Monologue Selection Worksheet

Monologue Character Theme Positive Negative Preference

Title Name

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 First Impression of Your Character
Monologue Title: ______________________________________
Character: ________________________________

Instructions: Please write your first impressions of the character. What kind of person
is s/he? What do you think s/he looks like? Why do you think s/he says what they are
saying?

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 Motivation & Behavior
The behavior of an actor on stage should never be arbitrary. Whether you are a
character in an improvisation or a scripted play, your character needs a motivation, or
clear reason, to do or say anything. Your motivation determines your objectives, your
goals or intentions. A character generally has an overall objective as well as objectives
for each scene. These objectives may be outlined in a script, may be supplied by a
director, or may come from your understanding of the character.
In many situations, there is something that stands between you and the
achievement of your goal, something that is preventing you from meeting your
objective. This is known as an obstacle. Obstacles create the conflict in a story.
Characters generally develop a strategy to overcome an obstacle. The outcome of a
conflict is the result of action taken by the characters to overcome their obstacles and
achieve their objectives. The consequences of the outcome are known as stakes.
Imagine that you are portraying the character of Odysseus in an adaptation of the
Odyssey. You play the scene in which Odysseus and his men are trapped in the cave
of the Cyclops Polyphemus. A large stone that only the Cyclops can move blocks the
entrance. Odysseus offers very strong wine to the Cyclops as the one-eyed monster
feasts on one after another of Odysseus’s men.

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 Motivation
Instructions: Answer the following questions in complete sentences.
Monologue Title: ______________________________________
Character: ________________________________________
Motivation:
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Objective: (State using action verb, receiver, desired response – ex. I want
to (action verb) (receiver) (desired response).
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Obstacle:
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Strategy:
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Action:
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Stakes:
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Outcome:
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 Given Circumstances
A scene does not simply begin from Point Zero. The events that precede a
scene are just as important as the scene itself. An actor or actress who
begins a scene without the proper preparation cannot deal completely with a
full interpretation of the scene since the interpretation, if it is to be full and
meaningful, demands that certain essentials be resolved before the scene
begins.

The establishing of the GIVEN CIRCUMSTANCES give

the actor a RIGHT to be in the scene!!

So we see that whatever moment with which we are involved has been
preceded by some circumstance. The present moment (the scene) is
enacted and itself is the given circumstance for the next moment (the next
scene).

These are some of the questions that the actor should ask himself in order
to achieve strong given circumstances.

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 Given Circumstances
Instructions: Answer the following questions in complete sentences.
1. Where have I been?
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2. What was going on there? What was I doing? How do I feel about it?
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3. Where am I now?
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4. What am I going to do here?
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5. What has been the routine of my day to this point?
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6. When is it (Time of day, year, historical period, etc.)?
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7. What is the action that I must accomplish this very minute?
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8. Who is here? Do I know the people? How do I feel about them?
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9. Who am I? What is my personality like?
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10. What are the sensory realities of the place I’m in (What do I see, hear, smell, taste,
and touch)? How am I affected by them? What effect do they have on the way in
which I begin the scene?

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 Character Analysis Questions
Instructions: Using your MONOLOGUE as your muse, answer the following questions. You need to
also use your imagination and BE CREATIVE to develop an identity, background, and personality for
your character. Answer the questions like YOU ARE THE CHARACTER. Elaborate as much as
possible and answer in COMPLETE SENTENCES.

MONOLOGUE TITLE:
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1. Who are you? What is your name?

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2. What is your ethnic background?

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3. How would you describe yourself physically? Include your height, weight, facial features,
hair color, and skin tone. Also, be sure to note any outstanding physical trait or condition
that makes you unique.
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4. What gestures, mannerisms, or habits do you use unconsciously?

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5. How do you dress?

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6. Think about your background. Where did you grow up? What type of environment
shaped your early life? What kind of relationship do you have with your family?
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7. Where do you live now? What is your present family status?

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8. Think about your intellect. How would you describe your mental capabilities? How do
you do in school? What is your education level?
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9. What is your position in society? Are you rich, poor, important, or powerful?
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10. What is your job or occupation?

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11. What are your attitudes, values, and beliefs?
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12. What is your emotional state?

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13. How do you treat other people? How do other people treat you?
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14. Do you have a secret that you try to hide? (YOU DO! Everyone has a secret!)
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15. What is your greatest want or need?

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16. What is the problem or obstacle standing in the way of fulfilling the want or need?
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17. To what extent are you willing to go to eliminate the obstacle?

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18. What do you enjoy or do for fun?

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19. What are you thinking at this moment?

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20. What do other people say about you?

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 What’s on My Mind?
Instructions: Add color, words, and pictures to illustrate your character’s thoughts,
personality, wants, and needs. Refer to your Character Analysis Questions for ideas.

