Act Acting » Acting Classes » Stop the (Monologue) Madness!
Stop the (Monologue) Madness!
Question:
I can only agree so-fa with your chair observation, however. From where I sit I don’t think I would be interested in furniture that could only show me one color:-)
Ah, Ken, but, if you watch an actor worth his or her salt pour everything s/he’s got into a chair, man, that chair’s suddenly on both sides of the rainbow. Forget the actor, with my thanks. Give me the damned chair. Cheers, Michael * * * * * [This message was posted to the ACTING-L mailing list and relayed to this newsgroup. You may followup to the newsgroup or, if you are a member of ACTING-L, reply to the list. For more information send E-mail to
Response:
From where I sit I don't think I would be interested in furniture that could only show me one color:-)
How about a chair that could play Queen Anne?:-) David * * * * * [This message was posted to the ACTING-L mailing list and relayed to this newsgroup. You may followup to the newsgroup or, if you are a member of ACTING-L, reply to the list. For more information send E-mail to
Response:
Ah, Ken, but, if you watch an actor worth his or her salt pour everything s/he's got into a chair, man, that chair's suddenly on both sides of the rainbow. Forget the actor, with my thanks. Give me the damned chair.
I knew there was some reason I did all those inanimate object exercises in class. From now on my auditions will all be seating:My classical piece will be Booth's chair in Hamlet and for my contemporary comic piece--Gehry. I guess a good TV audition would be a Barcolounger. But seriously folks...I think I might possibly have meant doing the monologue to an imaginary someone sitting in the chair not pouring my salt onto the chair itself. Although I have done some reupholstering and my language at times was salty in the extreme. My action:to get the chair to behave. Ken * * * * * [This message was posted to the ACTING-L mailing list and relayed to this newsgroup. You may followup to the newsgroup or, if you are a member of ACTING-L, reply to the list. For more information send E-mail to
Response:
But as I tell my actors, "It's up to you to find out, either before the audition or during the audition where to focus."
Bill, I've heard more than a few casting people complain that it either makes them nervous to be looked at directly because they want to look at the actor's work and not be involved in it, or even that they feel that they are supposed to be doing something that they know nothing about and become resentful. I used to ask if it was alright to 'use them' and get a courteous yes or no but I think its better for me to have made up my mind where my focus will be before I go in. You have no idea what awaits you behind the door labeled studio 'B.' That monologue you have about getting a lover to commit might be warped into incomprehensibility because the person to whom you are directing your passion is smiling idiotically at you and nodding in encouragement.I suppose you can look at the guy clutching the pastrami and still see your beloved but you might as well look to his left or right and save yourself the trouble. I think I now prefer cold readings to monologues. It takes a lot of the pressure off. No need for a performance in a vacuum, elaborate characterizations, agonizing over the perfect monologue, just me and my willingness to jump into whatever happens. A cold reading at least gives me a chance to show that I have some 'chops' and spontaneity and won't dry up totally when the cameras role. It also measures me against the same standard as everyone else doing the same reading. I actually get to work in the moment with another human being unless, of course,the reader, for some perverse reason, has been instructed to read in a brain-dead monotone. Let's stop the real madness:doing molologues at all. * * * * * [This message was posted to the ACTING-L mailing list and relayed to this newsgroup. You may followup to the newsgroup or, if you are a member of ACTING-L, reply to the list. For more information send E-mail to
Response:
Ah, Ken, but, if you watch an actor worth his or her salt pour everything s/he's got into a chair, man, that chair's suddenly on both sides of the rainbow. Forget the actor, with my thanks. Give me the damned chair.
