Sound Of Music Monologue? Best 51 Answer

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Dear God, I know that you have sent me here on a mission. I must help these children to love their new mother and prepare them to win her love so she will never want them to leave her. And I pray that this will become a happy family in thy sight. God bless the captain.To monologue the music the actor sheds the lyrics of their song and communicates instead solely through the music.A monologue should show who you are, not add layers of dialects, character traits, a limp, or something outrageous to impress. If they can’t tell you’re acting, that’s good acting.

Suggested sites for finding monologues on the web for free:
  1. Monologue Archive. An assortment of public domain monologues taken from classic plays organized by gender and type.
  2. Shakespeare’s Monologues. …
  3. Audition Monologues by Stage Agent. …
  4. The Monologue Database. …
  5. Ace Your Audition Monologues.

What is a music monologue?

To monologue the music the actor sheds the lyrics of their song and communicates instead solely through the music.

What is a good monologue?

A monologue should show who you are, not add layers of dialects, character traits, a limp, or something outrageous to impress. If they can’t tell you’re acting, that’s good acting.

What are some examples of monologues?

A monologue involves one character speaking to another. A better example of a monologue is Polonius’ speech to his son, Laertes, before Laertes goes to France. Here, he gives advice for how Laertes should conduct himself overseas. “Yet here, Laertes!

hamlet

When you think of Shakespeare’s Hamlet, you might think of the title character’s famous “To be or not to be” speech as a prominent monologue. But this speech is actually a monologue – a speech of inner dialogue in which the character (in this case Hamlet) expresses his inner thoughts to the audience. In a monologue, one character is speaking to another.

A better example of a monologue is Polonius’ speech to his son Laertes before Laertes leaves for France. Here he gives advice on how Laertes should behave abroad.

“But here, Laertes! on board, on board, to shame!

The wind sits in the shoulder of your sail,

And you are there for yourself. There; my blessings be with you!

And these few commandments in your memory

See character. give your thoughts no tongue,

Also no disproportionate thought of his deed.

Be familiar but by no means vulgar.

You have these friends and tried their adoption

Hold them to your soul with steel hoops;

But don’t cloud your palm with entertainment

Of every newly hatched unfledged comrade. Beware

Entering a fight but being in it

Remember that the opponent may be wary of you.

Give your ear to everyone, but your voice to a few;

Take every man’s rebuke, but reserve your judgment.

Precious your habit as your purse can buy,

But not in terms of imagination; rich, not ostentatious;

Because the clothes often proclaim the man,

And they in France of the best rank and rank

In this they are one of the choicest and most generous chiefs.

Be neither a borrower nor a lender;

For loan often loses itself and friend,

And borrowing dulls the sharpness of the posture.

This above all: be true to yourself,

And it must follow, like night the day,

Then you can’t be wrong with anyone.

Farewell: my blessing season this in you!”

Like most important literary monologues, this speech is important in both content and timing. It reveals the qualities Polonius values ​​and that Laertes must uphold, and it marks the last time Laertes sees his father alive.

How long should a monologue be?

An effective monologue should be around one minute, or 90 seconds max. Length goes hand in hand with entertainment, because you don’t want your audience to become bored. It is far better to fill a 30 second monologue with great acting choices than to dredge on for 3 minutes of mediocre acting.

By the time an actor enters the audition room, the audition is largely won or lost due to their preparation. Thorough prep work leads to confidence, commitment, and ultimately a quality audition. However, being unprepared leads to the opposite result. Although most auditions these days are script or page in hand, occasionally actors are asked to prepare and perform a monologue.

Monologue auditions are still common when meeting agents, appearing at general auditions, and meeting theater directors for the first time. Before actors can work on a monologue, they have to choose one, and that in itself can be a daunting task.

How can an actor choose the monologue that’s right for them? What are the different things to consider?

