Monologues

Question:

Does anyone know any good site where I can find free Monologues?

Response:

Have you tried your local library or try wriing your own. Thart’s what I do. Lots of Luck from Ruth – Hide quoted text — Show quoted text – Does anyone know any good site where I can find free Monologues?

Response:

When performing a monologue for an agent or casting director, do they want to see something that they know and have probably seen before or can you perform something you have written for yourself? Also – what’s the rule on swearing or cursing in your monologue? Any help is greatly appreciated… – 5.15 Before you buy.

Response:

When performing a monologue for an agent or casting director, do they want to see something that they know and have probably seen before or can you perform something you have written for yourself?

You can do either. There are pros and cons to both. By performing well known pieces, you run the risk that a CD might get bored after having heard it for the 23rd time that day, or of being unfavourably compared to someone who has already done the same piece and "made it their own". Even "Star Search" banned ‘Somewhere over The Rainbow’ after awhile. A friend of mine attended a local Toronto highschool for the arts. One of her teachers failed her for altering Shakespeare. She chose to leave that school and to pursue her studies elsewhere, because as she put it "That wasn’t the place for me. True creativity will alter anything". My bias leans towards an original monologue piece that truly is your own An original piece can capture the CD’s interest on a number of levels, …as well, they’re also less likely to tell if you make a mistake ;^) There’s a good book on this very subject by my former acting coach. It’s called "The Perfect Monologue" by Ginger Howard-Friedman. Also – what’s the rule on swearing or cursing in your monologue? Any help is greatly appreciated…

When it comes to auditors, *MY* personal rule is "Never Offend!" Unless you know these people really well, you never know what will or will not offend them, …but there are certain things that as a general rule might be potentially offensive, or certainly off-putting. Profanity is one of those things. It’s up to you. If you do use it, make sure it’s appropriate, and not just gratuitous. Drama Queen — I’m really easy to get along with once you people learn to worship me!

Response:

When performing a monologue for an agent or casting director, do they want to see something that they know and have probably seen before or can you perform something you have written for yourself?

Do you have the book "Audition" by Michael Shurtleff? If you don’t, GET about auditioning, is in that book. Directors get sick to death of seeing the same tired thing over and over, whether it be good monologues, or great songs. You can write your own as you suggested, or even pick one from a novel, (both would be my pick over doing something overdone) as long as it has: 1. Voice of 1st person– Usually autobiographies are excellent sources for this, and 2. (Something I learned from Bill Smith) Conflict. It’s easy to find them dripping with emotionality, but make sure above all else, that it contains the appropriate amount of conflict in order to allow you to play opposites, find the humour and propel the scene forward. It doesn’t need to be one that will showcase your entire range either. You have 3 minutes to impress them, including what you are going to say to introduce yourself and make your impression, so you don’t have time for range. Save that for a show. Find one that showcases YOU the best. Whatever type that may be. Also – what’s the rule on swearing or cursing in your monologue?

I’ve poured over my books here, and so far, I don’t think there IS a rule about it. If you’re doing a monologue from a well-known screenplay or stageplay where everyone knows the character is an angry Italian from Brooklyn, then the auditors, if they’re smart, are going to figure that there’s probably swearing in it. But BEWARE ONE THING: Cursing in acting, as well as comedy (and I’m speaking stand-up), is such a tired, overused, uninventive, unimaginative choice, that it can hurt your reading instead of augment it. If your monologue is funny, and you’re adding it for humourous effect, don’t. It would be better to whip off your 505’s and moon the auditors rather than throw in cursing because YOU think it’s funny. Any time a stand-up or improv actor resorts to cursing or bodily functions, it shows that he’s not working very hard with his head. I’ll end with a quote from "Audition"; something to take with you to your audition– "Actors lose faith easily. I say: make a strong choice and go with it. To hell with whether it’s right or wrong. the audition isn’t about being right or wrong, it’s about commitment. Actors are consumed with the fear of being wrong. Keep faith in your choice and plow right ahead; make a strong choice and keep it strong. If you have opposites of equal intensity, you’re taking the right kind of risk." (And by using the term "stronger choice", he didn’t mean to imply that you need to overact to make that happen.) If you do a search on: http://www.remarq.com you should still be able to find older posts I’ve made about this same thing, not more than three weeks ago, with the exact subject heading and more extensive advice. — Opus (: "I wish the stage were as high and narrow as a tightrope so that only the most highly trained would dare to venture out upon it." –Goethe http://www.carla.coble.com -Acting site http://members.home.net/coble/OpusGraphics -Original graphics http://scoobydoo.acmecity.com/witchdoctor/345 -Alt.Acting Newsgroup Gallery

Response:

[snipped to get to the relevant part]