Michael.... respectfully, I disagree, based on years of casting for both stage and film. Playing to a chair just doesn't translate. You may be an exception, but most actors playing to a chair focus on the seat of the chair -- and frankly, it looks a bit surrealistic. Way before INTERNET, we had this kind of debate about playing to the back wall -- I recall coaches and teachers who said, if there was a clock on the back wall, play it to the clock. It doesn't work. Although, some actors will be able to carry it off, convincingly. The actors in my Studio are trained to (and you may not like this) play the piece to the auditor. Most on-camera casting directors prefer this (unless they need you to play to the camera, in which case they'll tell you.) More and more stage directors are comfortable with this approach. And there are exceptions. But as I tell my actors, "It's up to you to find out, either before the audition or during the audition where to focus." Break a leg, Bill * * * * * [This message was posted to the ACTING-L mailing list and relayed to this newsgroup. You may followup to the newsgroup or, if you are a member of ACTING-L, reply to the list. For more information send E-mail to
Response:
The material will often dictate the approach. Shakespeare,for example, didn't write with a fourth wall in mind. It may be that the Elizabethans took large chunks of their speeches directly to the audience even when they were apparently talking to another character. Of course we aren't Elizabethans so that sort of approach might be a shock to some casting types.
Ken, Cecily Berry confirms what you've stated. (Read her books, folks.... they're a little dry, but say a lot about acting.) I preserved my notes from the classes I took with her at RSC. And I quote.... "Hamlet's 'To be or not to be' was not rendered to the gods, as so many American actors are inclined. In Shakespeare's time, the soliloquy was played to the house -- both the groundlings, as well as those of means, seated in their boxes. By 'play,' I mean that the premise was set out there, not as a foregone conclusion, but as a debate, a 'dialogue' on the matter." She added, (and here, I must paraphrase)" If you performed well, the audience was swayed by the believability of your conflict. If you performed unconvincingly and badly, the groundlings would pelt you with rotten fruit." Groundlings can be harsh, but honest critics. In short, the 4th wall was very flexible in Shakespeare's time. Bill * * * * * [This message was posted to the ACTING-L mailing list and relayed to this newsgroup. You may followup to the newsgroup or, if you are a member of ACTING-L, reply to the list. For more information send E-mail to
Response:
On the whole, I steer away from talking to a chair, though. Watching actors talk to a chair -- especially if they're doing a good job -- makes me look at the chair, not the actor. Chairs, on the whole, are better actors than we are. They do exactly what they're supposed to be doing, are always in the moment, never get self-conscious. Only one problem with chairs: they'll upstage you. So, I guess, never work with kids, animals . . . or chairs.
The material will often dictate the approach. Shakespeare,for example, didn't write with a fourth wall in mind. It may be that the Elizabethans took large chunks of their speeches directly to the audience even when they were apparently talking to another character. Of course we aren't Elizabethans so that sort of approach might be a shock to some casting types. Speeches written directly to the audience tend to merely 'deliver the news' so the actor has to find an action that can light a fire in his belly to get something back from them. With contemporary material, It helps me to create downstage "markers" for my invisible acting partners. This keeps me 'turned towards the money.' I can only agree so-fa with your chair observation, however. From where I sit I don't think I would be interested in furniture that could only show me one color:-) Ken * * * * * [This message was posted to the ACTING-L mailing list and relayed to this newsgroup. You may followup to the newsgroup or, if you are a member of ACTING-L, reply to the list. For more information send E-mail to
Response:
Michael, I teach in a small theatre dept. in a Florida backwater college. Before this I taught in Austin (the most beautiful town in the world) and Lubbock (I have an affinity for backwaters), Texas 
Thanx for asking! David * * * * * [This message was posted to the ACTING-L mailing list and relayed to this newsgroup. You may followup to the newsgroup or, if you are a member of ACTING-L, reply to the list. For more information send E-mail to
Response:
Michael.... respectfully, I disagree, based on years of casting for both stage and film. Playing to a chair just doesn't translate. You may be an exception, but most actors playing to a chair focus on the seat of the chair -- and frankly, it looks a bit surrealistic. Way before INTERNET, we had this kind of debate about playing to the back wall -- I recall coaches and teachers who said, if there was a clock on the back wall, play it to the clock.