Follow the steps below to choose a monologue that suits you…

#1: Know your type

First, a monologue is an opportunity to show who you are as an actor, so knowing your type is important. Actors are usually brought in for roles that fit their type, and a fitting monologue gives directors insight into your approach to the role.

Additionally, watching someone monologue against the type can be incredibly distracting. There’s a time and place to challenge the status quo, but the audition room isn’t. Things to consider: age, personality, physical description, accent, and so on.

#2: Aren’t you entertained?

Acting is all about entertaining. Do everything you can to choose a monologue that you believe in and that is entertaining at the same time. That means finding a play that has a story arc with a beginning, middle, and end.

This means that changes in character occur throughout the speech. This means that the writing is “good” and that in addition to passing on information, the character also has a motivation to speak.

Entertainment tricks: Choose a speech with comedy and drama, look for a passage with a twist, or choose an unusual monologue.

#3: Brevity is the soul of wit

Brevity is also the soul of a good monologue. An effective monologue should last about a minute or 90 seconds maximum. Length goes hand in hand with entertainment because you don’t want your audience to get bored.

It’s far better to fill a 30-second monologue with great acting choices than spend 3 minutes on mediocre acting.

#4: Choose something familiar

Worked on a play with a great monologue? Do you have a favorite author that you would like to feature? Familiarity with a play can lead to faster preparation and a better understanding of the character.

However, actors should avoid monologues that are too famous and/or overdone. Tips: Read the full script before choosing a monologue and don’t perform Braveheart’s battle speech.

#5: Who is it for?

Lastly, think about who will be watching you and what role you are auditioning for. Always try to match the role with the monologue (as stated in #1) so the casting people can get a look at you in the role.

The monologue choices also vary depending on the director’s style. One director may be offbeat, another traditional, so try to choose a monologue that adapts.

Following these five steps will put an actor on the path to choosing a good monologue for themselves. But remember, once that’s done, the real work begins!

Click here to learn more about: The School of Acting at New York Film Academy.

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What is the most famous monologue?

Best Monologues of Actors
  • Charlie Chaplin – The Great Dictator’s finale. …
  • A Few Good Men – You can’t handle the truth! …
  • Joker – Talk Show Monologue. …
  • Hannibal – Meeting Clarice. …
  • Game of Thrones – Tyrion’s Confession. …
  • Little Women (2019) – Jo’s I want to be loved. …
  • Stoker – Mother and Daughter Conversation.
Best Actor Monologues

Charlie Chaplin – The finale of the great dictator

“I’m sorry, but I don’t want to be an emperor. This is not my business. I don’t want to dominate or conquer anyone.”

One of the most memorable monologues that has stood the test of time is Chaplin’s The Great Dictator. Dramatic monologues for men are easy to find. But if you want to hear motivational speeches, you can’t go wrong with The Great Dictator. The movie was shot in 1940. Chaplin played two opposing roles: Adenoid Hynkel, a terrible dictator, and a Jewish barber.

The monologue tries to get humanity to work together instead of following machine-thinking leaders. This last speech of the Great Dictator has become relevant even in modern society. Corrupt leaders still exist today and as such the message remains important.

Dead Poets Society – What’s Your Verse?

“We don’t read and write poetry because it’s cute. We read and write poetry because we are members of the human race.”

Robin Williams has become an icon. He is remembered for many roles in his life. One of the most notable monologues is his lecture at the Dead Poets Society. He teaches the young the reason for living rather than the way to stay alive.

It’s a coming-of-age film about John Keating and his students. John focuses on the children to fill their lives with enthusiasm. The famous “carpe diem” was used throughout the film. The film inspires many young people to pursue their true passion and purpose in life. However, it also teaches parents to trust in their children’s dreams instead of controlling their future.

A few good men – You can’t handle the truth!

“Son, we live in a walled world, and those walls must be guarded by men with guns. who will do it You?”

