-- We do it at the beginning of the semester, the monologues. You have to have it! After Acting One you can't come for auditions not having rehearsed monologues -- comedy, drama, classic.
If in THR121 Fundamentals of Acting, must subscribe to WWWilde eGroup!
Use The Importance of Being Earnest (Oscar Wilde Online) for class monologues and scenes!
Kids, you got it wrong! I don't mind, if you do monologues from the movies, as long as you know what you are doing. Especially, in Acting One. I understand, I would say the same -- go for something, which expresses YOU, something close to home! Something you know -- your age, your environment...
Andy: Do you guys know what I did to get in here? I taped Larry Lester's buns together. Yeah, you know him? Well then, you know how hairy he is, right? Well, when they pulled the tape off, most of his hair came off and some skin too. And the bizarre thing is, is that I did it for my old man. I tortured this poor kid because I wanted him to think I was cool. He's always going off about, you know, when he was in school, all the wild things he used to do, and I got the feeling that he was disappointed that I never cut loose on anyone, right? So, I'm sitting in the locker room and I'm taping up my knee and Larry's undressing a couple lockers down from me and he's kinda, kinda skinny, weak, and I started thinking about my father and his attitude about weakness, and the next thing I knew I, I jumped on top of him and started wailing on him. Then my friends, they just laughed and cheered me on. And afterwards, when I was sittin' in Vernon's office, all I could think about was Larry's father and Larry having to go home and explain what happened to him. And the humiliation, the fucking humiliation he must have felt. It must have been unreal. I mean, how do you apologize for something like that? There's no way. It's all because of me and my old man. God, I fucking hate him. He's like, he's like this mindless machine I can't even relate to anymore. "Andrew, you've got to be number one. I won't tolerate any losers in this family. Your intensity is for shit." You son of a bitch. You know, sometimes I wish my knee would give and I wouldn't be able to wrestle anymore. He could forget all about me. (John Hughes, The Breakfast Club)
"Think of the monologue as an operatic aria: when the emotion and complexity of a character's Subtext becomes overwhelming, a monologue is a great solution. And it tells a story -- either of an event that happened or an emotional development. Ideally, it does both of these at the same time." [ * ]
At auditions they ask you to do a monologue. In Fundamental of Acting the midterm is a monologue. In six weeks we have to cover the distance between the text and two minutes of performance on stage. The first, the biggest problem is the text of your monologue. The better your selection is, the more difficult is to overpower it. Yes, you have to make immmortal lines by Shakespeare into a "material" -- you have to be in front, but behind the text.
We start with the Monologue Breakdown. The usual "1-2-3" of dramatic
composition: exposition, climax, resolution. Make another copy of your
monologue, or even better, type it -- you will be re-writing the text many
times. No, not the words. The stage directions. On the left put your
movements, on the right -- emotions. You know, like playwrights do -- ("after a pause," "smiling" and etc.)) The rule: you have to write no less stage directions for yourself than the spoken words you already got.
Oh, the painting above is Mona Lisa, the Leonardo's masterpiece. Naked. you
don't paint the dress, you study the body first, the structure, something which gives forms to the visible. In our case -- the words.
The Taming of the Shrew
PETRUCHIO
I will attend her here,
And woo her with some spirit when she comes.
Say that she rail; why then I'll tell her plain
She sings as sweetly as a nightingale:
Say that she frown, I'll say she looks as clear
As morning roses newly wash'd with dew:
Say she be mute and will not speak a word;
Then I'll commend her volubility,
And say she uttereth piercing eloquence:
If she do bid me pack, I'll give her thanks,
As though she bid me stay by her a week:
If she deny to wed, I'll crave the day
When I shall ask the banns and when be married.
But here she comes; and now, Petruchio, speak.
