium's rise for broadcast accessibility.^[25] This era's socio-cultural shifts, including post-World War I recovery and economic pressures, amplified the form's appeal as quick, low-cost entertainment amid industrialization's pace, allowing theaters and broadcasters to deliver potent narratives without extended commitments.^[20]

Contemporary Usage

In the 21st century, one-act plays have become a cornerstone of major theater festivals worldwide, particularly since the 2000s, due to their brevity and adaptability to packed schedules. The Edinburgh Festival Fringe, for instance, has seen exponential growth in performances, with 3,314 shows across 50,459 slots in 2015 alone, many of which are short theatre pieces including one-acts that fit the event's fast-paced format. By 2024, the Fringe hosted nearly 4,000 shows, underscoring the format's dominance in enabling diverse, experimental works amid the festival's chaotic scale. In the United States, one-act plays anchor numerous annual festivals; the University Interscholastic League (UIL) One-Act Play Contest in Texas, established in 1927 but surging in participation post-2000, involves over 1,200 plays from more than 400 contests and 14,000 students each year, highlighting the form's role in competitive and community events nationwide. Digital and multimedia adaptations have expanded the reach of one-act plays since the 2010s, transforming them for online platforms amid rising accessibility. Productions have proliferated on YouTube with short-form theater videos, such as scripted one-acts inspired by contemporary events, allowing global audiences to engage without physical venues. Podcasts have also embraced the format, with collections like LibriVox's One-Act Play series delivering public-domain works in audio form, fostering intimate listening experiences that emphasize dialogue and narrative economy. These expansions democratize access, enabling creators to experiment with hybrid elements like visuals or sound design tailored for streaming. In educational contexts, one-act plays prevail in schools and workshops for their manageability, serving as ideal tools for teaching playwriting, directing, and performance basics. Programs like the UIL contest integrate them into high school curricula, where students analyze, rehearse, and present 18-40 minute pieces, building skills in collaboration and critique among thousands annually. Workshops often use the form to introduce improvisation, character development, and staging, making it a staple in theater education across institutions. Globally, one-act plays have risen in non-Western settings, adapting to community-driven formats that address social issues. In India, street theater—often structured as concise one-acts—has evolved as a tool for activism, with groups like Jana Natya Manch staging over 10,000 performances since the 1970s, focusing on topics like corruption and gender inequality in urban and rural spaces.^[26] Similarly, in African contexts, community one-act festivals emphasize local concerns; South Africa's National Community Theatre Association (SANCTA) hosts annual events, such as its 36th One-Act Play Festival in 2017, where plays tackle reconciliation, poverty, and cultural identity through accessible, issue-based narratives. The COVID-19 pandemic from 2020 onward accelerated virtual one-act productions, while trends toward diversity and micro-theater have reshaped the form. Lockdowns prompted initiatives like the UK's Tiny Plays 24/7 in summer 2020, where 10 selected one-acts were broadcast online around the clock from 470 submissions, highlighting the format's suitability for remote collaboration and viewing. This shift persists, with virtual performances enabling broader participation. Concurrently, there's growing emphasis on diversity, as seen in micro-theater models that rotate short plays on social justice for small audiences, amplifying voices from marginalized playwrights of color who have set box office records with new works since the mid-2010s.