We live in a harsh world and nothing is tougher than defending the front lines. Nicholson’s speech easily throws Cruise’s character by a milestone. His performance was one of controlled anger. While Cruise’s character defended the lives lost, Nicholson’s character prioritized the lives saved.

The monologue was set in a courthouse with Jessup (Nicholson) defending himself against coffee (Cruise). The speech presents itself as more of a lecture towards coffee. Jessup is not afraid to admit that the consequences of his actions have lost lives but saved many more. It’s a very militaristic mindset that few can adhere to. It’s one of the best film monologues of all time.

Joker – talk show monologue

“Have you seen what it’s like out there, Murray? Do you ever leave this studio? Everyone is yelling and yelling at each other.”

Joker is without a doubt one of Joaquin Phoenix’s pinnacles. A kindhearted man breaking down and turning into a psychotic clown was a performance that kick-started the DC Cinematic Universe.

In this monologue, the tragic genesis of Joker’s psychotic breakdown comes into play. Joaquin casually admits his disgust for bad people. His lack of good jokes takes him to another side of anger. He becomes cynical and murders people. He confesses on live TV and insists comedy is subjective. His monologue makes you walk towards a grand speech about societal norms.

Hannibal – Meeting with Clarice

“Do you know how you look to me with your nice bag and your cheap shoes? You look like a jerk. A well-scrubbed, driving rube with a bit of flavor.”

Anthony Hopkins’ most famous role is Hannibal. His intense presence complemented by his commanding figure makes him a fearsome antagonist. Hannibal is a cannibal who works with a police officer named Clarice to find a man kidnapping women. While Anthony’s way of invading personal space is credited to the cameraman, you can’t deny the intense eye contact he’s mastered. Its tone and pronunciation exude a predatory tone.

When he meets Clarice, he watches her intently. He assesses their experiences, their personality, their family background and even their emotional feelings. This lets the portrayal of Hannibal Lecter’s first impression of an intimidating man make him a strong and clever hunter.

Game of Thrones – Tyrion’s Confession

“I wish I was the monster you think I am. I wish I had enough poison for you all.”

Tyrion’s confession is an amazing achievement. He’s one of the most popular Game of Thrones characters out there. Thanks to the way he breathed life into Tyrion’s frustrations, the actor who plays him, Peter Dinklage, became an award-winning actor.

In this monologue, Tyrion confesses his hatred for the citadel. He snaps at his lover Shae, betrays his father and testifies against him in a lawsuit. Tyrion’s emotions were overwhelming. Since the world was against him just for being a dwarf, Tyrion demanded a trial by fight, believing the gods were a better judge of character.

Best Actress Monologues

Hidden Figures – There is no bathroom here for me.

“There is no bathroom. There are no colored bathrooms in this building. Or any building outside of west campus which is half a mile away. Did you know that? ”

Hidden Figures is a film about the black women who worked at NASA during the era of racial profiling and sexism. It is a historical film showing a monologue between a boss and his employee. Katherine Johnson eventually explodes as it never even occurred to her mostly male peers that she is a black woman struggling to survive amidst social injustice and making historic achievements in the process.

It’s a very dramatic monologue, but that also makes it even more satisfying. Taraji Henson spoke well in her monologue for Katherine Johnson, exploding everything she was feeling despite holding it back for so long.

Little Women (2019) – Jos I want to be loved

“It’s more important to me to be loved. I want to be loved.”

Jo March is one of the main characters of Little Women. She is portrayed by Saoirse Ronan in the 2019 version. In this scene, Jo admits that she’s tired of women being treated differently. She emphasizes that women are capable but are only seen as objects of affection. Speaking honestly from the heart, she admits the loneliness.

Despite all the frustrations she feels about women’s destiny, Jo wants to be loved. That doesn’t mean that all women were born just to love men, but it does mean that human beings were created to love. Despite her striking independence, Jo is still human. It offers a glimpse into the reality that people deserve to be cared for without being treated as tools.

Stoker – Mother-daughter conversation

“You know, I’ve often wondered why we actually have children.”