What makes it a good piece for a performer that this monologue satisfies the main prerequisite of action -- CONFLICT. What is Petruchio's objective? What is his obstacle? Does he have INNER CONFLICT? (Write your answers in your journal)
Second, the text gives an actor the ground for easy doubling:
two-faced Petruchio (what he thinks and what he intends to do) turns into
multiple characters. He plays Petruchio #2 and Katarina as well, comes back to
his original persona and leaves again.
Establish the three floor positions:
Petruchio --- Petruchio-Actor --- Katarina
or even better, make the line of action into a triangle:
Now, select the lines of the monologue you believe belong to those three
different "characters". Move into position 1, 2 or 3 with the appropriate line, see what kind of movement you got for your monologue.
Did you give all three different vocies? Different gestures? Make it big, very big. It's a comedy!
5W's
who, what, why, when, where
ABC of Dramatic Structure
Expososition -- Climax -- Resolution
Floor Plan
blocking & mise-en-scene
Pre-acting is a good criteria for measuring how well the Actor's Text is developed. Performance is the text.
For ground (floor) plan techniques, please, go to the directing pages. Your floor plan has to be attached to your your monologue breakdown pages.
Again:
STANISLAVSKY: FROM INSIDE TO OUTSIDE
and
MEYERHOLD: FROM OUTSIDE TO INSIDE
Acting One is a class where
Method Acting is not about to work. Stanyslavsky System requires years of
studies. In American university system any acting training program should count on an unterrupted long process. In "Fundamentals of Acting" I can count only on one semester. And we are result-oriented people; the progress must be seen next week. To my surprise I began to introduce Biomechanics in 121 Acting classes, and next I knew I was teaching it before I move to Method. For a student with no theatre training it's easy to understand Gesture, not Inner Gesture. Spacial expression of conflict instead of Inner Conflict. It was easier to take from somewhere imploying "From Outside to Inside" approach vs. "From Inside to Outside" Stanyslavsky's techniques.
Of course, Meyerhold is agreed that "all psychological states are determind
by specific physiological processes," but he believed that "from a sequence of
physical positions and situations, there araise those points of excitation which are informed with some particular emotion" ("Meyerhold on Theatre").
It natural for us to understand spacial relations before we learn time's
complexity. In Monologue or even Improv assignments I began with SPACE
BREAKDOWN. Horisontal (floor plan) and Vertical Levels (at least three). Instead of DS and US stage positions I ask them to treat it as a distance (conflict) levels. First with the audience. After they go through a basic text analysis with sript breakdown for pauses, changes, key words we go to it's physical expressions -- how it's done in space. Coming to DS (Closeup equivalent) indicates increase in dramatic tention. Getting up from the floor is a vertical expression of raising conflict. I direct students to treat spacial relations with the public as a prime connection. I have to introduce "The Triangle Rule" right away in my scene studies (Every action is taking place between three parties: Actor1--Spectator-Actor2).
Here's Khlestakov's monologue from "The Inspector General" by Gogol (my adaptation):
K: Oh let me tell you! Champaign, caviar! I'm at some party
every day of the week. The Canadian Foreign Minister, the French
Ambassador, the English Ambassador, The German Ambassador and I
play golf till we're exhausted. I'm barely able to drag myself
up to my dorm... What nonsense I am talking - I forgot that I
live in the mansion. You would be interested to see my reception
hall in D.C. before I am even awake in the morning: there are
ministers and diplomats jostling each other, bussing like bees -
all you hear is bzz, bzz. Sometimes even members of the
president's cabinet drop by. At one time I even ran a country.
Very curious - the president had vanished, nobody knew where.
Well, naturally, there was a lot of talk, "How will we manage?"
"Who will replace him?" Many in the congress were eager and took
it on - but as soon as they tackled it they saw that the job was
too much for them. What seemed easy, but look deeper into it and
it is a hell of a tough kind of job! They see there's no way
anyone can manage it - so they run to me. And all at once
politicians come racing, then more politicians, and more
politicians... Think of it - thirty-five thousand politicians!
