Monologue

1. Performing a
Monologue
Theatre I

2. MONOLOGUES
 In theatre, a monologue is presented by a single character, most
often to express their mental thoughts aloud, though sometimes
also to directly address another character or the audience.
 Monologues are common across the range of dramatic media
(plays, films, etc.) as well as in non-dramatic media such as
poetry.
 Monologues share much in common with several other literary
devices including soliloquies, apostrophes, and aside. There are,
however, distinctions between each of these devices.

3. A Monologue’s Cousins
 Monologues are similar to soliloquies, epiphanies, and asides. Nevertheless,
meaningful differences exist among them.
 A monologue is distinct soliloquy because the latter involves a character
relating his or her thoughts and feelings to him/herself and to the audience
without addressing any of the other characters.
 A monologue is the thoughts of a person spoken out loud. Monologues are
also distinct from apostrophes, wherein the speaker or writer addresses an
imaginary person, inanimate object, or idea.
 Asides differ from each of these not only in terms of length (asides being
shorter) but also in that asides aren't heard by other characters even in
situations where they logically should be (i.e. two characters engaging in a
dialogue interrupted by one of them delivering an aside).

4. TYPES OF MONOLOGUES
 Interior monologues involve a character externalizing their
thoughts so that the audience can witness experiences that would
otherwise be mostly internal.
 In contrast, a dramatic monologue involves one character
speaking to another character.
 Monologues can also be divided along the lines of active and
narrative monologues. In an active monologue a character is
using their speech to achieve a clear goal. Narrative monologues
simply involve a character telling a story and can often be
identified by the fact that they are in the past tense.

5.  Macbeth's monologue Tomorrow and tomorrow and
tomorrow after he learns that Lady Macbeth has killed
herself:
 She should have died hereafter;
There would have been a time for such a word.
Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury
Signifying nothing.
 — Macbeth (Act 5, Scene 5, lines 17-28)

6. AUDITION MONOLOGUE
 Theatre actors may be called upon to use monologues for audition purposes.
 Audition monologues demonstrate an actor's ability to prepare a piece and
deliver a performance.
 These pieces are usually relegated to two minutes (sometimes less) and are
often paired with a contrasting monologue.
 This can be a comic monologue paired with a dramatic monologue or it can
mean classical paired with contemporary.
 The choice of monologues for an audition can often depend on the play in
question or the role the actor wants to land. The audition monologue is a rite
of passage with theatre actors and a tradition that continues today.

7. TYPES OF MONOLOGUES
 Interior monologues involve a character externalizing their
thoughts so that the audience can witness experiences that would
otherwise be mostly internal.
 In contrast, a dramatic monologue involves one character
speaking to another character.
 Monologues can also be divided along the lines of active and
narrative monologues. In an active monologue a character is
using their speech to achieve a clear goal. Narrative monologues
simply involve a character telling a story and can often be
identified by the fact that they are in the past tense.

8.  The monologue performance is one of the most
important assignments in a drama class.
 This assignment involves much more than
simply reciting lines in front of the class.
 You should research the play, to develop a
unique character, and to perform with
confidence and control.

9. Choosing a Monologue
 Monologues can be found in many forms:
 Complete Play: Whether it’s a full length or a one-act, most plays
have at least one monologue worth performing.
 Movie Monologues: Some drama teachers, like me, won’t allow
students to select a speech from a film.
 Monologue Books: There are hundreds of books filled with nothing
but monologues. Some are marketed to professional actors,
while others cater to high school and middle grade performers.
Some books are collections of original, “stand alone”
monologues.
 A "stand alone" monologue is not part of a complete play. It tells
its own brief story. Some drama teachers allow them, but some
instructors, like me, prefer students to select monologues from
published plays so that the performer can learn more about the
character’s background.

10.  Choose a monologue that is suited to your
acting range, age, gender, and appearance.
Many actors try to take on a role and character
that they clearly could never play, which is not
wise.
 Know what you are auditioning for and
choose a monologue based on the genre and
possible demands of the role.
 Pick a piece that will showcase your range
and talents.