Nicole Kidman plays Evelyn Stoker. While Mia’s character, India Stoker, has always been weird, Evelyn’s words hit hard. Evelyn admits she wishes India’s birth to become a symbol of chance and hope for her and her husband. She admits to selfishly forcing India to achieve things she could not achieve.

She also admits she doesn’t love India. The final blow was her admission that she awaits the day when her daughter will despair over the cruel turn in her life. Even sadder, while Evelyn admits she doesn’t love India, she prompts India to answer why she didn’t seem to love her mother.

Girl interrupted – Lisa’s bullying

“Help me understand, Daisy. Because I thought you didn’t take Valium. Tell me how this safety net works for you.”

Angelina Jolie’s stunning performance with the deranged character named Lisa is no joke. She charms Susanna (Winona Ryder’s character) with her rebellious nature. Lisa believes it is better to resist medication and therapy, even though she is severely anorexic.

The monologue Lisa is famous for is when she confronts Daisy about the sexual abuse she received from her father. Lisa is provoked by Daisy, who has been fired and given a chance at a normal life. While Lisa is a violent person, this was a scene that provoked hostility and cost Daisy’s life.

Cruella – I’m not like her. I’m better.

“I guess you were always scared. Were not you? That I was a psycho.”

Cruella was originally an antagonist in 101 Dalmatians. She was a cruel and psychotic fashion designer obsessed with Dalmatian coats. The original film was dedicated to animal cruelty. However, Cruella was devoted to Cruella’s early days.

After discovering the origin of her birth, Cruella returns to a regent park. She often talks to her mother there. Then she leaves and truly accepts who she is. she is not cute She is a complexity of bold and courageous. It’s Emma Stone’s performance that really brought Cruella to life. The duality of Cruella’s personality was strongly reflected in it. That she may be cruel, but she will always love her mother.

Fences – 18 years

“I took all my feelings, my wants and needs and dreams and buried them inside me.”

Dramatic films like Fences often throw off reality that many try to ignore. Many marriages end. However, Viola Davis’ character Rose held her own. Unfortunately, she snaps during one of her husband’s heated remarks. He has focused on the sadness he experiences for eighteen years. He tries to explain to his wife but is ultimately cut off.

Of course she knows. She was by his side the whole time. Her hopes of happiness and her belief in her husband had long since expired. It comes as a shock to the violent Troy. He grabs Rose’s arms hard and is intervened when her son attacks him for physically abusing his mother.

The best monologues for children

Finding Nemo – Dory’s supplication

“Please don’t go away. Please?”

In her speech, Dory asks Marlin to stay with her. Disney monologues often give us a sense of hope and inspiration. In this heartbreaking scene, Dory steals your heart with the crackle in her voice as she begs Marlin to stay.

Marlin assumes his only son has died. Because of this, he lost all hope. Dory asks why they have to break up. As for a fish with short term memory loss, Dory feels she can easily remember things when Marlin is around. She believes he is her home and fears that if he leaves, she will forget him.

Treasure Planet – Speech by Captain Silver

“You have what it takes to be great, but you must take the helm and chart your own course. Stay tuned no matter what the gusts look like!”

For children’s monologues, it’s best to keep uplifting ones. Captain Silver’s attempt to cheer up the dejected Jim Hawkins in Treasure Planet is nothing short of inspirational. It remains an iconic speech despite being released in 2002 and a flop compared to other Disney films.

Captain Silver is a swashbuckling cyborg pirate trying to take Jim under his wing. He begins to care deeply for the troubled boy, inspiring him to see the best in himself. For many children, Captain Silver is a father on the animated screen.

Zootopia – Hopp’s final monologue

“When I was a kid, I thought Zootopia was this perfect place where everyone gets along and everyone can be anything.”