Notable Works and Playwrights

By Major Dramatists

Anton Chekhov's The Bear (1888) is a one-act comedy that satirizes gender roles and societal expectations through the contentious encounter between the widowed Elena Popova and the debt-collecting Grigory Smirnov, highlighting power dynamics and interpersonal conflicts in a confined domestic setting.^[27] The play's humor arises from the characters' escalating arguments, which reveal underlying vulnerabilities and lead to an unexpected romantic resolution, underscoring Chekhov's skill in blending farce with subtle psychological insight.^[28] Similarly, Chekhov's The Proposal (1888), a farce centered on the awkward marriage negotiation between Ivan Lomov and Natalya Stepanova, critiques the mercenary aspects of courtship among the Russian bourgeoisie, where property disputes overshadow genuine affection.^[29] Through rapid shifts in tone from bickering to reconciliation, the play exposes the absurdities of matrimonial conventions, employing irony to comment on economic motivations in relationships.^[30] George Bernard Shaw's The Shewing-Up of Blanco Posnet (1909) serves as a pointed social satire on the flaws of frontier justice, depicting the transformation of the petty criminal Blanco Posnet from cynicism to moral awakening after a mock trial in a rough Western town.^[31] The one-act structure amplifies Shaw's critique of punitive systems that prioritize retribution over rehabilitation, using Posnet's improbable salvation—attributed to divine intervention—as a vehicle to challenge conventional notions of crime and redemption.^[31] By weaving melodrama with philosophical inquiry, Shaw innovates within the form to expose the hypocrisies of legal and social authority, prompting audiences to question the efficacy of human justice.^[31] Eugene O'Neill's Before Breakfast (1916) unfolds as a stark domestic tragedy presented largely through the monologue of Mrs. Rowland, who berates her unseen husband while revealing the corrosive effects of poverty, infidelity, and emotional neglect on their marriage.^[32] The play's tension builds inexorably from her stream-of-consciousness complaints to a shocking climax, illustrating O'Neill's early experimentation with psychological realism in a minimalist format that confines the action to a single room.^[33] This structure heightens the intimacy of the couple's despair, transforming everyday dialogue into a poignant exposé of marital dissolution and personal failure.^[34] Harold Pinter's The Dumb Waiter (1957) exemplifies the thriller genre in one-act form, where two hitmen, Ben and Gus, await orders in a basement, their mundane conversation disrupted by cryptic messages from a malfunctioning dumbwaiter that instill growing unease and menace.^[35] The play probes failures in communication and the absurdity of power dynamics, as the escalating demands from above expose the characters' vulnerability and the precariousness of their relationship.^[36] Pinter's use of pauses and subtext creates an atmosphere of latent threat, innovating the thriller by relying on implication rather than explicit action to convey existential dread.^[37] These works by Chekhov, Shaw, O'Neill, and Pinter demonstrate the one-act play's capacity for concise dramatic tension, where a unified action in a limited timeframe intensifies conflict and revelation without expansive exposition.^[38] Their innovations lie in adapting the form to diverse genres—comedy, satire, tragedy, and thriller—allowing for sharp social commentary, psychological depth, and atmospheric suspense that challenge audiences within a brief performance. By focusing on pivotal incidents, these dramatists elevated the one-act play as a vehicle for thematic economy and structural boldness, influencing modern theater's emphasis on implication over elaboration.^[2]

In Fringe and Experimental Theater

In fringe theater, Suzan-Lori Parks' early one-act play Betting on the Dust Commander (1987) exemplifies interactive and experimental performance art, debuting at The Gas Station, a Lower East Side venue known for avant-garde works that challenged conventional audience engagement.^[39] This piece, part of Parks' initial foray into fragmented narratives and racial themes, blurred lines between performer and spectator, influencing subsequent fringe productions that prioritized immediacy and provocation.^[40] Experimental forms in one-act plays often drew on political satire rooted in commedia dell'arte traditions, as seen in Dario Fo's Mistero Buffo (ongoing performances from the 1960s into the 1980s), a one-man show consisting of short, satirical sketches that critiqued power structures through physical comedy and improvisation.^[41] Fo's work, blending farce with social commentary, resonated in fringe circuits for its accessibility and subversive edge, adapting medieval forms to address contemporary Italian politics.^[42] Diverse voices emerged prominently, with Lynn Nottage's Poof! (1993) using magical realism to explore domestic abuse, race, and gender dynamics among Black women, highlighting the one-act's potential for concise, impactful storytelling on marginalized experiences.^[43] Globally, Athol Fugard's The Island (1973, with frequent revivals in the 1980s and beyond), co-created with John Kani and Winston Ntshona, depicted apartheid's brutality through prisoners' rehearsals of Antigone on Robben Island, amplifying South African resistance narratives in experimental settings.^[44] Post-1980s avant-garde trends in one-act plays increasingly incorporated multimedia and site-specific elements to expand beyond traditional stages, fostering immersive experiences that integrated video, sound, and environmental contexts to interrogate social issues.^[45] For instance, works like those from the Talking Band combined music, movement, and projected imagery in short-form pieces, pushing formal boundaries while maintaining the one-act's brevity.^[45] These innovations often premiered at festivals such as the Humana Festival of New American Plays, where experimental one-acts challenged mainstream norms, debuted diverse perspectives, and demonstrated the form's role in boundary-pushing theater.^[46]

Production and Performance

Staging and Length Considerations

One-act plays typically range from 20 to 60 minutes in duration, allowing for a compact narrative that demands precise timing during production.^[47] Directors adapt scripts by rehearsing with stopwatches to fit within this window, focusing on efficient scene transitions to maintain momentum without intermissions.^[48] To avoid rushing the climax, pacing strategies emphasize gradual tension buildup through varied rhythm—alternating quick dialogue exchanges with brief pauses for emotional resonance—ensuring the story's peak feels earned rather than abrupt.^[49] Staging one-act plays favors minimalist sets and props, often confined to a single location, which streamlines setup and teardown while encouraging audience imagination.^[50] This approach uses versatile elements like modular blocks or fabrics to represent multiple spaces, reducing the need for elaborate construction and enabling quick changes via actor movement or simple rearrangements.^[51] Such simplicity not only cuts logistical time but also lowers material costs, making productions feasible in venues with limited backstage areas. Casting for one-act plays usually involves smaller ensembles of 2 to 7 actors, providing opportunities for deeper character exploration within the brief runtime.^[1] This scale supports intensive rehearsals over several weeks, focusing on line delivery and blocking, allowing performers to refine nuances without the dilution of larger groups.^[48] Technical elements in one-act productions prioritize lighting and sound to handle transitions smoothly within the single act, preserving narrative flow.^[52] Spotlights or color washes can delineate shifting moods or locations without physical sets, while subtle audio cues signal time jumps, all calibrated to avoid disruptions in the uninterrupted structure.^[51] The budgetary advantages of one-act plays stem from their scaled-down requirements, rendering them ideal for community and touring theater with production costs typically around $2,500 to $3,000 for non-musical school and community productions as of 2015.^[53] Minimal sets, small casts, and basic technical needs minimize expenses on scenery, costumes, and royalties, enabling accessible entry for non-professional groups while maintaining high artistic impact.^[51]