More wonderful advice from Carla again. I agree, Michael Shurtleff’s book is an excellent reference. Too bad the original question was not how to do a monologue. It was whether to use a well-known piece or an original one. What I forgot to add in my post was that Ginger Howard-Friedman apprenticed under Michael and he has also written "Actors, listen to Ginger!" He is not alone in his praise for her. Jerry Orbach from ‘Law & Order’ says "Ginger Howard-Friedman is one of the most innovative and important teachers of our time". And according to the ‘Tony Award’ winning director Gene Saks "As far as I and my Broadway and Hollywood colleagues are concerned, Ginger Howard-Friedman teaches the best how-to-audition class anywhere". Having studied with her myself, I say she’s pretty darn good, …and she’ll be the first to tell you, she learned everything she knows from her mentor Michael Shurtleff. Also – what’s the rule on swearing or cursing in your monologue? I’ve poured over my books here, and so far, I don’t think there IS a rule about it. If you’re doing a monologue from a well-known screenplay or stageplay where everyone knows the character is an angry Italian from Brooklyn, then the auditors, if they’re smart, are going to figure that there’s probably swearing in it.

Tsk, tsk. Here is where I take issue Carla. No, not if they’re "smart". Only if they are mentally imprisoned by stereotypical thinking. But, then again, you did say "well-known" stage-play didn’t you? Hopefully he opts for something original rather than resorting to tired ol steretypes Drama Queen — I’m already visualizing the duct tape over your mouth.

Response:

Good advice, Opus, as usual…. When performing a monologue for an agent or casting director, do they want to see something that they know and have probably seen before or can you perform something you have written for yourself? Do you have the book "Audition" by Michael Shurtleff? If you don’t, GET about auditioning, is in that book.

A point Michael Shurtleff is a must-read…. and on this topic, Jill Charles, a friend, publishes several extremely useful titles on the topic at this website: www.theatredirectories.com Included in the Summer Theatre Directory 2000, and I believe in Directory of Theatre Training Programs, Vol. 7, is a list that she has kept alive for some years, periodically…. play titles appear or disappear….. it used to be called something like "Monologues They Never Want to Hear Again," meaning monologues that are done to death. Jill has softened the title to "Monologues & Songs Most Frequently Performed at Combined Auditions." I pay attention to these lists, even though they are only somewhat representative of nationwide trends. Just as importantly, I monitor what audition monologues are done and done to death in my market, Denver. How? Well, I have an inside slant, in that I coach Colorado actors, but I also stay in touch with directors and CD’s…. in short, I network. And there are trends…. Lily Tomlin sped through Denver on her current tour of SEARCH FOR INTELLIGENCE, on her way to the NY revival, and now dozens of actresses are using that material, ONE MORE TIME, and gosh, I have seen it a few too many times, and yes, I will always compare the auditioner to the actress who "owns" this stuff. I won’t come out and say this material should never be done, but I would suggest to actresses that it might be a good idea to wait a few years or a decade before inflicting it on CDs…. one more time. Jill writes, "There is definitely a fatigue factor that sets in with producers who hear the same pieces over and over again." Directors get sick to death of seeing the same tired thing over and over, whether it be good monologues, or great songs. You can write your own as you suggested, or even pick one from a novel, (both would be my pick over doing something overdone) as long as it has: 1. Voice of 1st person– Usually autobiographies are excellent sources for this, and

Yes, Opus, and Jill suggests this…. but so often, actors just don’t have the common sense to pick the RIGHT material from autobiographies or novels…. they pick the self-indulgent pieces that start with the phrase, "When I was born in 1947….." And oh, gosh, I instantly KNOW that about to hear something that is introspective and maudlin and self-serving and that I’m likely about to hear something that breaks the next rule: 2. (Something I learned from Bill Smith) Conflict. It’s easy to find them dripping with emotionality, but make sure above all else, that it contains the appropriate amount of conflict in order to allow you to play opposites, find the humour and propel the scene forward. It doesn’t need to be one that will showcase your entire range either. You have 3 minutes to impress them, including what you are going to say to introduce yourself and make your impression, so you don’t have time for range. Save that for a show. Find one that showcases YOU the best. Whatever type that may be.

Yes, yes, Opus. And you state it well. Now it’s up to the actor to find and explore the conflict. But most actors don’t recognize it…. they go for "memory pieces" that are reflective…. which might make for good storytelling if you have an audience that is absolutely captured by you art and artistry. But these pieces do not necessarily contain conflict. In Shakespeare’s time, so says Cicely Berry, actors doing "To be or not to be," did not start their soliloquies as forgone conclusions, they engaged the audience in the argument, the debate, the conflict. And while many of my colleagues recommend the use of literary sources, I don’t always recommend this for the inexperienced actor. It is so much easier for actors to use dramatic material…. even material from screenplays, as there is almost always a conflict, or at least a hidden argument with which to begin. But still, you get into that tired ol’ argument about "set pieces," the reflective pieces that are most often reproduced in those god awful Best Monologues of 1972 books or, even worse, the Monologues They Never Heard collections. Also – what’s the rule on swearing or cursing in your monologue? I’ve poured over my books here, and so far, I don’t think there IS a rule about it. If you’re doing a monologue from a well-known screenplay or stageplay where everyone knows the character is an angry Italian from Brooklyn, then the auditors, if they’re smart, are going to figure that there’s probably swearing in it. But BEWARE ONE THING: Cursing in acting, as well as comedy (and I’m speaking stand-up), is such a tired, overused, uninventive, unimaginative choice, that it can hurt your reading instead of augment it. If your monologue is funny, and you’re adding it for humourous effect, don’t. It would be better to whip off your 505’s and moon the auditors rather than throw in cursing because YOU think it’s funny. Any time a stand-up or improv actor resorts to cursing or bodily functions, it shows that he’s not working very hard with his head.