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 Inner Monologue: Subtext

With a huge debt to Woody Allen—stopping just short of plagiarism

from ANNIE HALL—here’s a graphic depiction of SUBTEXT in
relation to spoken dialogue. Subtext is what the characters are
REALLY THINKING OR FEELING, but don’t say.

The SUBTEXT of HIM and HER is in

boldface italics below each line of dialogue…

(Stage directions: A party. HER and HIM look out over the
apartment balcony. They’re six feet apart trying desperately not to
notice each other.)
HER: Hi!
Oh, gosh, nobody cool says Hi.

HIM: Hello!
I’d love to take her out. I hope my deodorant’s
working!

HER: Nice view.

He’s talking to me! And he’ll hate my silly dress.

HIM: (Taking a furtive step towards her) Just look at the

clouds over there.
I’ve got to find out who she is.

HER: I’m Leslie…

What a stupid name. He’ll hate it and hate me.

HIM: Neat dress.

I just love her name.
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 Inner Monologue
Instructions: Please write out the character’s inner monologue. It should include all of
his/her thoughts and subtext.

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 Your Peer Evaluation
Instructions: Please screenshot your evaluation from your peer and paste it in below.

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 Self Evaluation
Instructions: Complete the following evaluation thoroughly and honestly.
1. General reaction: What did you feel when you performed? Be specific.
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2. General reaction: How did you feel when you were finished? Be specific.
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3. Evaluate the following areas using the scale 5=excellent to 1=poor.
Is posture correct? 5 4 3 2 1
Is the stance solid? Feet planted and grounded? 5 4 3 2 1
Is positioning correct? 5 4 3 2 1
Does the actor look comfortable on stage? 5 4 3 2 1
Fidgeting: No unjustified gestures? 5 4 3 2 1
Are words spoken clearly, precisely? 5 4 3 2 1
Rate of speech: Is it appropriate? 5 4 3 2 1
Focus upon the assignment: Concentration 5 4 3 2 1
Memorization: Are all lines memorized? 5 4 3 2 1
Characterization: Is it consistent & believable? 5 4 3 2 1
Focal points: Appropriate, not looking up or down 5 4 3 2 1
Communication: Are emotions communicated? 5 4 3 2 1
Believable character emotions 5 4 3 2 1
Communicating what your character wants 5 4 3 2 1
Communicating what your character needs 5 4 3 2 1
Thinking it, THEN feeling it, THEN saying it 5 4 3 2 1
Thought before action 5 4 3 2 1
Moment before is clear 5 4 3 2 1
Is the importance and stakes clear? 5 4 3 2 1
Is the relationship to the “other” clear? 5 4 3 2 1
How can I improve my performance? Write a paragraph on the back of this page.
Include 5 things the peer critique said about you.

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Use your monologue and character to
complete ONE of the following projects:

Character Autobiography
For your Character Autobiography you will write a complete,
detailed autobiography of the character in first person. It
should begin with birth and project into the future to your death.
Use things you already know from your monologue and then fill
in the details with your imagination. What happens in your
monologue should play an important part in your autobiography.
(This must be at least 1 page in length, typed and single
spaced, 12 pt. font, Ariel or Times New Roman font, etc.)

Scrapbook
You will create a digital scrapbook for your character using at least
10 images, mementos, artifacts, etc. You must have an
explanation written in first person for each object. Tell WHY you
chose that item and justify it with evidence from your monologue.
Please use your imagination. You will put this in either Google
Slides or on multiple Notability pages, so choose carefully.

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 Scoring
MOUNTING
Copy and paste the text onto the sheets below. You can retype your monologue if you
prefer. Spread it out so you can make notes and draw lines. Be sure to put your name,
the title of the monologue, and your character’s name on it.
WORDS
Words are only one part of what the character is, but they are a very important part. A
playwright chooses his words very carefully and the actor must use the playwright’s
word choice as a tool for characterization.

1. Underline in RED lines that communicate what you character WANTS.

2. Underline all the ACTION VERBS in BLUE (those will help you find action for your
character).
BEATS
A beat is a bit of time in a performance, or script, which requires an actor to make a
separate choice about what his character will do.

Beats are an EMOTIONAL CHANGE your character has during your monologue. You
will mark your first beat at the beginning of the monologue and number it beat #1.
There will be MORE THAN ONE!

After that, you will mark a beat wherever there is a CHANGE IN EMOTION for your
character.

FOR EACH BEAT YOU WILL NEED TO:

1. Mark the beat in your script
2. Number the beat (in order)
3. Tell the EMOTION for each beat
4. And WHY they feel that emotion
Example: Jealous—because Cinderella gets everything
Depressed—because his best friend died
BLOCKING
Blocking is the PLANNED MOVEMENTS of your character. Each and every time you
perform your monologue, your movements, entrances and exits, and place on stage
will ALWAYS BE THE SAME!

