MONOLOGUES
WHAT IS A MONOLOGUE?
An audition monologue is a long speech made by one person portraying one
character and can also be called a “dramatic soliloquy”. A monologue can be any
section of a script where one character talks for a long time without any other
characters interrupting. In the monologue, the speaking character can be talking
to one or more other characters, to the audience, or to themselves. Monologues
can be dramatic or comedic, but do not confuse a comedic monologue with a
stand-up act…when you audition with a monologue, you are showing how well
you can portray a character, not how well you can tell jokes! Remember, a
monologue is not just a memorized story, you should be speaking and acting as
the character while delivering your monologue.
YOUTUBE: Monologue Types…What is a monologue
http://www.youtube.com/watch?v=XFGHTk_3hGg&feature=related
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CHOOSING A MONOLOGUE
For audition purposes, you should select monologues that run 1-2 minutes in
length. Do your best not to exceed this length unless requested by the audition
notice. Auditors may have hundreds of people to see, and if you take up more
time than they expect, it will certainly go against you no matter how great your
monologue is. Typically, you should have 1-2 classical (pre 1900s) and 1-2
contemporary (post 1900s) monologues prepared. This way, you have flexibility
in your material and you can alternate them to keep auditions fresh.
YOUTUBE: Monologue time limits
http://www.youtube.com/watch?v=HqtvFTa29L8&feature=related
Usually actors choose monologues from plays, but there are also books of
monologues available at libraries and bookstores. Sometimes, actors will even
choose long speaking sections from novels. The important thing is to know your
character well, and to understand why they are saying and doing each thing that
they say and do. This will help you “get into character” so you can act your part
well.
YOUTUBE: Finding a monologue
http://www.youtube.com/watch?v=ITHYEb8lBS4
Nothing is more important than choosing the right monologue for your type and
skill level. Remember, monologue auditions are your moment to shine. They are
perhaps the only time an actor has complete control of a situation. Find
monologues that play up to your strengths as an actor. While reading through
plays and screenplays, pay attention to monologues that seem to get you in the
gut; these are the pieces to which you will most likely be able to bring true
emotion and passion.
Try not to use material that has been made into a popular movie. There is no
need for comparison. Make sure you portray the character the way you
understand him/her. It’s okay to watch performances by famous actors to see
how they act, but do not copy them – this can look unimaginative.
Try to seek out material that has not been overdone. Think of the poor auditors!
Imagine a day full of Hamlet’s “To be or not to be” soliloquy or Juliet’s “Romeo,
Romeo, wherefore art thou Romeo?” Be a little more original and consider your
audience. What might they enjoy hearing?
YOUTUBE: Avoiding bad monologue choices
http://www.youtube.com/watch?v=UidkSc5FwaM&feature=related
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UNDERSTANDING CHARACTER
To understand your character, make sure you read the whole play and pay
attention to why your character behaves as they do. If your monologue is not
from a published work, and you do not know about the history “life” of your
character, it might help to make one up. With many characters it is a good idea to
do research about the historic period the character came from, the type of job or
life situation they had, and the types of things they enjoyed. Be sure you know
what every word you are saying means and why you are saying it.
YOUTUBE: Using Text to Develop Character
http://www.youtube.com/watch?v=ZnG2ia9dBOM&feature=related
YOUTUBE: Character development
http://www.youtube.com/watch?v=M2Pb2kx77ww&feature=related
YOUTUBE: Character Personality Traits
http://www.youtube.com/watch?v=MVNVZci72Ms&feature=related
YOUTUBE: Character’s Physical Appearance
http://www.youtube.com/watch?v=Ou-HnMWqofI&feature=related
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HOW TO MEMORIZE A MONOLOGUE
With regard to how actors memorize a monologue, there are different ways, but
you might want to try this:
Read it over several times to yourself aloud to get the gist of what it is about.
Know the characters in the play, understand why your character is saying what
they are saying. Know the meaning of every word in the context of the era.
Understand what your character is doing in the scene. Understand what his/her
objective is in saying what they say or behaving the way they do. Read the entire
story. All this should help you feel more comfortable.
Then just start by inching along. Start with the first sentence. When that’s
memorized, move to the second sentence. Repeat the first and second
sentences, then say the third sentence. Repeat the first 3 sentences then say the
4th sentence, and so on, until the entire monologue is memorized. This whole
process might take a day or several days or a week. It depends on how motivated
you are to learn the monologue, how complex the monologue is, your ability to
memorize and not get distracted while you are working, etc…
Actors have different methods for memorizing monologues. One way to really
get the words to stick in your mind is to write the monologue down on paper
(from memory). The time it takes for you to write out every word, and the
concentration you give to the task, will hopefully burn the words of the
monologue into your mind. It may seem time-consuming, but a few hours of
hand-writing your piece over and over again can prove very useful in memorizing
even the most difficult monologue. While you are writing out your monologue,
concentrate on the feeling of what you are saying. Even if you don’t remember
the exact words, use your own words. Improvise. Then go to your script and fix
the errors. Keep writing and saying your monologue aloud as you write it until it
is perfected.
