I think it's important to define people-places-things-activities in monologues. One of my favorite examples is the Antipholous monologue from Act V of "The Comedy of Errors." (I perform it in my one-man show "Lot o' Shakespeare.") In about 2 1/2 minutes he recounts the entire action of the play up-to-this point for the Prince. It's the one that starts with "My liege, I am advised what I say..."
In the course of it he talks about people: his wife, the goldsmith, Balthazar, "that gentleman," an officer, his peasant, his wife's sister, a "rabble more of vile confederates," "Pinch," (in great detail) and "your grace."
He references places: his home, the street, the goldsmith's (imagined) place of work, "the Porpentine" (a restaurant), "a dark and dankish vault at home," and "hither" (referencing the trip to where he is now, in the presence of the Prince).
He describes or implies the description of things: wine, a locked door, a chain (necklace), "certain ducats," "mine eyes," "my pulse," and bindings/bonds.
And, he describes actions (and attitudes): "Raging ire," "locked me out," "witness," "parted with me to go fetch," bring, "dine together," seek, met, "swear me down," receive, "saw not," arrest, sent, returned (with none), bespoke, go in person, met, brought, gazing, feeling, outfacing, "cries out," "fell upon me," "bound me, "bore me," "left me," "gained my freedom," ran hither, beseech, give me...
This monologue doesn't come to life until the performer has a sense of where these people he is describing lived, work or act, where the places are (north-south-east-west) in relation to where he is now, where-or-how the objects were used or manipulated, and how the actions described were acted out or acted upon him physically. Each one of these things contains an impulse for movement, whether or not that impulse is acted upon. I believe we all go through these impulses (either responding to or resisting them), either subtly or broadly, every time we tell a story. We're so accustomed to them, that we rarely notice how much of the rich tapestry of life is captured in our movement.
It also helps to "place" some of these people/places/things/actions at distant, opposing points from each other: upstage, downstage, left or right. It lends a flurry of activity that brings the speech to a hilarious climax.
Best,
Tim
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Tim Mooney
www.timmooneyrep.comwww.moliere-in-english.com------------------------------
Original Message:
Sent: 12-12-2019 10:55
From: Shira Schwartz
Subject: Getting students to move in monologues
Have them try a variation on silver bulleting. They pick the 2-3 most emotionally important words from each line and are limited to those. Then they must use their intention and physical choices to express the rest of the monologue. Once they have those choices worked out have them add the entire line back in and try to incorporate the physical choices they were just using. These will frequently be far too large at this point but then they have somewhere to start and can trim down to what works for them.
I always tell my kids that they need to have a reason for each movement and each one must be purposeful and specific and it's okay for there to be little movement as long as it's intentional and adds to the tension being created in the piece. I also have them do people watching to notice how movement based we are (I'm assuming these pieces are for are western based culture and not a piece set in a culture where movement is limited).
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Shira Schwartz
Chandler Unified School District
Chandler AZ
Original Message:
Sent: 12-12-2019 09:37
From: Ryan Moore
Subject: Getting students to move in monologues
Thanks for the recommendation, Josh. I take your point that many monologues don't require macro blocking (e.g. from point A to point B). I was thinking more about small movements and presence within the world of the scene.
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Ryan Moore
Theatre Teacher and Forensics Coach
Royal Oak MI
Original Message:
Sent: 12-12-2019 09:13
From: Josh Kauffman
Subject: Getting students to move in monologues
I like Hagen's fourth-wall exercise as a means for the actor to build skills in creating privacy and comfort. It helps in monologue work because they can envision the person they're talking to, and if the piece justifies movement (most, to my mind, don't), they can do so confidently.
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Josh Kauffman
Teacher, Thespian Society/Drama Club sponsor
Winfield City Schools
Winfield, AL
Original Message:
Sent: 12-12-2019 07:59
From: Ryan Moore
Subject: Getting students to move in monologues
Looking for good ideas about how to get students, when performing a monologue, to actually occupy the imaginary space rather than just standing and delivering words out. Any favorite activities/exercises?
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Ryan Moore
Theatre Teacher and Forensics Coach
Royal Oak MI
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