Role in Theater Education and Festivals

One-act plays serve as an essential tool in theater education, particularly for beginners in drama curricula at the high school level, where their brevity allows students to engage fully in production processes from scripting to performance. These plays are integrated into introductory courses to teach foundational skills such as character development, staging, and ensemble work, often as part of semester-long units that culminate in live presentations. For instance, resources like the One-Act Play Production Curriculum provide structured lesson plans for educators to guide students through all stages of creating and staging a short play, emphasizing accessibility for novice performers.^[54] High school competitions exemplify their educational value, with events like the International Thespian Festival's Chapter Select One-Act Showcase enabling troupes to perform original or adapted works before peers and professionals. This annual festival, organized by the Educational Theatre Association, features dozens of student-directed one-acts, fostering skills in collaboration and critique while exposing participants to diverse theatrical styles. In 2025, the showcase included 26 selected one-acts from chapters across the U.S., highlighting their role in building confidence among emerging artists.^[55]^[56] In workshops and training programs, one-act plays facilitate targeted exercises in script analysis and improvisation, leveraging their compact structure to encourage rapid iteration and creative problem-solving. Participants break down dialogue and motivations in short scenes, then apply improvisational techniques to explore subtext and relationships, enhancing adaptability for longer works. Programs such as Interlochen's Acting Techniques course use these methods to analyze script tone and develop characters through guided improv, often drawing on one-act formats for their focused narratives. Similarly, The Barrow Group's Script Analysis Workshop teaches actors to dissect concise scripts, improving storytelling precision in performance.^[57]^[58] One-act plays integrate seamlessly into festivals as bill-toppers or standalone features, often forming the core of "evening-of-one-acts" programs that showcase multiple short pieces in a single event. At the Eugene O'Neill Theater Center's National Playwrights Conference, one-acts are accepted alongside full-length works, providing playwrights with professional feedback in a supportive laboratory setting that encourages experimentation. The center's Young Playwrights Festival specifically develops original one-acts by middle and high school students, offering staged readings to refine young voices. Formats like Ridgefield Theater Barn's annual Evening of One Acts feature nine original shorts, drawing community audiences and demonstrating the format's versatility for innovative programming.^[59]^[60]^[61] These plays foster community impact by supporting local theater groups through their low-resource demands, enabling diverse participants to contribute without extensive budgets or venues. Accessible entry points like simple casting and minimal sets allow inclusive productions that highlight underrepresented stories, as seen in publishers like Dramatic Publishing, which curate one-acts focused on ethnic and cultural diversity for community stages. This approach strengthens grassroots ensembles, promoting equity by lowering barriers for varied demographics in regional performances. Playscripts, Inc., similarly emphasizes one-acts for community theaters, aiding groups in building repertoires that reflect societal pluralism.^[62]^[63] Post-2020, one-act plays have seen a growing role in online education platforms, adapting to virtual formats that prioritize quick rehearsals and digital delivery amid pandemic disruptions. Their short duration suits remote workshops, where students analyze and perform via video, as evidenced by expanded online offerings like Berklee's Script Analysis for Theater course, which incorporates concise plays for interactive study. This shift has sustained theater training accessibility, with platforms enabling global participation in improv-based sessions tailored to one-act structures.^[64]

