How to Select and Perform Monologues

Lexington Avenue Press

Copyright © 2017 Frank Catalano

All rights reserved.

ISBN: 0692784780

ISBN-13: 9780692784785

eISBN: 978-1-4835893-2-9

Library of Congress Control Number: XXXXX (If applicable)

LCCN Imprint Name: City and State (If applicable)

HOW TO

SELECT

And

PERFORM

MONOLOGUES

ACTING ONE SERIES

VOLUME 1

FRANK CATALANO

TABLE OF CONTENTS

INTRODUCTION

WHAT IS A MONOLOGUE?

WHY DO I HAVE TO DO A MONOLOGUE?

HOW DO I SELECT A MONOLOGUE THAT’S RIGHT FOR ME?

TREAT YOUR MONOLOGUE AS IF IT WERE A SCENE

WHAT’S THE BEST WAY TO MEMORIZE MY LINES AND CREATE A PHYSICAL LIFE FOR MY CHARACTER?

PERFORMING A MONOLOGUE FOR AN AUDITION – HOW TO CREATE AN IMPLEMENTATION STRATEGY

CREATING A PERFORMANCE DYNAMIC - HOW TO MAKE A CREATIVE BOX TO PLAY IN.

HOW TO PLAY EACH MOMENT AS IF IT WERE PART OF A LARGER MOSAIC

USING WHAT IF?

HOW TO CREATE THE MOMENT BEFORE

HOW TO CREATE NOW USING OBJECTIVES AND SPECIFIC BEATS

HOW TO CREATE THE MOMENT AFTER

HOW TO BEGIN A MONOLOGUE AT AN AUDITION

WHERE SHOULD I LOOK WHEN I PERFORM AN AUDITION MONOLOGUE?

HOW DO I END MY AUDITION MONOLOGUE?

HOW TO HAVE FUN AT AN AUDITION

WHERE CAN I FIND A MONOLOGUE THAT’S RIGHT FOR ME?

BASIC TERMINOLOGY

BASIC TERMINOLOGY FOR PERFORMING ON STAGE

THEATRE – WHO’S WHO IN PRODUCTION

PERFORMING ARTS PRESENTATION SPACE

THE STAGE - THE PERFORMANCE AREA

STAGE DIRECTIONS

THE HOUSE AND AUDIENCE AREA

ACTING ON THE STAGE

MOVEMENT ON THE STAGE

TYPES OF PROPS FOR THE STAGE

ELEMENTS OF A THEATRICAL PLAY SCRIPT

BASIC TERMINOLOGY FOR ON CAMERA ACTING

WHO’S WHO ON THE SET

PRODUCTION INFORMATION – WHAT TO KNOW ON THE SET

ELEMENTS OF A SCREENPLAY

DUBBING – ANIMATED AND LIVE ACTION FILMS

VOICE ACTING TERMS

BUSINESS TERMS FOR ACTORS

AUDITION TERMS

CASTING NOTICE TERMINOLOGY

MARKETING FOR ACTORS

PRACTICE MONOLOGUES

CHEMISTRY

CONFESSIONS OF A SERVER

SIGMUND FREUD AND REPRESSION

GROUPS

WEARING GLASSES

LUCKY

IRON CITY

1957 COUNTRY SQUIRE

KONG ISLAND 1931

ATROPHY

BRUISE ON MY THROAT

THINGS I DON’T DO

FIVE SMALL BITES

THE PLUMBER

BIOLOGICAL MATURATION

MY LOCH NESS

BABY SITTING

BRIDGES

VOICE MAIL GREETING

HELLO

THE SOLILOQUY

INTRODUCTION

As an author, I have written several monologue books including ART OF THE MONOLGUE and WHITE KNIGHT BLACK NIGHT – both of which focused on the performance of a monologue as an artistic work. This current volume focuses on the presentation of monologues specifically for the purpose of auditions and acting classes. The difference here is that the actual selection and presentation of the material is focused more upon the actor’s abilities and type than the performance or the material. Why short monologues? As an acting teacher, I have always advised my students less is more. What does that actually mean? In this case, I want the actor to focus specifically on a given purpose in the presentation of each piece. The given purpose of an audition is to provide the auditioner a sample of your acting abilities, demeanor, ability to take direction and ultimately to determine whether or not you are the right fit for what they are looking for. But, let’s be honest, a casting director is rarely if ever going to have you perform a monologue if they are reading people for a specific role. They will just have you perform the actual lines of the character that you are reading for. So, what would be the purpose of a monologue? In a larger sense, a director of a theatre company, a university theatre school, an agent or manager might want to see how you perform prepared material. They would want to see how you create the moment without external direction so they can have an idea of the kind of actor you really are. To accomplish this, you need to present something that’s brief, to the point and gives them an idea of who you are and what you can do. They don’t need the whole performance, just a sample. An actor should have at least two short contemporary monologues (one comedy and one dramatic) ready to go at all times. If you want to be totally prepared you can add at least one or two short classical monologues to your acting arsenal. But here’s the rub. If you prepare, well-known material from familiar sources, most auditioners will have seen and heard other actors do these same monologues. Here, you run the danger of comparison. As you perform, they will be thinking about the last person that presented the same material. How did they do it? How does the interpretation you are presenting differ? Which one is better? You don’t want them thinking about anything other than you. To hedge your bet, you should select monologues that are new and fresh to their ear. Show them something new that is a perfect fit for just you. Something, that they can only imagine you performing. It should show what you can do emotionally, intellectually and physically and most importantly be brief and to the point. Brief and to the point means about one to two minutes. Remember, a class or audition presentation is a sample of what you can do, not the whole performance. If they want a whole performance, they need to cast you or buy a ticket.

Shorter monologues are also great to use within an acting class. Like an audition, you want to bring into the class a short sample of your acting ability or to showcase a specific aspect of your talent. If your strong suit is emotional roles, prepare a short emotional monologue. If it’s physicality, then prepare something that relies centrally upon your ability to move within the space. This is no secret. Acting teachers and students prefer shorter monologues for class presentations. Why? This allows both the teacher and the student the ability to focus on specific acting issues rather than restating them over and over again within a cumbersome presentation.