Forgetting your lines is every actor’s nightmare. In the business, this is called
“going up” on your lines… and it happens to everybody at some point or another.
Of course, you should be prepared…know your monologue inside and out, be able
to recite it in your sleep, backwards, etc… But in the case that you do go up in an
audition, don’t panic. Act professionally. If you are doing a piece no one has
heard of, improvise a few lines until you get back on track. If your piece is wellknown, then pause a moment to gather yourself, but stay in character. This is
vital. The auditors are looking at you as an actor. Actors stay in character when
they are on stage or on screen. Your audition should be no different.
YOUTUBE: Memorizing a monologue
http://www.youtube.com/watch?v=mgpoY1-110U&feature=related
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HOW TO GET OVER STAGE FRIGHT
This is a very common fear. Did you know that the fear of public speaking and
performing in front of a group of people actually rates higher than the fear of
dying? So…what to do? You definitely have to believe in yourself. Be as well
prepared as you possibly can be. Practice and make sure you know your stuff.
Practice, practice, practice! That alone will help you to feel more confident.
The concept of “public solitude” – feeling comfortable in any situation and being
able to block out everything around you and focus solely on “being” the character
you are interpreting. While on stage, you are aware that an audience is watching
you. This awareness must not be the most important thing on your mind. What
you should focus on is being in the moment, believing that you are in a particular
setting, and that only you and whoever else in the scene is with you are the only
people around.
Lastly, focus on what you want and not on what you don’t want. For example,
concentrate on what being relaxed, comfortable, in character, and focused feel
like. Don’t focus on all the things you are afraid may happen (i.e., don’t focus on
forgetting your lines, messing up, breaking character, etc…).
Before you go into an audition and especially during a performance, don’t tell
yourself things like “I hope I don’t mess up, I hope I don’t get nervous, I hope I
don’t forget anything, I hope I don’t make a fool of myself, I hope I don’t freeze…”
If you do tell yourself these things, you are putting yourself in a position to think
about what you don’t want. Your imagination will go there and recreate all those
negative things. (Experiment: focus for 60 seconds on anything you want … but
can’t think about a white bear).
What kinds of things will you tell yourself the next time you perform? Positive
things! Good things! You will give a great performance. You will be very
comfortable in front of your audience. You will focus and stay in character. See
yourself doing that. If you have to, close your eyes, breathe deeply before you
begin, and visualize yourself being brilliant. You know your lines. You know what
you have to do. You are in character. You feel it! You are confident. When you
talk to yourself like that you will feel your posture change. Stand straight with
your shoulders back. Feel confident and be confident and you will be the best
you can be.
HOW TO BE CONFIDENT AT AN AUDITION
http://www.youtube.com/watch?v=3ifrOhMBSwY&feature=related
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BEFORE YOU PERFORM: PHYSICAL AND VOCAL WARM-UPS
YOUTUBE: Voice Warm-up
http://www.youtube.com/watch?v=bGyDHqrQLdc&feature=related
YOUTUBE: Vocal Warm-up
http://www.youtube.com/watch?v=s8pY73aEQFM&feature=related
YOUTUBE: Physical Warm-up
http://www.youtube.com/watch?v=NFToh6hGHvo&feature=related
===================================================================================
WHAT TO EXPECT AT ACTING AUDITIONS – HOW TO PREPARE FOR AN
AUDITION / HOW TO ENTER AN AUDITION / HOW TO DRESS FOR AN AUDITION
When you arrive at the audition, and before you begin your monologue, always
introduce yourself, then state the play or book your monologue is taken from, the
author of the monologue, and the character you are playing. It’s okay to give a
short, one-sentence explanation of what happened in the plot leading up to the
monologue if you want. Keep in mind that this all counts towards your time limit,
so make sure your introduction is brief.
If auditioning for a musical theatre production, make sure you also have a few
songs prepared (your repertoire should consist of a few ballads and a few faster
pieces as well as cover different styles, i.e., blues, pop, rock, jazz, etc… so that you
can show your range).
