Getting a Superior in IE Monologues Part 1 by theatrefolk

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									GettinG a Superior in ie MonoloGueS p.1 ChooSinG MonoloGueS
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Everyone wants to do their best in an Individual Events competition. Getting a Superior is not as difficult as you might think! Here are a few hints to point you in the right direction…

______ NAME ____ __ TITLE(S) __ RULES

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Choose a Monologue that is…

SC Active. You ood, Faihave to physically run don’t r cellent, G Superior in Ex circles to have an active monologue. A r Charac dealing with ent Exce active. A charactertecharacter developmconflict is llent Clear of mood or Establish charactering ment a life and deathGood making decision is sett jective , active ob confronting another for active. Strocharacterbelievability A ng Fair and Consistency ce the first ming and paioncreateAnd having said all time is active. Ti ns dram ic te that, a littleat blocking doesn’t hurt Superior – emphasis Voice on ‘little.’ection Specifically-chosen Excellent or moves Proj cal honesty Diction, vo textually motivated.od gestures that are, vocal Go Watch Use of text n out for wander-itis!!! interpretatio Fair
Energy t to movemen Connection

ions e. Works fr sting select n for theatr o (2) contra ripts writte present tw published sc trant must d the 1. En awn from lections, an l must be dr . es. r, title of se 2. Materia may be used exceed five (5) minut name, troupe numbe ch play prohibited. trant’s oduction. ter from ea ns combined cannot n of the intr ly include en e (1) charac io 3. Only on mance of both select selections and must on speaks after conclusio rfor r both the entrant 4. The pe must be fo begin once esses troduction s. Time will allowed. s and weakn 5. The in BACK. e playwright ical makeup are not on strength OVIDE FEED names of th es, or theatr comments N—Your PLEASE PR um EVALUATIO mponent of this process!. Props, cost . 6. used WRITTEN ucational co tions air may be CIRCLE ed e for sugges 7. One ch provide the bulary Guid perior, cators’ Voca OICE CH See Adjudi ORING: Su

__ is __ structure;____it ordinary or something you can have fun with? Ismood. subtext? Is theree there n, or film ar yle, or adifferent inom rioherstfothesuch as poetry, fictio journey pe otd, rms monologue? within that may be __________

__________ __________ __by Lindsay Price __ __________ __________ __________

Avoid Monologues that…

Are over 2 and a half minutes. If both your pieces hit that 2 and a half minute mark you run the risk of going over time. Allow yourself time to play with your monologues rather than rushing to beat the clock. Don’t work out of context. If the monologue doesn’t work on its own or without explanation, don’t use it.

“To compare in order to show unlikeness Character-driven. There are no lights,irno or differences.” Fa FAIR GOOD sets, no costumes, no other actors, no rest EXCELLENT rule on the evaluation the mmen first RIOR of the play. Just you and the words. Give SUPEThisdiis nal covery ts on the back. RCLE): ad tio ease make (PLEASE CI sheet: “Two contrasting selections.” ______________ It’s Pl yourself a OVERALL RATINGand make sure those helping hand __________ amazing how ________IE’s ______judged where many ____ e I’ve words come out of the mouth of a three- ____________ __ e’s signatur Ju the difference between the ______ I couldn’t tell dg dimensional character. __________________ ______ ________ PRINT) monologues! e (PLEASE Judge’s nam Well-written. Seem obvious? Be on the lookout for all of the above in your piece. Contrast shows your versatility as an actor. Choose monologues that are unlike each An interesting character in the middle of an other, that have differences. emotion-based moment. Look at the sentence
acto ed ng memoriz Lines/blocki scene ent to the Commitm ncentration Focus and co ell t’s talent w Entran cased show Good

Superior Emotion-based. It’s always better to t Movemen dy to convey Exce over choose anUsemotion-based monologue llent a e of bo acter charmonologue. But don’t confuse e Good storytellingaging, use of spac St esence Stage with emotional. BeingFair emotion-based pr and nuances overly Gestures n to voice ectioas sobbing or shouting for emotional Conn (such Superior your wholerall presentation (withinacross as selfmonologue) comes Ove Excellent aterial Approp than ies) indulgent ratherriate mlitengaging. pabi r’s ca

Tell a story rather than show a story. Monologues are often used to advance the plot of a play. These types of monologues do nothing to show off your skills as an actor. There’s nothing for your audience to connect to. Don’t come from plays. You know the rules. Monologues must come from published scripts written for theatre. Contrast

Continued Over…

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Copyright © 2009 by Lindsay Price, All Rights Reserved You may freely copy and share this document, as long as the document is distributed in its entirety, including this notice. Please forward corrections and/or comments to the author.

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Types of Contrast Character: What makes the characters different in each piece? How do they physically move about the space? What emotion does each character experience? Are the stories for each character similar or different? Sound: Read the monologues aloud. Sometimes monologues that look different on the page become similar when spoken. Do the pieces sound similar? Do they move at the same pace? Is the vocabulary different? Period: Pair Shakespeare, Euripides or Molière with something modern. The Importance of Being Ernest with Mamet. A Feydeau farce with Arthur Miller. Genre: Classical, Absurd, Naturalistic, Modern, Post modern, Melodrama, Comedy, Drama, the list goes on. Don’t use two pieces from the same genre. Mood: Contrast giddy with serious. Which of the following moods contrast well each other? Peace, fear, joy, anger, charming, frustration, warmth, playful, condescending, upbeat, festive, sombre, whimsical, anxious, sad, bored, excited, passionate. Define the mood in your monologue. Pace: Pace is an excellent way to establish contrast. Some pieces will have the pace organically built in through sentence structure: pauses, run-on sentences, clipped sentences. If not, look to the character. How urgently do they want to share their story?

What do they want? What tactics do they use to get what they want? Let the character determine the pace. A Few Last Words Choose monologues with characters in your age range. Avoid playing a seventy-year-old when you’re seventeen. More often than not, it’ll be a distraction for the judges, no matter how good the piece itself is. Choose a piece that you love and connect to. The more you love a piece, the more fun you’ll be able to have with it, the more you’ll want to work on it, the more you’ll shine. You get a Superior, when you shine in your work. When you bring a character to life. When you give your audience an experience. Choose monologues that will make you shine. ❧


								
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