"What's the problem?" I asked, "Sir, come and take charge of the
government," they say. I must admit I was a bit taken aback. I
came out in my robe, meaning to turn them down. But there, I
thought... "Very well, gentlemen, I accept the post, I accept," I
said, "so be it.," I said, "only with me, gentlemen, you had
better look out! I won't stand for any nonsense. No, sir!"
And, as a matter of fact, when I walked through the government
offices you would think an earthquake had stuck - they were all
trembling and shaking. Oh, I am not one to play games! Even
Saadam Hussein, Castro and the United Nations are afraid of me.
And well they might be! I am like that! No one gets in my way!
I tell them all, "Don't teach me!" I am everywhere! Everywhere!
I pop in and out of the White House. Tomorrow they're promoting
me to the Chief of Staff!
(Slips and almost falls. All support him respectfully)
Define:
5W's
_________________
ABC of Dramatic Structure
_________________
Floor Plan
If we believe that Theatre is "Empty Space" and actor creats dramatic space
through establishing directions, he must do it according to his character. This is Mr. K (Khlestakov)'s space; and this is how we read and relate to the
character. Specific movement in space is the CHARACTERIZATION. First line of the monologue establishes K's address and target -- he's about to picture the scene which exits in his mind. And he has to visualize it for the other characters, he has to creat a new space and set. To do it, he has to operate with the audience immagination, and he constracts it in our minds he can move and live within a new "his" space. It's not empty anymore, now he is obliged to exit in this sace without violating his own rules. Of course, acting choices are for actors. But a basic structure pre-design (or at least juggested) by Gogol, and I ask them to discover it. They could follow or play against it, but they must know it. We go through an avalution of their home work. Let say, they come to class with the follow breakdown:
K
Oh let me tell you! // Champaign, caviar! /
I'm at some party every day of the week. /
The Canadian Foreign Minister, the
French Ambassador, the English Ambassador, The German Ambassador
and I / play golf till we're exhausted. I'm barely able to drag
myself up to my dorm... /// What nonsense I am talking / - I
forgot that I live in the mansion. // You would be interested to
see my reception hall in D.C. before I am even awake in the
morning: / there are ministers and diplomats jostling each other,
bussing like bees / - all you hear is bzz, bzz. / Sometimes even
members of the president's cabinet drop by. / At one time I even
ran a country. / Very curious - the president had vanished,
nobody knew where. // Well, naturally, there was a lot of talk,
"How will we manage?" "Who will replace him?" / Many in the
congress were eager and took it on - but as soon as they tackled
it they saw that the job was too much for them. / What seemed
easy, / but look deeper into it // and it is a hell of a tough
kind of job! / They see there's no way anyone can manage it / -
so they run to me. / And all at once politicians come racing, /
then more politicians, and more politicians... / Think of it - /
thirty-five thousand politicians! / "What's the problem?" / I
asked, / "Sir, come and take charge of the government," / they
say. // I must admit / I was a bit taken aback. / I came out in
my robe, / meaning to turn them down. / But there, I thought...
// "Very well, gentlemen, I accept the post, I accept," / I said,
"so be it.," / I said, / "only with me, gentlemen, / you had
better look out! / I won't stand for any nonsense. / No, sir!" /
And, as a matter of fact, / when I walked through the government
offices / you would think an earthquake had stuck / - they were
all trembling and shaking. // Oh, I am not one to play games! /
Even Saadam Hussein, Castro and the United Nations are afraid of
me. / And well they might be! / I am like that! / No one gets in
my way! / I tell them all, / "Don't teach me!" / I am everywhere!
/ Everywhere! / I pop in and out of the White House. / Tomorrow
they're promoting me to the Chief of Staff!