At the end of the audition, most auditors will simply say “thank-you”. Return the
thanks and leave. Do not linger, do not ask questions, do not compliment their
previous work, do not tell them you have a common friend, do not ask them how
they think you did or what your chances of landing the job are. Stay open and
polite. If you are asked some follow-up questions, feel free to answer them, but
be brief. A little respect for their time will go a long way.
http://www.youtube.com/watch?v=5VSWIlF4Kqs&feature=related
http://www.youtube.com/watch?v=p_1-AH0hgXE&feature=related
http://www.youtube.com/watch?v=Tyc7951EXGQ&feature=related
PERFORMING A MONOLOGUE
Auditors are not scene partners. Never directly engage the auditors in your
monologue. They are not there to perform, you are. In an actual performance,
you would not normally look an audience member directly in the eye while
delivering your lines. The same is true in an audition. Remember that auditions
are like your own mini one-man / one-woman show. Instead, invent a scene
partner for yourself if necessary. In your rehearsals, imagine this person very
vividly so that you can bring him/her in to the audition with you. Pretend this
partner is sitting just behind your auditors. If you are not comfortable playing off
someone who isn’t there, deliver your monologue to your auditors, but never
look directly at them, pick an atypical focal point, such as just above their heads.
When performing, you are the only character on the stage speaking so it is
important that you capture and hold the attention of those watching you. The
following is a list of ways to help you maintain an audience’s interest:
-believability, expressions (vocal and physical), appearance, variety of emotions,
focus and concentration
If you are addressing your monologue to someone in particular, it is important to
see, listen to, and react to the other person(s) in the piece. Talk to the other
character(s) in the scene. Place the other character(s) in front of you. Avoid
turning or talking too far to the side. Avoid the use of any actual person in the
room as the character you are talking to.
YOUTUBE: Practicing a monologue
http://www.youtube.com/watch?v=6q3bxxZUYMg&feature=related
YOUTUBE: Watching a sample monologue
http://www.youtube.com/watch?v=bfy28AlY-TQ&feature=related
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PHYSICALIZATION
Some actors make the mistake of staying rooted to the floor when they give a
monologue audition. Don’t do that – it’s rather boring to watch. And never give a
monologue sitting down unless it is implicit in the script (eg., your character is in a
wheelchair). Play the room. Move around. Work believable stage business into
your monologue. Take the time to work out some blocking beforehand. Think of
the entire 1-2 minutes you are performing as a mini play. Do not, however, come
in costume or bring props to your audition. This might make it difficult for the
director to imagine you in other roles; since he/she may decide while you are
auditioning that you may not be right for the part you are trying out for, but you
might be perfect for another part in the play/movie for which they are casting.
Also, using props may distract from your performance or lead to fidgeting. If
there is an important prop in your monologue, consider imagining that it is there.
If you can interact with an imaginary prop well, it can look impressive.
When delivering a monologue, position yourself close to your auditors, but not in
their laps. The auditors certainly want to get a good look at you, but if you are
too close, the fourth wall (that imaginary wall between actor and audience) may
be compromised. You auditors will generally be sitting behind a desk, so use the
desk as your centering point. Stand about 10 feet away (or as the space of the
room permits) to begin your piece. If you are on a stage, don’t hide yourself so
far upstage that the auditors can’t see your facial expressions or see you move
properly or hear you clearly.
YOUTUBE: Moving around in monologues
http://www.youtube.com/watch?v=jzfFsceu1GM&feature=related
YOUTUBE: Monologue Standing Positions
http://www.youtube.com/watch?v=wfnVifQEwB8&feature=related
YOUTUBE: Monologue Character Posture
http://www.youtube.com/watch?v=qnjQb9EtsSg&feature=related
YOUTUBE: Monologue Hand Gestures
http://www.youtube.com/watch?v=QLI-OnegxFM&feature=related
YOUTUBE: Monologue Facial Gestures
http://www.youtube.com/watch?v=8GGy0HeHIMY&feature=related
=====================================================================================
VOICE
Emotional commitment, projection, tone, rate, pacing, articulation, inflection,
pitch, proper breathing, emphasis, quality, pronunciation, variety, pausing,
relaxation, posture… all of these elements are to be kept in mind when rehearsing
and delivering your monologue.
YOUTUBE: Voice Inflection-Public Speaking Tips
http://www.youtube.com/watch?v=1nXhAjuICTA&feature=related
YOUTUBE: Monologue Voice Pacing
http://www.youtube.com/watch?v=x19SVovwckU&feature=related
YOUTUBE: Monologue Word Emphasis
http://www.youtube.com/watch?v=Qz2cBvF4aoc&feature=related
YOUTUBE: Monologue Articulation
http://www.youtube.com/watch?v=ODAHPFXVc8o&feature=related
TOP TEN MONOLOGUE MISTAKES:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Not having lines memorized
Having no staging choices
Looking at the floor
Hating the material
Acting to (looking at) the auditors
Standing too close to the auditors
Not projecting and/or mumbling
Paraphrasing and/or removing the author’s punctuation
Fidgeting
Having a neutral or unpleasant “hello” / “thank-you”
REVIEW HOW TO AVOID A BAD MONOLOGUE AUDITION
1. Choose your monologue carefully. Avoid monologue books. Not only are these
monologues often written specifically for the book (as opposed to coming from a
real play), but these are the same monologues that less resourceful actors will fall
back on as opposed to reading plays and sourcing material themselves. Avoid
monologues from plays that have been overdone (ex., Shakespeare). You want your
material to be fresh, not something your auditors have seen a thousand times.