Mark your first Blocking at the beginning of your monologue. Your character has to
start on stage somewhere… they don’t just materialize when you start speaking. Then

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mark the next time your character crosses on stage, sits, stand, or moves. Continue
this for the rest of your monologue. Don’t go too crazy, too much movement can be
distracting.
FOR EACH BLOCKING YOU NEED TO:
1. Mark the blocking in your script with a number (in order)
2. Tell WHERE your character is on stage (using STAGE DIRECTIONS)
3. Tell WHAT you are doing there
Example: Starts standing USL
Cross to CS, stand next to chair
Sit down in chair
Pace from SR to SL and back

***NOTE: You do NOT have to have blocking for each beat or vice versa. Go
with what is comfortable.

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 Scoring
Follow the instructions from the Scoring pages (14 and 15) to complete this
assignment.

Monologue Title: ______________________________________

Character: ________________________________

BEATS SCRIPT BLOCKING

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 Scoring (cont.)
Follow the instructions from the Scoring handout to complete this assignment.

Monologue Title: ______________________________________

Character: ________________________________

BEATS SCRIPT BLOCKING

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 EMOTIONS
There are different levels of happy, mad, and sad… Consider this
when choosing your emotion.
Exhausted Frightened Mad
Confused Enraged Furious
Ecstatic Ashamed Livid
Guilty Cautious Unhappy
Suspicious Smug Glum
Angry Rejected Annoyed
Gloomy Depressed Content
Sad Edgy Manipulated
Hysterical Overwhelmed Anxious
Frustrated Spiteful Joyful
Hurt Uneasy Pleased
Doubtful Hopeful Cheerful
Worried Lonely Aggravated
Peaceful Love-struck Disturbed
At Ease Jealous Crazy
Humiliated Bored Tense
Certain Surprised Upset
Troubled Brave Alarmed
Fearful Anxious Mortified
Panicked Shocked Controlled
Confident Shy Nervous
Embarrassed Devastated Powerful
Happy Calm Deceitful
Mischievous Relaxed Clever
Disgusted Irate Daring

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 Acting Vocabulary
1. Activity—stage business
2. Subtext—hidden messages; meanings present but not put in words
3. Objective—what the character want from scene to scene
4. Essential Action—the overall driving force behind a character; also known as motivation
5. Tactics—ways to obtain an objective; must be an action verb
6. Character—a person who participates in the action of a play, a fictional illusion created by
the playwright, director, and actor; the personality an actor portrays in a scene that is
different from his own personality
7. Personality—the nature of a character (the kind of person being portrayed)
8. Characterization—the way in which a character’s personality is made visible to the
audience; the process by which an actor brings the character to life
9. Stereotyping—automatically assuming that since a group of people are alike in one thing,
they are alike in all things
10. Complex Characters—character who go against their obvious type
11.Simple characters—characters who fall into just one type
12. Emotional Memory—using your imagination to remember a similar situation in your
own life in order to reproduce the feeling you need
13. Interior Monologue—duplicate exactly what the character is thinking and then
speaking it to yourself in order to share those thoughts and feelings
14. Breaking Character—coming out of character to talk, laugh, etc. as yourself
15. Silent Partner—the person a character is talking to in a monologue (they are present
for the character, but invisible to the audience)
16. Blocking—the PLANNED movement an actor does during a performance
17. Beat (or moment)—is a bit of time in a performance that requires an actor to make a
separate choice about what the character will do
18. Character Analysis—a process by which an actor decides what do to in order to bring
the character to life
19. Action—is the building material of a performance. Action is what a character does to
someone or something and what is being done to that character. Action is sent and
received. It can be spoken or silent. Implied action-action beneath the surface or the
text—is subtext. Action is occasionally directed at IMAGE—a mental configuration
provoked by a character’s memory or fantasy. Every sentence, phrase, pause, or piece
of BLOCKING-the moments of actors on stage-must convey action. An action is named
by a DYNAMIC VERB. The process of choosing these verbs is called SCORING
ACTION.
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Name ___________________________ Period ______ Date _____________

Peer Evaluation
Instructions: Fill out the following information completely and honestly. Use
CONSTRUCTIVE CRITICISM in your evaluation. Be thorough.

WHO ARE YOU EVALUATING?

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1. Did you see a difference between the actor and the character they were portraying?
Please explain your answer.
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2. Was the character believable?

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3. How was the blocking and movement during the performance?

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4. What emotions were portrayed in the performance? Did they fit with the text?
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5. What are three positive things you saw during the performance?
1. _____________________________________________________________________
2. _____________________________________________________________________
3. _____________________________________________________________________

6. What are three things you think the actor needs to work on for next time?
1. _____________________________________________________________________
2. _____________________________________________________________________
3. _____________________________________________________________________

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