Monologues for Auditions

Monologues for Auditions

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This topic contains 5 replies, has 3 voices, and was last updated by  Dan 11 years, 7 months ago.

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  • #660

    Dan
    Member

    Monologues are more difficult than an interactive two-handed scene as a vehicle for an audition. The reason for this is that all the usual pitfalls for the auditioning actor are magnified when performing a monologue.

    Failing to Listen
    This is an easy trap to fall into at the best of times. While in general circumstances the ‘character’ mostly never knows what will be said next, the ‘actor’ always does and being in possession of this knowledge of the future often means that actors forget to listen with the same sense of purpose their characters would. This possibility is increased significantly in a monologue because the actor knows without doubt that no one else is going to speak – so listening is often a casualty.

    What do you listen for in a monologue?

    Actors should -

    * listen to themselves to assess whether they are actually achieving their sense of purpose or have any hope of fulfilling their "need"

    * actively assess and/or at least be aware of any possible response the person/s they are addressing may make.

    Failing to Telling the Story
    Because doing a monologue puts a huge emphasis on the individual performer the actor is often over-diligent in searching for opportunities to act. This might mean that a pre-occupation develops with movement or emphasizing certain words or even using ‘funny’ voices while often the story is forgotten or overlooked completely.

    The other pitfall is that the story is often thought to be, ‘what is being spoken about’ (particularly if the text is a reminiscence) whereas usually the story is about ‘what happens to the character while they are speaking the dialogue’. If the latter process is the focus of the performance then the emphasis will be taken away from the articulation of the words and placed upon the reason for which they are being spoken. This is a much more active and productive choice. It is also the key to a truthful performance.

    Pursuing the Emotion
    As the story is often not strongly evident in a monologue the actor turns to the emotional content of the text to provide a vehicle which will display their performance skills. This often leads to -

    * an overacted and self-indulgent performance because the context, purpose and external circumstances of the situation are generally ignored while the actor searches inwardly for a personal emotional trigger to induce the emotion

    * the story becoming completely obscured because the emotional display generally replaces all the elements which would allow story to unfold. (Without a story there is no reason for an audience to watch.)

    Failing to Build a World for the Character
    This is an area that often gets put aside in audition preparation. Sometimes this is because so little information has been provided that building a world for a character is either too hard or a waste of time, but often it is just because the actor neglected to spend a few moments making some concrete decisions about the character’s world. It is essential to know when preparing a monologue,

    + who you are speaking to
    + whether you have spoken to them before,
    + if so, what was the outcome,
    + what are the expectations of this encounter,
    + is this something you do often …

    … and so on.

    Not Playing Subtext
    If the actor has not clearly defined the character’s world and/or the relationship with the person/s to whom they are speaking, then more than likely they will not have selected a "need" for the character. Without a "need" in place it is probable that the character will be one-dimensional and the acting obvious. It is the character’s "need" which creates complexity and truthfulness when listening. Without a "need" in place there is no sub-text. The tendency when preparing a monologue is for the actor to only think of how they themselves will be acting. In fact it is placing the focus on ‘the other’ person/s in the scene which will create a sense of purpose for the character and a believability in the performance.

    Being Shakespearean
    Shakespeare’s monologues are always a trap because they are well known and associated with other great performances. This tends to lead auditioning actors towards the desire to produce a great performance of their own. Consequently all the effort is focused on ‘being great’ and none goes into the essential preparation that will generate a good performance no matter who the author is. It is terribly easy to be portentous, contrived and mannered when delivering Shakespearean monologues.

    Good performances emerge from actors who understand

    * the world the character occupies,
    * the pre-history of the character,
    * what the character needs most at this moment,
    and…
    * who listen openly but with purpose
    * and truthfully interact with the people/world around them
    * WHILE THEY DELIVER THE STORY.

    All this can be achieved with a monologue.

    FOOTNOTE: A monologue should not be a declamation but a truthful interaction. The difficulty is building an interactive component when no one is there to participate. A successful path to achieving this is usually found through making simple choices not complicated ones.

    #2290

    Faye
    Member

    Any recommendations on monologues to use?

    #2291

    Dan
    Member

    here’s one

    Million Dollar Baby[/b:20d34]
    written by Paul Haggis[/i:20d34]

    Maggie Fitzgerald: [/b:20d34]

    I can’t be like this, Frankie. Not after what I’ve done. I’ve seen the world. People chanted my name. Well, not my name, some damn name you gave me. But they were chanting for me. I was in magazines. You think I ever dreamed that’d happen? I was born at two pounds, one-and-a-half ounces. Daddy used to tell me I fought into this world, and I’d fight my way out. That’s all I wanna do, Frankie. I just don’t wanna fight you to do it. I got what I needed. I got it all. Don’t let ‘em keep taking it away from me. Don’t let me lie here ’till I can’t hear those people chanting no more.[/quote:20d34]

    #2292

    Dan
    Member

    and one for the lads

    Glengarry Glen Ross[/b:99956]
    written by David Mamet[/i:99956]

    Roma: [/b:99956]

    All train compartments smell vaguely of shit. It gets so you don’t mind it. That’s the worst thing that I can confess. You know how long it took me to get there? A long time. When you die you’re going to regret the things you don’t do. You think you’re queer? I’m going to tell you something: we’re all queer. You think you’re a thief? So what? You get befuddled by a middle-class morality? Get shut of it. Shut it out. You cheated on your wife? You did it, live with it. You fuck little girls, so be it.There’s an absolute morality? Maybe. And then what? If you think there is, then be that thing. Bad people go to hell? I don’t think so. If you think that, act that way. A hell exists on earth? Yes. I won’t live in it. That’s me. You ever take a dump made you feel like you’d just slept for twelve hours?[/quote:99956]

    will try to add 2 a week from here on in, anyone else got some good ones here’s where to put em

    #2293

    Adrian
    Member

    Monologues!!!

    " COLIN’S MOVIE MONOLOGUE PAGE "

    http://www.whysanity.net/monos/

    #2294

    Dan
    Member

    great source for monologues but it may be a bit too much to choose from, i will continue to select good monologues and stick em up here, likewise any one else know of any good ones, now that you know where to get them all, stick em in!

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