I had to laugh at an actor who auditioned for me a while ago, who gave me a "sanctified" version of a cutting from a Mamet play. The actor, a "born-again," ought not to have tackled the playwright, but did walk away thinking I found his acting to be entertaining, whereas I was just amused by the choice. It reminded me of those dreadful re-writes of Shakespeare during the 18th and 19 centuries in which Romeo and Juliet survive and marry. I mean, gee, why bother? If you think swearing will make them sit up and take notice, then by all means, do Mamet. Otherwise, find some other material that reflects that with which you are comfortable. Yet, I also get your point, Opus; there are actors, especially the younger ones, who think that the way to make a producer or CD sit up is to select a piece that has a lot of raw anger or lust, and is peppered with a lot of scatology. I’ll end with a quote from "Audition"; something to take with you to your audition– "Actors lose faith easily. I say: make a strong choice and go with it. To hell with whether it’s right or wrong. the audition isn’t about being right or wrong, it’s about commitment. Actors are consumed with the fear of being wrong. Keep faith in your choice and plow right ahead; make a strong choice and keep it strong. If you have opposites of equal intensity, you’re taking the right kind of risk." (And by using the term "stronger choice", he didn’t mean to imply that you need to overact to make that happen.)

Pardon, while I pick up on one of DQ’s posts on this topic: Says DQ: There’s a good book on this very subject by my former acting coach. It’s called "The Perfect Monologue" by Ginger Howard-Friedman. Says DQ: Ginger Howard-Friedman apprenticed under Michael and he has also written "Actors, listen to Ginger!" Hmmm, I didn’t know about the connection between the two…. but I’m not surprised…. I did a Chicago-based panel discussion with Michael some years ago, and had correspondence with Ginger Howard-Friedman a few years ago, when her book was out of print. Now it’s back in print, and I’ve ordered a copy to replace the paperback version that was stolen from my Studio. She promotes an idea that has also been popularized by a friend, Jack Poggi, in his book, THE MONOLOGUE WORKSHOP (which is still in print, by APPLAUSE). Here’s how it goes (or at least this is the variation I coach at TAS.) Find a character from a play you like and find a scene in which your character (usually in a two-person scene) has most of the dialogue. Rehearse the scene. Find the conflict. Now, begin to edit that scene, building actions and verbal connections from both characters, until you have arrived at the 1 and 1/2 minute to 2 minute version of the scene, in monologue form. It takes some practice, and even some of my best TAS actors have problems with finding the segues, at first. But you are far more likely to find the conflict in the relationship, and you are almost guaranteed that no one else if doing the same "cutting." It’s called, at least by Poggi, the "cut and paste" technique. breaknobonesaboutit, billy — THE ACTING STUDIO http://gvtg.com/theactingstudio

Response:

By the way, should you get the chance, visit my website (see the URL below) and call up one of the articles icons…. included is some of the materials I use when coaching Shakespeare.

He’s right Simon; it’s a great article. I printed it out a couple of days ago. — Opus (: "I wish the stage were as high and narrow as a tightrope so that only the most highly trained would dare to venture out upon it." –Goethe http://www.carla.coble.com -Acting site http://members.home.net/coble/OpusGraphics -Original graphics http://scoobydoo.acmecity.com/witchdoctor/345 -Alt.Acting Newsgroup Gallery

Response:

Thanks, Simon, for adding your expertise on the topic. I do understand your Iago argument, and in fact I do encourage actors at TAS to focus on the history plays, as there is a wealth of untapped material. By the way, should you get the chance, visit my website (see the URL below) and call up one of the articles icons…. included is some of the materials I use when coaching Shakespeare. As to the "who invented auditions" question, I know of no two theatre historians who agree. My money was always on David Belasco, the "Bishop of Broadway" Break a leg, Bill — THE ACTING STUDIO http://gvtg.com/theactingstudio PS….. Jill Charles did write me privately on the monologue issue, and here, for anyone who is interested is what she says: Bill, Interesting correspondance, I will check out his website. The problem with Shakespeare (as has been frequently pointed out to me by directors/producers of Shakes. Festivals) is that, ESPECIALLY FOR WOMEN, there is a finite list of monologues, period. Which is why my list really only has the ones that absolutely elicit groans from the auditors when announced. These, too, tend to be the ones which are most inappropriate for young and inexperienced actors, the very folks most likely to gravitate towards them because they don’t know much else. Lady M, for example, is done by more 18-year-olds than you would believe (well, you probably would believe it, because I’m sure you see them, too). But it doesn’t help a woman to eliminate everything from AYLI, MND and 12th Night–they may be done a lot, but they’re still arguably the best material for many young women. Besides, about 5 years ago, ingenues discovered the Jailer’s Daughter, from 2 Noble Kinsmen, and then even THOSE speeches were overdone–for a couple years I heard them more than Rosalind (and the one from the end of the play when she’s mad is so melodramatic, I defy anyone to really pull it off out of context). Also, many of those Shakes. directors/producers I mentioned tell me "I don’t care how many times I hear Juliet, if it’s appropriate and really well done, I’m impressed."–or words to that effect. My answer to many is to look for OTHER classical material, unless Shakes. is specified. To my mind, someone who handles restoration, Moliere (Wilbur trans.) or even Shaw well is worth calling back. (But then, I’m just looking for good actors, I’m not trying to cast Titus Andronicus! ;-) ) FWIW, Jill – Hide quoted text — Show quoted text – Bill, Many thanks for yours. I don’t specifically specialise in Shakespeare, but one of my specialisms is auditioning – both as an auditioner (with the, mostly-required, Shakespeare) and (more and more) teaching people how to be effective in audition. A propos your "peeve" that there are Iago (for instance) speeches that are not often done in audition, and that this should be pointed out. My argument is that an experienced auditioner has already seen a wonderful Iago (in performance) and that performance biases the auditioners perception of whatever speech (of his) is presented. There are characters, like Katherine of Aragon, who’s court scene speeches are often used in audition, but who have lots of other material that isn’t – and how many performances of "Henry VIII" have you seen? Jill Charles’ website has been suggested to me before – I will certainly investigate… What you "colonials" have to remember is that we (colonisers) pay for every (weekday) second ‘online’ – my time for lengthy "investigations" is weekends – when I get online time for free…. All the best, Simon P.S. I have the legend that one of your’s (George Abbott) invented auditions in the first place – is this true? — <http://www.btinternet.com/~simon.dunmore/ Simon, Thanks for your list of "too-often used for audition" Shakespeare monologues, available on your website. It is (I estimate) six times the list created by a colleague, Jill Charles, who publishes and edits a number of books…. including her definitive Summer Theatre Directory 2000. I’m copying Jill on your post (and website.) Methinks, Simon, that you really specialize in the area of auditioning for and directing Shakespeare. Alas, I have bookmarked your website, so I will take more time later this week to see what you do. Jill Charles’ website, in case you are interested in what the "colonies" do is: www.theatredirectories.com And to folks who publish these lists, please accept my eternal thanks…. I do like to know the trends and the anti-trends, as the actors at my Studio NEED to know what’s hot and what’s not, and what’s over-done and what can be rendered freshly. My private peeve is this…. sometimes these lists include the generic message…. don’t do any Iago speeches… and this is simply not true. There are set speeches for Iago, and there are less done speeches for Iago, and there are "cut and paste" speeches for Iago. It would help actors (and coaches) Simon, if you would clarify the act and scene number of the speech that is overdone, or do it the way Jill Charles does it…. by citing at least the identifiable opening line of the overdone speech. Breakaleg, Bill

Response:

Bill, Many thanks for yours. I don’t specifically specialise in Shakespeare, but one of my specialisms is auditioning – both as an auditioner (with the, mostly-required, Shakespeare) and (more and more) teaching people how to be effective in audition. A propos your "peeve" that there are Iago (for instance) speeches that are not often done in audition, and that this should be pointed out. My argument is that an experienced auditioner has already seen a wonderful Iago (in performance) and that performance biases the auditioners perception of whatever speech (of his) is presented. There are characters, like Katherine of Aragon, who’s court scene speeches are often used in audition, but who have lots of other material that isn’t – and how many performances of "Henry VIII" have you seen? Jill Charles’ website has been suggested to me before – I will certainly investigate… What you "colonials" have to remember is that we (colonisers) pay for every (weekday) second ‘online’ – my time for lengthy "investigations" is weekends – when I get online time for free…. All the best, Simon P.S. I have the legend that one of your’s (George Abbott) invented auditions in the first place – is this true? — <http://www.btinternet.com/~simon.dunmore/ Simon, Thanks for your list of "too-often used for audition" Shakespeare

monologues, available on your website. It is (I estimate) six times the list created by a colleague, Jill Charles, who publishes and edits a number of books…. including her definitive Summer Theatre Directory 2000. I’m copying Jill on your post (and website.) Methinks, Simon, that you really specialize in the area of auditioning for and directing Shakespeare. Alas, I have bookmarked your website, so I will take more time later this week to see what you do. Jill Charles’ website, in case you are interested in what the "colonies" do

is: www.theatredirectories.com And to folks who publish these lists, please accept my eternal thanks…. I do

like to know the trends and the anti-trends, as the actors at my Studio NEED to know what’s hot and what’s not, and what’s over-done and what can be rendered freshly. My private peeve is this…. sometimes these lists include the generic

message…. don’t do any Iago speeches… and this is simply not true. There are set speeches for Iago, and there are less done speeches for Iago, and there are "cut and paste" speeches for Iago. It would help actors (and coaches) Simon, if you would clarify the act and

scene number of the speech that is overdone, or do it the way Jill Charles does it…. by citing at least the identifiable opening line of the overdone speech. – Hide quoted text — Show quoted text – Breakaleg, Bill