(Slips and almost falls. All support him respectfully)
notes:
I advice students to follow the punction first and indicate the duration of breaks (from / to ///). All the changes must be expressed in voice or space levels. The next assignment is to fill in the script changes. Again, I'm not looking for the "right" choice but a choice. Their choices must be there; we test them in class (first through Cold Readings). Basically, they are writing their own (new) stage directions -- I call it "ACTOR' SCRIPT". This "paper acting" stage. I instroduce FLOOR PLAN very early. The space must be established...
How could I?! My brains must gone soft with this new political age! Years of my service, and not a single bureaucrat, inspector or contractor put one over on me. I've cheated the cheats and swindled the swindlers. Thieves and frauds willing to steal from their own mothers fell into my clutches. Three party bosses in a row -- I hoodwinked every one of them!
[
ANNA
I just can't believe it, darling. He's engaged to our Mary.]
MAYOR
Engaged! Engaged! Stuff your engagement! (In a frenzy) Look at me, all look at me, I want the whole world, every nation, to look at me! See what a fool the mayor has been made! (Shakes his fist at himself) Oh you idiot! Taking that jerk, that worm, for a VIP! And now he is in the air, laughing and spreading the story everywhere. He'll turn you into the laughingstock of the whole world! What's worse -- some scribbler will stick you into a comedy! That's hurts. And they'll all grin and clap. (To the audience) What are you laughing at? You, you're laughing at yourself! Ooooh! You sniveling liberals! Devil's seed! I'd tie you all in a knot, pound you all to a jelly and kick you down to hell! (Strikes out with his fist) What was there about that scatterbrain to make us take him for an investor? Nothing! Not that much! And yet everyone was suddenly yapping, "It's the millionaire! The investor! Inspector!" Who started the rumor? Who?
The addresses: (1) all main characters are on stage. (2) Of course, to
himself.1 Himself-in-the past vs. Himself-in-the-present. (3) To God. (4) To Mr. K. (5) "Liberals" (human kind). (6) To the audience.2
This list could be extended and explored from within every address. More
important for actor to establish some directions. We have couple vertical
directions (God, Humanity), off stage addresses (Mr. K3, audience). Several
areas on stage (4), such as "the group" ("them", Mayor's crowd). "His wife"
(Anna). I ask my student to draw a floor plan for every monologue or scene they do in class, even if it looks like a chart.
OFFICIALS
\ I /
? - MAYOR - WIFE
/ I \
Mr. K
AUDIENCE
Where a character or a group would be position is up to you, but it must be
there in order for you to create a dynamic space for this monologue. "Wife"
could place on the left or right, but without designating a spot for her, you
wouldn't have a direction to react. I ask my students not to move imaginary
addresses during the monologue, unless it's necessary. Should Mayor's daughter
be on his right, or together with her mother? After you had establish your
addresses, you have to find ways to indicate them (turning to, looking at,
making step toward, etc.) There are plenty of choices to be made but now actor
is forced to make those choices.
PS
Monologues should be treated a mini-play: one mood at the begining, opposite at the end -- and the climax (turning pont). Any monologue; if you do not have those three element, you have no monologue. We are looking for dramatic stages of your character, not the text.
"Is this monologue right for me?" Any monologue is right for you, if you do it right.
Homework
Do the "Actor's Text": write your own stage directing. Do the floor plan.
Here is my second monologue with actors text. I haven't done it in
class yet so it's still vunerable to criticism. It is from Mary
Chase's play, HARVEY. -Rose
HARVEY: By Mary Chase
(sitting at the doctors desk at the mental institution. I am
attempting to have my brother committed because he see's a six and a
half foot rabbit named Harvey. But, so do I. I've decided to play up
the characters Midwest accent as best as I can, but it comes out a
little too southern so I'm still experimenting with accents.)
Veta: (Complaining about my brother to the doctor.) We have to move
over on the sofa and make room for Harvey. We have to answer the
telephone when Elwood calls and asks to speak to Harvey. (Standing to
emphasize what a disaster that was!) Then at the party this afternoon
with Mrs. Chavenet there- (ugh! I can't even go on about how bad that
went! I sit.) We didn't even know anything about Harvey until we came
back here. (I throw my hands in desperation on his desk. Not a thing!
