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2009 : Lul Theatre
The second part of this word stands for "logic"!
The logic of dramatic structure of this experience your character goes through, the logic of emotional evolution, the logic of the thought process...
Dramatic experience is identification: it's me, not just you who will do the monologue. I have to feel that the next word come because I search and found it. Don't let me "listen" -- you lost me -- let me live it.
Very often actors think that drama takes place on stage... and even worse -- in them!
No, it's always in me, the spectator! In my heart, my mind, my imagination.
Can you make me experience it? Do you know how to do it?
That is what the play you are reading is written for -- for them, not for you to read. If you want it something for yoursef, get a good novel.
You are a player and you better learn how to play those wonderful instruments -- the humans. It's an orchestra out there. Many voices, many...
Your monologue is to nothing but the directions for their imagination. You start -- they will do the rest.
If you are not in my class, go to the pages on spectatorship theory and then read your monologue again...
Okay, if you know that action in the dark and silent house, you can think about HOW to make THEM work -- your monologue is the tool.
Yes, make them work, that is what they paid for -- to be the centerpiece of the show. Let them have it, the monologue.
You cooked it for them, you turned the words into performance, you made it visible (not just understandable), now -- the play.
They always play "white" -- they make the first move. Do not violate this basic theatre rule; if you won't let them to start the game, you will never win. Win what?
You see, we have too many assumptions. I guess, you think that you have public in front of you... No, they are not spectators yet, you have to make them into a public and the only way you can do it is to make them into YOUR public.
If they see you, not the character, you lost. You lost every time they see you.
That is why Stanislavsky uses this term "role" -- what is your role in this game theory?
Do you remember how I began to work on your monologue? Go back and recall it. That is where they are right now. You have to get back to the very beginning and start it all over. Fro them. But you know it all, they don't. How can they win? The rule of the game is to let them win every time, time after time, always.
They should feel that it's them who can guess every mood, every turn, every word of your character. It has to become theirs -- your character and you.
Stanislavsky said that actor must die in his character. Well, your character must die in your public. It has to become their property.
This monologue has to become an event in their lives. It has to happen to them -- what your character and you experienced already... Now it's their turn, their time to act.
Who does it? You, the actor. But they don't remember it. They shouldn't.
Let them forget it. Let them have it and call remember themselves...
And like children they will come back to you for more.
Like children they don't know how did it happen, they don't know that this experience won't take place without you... and like children they want more stories. Your stories, their stories, good stories.
Your monologue is a short-story of some human life. The play is a novel. Do you know how to write a novel, my friend?
Read more about Actor's Text to understand that you are writer, they are actors, the spectators.
I hope you have a better sense what this mono-logic is about, because I think you are ready to think about the SCENE.
Did you notice that you already have it, the dialogue, the scene -- between you/character and the spectators. Oh, make it fare, let them speak -- bring in another character! They can do many things, many voices, there are many inside of you, me or them. Lets have open dialogue...
In class I start with dialogues, knowing that we have to come back later, because it's easy for actor to start with the dialogue (scenes). It's natural, since everything in theatre is dialogue!
Monologue is the most difficult of all dialogues.
Now you know why do they ask for monologues for auditions.
A footnote about auditions. Forget about the job and casting process, remember one thing only -- they are spectators, always spectators. Make them public, make them forget that they are paid to judge your acting. You can do it, you are on stage, they are not.
Film Books & Links
Summary* Amazon mono-books: The Ultimate Scene and Monologue Sourcebook: An Actor's Guide to over 1000 Monologues and Scenes from More Than 300 Contemporary Plays * Great Scenes and Monologues for Actors * Monologues for Young Actors * Magnificent Monologues for Kids (Hollywood 101) * The Ultimate Audition Book for Teens: 111 One-Minute Monologues (Young Actors Series) * 99 Film Scenes for Actors * The Actor's Scenebook: Scenes and Monologues from Contemporary Plays * Group Improvisation: The Manual of Ensemble Improv Games * The Actor's Book of Contemporary Stage Monologues * Audition Monologues for Student Actors: Selections from Contemporary Plays * Neil Simon Monologues: Speeches from the Works of America's Foremost Playwright * Contemporary Scenes for Student Actors * The Contemporary Monologue: Women * Contemporary American Monologues for Women * Moving Parts: Monologues from Contemporary Plays * One on One: The Best Men's Monologues for the Nineties (Applause Acting Series) * The Contemporary Monologue: Men * Soliloquy! the Shakespeare Monologues (APPLAUSE ACTING SERIES) * 1 Act Plays for Acting Students: An Anthology of Short One-Act Plays for One, Two, or Three Actors * Actors Book of Classical Monologues * Monologues from Literature: A Sourcebook for Actors * The Actor's Book of Movie Monologues * Monologues from the Plays of Christopher Durang (Monologue Audition Series) * Shakespeare's Monologues for Women * The Ultimate Monologue Index (Smith and Kraus Monologue Index), Second Edition * 2 Minutes and Under: Original Character Monologues for Actors (Monologue Audition Series.) *
* one act fest
Be prepare to answer, if asked:
[ selection of monologue should be appropriate to the ability, age, and sex ]
** Write the character analysis in your Actor's Journal (before -- and after your auditions)!
For the lists
of recommended reading
I do not have rating system for the books listed (I should) and Amazon doesn't provide you with the real reviews. Perhaps this service it too new and within a year of two some good folks will write about the titles you clink on. The best strategy is to know what to look for....
The only way to know it is to read. Read a lot.
Three Sisters in Mikado, my next directing projects -- 3 Sisters by Chekhov!"
If you didn't read the pages on monologue -- Mono I and Mono II -- read it first. It could help you to figure out what kind of book do you need. Are you looking for monologues to audition? Check the page Cast: do you know "what" you are? Monologues for your acting classes? You should read plays, my friends! A lot of them! (This page "PLAYS" is not ready yet, sorry).
I know why I put The Mikado images on book pages: when they sign, they look like at the monologue auditions!
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