Dear Susan,
One of the things I love to do with Monologues is to have the actors create two or three contrasting "scores" or versions for the monologue. As an example, one score might render the monologue as it would be performed within the context of the whole story, while a second might be quite the opposite and a third might be absolutely random- Perhaps a totally different style like musical theatre versus Shakespearean or "soap opera."
Because I work so much with Michael Chekhov's tools, I have them practice their monologues moving starting very physically expanded and gradually contracting to a seed by the end, and repeat that while they just imagine their energy bodies doing the giant expanding-contracting but letting the words reflect their imagination. Then I reverse that so they start contracted and grow through the ending. Sometimes I use images like start as a seed and grow into a giant oak or begin as a giant oak and disintegrate into the earth.
Imaginary bodies and moveable centers are also great tools to use to get them to keep playing with the material without fixing it too soon. Imagine the body of different animals, or types of people with different age, gender, ethnicity and archetypes. Then allow the imaginary body to play you like a puppet master.
For objective, Have the actors practice pushing, pulling, lifting, smashing, tearing and throwing. Switch up the order of the gestures for completely new discoveries. Do them full bodied and then just imagining the action.
Finally, This little golden jewel is based on having adjudicated thousands of monologues for college auditions: Practice a clean entrance as the centered artist, introducing themselves and the piece as if a sun is radiating from their chest. Then practice the transition into the first moment of the monologue by ensuring that their is at least one subtle shift below their waist-affecting their knees. Yes, the shift in the knees--a bend, a weight shift in the hips, a repositioning of a foot will transform the artist more fully and lead the audience into the transition from "meet and greet" into the story. Try it with and without the lower body transition and you will notice the difference as an audience member.
Best of luck with it and feel free to ask me any questions about the above.
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Lisa Dalton
Fort Worth, TX
National Michael Chekhov Association, Pres, Certifying Master Teacher
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Original Message:
Sent: 09-18-2017 10:41
From: Susan Speidel
Subject: Monologue Activities
I am teaching a semester long "Monologue" course this year and am wondering what types of activities others due in a class focused specifically on monologues. I have a number of things mapped out for performing comedy/dramatic/contemporary/classic pieces, plus writing original monologues. However, it is a small class and I'm looking for some additional ideas for in-class exercises and assignments to flesh things out a bit. Thanks for anything you can suggest.
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Susan Speidel
Chairman of the Performing Arts Department
Morristown-Beard School
NJ
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