The film itself received critically acclaimed awards. Zootopia challenged the promotion of discrimination against others. The heavy subject of racism that still afflicts the world was perfectly molded to help children understand that the concept itself was wrong. Hopp’s last monologue is the ideal realization that all viewers should achieve. It’s a problem that can’t be changed unless you start with yourself.

Kung Fu Panda – Oogway’s gift

“You worry too much about what was and what will be.”

Kung Fu Panda’s Oogway is the embodiment of wisdom. His most famous lines come from his speech to Panda, whom he comforts on a hill. His wise words about focusing on the present have been passed on to many children.

It’s the great voice acting that also makes viewers feel like they’re really talking to a wise old man and not watching an old tortoise giving life advice to the panda.

Ratatouille – Speech by Anton Ego

“In many ways the work of a critic is simple. We risk very little but enjoy a position vis-à-vis those who leave their work and themselves to our judgment.”

Anton Ego was the final stepping stone to Remy’s goal of becoming an accomplished chef. Anton’s cruel and critical behavior scares every restaurant in France. Therefore, it amazed many readers that despite Gusteau’s death, Anton still prefers the restaurant.

Even after seeing the truth about the restaurant, Anton leaves to think. He’s finally accepting that talent can be found in many places. It’s a fairly grown-up subject and is portrayed surprisingly well in a children’s film.

Lilo & Stitch – This is my family.

“This is my family. I found everything on my own.”

The destructive alien would rather laugh and grunt indiscriminately here and there. Still, it’s important when he speaks. When Stitch was about to be sent back into space, he proudly claims he found his family on Earth.

The Galactic Federation sensed the change in Stitch at that very moment. He was once merciless and violent. However, by the time he met Lilo and Nani, he had calmed down. He was loved and proud of the family to which he belongs.

Also Read: What Kind of Animal Are Arthur and His Friends?

The best monologues for teenagers

Perks of being a Wallflower – Charlie’s Last Letter

“I don’t know if I will have the time to write more letters because I may be too busy attending. So if this is the last letter I just want to let you know that I was in a bad place before I got to high school and you helped me.”

The perks of being a wallflower is the first thing that springs to mind when it comes to teenage dramatic monologues. When Charlie’s soft voice tells the audience that he enjoys the feeling of not being a victim, the drama really begins.

Logan Lerman’s portrayal of Charlie helped execute the hopeful but shy wallflower, who broadcasts messages hoping to come to terms with his past. Thankfully, Charlie is growing. He values ​​himself and his friends, which makes his step into adulthood even more meaningful.

Just A – Brandon begged Olive

“Who will believe me? You don’t understand how hard it is. I am tormented.”

Brandon is one of those memorable characters in Easy A that actually has little screen time but had a huge impact on the story. Brandon is gay and being gay is difficult for high school.

When Olive finds a way to just lie to everyone until she goes to college, Brandon wants to be there. Unlike Olive’s other “clients,” Brandon did this to keep himself from getting tired. The speech he gives her tells you how tired it must be of being bullied for being in love with men. He is aware of the change he will have when he goes to college, but being beaten up causes a mental drain on him.

Stuck In Love – Rooftop Conversation

“There are two kinds of people in this world: hopeless romantics and realists.”

Sam, the character of Lily Collins, gives advice to her younger brother. She talks about the two types of men in life: realists and hopeless romantics. Her cynical language contains tones of logic and distaste for anything to do with love.

As Sam gets better over time, in this conversation you can see the problems that can arise in a broken household. Condemned, Sam’s opinion stems from a series of past events. This helps you get a glimpse of Sam’s nature, making it a subtle but meaningful monologue.

Love, Rosie – Wedding Speech

“Choosing who you want to share your life with is one of the most important decisions we ever make.”

Love, Rosie is so frustrating whether or not they are going to be in a angst filled movie. It’s about love and its unconditional presence. In their wedding speech, their best friend reveals their feelings for each other.