Bill -- This was my point, exactly. I'd made it in an earlier post to this thread. Cheers, Michael * * * * * [This message was posted to the ACTING-L mailing list and relayed to this newsgroup. You may followup to the newsgroup or, if you are a member of ACTING-L, reply to the list. For more information send E-mail to
Response:
[snip] My own preference is to create the person to whom I’m speaking in the same space as I am standing. Even talking to a chair is better than trying to create the illusion of moment to moment work staring at a bored CD or Beige wallpaper. Ken
Hello! I am currently taking my first adult acting class. Our *instructor* (another term for him??) has us doing our monologues on stage while looking at a light switch in the back of the room. I find it unnatural to do my monologue this way and I notice that many other students have trouble with it. My question now is: Is this how I should read a monologue when i go to an audition or are there other techniques? I used to be in children’s theater classes when I was in elementary school but of course, we were never taught how to audition. Any advice is greatly appreciated! Thank You! Pamela Anderson (Cornfield Beach, Indiana <wink )
Response:
Michael, Excellently put! You’ve made the same point I’ve made in Acting class a zillion times, but got at a second lesson about action, and all with humor! Can I steal it for next week when I teach monologue presentation? David
David — With my compliments! — Michael P.S. Where do you teach? I’m currently at Cal. * * * * * [This message was posted to the ACTING-L mailing list and relayed to this newsgroup. You may followup to the newsgroup or, if you are a member of ACTING-L, reply to the list. For more information send E-mail to
Response:
[snip] Here is the list from the 1997 Summer Theatre Directory: [This material is under COPYRIGHT, and is posted for the use of those on the list only. This posting does not imply permission for anyone to copy this list and distribute it in any form, electronically or otherwise. Please abide by this copyright, I am relying on the honesty of those on this list. J.C.]
[snip wonderful things to follow] JILL!! My God! Thank you! Ah, yes, a great list! For the love of God, people, stop doing these tired pieces! You might be great, but we’re so tired . . . Ah, I’ll stop preaching to the converted. Thanks again for the list. Cordially, Michael * * * * * [This message was posted to the ACTING-L mailing list and relayed to this newsgroup. You may followup to the newsgroup or, if you are a member of ACTING-L, reply to the list. For more information send E-mail to
Response:
Ken --Michael Okay, I'll leap into the fray on this one and stir it up a bit . . . I almost ALWAYS use the CD or SM - especially if I'm in a smallish room. I mean why not - if it makes them feel "uncomfortable" and costs me the job -oh well- BUT 9 times out of ten - I think they respect the fearless risk I took and it certain help me be in the moment - conversing with "the" person in the room! (let's be honest - we all know we are there). But then again you really have to make that judgement when you walk into the hall (if the audition is in a 650 seat house - yer on the boards and they are in row 25 - center I pick a spot to the left of them one row back). I also use material that I have gleaned from sources OUTSIDE the theater. Certain novels - told in the "first person" can be a source of very imaginative material - I KNOW "they" haven't heard it before and most times it leads to a discussion about the material after my three minutes. I may not get cast often but I know I am remember . . . and am often called back for other roles when a CD I've auditioned for in the past is casting something they think I might be appropriate for.
Response:
[snip] almost uniformly, monologues work better when they are part of the whole. [snip] Taking them out of context for audition purposes is simply an expediency and is always done with silent apologies to the whole piece. The point of Stop the (Monologue) Madness seems more to be keeping things fresh by the avoidance of repetition, and that is a great idea. Even the greatest monologue becomes stale after the fourth or fifth time an auditor hears it in one day.
David — Point well taken. Monologue work, I think, is the among the toughest actors face. Abstracting a piece from a play only works against our efforts as actors to be concrete and particular, that is, specific, in our work. Anyhow, yes, you’ve caught onto the spirit of my crusade to stop the madness. More than anything, I’m trying to compile a list of monologues that have been done to death in recent years. Thanks. — Michael * * * * * [This message was posted to the ACTING-L mailing list and relayed to this newsgroup. You may followup to the newsgroup or, if you are a member of ACTING-L, reply to the list. For more information send E-mail to
Response:
On the whole, I steer away from talking to a chair, though. Watching actors talk to a chair -- especially if they're doing a good job -- makes me look at the chair, not the actor. Chairs, on the whole, are better actors than we are. They do exactly what they're supposed to be doing, are always in the moment, never get self-conscious. Only one problem with chairs: they'll upstage you. So, I guess, never work with kids, animals . . . or chairs.