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[41]
Suzan-Lori Parks Biography - National Women's History Museum
Her first produced play was the one-act Betting on the Dust Commander (1987). It debuted at The Gas Station, a bar Parks frequented on Manhattan's Lower East ...Missing: fringe | Show results with:fringe
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[PDF] Suzan-Lori Parks in Person - OAPEN Home
This collection of interviews offers unprecedented insight into the plays and creative works of Suzan-Lori Parks as well as being an important commentary on.<|separator|>
[43]
STAGE: DARIO FO'S 'MISTERO BUFFO,' A ONE-MAN SHOW
May 29, 1986 · The title of his show, ''Mistero Buffo,'' means comical mystery and relates to the Middle Ages when giullari, strolling Italian players, entertained peasants.
[44]
Dario Fo, Commedia dell'Arte and Political Theatre (Chapter 24)
In La Signora è da buttare (Throw the Lady Out) – a play performed in 1967 which marked his exit from commercial theatre – the politicisation is very evident.
[45]
Lynn Nottage: History of Omission - Guernica Magazine
May 1, 2013 · So, I closed my office door and wrote a short play called Poof! ... We are bound by our race and gender, we have strong black women at the ...
[46]
Athol Fugard - Concord Theatricals
His plays include “Master Harold”...and the Boys, The Captain's Tiger, Valley Song, My Children! My Africa!, A Lesson from Aloes, The Island and the award- ...
[47]
Forty Years of Avant-Garde | HowlRound Theatre Commons
Jan 18, 2015 · Avant-garde theater, as seen in Talking Band, combines language, music, and movement, and has influenced many artists. Grotowski's work focused ...Missing: multimedia site- 1980s
[48]
In Louisville, Humana Festival Thrives - NPR
Apr 7, 2011 · "The fact that they can do a whole range of fare from very popular theater to some of the weirdest, most experimental works and bringing it to ...
[49]
A Deep Dive into Short Forms: Playwriting - DIY MFA
Aug 20, 2019 · One-act plays run 45 – 60 pages, 30 – 60 minutes . Full-length or evening-length plays and musicals run 60 – 100 pages, 90 minutes to two hours.Missing: considerations | Show results with:considerations
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Advice for First-Time Theatre Directors - Dramatics Magazine
How long is the play? How much time do you have for rehearsals? How complex are the staging demands? A one-act play is an ideal first directing project. It's ...
[51]
Writing Advice – Three Pacing Tips | Play Submissions Helper
Here are 3 simple tips to help you improve the pacing in your play: 1) Vary it up! Many writers have a tendency to write at one pace and never deviate from it.
[52]
6 Things You Should Know About Performing in One-Act Plays
May 29, 2024 · A one-act play is a story that takes place in a single act. An entire one-act play typically lasts anywhere from 10 minutes up to an hour, and there is almost ...<|control11|><|separator|>
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Creative Ways to Stage Theatre on a Tight Budget - Theatrefolk
Discover innovative ways to stage theatre productions on a budget! Explore creative scriptwriting, set design, and lighting ideas to captivate audiences ...
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Tips for Improving Pacing Issues - Theatrefolk
Allot some rehearsal time for your stagehands to practice completing scene changes. If they're really lagging, time them with a stopwatch and have them sit and ...
[55]
The #1 Secret to a Successful, Low-Budget Show [2022 UPDATED]
To make great theatre on a small budget, there's one production secret every director should know. (Bonus: it's entirely within your creative control!)
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One Act Play Production Curriculum by The Drama GOAT - TPT
Rating 4.0 (2) My semester-long comprehensive curriculum has everything you need to successfully produce a one-act play with your students.
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2025 Chapter Select One-Act Showcase Lineup
Apr 17, 2025 · The ITF Chapter Select One-Act Showcase highlights Thespian troupes ...
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Chapter Select One-Act Showcase - International Thespian Festival
The showcase includes a robust lineup of short performances including one-acts, cuttings from full-length productions, reader's theatre, dance, mime, comedy, ...Missing: competitions | Show results with:competitions
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Acting Techniques: Improvisation & Character Development
Apr 4, 2024 · Through analysis, guidance, and exercises, you'll learn to apply improvisation to help develop character relationships, discern script tone, ...
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Online Script Analysis Workshop with Seth Barrish - The Barrow Group
This 4-week course will focus on how to get more from reading a script, so that you can tell the story better and improve your performance.
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National Playwrights Conference | Eugene O'Neill Theater Center
So you accept one-person plays and solo shows? Yes. We welcome one-person plays and consider them fully. How about one-act plays? Yes. We'll note that plays ...
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Young Playwrights Festival | Eugene O'Neill Theater Center
The festival provides professional-level support to develop original one-act plays written by middle and high school students.
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An Evening of One Acts '25 | Ridgefield Theater Barn
An Evening of One Acts is an annual RTB production of original, unpublished works. The 2025 production features 9 plays and opens February 28.
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Diversity - Dramatic Publishing
One Act Plays (835); One Act Competition Winners (30); UIL Approved ... Full-length Play. Recommended For: College Theatre | Community Theatre | ...
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Community Theatre | Playscripts, Inc.
Plays for community theatres are available at Playcripts! CLUE: ON STAGE, Brothers Grimm, The Alibis and more. Playscripts has the most popular titles.
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Script Analysis for Theater Course - Berklee Online
In this course we're going to work backwards from your love of theater to closely examine how the plays you fell in love with were made.