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Smell Like a Man, Man [2] is a television advertising campaign in the United States created by ad agency Wieden+Kennedy for the Old Spice brand of male grooming products, owned by Procter & Gamble. The campaign is commonly referred to as The Man Your Man Could Smell Like , the title of the campaign's initial 30-second commercial.
Most importantly, it's their opening monologue that sets the tone for the night and gives the audience a bit of an idea of how the show is going to play out. Here are the 20 best SNL monologues ...
The man's character is giving a speech about positive thinking, but keeps spiraling into negativity. He, it turns out, is the man the woman hit in the supermarket. The show consists of two 30-minute monologues and a 30 minute second act, some of it monologue, some of it scenes between the two characters. The characters do not have official names.
Theodore Isidore Gottlieb (November 11, 1906 – April 5, 2001), mostly known as Brother Theodore, was a German-born American actor and comedian known for rambling, stream-of-consciousness monologues which he called "stand-up tragedy".
One of the highlights of Greta Gerwig's Barbie comes in the second half of the film, when Gloria (America Ferrera) delivers a monologue on the impossible double standards of being a woman.
Josh Brolin is in on the joke. During his opening monologue on the March 9 episode of “Saturday Night Live,” the “Dune 2” actor opened up about his “super creepy poem” about Timothée ...
Actor Christopher Walken performing a monologue in the 1984 stage play Hurlyburly. In theatre, a monologue (from Greek: μονόλογος, from μόνος mónos, "alone, solitary" and λόγος lógos, "speech") is a speech presented by a single character, most often to express their thoughts aloud, though sometimes also to directly address another character or the audience.
Not I takes place in a pitch-black space illuminated only by a single beam of light. This spotlight fixes on an actress's mouth about eight feet above the stage, [1] everything else being blacked out and, in early performances, illuminates the shadowy figure of the Auditor who makes four increasingly ineffectual movements "of helpless compassion" during brief breaks in the monologue where ...