11. Choosing a Monologue
 Select one monologue delivered by one
character in a play you enjoy and with which you
identify. The desired length of the monologue
will often be set by the requirements of a given
audition, but a good standard length is around 2
minutes. The passage you choose should
demonstrate an interesting range of emotion,
and should show the character going through
some kind of change.

12. What next?
 Read the entire play containing your monologue,
and reflect on it until you have a good grasp of
its plot and themes. You will want to thoroughly
understand the motivation of the character you
will be playing when you perform your
monologue.

13.  Once you have selected a monologue, read the
lines out loud. Make certain you are comfortable
with the language, pronunciation, and the
definition of each word. Become familiar with
the complete play. This can be accomplished by
simply reading or watching the play. You can
further enhance your understanding by reading a
critical analysis and/or a review of the play.
 Also, learn about the life of the playwright and
the historical era in which the play was written.
Learning the context of the play will give you
insight into your character.

14.  Analyze the scene, making a note every time a
change--of the character's emotions, intentions,
or relationship with another character--occurs.
This will allow you to break your monologue
down into sections, or beats.

15. Create a Character
 As tempting as it might be to mimic the performance
of your favorite actor, you should strive for originality.
No one wants to see a copy of Whoopi Goldberg’s
portrayal of Celie in The Color Purple. Find your own
voice, your own style.
 Great characters can be perceived and performed in
countless ways. To create a unique interpretation of
your subject, study the arc of your character.

16. Analysis
 Consider answers to some of these:
 What is your character’s background?
 How does your character change throughout the play?
 What is your character’s biggest disappointment?
 Happiest moment?
 Deepest fear?
 So, learn to think, speak, and react the way your
character would in a variety of situations.

17. Memorize!
 Memorize your lines. This is half of the battle.
There is a good chance of forgetting your lines
because of nerves so know your lines as if they
are second nature and be able to say them as
though they are words in everyday conversation.

18. Rehearsing
 Focus not only on portraying the emotions contained in
your monologue, but also on transitioning between
different beats in a believable manner.
 Develop your character. The hardest part is making
the character you perform 3-dimensionally in those few
minutes you have. Things like nervous ticks specific to
the character, vocal inflections, the way they would
hold themselves and how they would react to a situation
(not you) are all necessary to consider when preparing a
character.

19. Get Feedback
 Perform the monologue for a friend or an acting
coach. Ask for an honest critique of your work.
You will want to make adjustments to your
monologue based on the feedback you receive.
 Rehearse your monologue in front of people
that will give you an actual critique instead
of just telling you "it was good".

20. Performance Tips
 Remember that you are being judged from the
second you appear on stage to the second you
leave it. Always maintain your presence, character, and
confidence.
 Use rehearsal to discover something new
 If you forget a line do not let it show in your face
and do not break character. Try a dramatic pause.
Breathe. Skip ahead or improvise something if you need
to. But whatever you do, do not panic. Stay focused on
your dialogue and mannerisms

21. Take the Stage
 1 Dress comfortably. Consider using a minor
accessory, such as a piece of jewelry, book or hat to
suggest your character without calling attention away
from your performance.
 2 Position yourself in the center of the spotlight to
introduce the piece you will be performing. Let your
personality shine through, and be friendly--nobody
wants to hire a diva.
 3 Block out the audience sitting before you and let
yourself truly inhabit the character. Be sure to project
your voice so everyone in the space can hear what
you're saying.

22.  4 Act as though you are surrounded by the objects and
people in your character's world. You may be alone on
an empty stage, but you need to imagine it as whatever
environment your character is meant to inhabit. If your
character is speaking to someone else, track that
invisible person with your eyes and act as though that
other character has a physical presence.
 5 Cap off your monologue with a still moment, holding
on your final note before exiting the stage.