Michael, Excellently put! You've made the same point I've made in Acting class a zillion times, but got at a second lesson about action, and all with humor! Can I steal it for next week when I teach monologue presentation? David * * * * * [This message was posted to the ACTING-L mailing list and relayed to this newsgroup. You may followup to the newsgroup or, if you are a member of ACTING-L, reply to the list. For more information send E-mail to
Response:
Hi, folks About the Monologue Madness question: I've survived the endless string of the same monologue, too. But, if the theatre continues to require a monologue, how dare the theatre castigate the actor for what he or she chooses to present? There is darn little to pick from. Perhaps the day of the monologue should end? As an auditioning actor, I *hate* cold reads. I would rather have the control of a preparred monologue. But it would seem that cold reads are coming to be prefered by many auditors, over the endless 'jock strap' recitals (that piece can be really funny, btw). And, having been in the casting (electric) chair, I think I'd rather have people cold read the words I'm going to have them work with than to recite from a work I may very well have no knowledge of. --- Scotty, beam me up and activate the cloaking shields. I think we have a Flame planet ahead! Robin - who's real name shall remain...
Response:
[snip] My own preference is to create the person to whom I’m speaking in the same space as I am standing. Even talking to a chair is better than trying to create the illusion of moment to moment work staring at a bored CD or Beige wallpaper. Ken
Ken — I’m with you on this one, create the person in the same space as you are. I’d say, though, create him or her downstage of you. Drives me nuts to watch an actor talk to some spot left or right of him/her. Some monologues might actually call for one to speak out to the house, to that "point on the wall" somewhere behind the CD — the opening monologue to George Walker’s "Zastrozzi" comes to mind, where the title character is introducing himself to the audience. On the whole, I steer away from talking to a chair, though. Watching actors talk to a chair — especially if they’re doing a good job — makes me look at the chair, not the actor. Chairs, on the whole, are better actors than we are. They do exactly what they’re supposed to be doing, are always in the moment, never get self-conscious. Only one problem with chairs: they’ll upstage you. So, I guess, never work with kids, animals . . . or chairs. Cheers, Michael * * * * * [This message was posted to the ACTING-L mailing list and relayed to this newsgroup. You may followup to the newsgroup or, if you are a member of ACTING-L, reply to the list. For more information send E-mail to
Response:
Anyhow, yes, you've caught onto the spirit of my crusade to stop the madness. More than anything, I'm trying to compile a list of monologues that have been done to death in recent years.
Every year when we publish the Summer Theatre Directory, we have a list of "monologues to avoid" at the big combined auditions. This comes from our own attendence at NETC auditions in Boston and StrawHats in NY. And when we send out the questionnaires to summer theatres in August, we send them this list and ask for their feedback--new ones to add, others that can be taken off the list as no longer overdone. I would be glad to have other suggestions e-mailed directly to me (I just came on this list, and may have missed most of this thread) for next year's list. This is just contemporary monologues--I'll post Shakespeare & songs in another posting, it makes it too long to do it all in one. Here is the list from the 1997 Summer Theatre Directory: [This material is under COPYRIGHT, and is posted for the use of those on the list only. This posting does not imply permission for anyone to copy this list and distribute it in any form, electronically or otherwise. Please abide by this copyright, I am relying on the honesty of those on this list. J.C.] from SUMMER THEATRE DIRECTORY, 1997, ED. BY JILL CHARLES SPECIFIC AUDITION PIECES TO AVOID AT THIS YEAR’S ROUND OF AUDITIONS [While I personally believe that it is detrimental to the actors' audition to use a piece that's overdone--and I know it's detrimental to my sanity to hear the same piece more than 25 times a day--there are producers who disagree with the idea of this list, believing that any piece that is well done will present the actor in a good light. You can use your own judgment in looking over this list, based mainly on pieces heard many times at last year's NETC and StrawHat auditions.]