Performing a

Monologue
Theatre I
 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.
 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).
 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.
 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)
 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.
 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.
 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.
 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.
 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.
 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.
 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.
 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.
 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.
 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.
 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.
 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.
 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.
 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".
 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
 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.
 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.