Posted 15 August 2005 - 09:35 PM
so we'll be distributing monologues a week before the auditions for students to memorize and perform. I'd like a comic and serious for both male and female (so four total).
Ideas? Looking for VERY short.
Lucy's "Queen" speech from You're a Good Man - and Charlie Brown's Lunch Bag routine would both be good for the comic.
Posted 16 August 2005 - 10:23 AM
Edited by The Baptist Death Ray, 16 August 2005 - 10:24 AM.
Posted 29 August 2005 - 03:06 PM
Posted 29 August 2005 - 05:14 PM
Posted 04 January 2006 - 10:59 AM
They need to be talking to someone else on stage, not the audience. Soliloquies are tricky, and I usually don't like to see them in auditions - I'd rather see them react to stimuli from other characters (even if they're inventing the other actors...).
I haven't properly auditioned for a play in ages. But for some reason, a monologue I used to audition for a Shakespeare play about 6 years ago sticks in my head like nothing I've ever memorized (and I did get the part, by the way). I pulled a bit of Polonius out of Hamlet - Act 2 Scene 2 starting with "My Liege and Madam, to expostulate what majesty should be" which does include Brevity is the Soul of wit. It was a lot of fun to play, and gave me lots of dynamics to play off of with "Claudius" and "Gertrude" with me up there. I later actually played Hamlet, and was somewhat disappointed that I wasn't in that scene (being in almost all of the others helped soothe that wound).
My acting students always make the mistake of choosing a speech where they can't connect to what the character is desperately trying to say - and usually is desperately trying not to. They just recite. Which is boring, even when it's only 30 seconds.
Posted 14 February 2006 - 03:07 PM
I'm still thinkin'....
Posted 24 April 2006 - 08:32 AM
So, those are some thoughts. Most of the online searches I have gone through follow AtticScripts suggestion - i.e. they are an extended speech directed at another character(s) rather than your classic Hamlet "To be or not..."
Posted 31 October 2007 - 04:17 PM
(Yes, this question is related to the thread on great speeches I just started.)
Posted 31 October 2007 - 04:53 PM
Or perhaps piece together some selections from Twain's Diaries of Adam and Eve.
Posted 14 November 2007 - 07:26 PM
You can find great, narrative passages that are new and fresh.
For example, I have found two excellent pieces from "My Name is Asher Lev" by Chaim Potok and one in "Trinity" by Leon Uris.
One of the pieces from "Asher Lev" tells of the first time Asher viewed a piece of art that moved him to tears. It is rich and emotional - a great way to showcase your talent, IMHO.
So, if your looking for something out of the ordinary, pick up a classic book and read it with that in mind.
Posted 14 November 2007 - 07:39 PM
Plays are written to be performed; books are written to be read. (I won't go as far as Peter, who disdains the idea of reading Shakespeare as literature for this reason.) If you can't think of a good monologue from a play, you simply need to see, hear, or read more plays.
And you should choose a monologue from a play that you have read, or at least seen. If you don't know the whole play, then you don't know how the monologue fits within it, and you will quite likely make dramatic choices in the monologue that make no sense in the context of the play. (I think back to an acting class I was in ... one of the other fellows, a musical-theatre type, did a scene from Night of the Iguana and played Rev. Shannon as a young, idealistic ingenue. Either he hadn't read the play, or ingenue was all he could do.)
Now, if you are preparing a monologue for an audience, not an audition, and you wish to choose something from non-dramatic literature, go right ahead.
Edited by mrmando, 16 November 2007 - 11:43 AM.
Posted 15 November 2007 - 08:02 PM
I didn't mean to suggest that you just pick any section out of a book. Certainly not a 3rd person section. That would not be good. What I recommend looking for is first person narration.
Generally, what is a monologue but the relating of a story by a character in the first person. There are many first person sections in literature that are that.
I am a director myself and have auditioned many people. When I look to cast someone I want to see in their audition verisimilitude, technique, depth in their character ... among other things.
I really wouldn't focus on whether or not they were using a piece from a play or not. Any director that would write off an audition strictly on that fact would not be a very good director, in my opinion. They would probably miss out on some great talent.
I guess I will qualify this for use in "the real world". In a school or university setting, this might be an issue.
If you would like, I could attach the section I use from Chaim Potok so you could see what I mean. I wouldn't dismiss this completely.
Edited by Phantom_of_the_Forum, 15 November 2007 - 08:43 PM.
Posted 16 November 2007 - 11:30 AM
It doesn't have to tell a story to be a good monologue.
If it comes down to a choice between two or more equally talented people, it would seem wise to most directors to choose the actor who seems more familiar with dramatic literature, on the theory that he/she is also more familiar with the forms and conventions of the theatre.
Great talent isn't much good if it is undisciplined. And, actors are rarely chosen for roles on talent alone.
How many people show up at TPS generals with a monologue from a book?
Edited by mrmando, 16 November 2007 - 11:38 AM.
Posted 18 November 2007 - 06:29 PM
Posted 25 January 2008 - 11:49 AM
1. Don't use current pop songs as your sixteen bar musical piece. Artistic directors want to hear Sondheim, Rodgers and Hammerstein, or Gilbert and Sullivan - they don't want to hear Will Smith's "Wild Wild West", Britney Spears "Ooops I Did It Again", or U2's "Beautiful Day".
2. Look up the word "contrasting", then you'll avoid doing two monologues in a row by Shakespeare or Neil Simon.
3. Do not take monologues from movies, especially John Turturro's "I can't die, out here in the woods, like a dumb animal..." scene from Miller's Crossing, and then contrast it with Quentin Tarrentino's dissertation on the hidden meaning behind Madonna's song "Like a Virgin" from Resevoir Dogs. This is a bad idea... it does not reflect well on your abilities when your scenery chewing is bigger than Turturro's in the former, and your acting skills are worse than Quentin's in the latter. Movie monologues just don't work, as most people tend to imitate the movie version rather than come up with a different take.
4. Don't dress in costume. Ren-Faire wardrobe may work well for Shakespeare, but is a bit out of place for Mamet.
5. If you are going to perform Shakespeare, take the time to look up words like "vouchsafe" or "contumely" or "quietus"... nothing reveals an unprepared audioner quicker than mispronounced words, or inflections that betray the fact that a person has no idea what they are reciting.
John and I would seperate auditioners into 3 categories. The A-list - the B-List - and the CTR-list. What is CTR, you ask? Community Theatre Rejects. Guess which one was the fullest at the end of the weekend.
Edited by Baal_T'shuvah, 25 January 2008 - 12:07 PM.