It’s almost a tragic ending, but despite the tragedy, Rosie remains steadfast in loving him from afar, just as he always has. She declares pure love to him and it breaks his and her heart. Especially since he realizes that she does not remember an event that changed the course of their love.

Hazel Grace Eulogy – The Fault in Our Stars

“Hello. My name is Hazel Grace Lancaster. And Augustus Waters was the unfortunate love of my life.”

Hazel Grace’s eulogy for Augustus Waters was more of a thank you than a tearful goodbye. The once-cynical girl found love and adventure with Waters, and despite the results of her life, Hazel feels blessed.

The short time they had together meant more to her than anything else. The experiences they had and the qualities they gave her changed her forever. She thanks him despite the tears and sadness. It’s bittersweet and innocent and helps you realize that people with cancer aren’t just people with cancer. They really are more than their illness.

Harry Potter – Neville’s Speech

“People die every day. Friends. Family. Yes. We lost Harry tonight.”

A dramatic monologue, like Neville’s speech, in the final Harry Potter film isn’t easy. But the background of Neville’s character makes it even more impressive. Neville speaks to Lord Voldemort himself, defending freedom from his tyranny and willingly confronting one of the world’s most powerful wizards.

Voldemort initially scoffs at his attempt at being a hero, but even he could see the change in Neville’s character.

The best monologues from plays

Hamlet – To be or not to be.

“To be or not to be, that is the question. Whether it is nobler to suffer the slings and darts of untold fortune, or to take up arms against a sea of ​​troubles.”

It is one of the most overused monologues popular to this day. It’s a dialogue of reflection on the choices to be made. Although still famous and often repeated, the monologue remains important to many adolescent issues.

A fun fact about this monologue is that it has even been used in cartoons. The Lion King was even based on the play.

Goodbye Charles – It sucks to be nice.

“Don’t ask me to marry you. Sh, sh, sh. Don’t say another word. Just listen. ”

Comedic monologues for women like this make plays more colorful. The fear of being with someone who gives you a pleasant personality is weird and even funny to hear. However, it all depends on the actress whether the ability to perform her can greatly affect the audience.

Lacey’s Last Chance – Serial Dater

“My father was a wonderful man who provided my hands and feet as a child.”

It’s more of a morbid comedic female monologue. She confesses that she is fed up with her husband, who calls her selfish and prefers to kill him rather than change her behavior. With the right actress, it’s definitely sitcom-worthy.

The Seagull – Treplev about his mother

“She is upset at the idea that Nina Zarétchnaya and herself are not succeeding in this poor little theatre. She’s a psychological oddity, my mother.”

A highly detailed monologue about a character, Treplev describes to the audience the complexity of his mother’s personality. He talks about her insecurity and obsession with success in the theater. From his point of view, his mother is not necessarily a bad woman. He actually speaks of her superstitious nature and her shallow tears.

Fear and misery of the Third Reich – Jewish wife

“Yes, I’m packing. Don’t pretend you haven’t noticed in the last few days. Nothing really matters, Fritz, except one thing: if we spend our last hour together without looking into each other’s eyes.”

It’s a bitter monologue. A determined wife who refuses to avoid her husband because of her background leaves her household. It’s heartbreaking to see how tough she has to get at the expense of others. It is also a sacrifice she is willing to make for the good of her husband.

The Tempest – Act II, Scene 2

“I hope all the diseases that are spreading through swamps and swamps will infect Prospero inch by inch until he’s just a walking disease!”

Acted countless times, The Tempest is an ancient tale written by Shakespeare himself. However, it remains filled with colorful dialogue. Just like many Shakespearean works, The Tempest is a great place to find the best male monologues. Caliban’s monologue is a perfect example. They can easily show the frustration and anger that has built up around his experiences with Prospero.

Conclusion

Whether you prefer short comedy monologues, dramatic men’s monologues, or dramatic women’s monologues, there’s a lot to work with. Each movement has a purpose, and it is up to the artist whether they can portray that purpose in a traditional way or something else entirely.