=20 Monologues, Contemporary: A=85MY NAME IS ALICE – jock strap speech A=85MY NAME IS STILL ALICE – marriage registry speech BAD HABITS – Dolly’s lament to the doctor. BABY WITH THE BATHWATER – Daisy’s speech about being a boy BOY’S LIFE – "No one should need anyone that much." COMPANY – New York monologue COWBOY MOUTH – Cavale’s Ugly Duckling story ‘DENTITY CRISIS – Peter Pan speech=20 THE FANTASTICKS – Luisa’s monologue FEIFFER’S PEOPLE & HOLD ME – "bread crumbs", "independence" and many of the others A GIRL’S GUIDE TO CHAOS – variations of the "dating" monologue I HATE HAMLET – most monologues, especially "to be or not to be" IS THERE LIFE AFTER HIGH SCHOOL? – Mrs. Delaney dream IT HAD TO BE YOU – audition monologue (my agent died) KEY EXCHANGE – Tiger Balm speech=20 LAKEBOAT – (Mamet) – the jock who always wanted to dance LAUGHING WILD – tuna fish monologue LITTLE FOOTSTEPS – the sperm monologue LONE STAR – the Grand Canyon speech (my personal most-hated) A LOSS OF ROSES – first day of school A PERFECT GANESH – singing at the funeral PERSONALITIES – "I want to be a hot bitch…" P.S., YOUR CAT IS DEAD – auditioning for the commercial SAY GOODNIGHT, GRACIE – chunky turkey soup=20 SLEEPING BEAUTY – "this womb is closing in 3 months…" or "the hair on the back of Ricky Lardner’s neck" SPLIT – "Stevie Wonder’s blind…" SUMMERTREE – dog Ginger monologue WAITING FOR THE PARADE – Catherine’s telegram speech; the husband who goes away "one piece at a time" — Jill Charles American Theatre Works, Inc., P.O. Box 519, Dorset, VT 05251 * * * * * [This message was posted to the ACTING-L mailing list and relayed to this newsgroup. You may followup to the newsgroup or, if you are a member of ACTING-L, reply to the list. For more information send E-mail to
Response:
I hereby volunteer the following for consideration as banable material: The Unicorn Monologue from Glass Managerie as well as the gentleman callers mono from the same Mercutio (?) atomies speech from Romeo and Juliet - I have seen more actors destroy that wonderful piece of writing than I care to dwell on - here's a clue... if you don't know what you're saying - don't say it! My huble suggestions anyway... and no... that jock strap mono has never been funny, never. Jeff D. * * * * * [This message was posted to the ACTING-L mailing list and relayed to this newsgroup. You may followup to the newsgroup or, if you are a member of ACTING-L, reply to the list. For more information send E-mail to
Response:
From "A . . . My Name is Alice," the character Woman has a monologue about watching her ex-boyfriend's jock strap swirling around in the washing machine.
I saw that monologue a while back and really didn't like it either. Is it any better in the context of the play? -- Daniel * * * * * [This message was posted to the ACTING-L mailing list and relayed to this newsgroup. You may followup to the newsgroup or, if you are a member of ACTING-L, reply to the list. For more information send E-mail to
Response:
Point well taken. Monologue work, I think, is the among the toughest actors face. Abstracting a piece from a play only works against our efforts as actors to be concrete and particular, that is, specific, in our work.
Pat McCorkle, a New York CD cringes whenever she hears a monologue that starts "I remember when...." She wants to see actors doing not remembering. By the way, she also advises actors not to use props, especially guns and knives they terrify her when an actor pulls one out.She also hates when an actor tries to "use her" by making eye contact. I find that to be only sometimes the case for other CDs. Some want you to use them. Some want you to find a point on the wall. My own preference is to create the person to whom I'm speaking in the same space as I am standing. Even talking to a chair is better than trying to create the illusion of moment to moment work staring at a bored CD or Beige wallpaper. Ken * * * * * [This message was posted to the ACTING-L mailing list and relayed to this newsgroup. You may followup to the newsgroup or, if you are a member of ACTING-L, reply to the list. For more information send E-mail to
Response:
I saw [the "A . . . My Name is Alice" jock strap] monologue a while back and really didn’t like it either. Is it any better in the context of the play?