2. Consider both comedic and dramatic monologues when looking for a monologue.
Choose a character you easily identify with so that you can naturally fall into the
role. A monologue audition is not the time to stretch yourself, but to showcase the
type of character that comes most easily to you. Be the character. Don’t drop out
of character. Don’t say “sorry” if you do.
3. Read the play in its entirety once you have decided on a monologue. It is the only
way to fully understand your character and how to deliver the monologue in context
to the plot and your character’s relationships with others.
4. Memorize, memorize, memorize.
5. Rehearse your monologue with an acting partner. Acting is reacting, and it is hard
to react to a wall. Instead of imagining how the character you are speaking to
might respond to your monologue, practice with a real live person in front of you.
React to her reactions, and when you are in an audition, imagine it is her you are
talking to.
6. Avoid an appearance that is distracting or restrictive when you go into your
audition. You want the casting directors to notice your facial expressions and body
movements, not your clothes, hairstyle, or make-up.
7. Warm up before you say your monologue (vocally and physically). This helps to
reduce nervousness.
8. Be prepared to deliver your monologue in any type of venue-from a stage in a big
auditorium to a small classroom – and adjust your volume level accordingly. Project
your voice from the stomach. Speak clearly. Play your character with honesty and
motivation; enjoy the moment.
9. If your monologue audition is being taped, do not look directly into the camera. You
may, however, choose a focal point that is close to the camera, as long as it is above
the auditors’ heads.
10. If the character you are talking to needs to move during the monologue, follow the
movement with your eyes and establish a new focal point.
11. If you forget your lines, improvise. Don’t ask if you can start again; just start again
if you need to.
12. You may want to have a second monologue prepared in case they ask to see
something else. If the monologue you plan to cover is comedic, make sure your
second monologue is dramatic.
13. Give the auditors eye contact when you walk into the room. This is the time to
show them who you are, not your character. Never walk up to the auditors and
initiate a hand-shake. Some casting directors see a few hundred actors in a day
and don’t feel the need to shake each actor’s hand. It’s nothing personal, it’s just
the way it is. If they already have your headshot and resume, simply state your
name, the name of the piece you’re performing from, and the name of your
character. If you feel it is absolutely necessary, you may give a brief one-sentence
explanation of what has happened in the plot up to this point. Then find your mark.
14. Choose a focal point just above the heads of the auditors. Whatever you do, don’t
look them in the eye when you are delivering your monologue. Just remember to
always make sure they can see your face. Nothing is more awkward than making a
casting director be a character in your monologue. A casting director should feel
like an outside audience member at a play who is watching an actor who is not
breaking the 4th wall. The auditor also needs to discuss things with his associates,
write down notes, review your resume, and so on while you are auditioning. If you
make him the other character, how difficult will it be to stay focused when he
takes a sip of coffee or looks away to talk with an associate? You get the point.
15. Allow the character’s emotions to determine your movements when delivering your
monologue. Move with purpose. Wandering and shuffling detract from your
character’s intent. Have your hands free for gesturing. Don’t fidget. Sit only if
absolutely required by the monologue. Do not use additional furniture or set pieces
and avoid the use of props.
16. Establish a strong and believable locale/setting.
17. Hold the last emotion for a moment, then break character and look into your
auditor’s eyes when you’ve finished delivering your monologue. Never end your
monologue by saying “scene”. Once you are done, wait for the auditor to speak
first. He may ask you about your availability or he may ask you to make an
adjustment and do a portion again. This doesn’t necessarily mean that you messed
up. He probably wants to see if you are able to take direction, can work with his
suggestions, are easy to work with, don’t get flustered, are creative/imaginative,
etc… When the auditors say “Thank-you”, that means leave. That doesn’t
necessarily mean that they didn’t like your acting, it simply means that their time is
limited and they have seen and heard all they need. Don’t ask them how you did or
make excuses for your performance. Simply say “thanks for your time” or “good
luck with your project”, or “take care”, and leave with a big smile on your face
because you did the best you can and because you want to leave them with a
favourable impression of you. If you leave with a scowl, or looking defeated or
depressed because you think you didn’t do well, they will remember this and take it
as a personality trait of yours that you might not be pleasant to work with.
18. When you leave the room, focus on what went well and what didn’t go so well. Learn
from the parts that didn’t go so well but don’t beat yourself up over them. Finally,
leave the audition behind. Don’t wait by the phone for the next month. Prepare for
your next audition and get out there!