Response:

Simon, Thanks for your list of "too-often used for audition" Shakespeare monologues, available on your website. It is (I estimate) six times the list created by a colleague, Jill Charles, who publishes and edits a number of books…. including her definitive Summer Theatre Directory 2000. I’m copying Jill on your post (and website.) Methinks, Simon, that you really specialize in the area of auditioning for and directing Shakespeare. Alas, I have bookmarked your website, so I will take more time later this week to see what you do. Jill Charles’ website, in case you are interested in what the "colonies" do is: www.theatredirectories.com And to folks who publish these lists, please accept my eternal thanks…. I do like to know the trends and the anti-trends, as the actors at my Studio NEED to know what’s hot and what’s not, and what’s over-done and what can be rendered freshly. My private peeve is this…. sometimes these lists include the generic message…. don’t do any Iago speeches… and this is simply not true. There are set speeches for Iago, and there are less done speeches for Iago, and there are "cut and paste" speeches for Iago. It would help actors (and coaches) Simon, if you would clarify the act and scene number of the speech that is overdone, or do it the way Jill Charles does it…. by citing at least the identifiable opening line of the overdone speech. Breakaleg, Bill – Hide quoted text — Show quoted text – I’ve never met Dame Maggie, simply corresponded with her – in a very English way. It is my understanding that she normally doesn’t endorse anything. I count myself extremely fortunate… A propos my list of overused Shakespeare audition speeches/monologues – these are based on my own experience of many thousands of auditions in the UK. However, from the feedback I’ve received it seems that they may be internationally applicable. I have had a few suggestions for additions (e.g. Cressida & Hero), but characters like these don’t reach the "overused" (Edmund, Phoebe, Viola, etc.) level – in my experience. When I surveyed about 3 years worth of auditions (probably about a thousand speeches) to write the lists, I was intrigued to find that the male and female lists contained almost exactly the same number of characters. "Intrigued" is a classic English understatement; it’s shocking really, when the men must have at least ten times more material to choose from. Simon — <http://www.btinternet.com/~simon.dunmore/ Simon, a friend of mine just up the road here has been a personal friend of Maggi Smith’s for quite some time now. She just loves her, and Edward Albee also. In fact, when she was in London, he invited her to stay with him at his flat, but she declined. No funny biz obviously, but just a friendly gesture. Also, do you know if that list of overused monos would be applicable to the states, or just to the UK? I agree with the bulk of what’s been contributed so far. Anyone used to seeing audition speeches has seen wonderful performances of the ‘favourites’ – with which your performance will inevitably be compared. On my website you’ll find lists of over-used Shakespeare audition speeches. Simon Dunmore P.S. Shurtleff’s "Audition" is wonderful. — <http://www.btinternet.com/~simon.dunmore/

– THE ACTING STUDIO http://gvtg.com/theactingstudio

Response:

I’ve never met Dame Maggie, simply corresponded with her – in a very English way. It is my understanding that she normally doesn’t endorse anything. I count myself extremely fortunate… A propos my list of overused Shakespeare audition speeches/monologues – these are based on my own experience of many thousands of auditions in the UK. However, from the feedback I’ve received it seems that they may be internationally applicable. I have had a few suggestions for additions (e.g. Cressida & Hero), but characters like these don’t reach the "overused" (Edmund, Phoebe, Viola, etc.) level – in my experience. When I surveyed about 3 years worth of auditions (probably about a thousand speeches) to write the lists, I was intrigued to find that the male and female lists contained almost exactly the same number of characters. "Intrigued" is a classic English understatement; it’s shocking really, when the men must have at least ten times more material to choose from. Simon — <http://www.btinternet.com/~simon.dunmore/ – Hide quoted text — Show quoted text – Simon, a friend of mine just up the road here has been a personal friend of Maggi Smith’s for quite some time now. She just loves her, and Edward Albee also. In fact, when she was in London, he invited her to stay with him at his flat, but she declined. No funny biz obviously, but just a friendly gesture. Also, do you know if that list of overused monos would be applicable to the states, or just to the UK? I agree with the bulk of what’s been contributed so far. Anyone used to seeing audition speeches has seen wonderful performances of the ‘favourites’ – with which your performance will inevitably be compared. On my website you’ll find lists of over-used Shakespeare audition speeches. Simon Dunmore P.S. Shurtleff’s "Audition" is wonderful. — <http://www.btinternet.com/~simon.dunmore/ — Opus (: "I wish the stage were as high and narrow as a tightrope so that only the most highly trained would dare to venture out upon it." –Goethe http://www.carla.coble.com -Acting site http://members.home.net/coble/OpusGraphics -Original graphics http://scoobydoo.acmecity.com/witchdoctor/345 -Alt.Acting Newsgroup Gallery

Response:

Simon, a friend of mine just up the road here has been a personal friend of Maggi Smith’s for quite some time now. She just loves her, and Edward Albee also. In fact, when she was in London, he invited her to stay with him at his flat, but she declined. No funny biz obviously, but just a friendly gesture. Also, do you know if that list of overused monos would be applicable to the states, or just to the UK? I agree with the bulk of what’s been contributed so far. Anyone used to seeing audition speeches has seen wonderful performances of the ‘favourites’ – with which your performance will inevitably be compared. On my website you’ll find lists of over-used Shakespeare audition speeches. Simon Dunmore P.S. Shurtleff’s "Audition" is wonderful. — <http://www.btinternet.com/~simon.dunmore/

– Opus (: "I wish the stage were as high and narrow as a tightrope so that only the most highly trained would dare to venture out upon it." –Goethe http://www.carla.coble.com -Acting site http://members.home.net/coble/OpusGraphics -Original graphics http://scoobydoo.acmecity.com/witchdoctor/345 -Alt.Acting Newsgroup Gallery

Response:

I agree with the bulk of what’s been contributed so far. Anyone used to seeing audition speeches has seen wonderful performances of the ‘favourites’ – with which your performance will inevitably be compared. On my website you’ll find lists of over-used Shakespeare audition speeches. Simon Dunmore P.S. Shurtleff’s "Audition" is wonderful. — <http://www.btinternet.com/~simon.dunmore/ – Hide quoted text — Show quoted text – Good advice, Opus, as usual…. When performing a monologue for an agent or casting director, do they want to see something that they know and have probably seen before or can you perform something you have written for yourself? Do you have the book "Audition" by Michael Shurtleff? If you don’t, GET about auditioning, is in that book. A point Michael Shurtleff is a must-read…. and on this topic, Jill Charles, a friend, publishes several extremely useful titles on the topic at this website: www.theatredirectories.com Included in the Summer Theatre Directory 2000, and I believe in Directory of Theatre Training Programs, Vol. 7, is a list that she has kept alive for some years, periodically…. play titles appear or disappear….. it used to be called something like "Monologues They Never Want to Hear Again," meaning monologues that are done to death. Jill has softened the title to "Monologues & Songs Most Frequently Performed at Combined Auditions." I pay attention to these lists, even though they are only somewhat representative of nationwide trends. Just as importantly, I monitor what audition monologues are done and done to death in my market, Denver. How? Well, I have an inside slant, in that I coach Colorado actors, but I also stay in touch with directors and CD’s…. in short, I network. And there are trends…. Lily Tomlin sped through Denver on her current tour of SEARCH FOR INTELLIGENCE, on her way to the NY revival, and now dozens of actresses are using that material, ONE MORE TIME, and gosh, I have seen it a few too many times, and yes, I will always compare the auditioner to the actress who "owns" this stuff. I won’t come out and say this material should never be done, but I would suggest to actresses that it might be a good idea to wait a few years or a decade before inflicting it on CDs…. one more time. Jill writes, "There is definitely a fatigue factor that sets in with producers who hear the same pieces over and over again." Directors get sick to death of seeing the same tired thing over and over, whether it be good monologues, or great songs. You can write your own as you suggested, or even pick one from a novel, (both would be my pick over doing something overdone) as long as it has: 1. Voice of 1st person– Usually autobiographies are excellent sources for this, and Yes, Opus, and Jill suggests this…. but so often, actors just don’t have the common sense to pick the RIGHT material from autobiographies or novels…. they pick the self-indulgent pieces that start with the phrase, "When I was born in 1947….." And oh, gosh, I instantly KNOW that about to hear something that is introspective and maudlin and self-serving and that I’m likely about to hear something that breaks the next rule: 2. (Something I learned from Bill Smith) Conflict. It’s easy to find them dripping with emotionality, but make sure above all else, that it contains the appropriate amount of conflict in order to allow you to play opposites, find the humour and propel the scene forward. It doesn’t need to be one that will showcase your entire range either. You have 3 minutes to impress them, including what you are going to say to introduce yourself and make your impression, so you don’t have time for range. Save that for a show. Find one that showcases YOU the best. Whatever type that may be. Yes, yes, Opus. And you state it well. Now it’s up to the actor to find and explore the conflict. But most actors don’t recognize it…. they go for "memory pieces" that are reflective…. which might make for good storytelling if you have an audience that is absolutely captured by you art and artistry. But these pieces do not necessarily contain conflict. In Shakespeare’s time, so says Cicely Berry, actors doing "To be or not to be," did not start their soliloquies as forgone conclusions, they engaged the audience in the argument, the debate, the conflict. And while many of my colleagues recommend the use of literary sources, I don’t always recommend this for the inexperienced actor. It is so much easier for actors to use dramatic material…. even material from screenplays, as there is almost always a conflict, or at least a hidden argument with which to begin. But still, you get into that tired ol’ argument about "set pieces," the reflective pieces that are most often reproduced in those god awful Best Monologues of 1972 books or, even worse, the Monologues They Never Heard collections. Also – what’s the rule on swearing or cursing in your monologue? I’ve poured over my books here, and so far, I don’t think there IS a rule about it. If you’re doing a monologue from a well-known screenplay or stageplay where everyone knows the character is an angry Italian from Brooklyn, then the auditors, if they’re smart, are going to figure that there’s probably swearing in it. But BEWARE ONE THING: Cursing in acting, as well as comedy (and I’m speaking stand-up), is such a tired, overused, uninventive, unimaginative choice, that it can hurt your reading instead of augment it. If your monologue is funny, and you’re adding it for humourous effect, don’t. It would be better to whip off your 505’s and moon the auditors rather than throw in cursing because YOU think it’s funny. Any time a stand-up or improv actor resorts to cursing or bodily functions, it shows that he’s not working very hard with his head. I had to laugh at an actor who auditioned for me a while ago, who gave me a "sanctified" version of a cutting from a Mamet play. The actor, a "born-again," ought not to have tackled the playwright, but did walk away thinking I found his acting to be entertaining, whereas I was just amused by the choice. It reminded me of those dreadful re-writes of Shakespeare during the 18th and 19 centuries in which Romeo and Juliet survive and marry. I mean, gee, why bother? If you think swearing will make them sit up and take notice, then by all means, do Mamet. Otherwise, find some other material that reflects that with which you are comfortable. Yet, I also get your point, Opus; there are actors, especially the younger ones, who think that the way to make a producer or CD sit up is to select a piece that has a lot of raw anger or lust, and is peppered with a lot of scatology. I’ll end with a quote from "Audition"; something to take with you to your audition– "Actors lose faith easily. I say: make a strong choice and go with it. To hell with whether it’s right or wrong. the audition isn’t about being right or wrong, it’s about commitment. Actors are consumed with the fear of being wrong. Keep faith in your choice and plow right ahead; make a strong choice and keep it strong. If you have opposites of equal intensity, you’re taking the right kind of risk." (And by using the term "stronger choice", he didn’t mean to imply that you need to overact to make that happen.) Pardon, while I pick up on one of DQ’s posts on this topic: Says DQ: There’s a good book on this very subject by my former acting coach. It’s called "The Perfect Monologue" by Ginger Howard-Friedman. Says DQ: Ginger Howard-Friedman apprenticed under Michael and he has also written "Actors, listen to Ginger!" Hmmm, I didn’t know about the connection between the two…. but I’m not surprised…. I did a Chicago-based panel discussion with Michael some years ago, and had correspondence with Ginger Howard-Friedman a few years ago, when her book was out of print. Now it’s back in print, and I’ve ordered a copy to replace the paperback version that was stolen from my Studio. She promotes an idea that has also been popularized by a friend, Jack Poggi, in his book, THE MONOLOGUE WORKSHOP (which is still in print, by APPLAUSE). Here’s how it goes (or at least this is the variation I coach at TAS.) Find a character from a play you like and find a scene in which your character (usually in a two-person scene) has most of the dialogue. Rehearse the scene. Find the conflict. Now, begin to edit that scene, building actions and verbal connections from both characters, until you have arrived at the 1 and 1/2 minute to 2 minute version of the scene, in monologue form. It takes some practice, and even some of my best TAS actors have problems with finding the segues, at first. But you are far more likely to find the conflict in the relationship, and you are almost guaranteed that no one else if doing the same "cutting." It’s called, at least by Poggi, the "cut and paste" technique. breaknobonesaboutit, billy — THE ACTING STUDIO http://gvtg.com/theactingstudio