Daniel — Gotta admit that I’ve neither read nor seen the play. Perhaps there are some better monologues in there, but I gotta admit that, having sat through this piece so many times in the last few years, I haven’t been inspired to either read or see it. Anybody else out there know the answer to Daniel’s question? — Michael * * * * * [This message was posted to the ACTING-L mailing list and relayed to this newsgroup. You may followup to the newsgroup or, if you are a member of ACTING-L, reply to the list. For more information send E-mail to
Response:
From "A . . . My Name is Alice," the character Woman has a monologue about watching her ex-boyfriend’s jock strap swirling around in the washing machine. I saw that monologue a while back and really didn’t like it either. Is it any better in the context of the play? — Daniel
When I did Alice, I was directed by a lady who had performed it here at the Alley Theatre. She cut the monologue completely. I performed it in an acting class and thought it was pretty funny. I couldn’t figure out exactly what was going on, so I performed it as practicing what I would say using a stuffed toy as the boyfriend. I’m sure it is overdone, though. Probably a lot of that play is overdone as monologues. Anjanette in Houston "Life is too important to be taken seriously" –Oscar Wilde– This Month’s movies: EVITA — 10!! MOTHER –9 1/2 Rent This — Let Him Have It — British film based on actual events 10+ * * * * * [This message was posted to the ACTING-L mailing list and relayed to this newsgroup. You may followup to the newsgroup or, if you are a member of ACTING-L, reply to the list. For more information send E-mail to
Response:
In response to your query regarding whether or not the "…Alice" monologue plays better as part of the whole, the answer is that almost uniformly, monologues work better when they are part of the whole. That is, with few exceptions, the way they were meant to be presented (works like "Speaking With" included). Taking them out of context for audition purposes is simply an expediency and is always done with silent apologies to the whole piece. The point of Stop the (Monologue) Madness seems more to be keeping things fresh by the avoidance of repetition, and that is a great idea. Even the greatest monologue becomes stale after the fourth or fifth time an auditor hears it in one day. David * * * * * [This message was posted to the ACTING-L mailing list and relayed to this newsgroup. You may followup to the newsgroup or, if you are a member of ACTING-L, reply to the list. For more information send E-mail to
Response:
Hello all. Just got back from six hours of auditions for my acting class. As a service to actors and (casting-)directors alike, I’d like to compile a list of monologues that just shouldn’t be done. I’ve wanted to do this for a long time, and today’s marathon confirmed for me that the time for such an effort is *now.* My list right now is small. Perhaps with your suggestions it can grow. Anyhow, here are two monologues that, in my opinion, shouldn’t be done again ever, ever, ever. Why? They’ve been done to *death.* My heart sinks every time I hear them. Saw each of these three, count ‘em, THREE times today: From "A . . . My Name is Alice," the character Woman has a monologue about watching her ex-boyfriend’s jock strap swirling around in the washing machine. From "Laughing Wild," the character Woman tells us of her nutty adventures buying tuna fish. Help me stop the madness! — Michael * * * * * [This message was posted to the ACTING-L mailing list and relayed to this newsgroup. You may followup to the newsgroup or, if you are a member of ACTING-L, reply to the list. For more information send E-mail to
Response:
Related Posts
- Military Service - Who Did and Who Didn't
- Another JW Endorsalment...
- Actors' Training Project-Oakland, CA
- Is beauty really in the eye?
- Teaching Acting: Resources?
- TVI featured on Bravo Channnel cable show...
- Dog suddenly started peeing/pooping inside
- Beverly Hills Studios?
- It is remarkably easy to come to believe what it is convenient to believe.
- Memorizing Lines...Help!! The Age Old ???