We were totally in the dark! Can you imagine? No? Ok I'll tell you.)
Doctor, Don't you think it would have been a little bit kinder
(hmmm?) of Mother to have written and told me about Harvey. Be honest
now,-don't you?
(No? Nothing?! )
Veta: Yes- it certainly would have.
(Who he is you ask? Well!)
Veta: He's a rabbit. (standing.)
(This doctor is not listening to me. I have to sit again, and talk to
this man like a child.))
(patiently) Veta: Doctor- I've been telling you. Harvey is a rabbit-
a big white rabbit- six feet high- or is it six feet and a half?
(gesture to indicate his height.) Heaven knows I ought to know. He's
been around the house long enough. (haha, laugh it off, I'm not ready
to tell him I see Harvey too.)
(Imaginary doctor is still not getting it. )
(impatiently): Doctor- (standing and being much firmer.) do I have to
keep repeating myself? My brother insists that his closest friend is
this big white rabbit. This rabbit is named Harvey. Harvey lives at
our house. Don't you understand? He and Elwood go every place
together. Elwood buys railroad tickets, theatre tickets, for both of
them. As I told Myrtle Mae- if your uncle was so lonesome he had to
bring something home- why couldn't he bring home something human? He
has me, doesn't he? He has Myrtle Mae doesn't he? (She leans
forwards.) Doctor- ( He inclines toward her.) I'm going to tell you
something I've never told anybody in the world before. (Puts her hand
on his shoulder.) (In a whispered, dead serious tone.) Every once in
a while I see that big white rabbit myself. (Wait for his reaction.
Nothing, just a cocked eye brow.) Now isn't that terrible? I've never
even told that to Myrtle Mae.
(Guessing that his subdued reaction and note scribbling is in no way
a indication that he thinks she's crazy she continues, happy to pour
her hear out finally.)
(straightening, because this is serious.):And what's more- he's every
bit as big as Elwood says he is. Looking him dead in the eye because
I'll break his legs if this gets out in the women's group.) Now don't
ever tell that to anybody, Doctor. I'm ashamed of it.
Tim's Dramatic Monologue:
Pacey's Relationship with his Father
from the TV series created by Kevin Williamson
[Pacey and his father are on the beach. The father has just fallen
over from being drunk]
*enter and make apparent that my father has just fallen down over
drunk*
Pacey: So I guess this is as good of time as any to have that father-
son talk. [in a gruff voice, meaning to imitate his father]
*at this point, step over him and change voice* (work on accent Tim!)
So, how ya doin' in school, Pacey?
* [back to normal voice]
Actually, Dad, I'm doing alright. I'm really turning things around.
Turns out I'm pretty smart. *smile*
*step over him again*
[gruff voice]
Good man, Pacey. Always knew you'd turn out to be something. How the
ladies treating you?
[normal voice]
Well, I met this woman.
[gruff voice]
Is she cute?
[normal, he laughs]
Aw, cute, man. Andi's beautiful. She's smart. She's funny. I tell ya,
this girl is something special.For whatever reason, she seems to
think I'm pretty special, too.
*pause here, this is my climax. when you ask why he can't see that,
move his hand away from his face and put your face close to his*
Why can't you see that? Why can't you see me, huh? When did you give
up on me? When I was 5? 10? 12? I'm 16 years old, Dad!
[begins to be emotional and break down] *don't rush this part!*
*Be screaming at this part. But control your voice* *there is so
much anger, at this point, you aren't completely talking to him, you
are talking to everyone*
And I'm here and I'm not provin' that but I'm tryin' so hard for
you. It's your job. It's your job to love me no matter who I am or
what I become because you're my father! You're my dad! You're
supposed to love me you son of a bitch.
*bring it back down with this last line to show the resolution*
I can't do this by myself.
Get Site Info