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It means they don’t want you , but please don’t use your house key on my car’s finish.

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Which book would I beable to get in which I can find newer monologues. I need dramatic, comedy and all the rest. I went to an auditions that required one 2 minute monologue and I gave them one that I have been using for 2 years, Now I will need someone opinion but when they say " GREAT JOB" and "EXCELLENT WORK" what do they mean? I mean did they like it or just telling me Bye see you later? and unfortually I went in with what they wanted just 1 prepared monologue and after I finished it they asked. If I had another one ready as well? and I did not So I assume I blew that audition because I have yet the get a call back and it has been over a week. so anyone have any comments

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LOL- Tell it like it iz Bill! – Hide quoted text — Show quoted text – Which book would I beable to get in which I can find newer monologues. I need dramatic, comedy and all the rest. I went to an auditions that required one 2 minute monologue and I gave them one that I have been using for 2 years, Now I will need someone opinion but when they say " GREAT JOB" and "EXCELLENT WORK" what do they mean? It means they don’t want you , but please don’t use your house key on my car’s finish.

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Awww and I was looking forward to doing that!!!!

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Does anyone have a good 1 to 2 minute monologue for a male actor in his sixty?. Either comic or drama or both if you know of any.

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"The House of Blue Leaves" has some good dramatic ones.

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Hi, all! Looking for several sites for monologues on the web for future auditions. Thanks for the help! Go ahead and email me directly, because I may not be back on the newsgroup. Might not have been saved in my directory! JJ Musgrove

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A word of warning when it comes to "Monologue Books" anyone can buy them. You are better off to find a script section in your local chain bookstore and start skimming. Truly this is a great way to find some gems… and it makes you original! (something directors will appreciate – I assure you) Break-a-leg Mike – Hide quoted text — Show quoted text -Hi, all! Looking for several sites for monologues on the web for future auditions. Thanks for the help! Go ahead and email me directly, because I may not be back on the newsgroup. Might not have been saved in my directory! JJ Musgrove

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Thanks Mary; appreciate that. Thanks Carla This is really good info. I am not as prepared as you for sure. I only have about 3 monologues that I use ;-}. Mary This is a re-posting for those who haven’t seen it yet.

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This is a re-posting for those who haven’t seen it yet. Here’s a quick check list of things actors looking for work can do for your monologue selection: 1. Sit down, and think about yourself. Who you are, and not what you hope to be, because we’d never get anything done with that one. Write down how you move, talk, stand; your physical appearance – from the top of your head to the tips of your toes; the things you like, the things you dislike; the clothes you choose to wear; what is unique about you, what is ordinary; what excites you and fills you with energy. Also, interview your friends and family, and make them SWEAR to be brutally honest. Stroking one’s ego will only hurt for this exercise. Find out how they see you. A great way to do that, is simply ask, "How do you see me?" Don’t give them leading questions. 2. Give that a category. Are you eccentric? Leading lady? Character? Dork? Mousy? 3. Begin marketing yourself to that market. Also, talk to your agent. Is this how SHE sees you? If not, chuck her and get someone who sees you and believes in you for you. 4. Now, go to your monologue books, or favorite novels. Pick out at least 12 monologues. No less. These don’t have to be incredibly emotional, and you don’t have to analyze their effects before you even print them out. Just pick ones from your gut; those that sound like YOUR POINT OF VIEW. Keep them in a notebook with tabbed dividers, and label the categories: Period Pieces (Greek or Shakespeare) –This usually includes pieces written up to around 1910, or more generally, up to and including Ibsen. Dialect Pieces –Get a great one under your belt, but realize that you will NEVER do it unless asked. Dialects are dangerous to audition with, unless specifically called for. Contemporary Dramatic Pieces –I usually find great ones that no one’s done before out of novels. Make sure they’re written in first person. Autobiographies are wonderful sources of material for this. This way, you can be assured that no one’s ever heard your piece before. Comedic Contemporary Pieces (Satire and other forms) Comedic Contemporary Pieces (Farce) — Keep in mind that for both of these, the beginning mistake is to make it a stand-up routine. I DO stand-up for a living, and the monologues you audition with are not even close to set-up/punch, so do not approach it like that. Don’t even put the emphasis on trying to make it funny. Character and comedy with acting, comes from point of view. That character you’re doing believes 150% in what he’s saying, so you must never let on that it’s funny. Do ya get me? Let the comedy come out of your belief in something so extremely absurd. Now that you know definitely what your character type is, begin choosing monologues that FIT this. The best performances during auditions are those pieces that are the most like YOU; the real you. In most cases, the auditors will not know the real you, and so all they see before them, is this person who is just stylin’ on a great monologue. Auditions are NOT the time to try something new or flashy. If you’re not a flashy person, then that would be really foolish; that’s why it’s imperative to find your character type first. Do NOT attempt to show things like range, even if you are good at it. That’s not the time; save that for a play. You’ve only got 3 minutes for two, and 10 seconds of that time is spent making your great first impression. That’s why it’s imperative that you choose material that speaks to your gut. Wear the same thing to the callback that you wore to the original audition. What the…?? It’s true. A lot of times, a director will be looking at thousands of actors during a cattle call, and when choosing actors to call back, they will only remember the "diva in the blue blouse". Wear the blue blouse again, so they will recognize you. What does all this mean? Well, within all of our searching inside and outside to become the best actor, to learn the best way of doing something, to learn how the "successful Hollywood actors" do their thing, we’ve forgotten how to actually approach text. We’ve gotten so caught up in the externals, like showing range, and accent ability, that we hardly devote any time to making that monologue pop. We’re so busy trying to BE actors, that we’ve forgotten that we need to learn how to ACT first. The way I learned to analyze text was during my Meisner study, but I like it for no matter what I’m doing. 1. Write it out. NO COMPUTER. WRITE that puppy out, with NO punctuation, NO capitalization, and NO parenthetical notes, telling you what emotion to play. Forget all of that for now. 2. Begin reading it outloud. Don’t memorize it at this point, just read it. Over, and over, and over, and over, and over, and over, and over, and over, and over, and over, and over, and over again, until you will throw up one more time if you have to even THINK of reading it again. Do it in a VERY MECHANICAL manner. Do NOT begin to inflect anything into it. No emotion, no anger, no elation, nothing. Make it as slow, methodical and mechanically sounding as you can. 3. Now that you’ve worked it so much without emotional content, begin memorizing it. 4. What is the purpose for all of this circus jumping? This is extremely crucial: TO REMOVE ANY AND ALL PRE-CONCEIVED NOTIONS OF HOW YOU THINK IT SHOULD BE PLAYED AND TO REMOVE ANY AND ALL CLICH

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