What is an example of a famous monologue?

Examples of Famous Monologues from Literature: Excerpt from Mark Antony’s Monologue in Julius Caesar: Friends, Romans, countrymen, lend me your ears; I come to bury Caesar, not to praise him.

monologue

A monologue is a speech given by a single character in a play. The word derives from the Greek – “mono” means “one” and “logos” means “language”. Typically, a monologue serves the purpose of having a character speak their thoughts out loud so that the audience and/or other characters can understand what the character is thinking.

Examples of monologue:

Examples of famous monologues from literature:

Excerpt from Mark Antony’s monologue in Julius Caesar:

Friends, Romans, countrymen, lend me your ear;

I come to bury Caesar, not to praise him.

The evil that people do lives after them;

Good things are often buried with their bones;

So let it be with Caesar. The noble Brutus

Told you Caesar was ambitious:

If it were, it would be a grave mistake

And Caesar hardly answered that.

Here, with the permission of Brutus and the others—

For Brutus is an honorable man;

So are they all, all honorable men –

I’m coming to speak at Caesar’s funeral.

He was my friend, faithful and just to me:

Brutus says he was ambitious;

Brutus is an honorable man.

Excerpt from Hamlet-Hamlet’s monologue:

To be or not to be – that is the question:

Is it nobler to suffer?

The slings and darts of insolent fortune

Or fighting back against a sea of ​​problems

And by fighting back, you end them. die, sleep –

No more – and by a sleep to say we end

The heartache and the thousand natural shocks

This flesh is heritage. It’s an accomplishment

to wish. die, sleep –

Sleep – maybe dream: yes, there’s the catch,

For in this sleep of death some dreams may come

When we have stripped this mortal coil,

Must stop us. There’s the respect

That makes mischief out of such a long life.

Edgar Allan Poe’s poem The Raven is also an example of a monologue, as the speaker narrates the event of the raven visiting him. Here is an excerpt:

Once upon a dreary midnight while I pondered weak and weary

About many curious and curious volumes of forgotten lore

While I was nodding, almost taking a nap, suddenly there was a knock,

As if someone was gently knocking on my room door.

“Is there any visitor,” I murmured, “knock on my chamber door—

Just that and nothing more.”

Ah, I remember distinctly that it was bleak December;

And every single dying ember brought her spirit to the ground.

I desperately wished for tomorrow – I had tried in vain to borrow something

From my books End of Mourning – Mourning for the Lost Lenore –

For the rare and radiant girl whom the angels call Lenore –

Nameless here forever.

How do you act through a song?

SONG PREP WORKSHEET
  1. #1. Intuitive Response. Go to a quiet place with no distractions. …
  2. #2. Investigate. SILENTLY (not out loud) READ the text. …
  3. #3. Listen. LISTEN to the song and find clues in the MUSIC to support what you’ve discovered in the text. …
  4. #4. Answer.
These are steps I developed inspired by a book by Joanna Merlin (Auditioning: An Actor-Friendly Guide). This is a book I highly recommend!

I’ve tweaked it as I’ve used it more and more in the classroom, and will most likely continue to do so. I encourage you to tweak it for yourself as you develop and perfect your own path. Try it “as is” to see how it works for you and I encourage you to leave feedback!

SONG PREPARATION WORKSHEET

#1

Intuitive Response.

Go somewhere quiet with no distractions.

Use a high quality, PROFESSIONAL (no high school productions!) recording, CLOSE YOUR EYES and LISTEN to your song with your imagination. Lose yourself in the world of song.

What general images, feelings and ideas does the song evoke in you? Also notice what is happening physically as you listen. You may feel your heart expanding, perhaps a tightening in your chest. There is no right or wrong. Just notice the feelings, ideas, images, and sensations you have while listening and name them. take notes

#2

Investigate.

READ the text SILENTLY (not aloud). Resist the temptation to replay it or read it with feeling. read it silently; Be an investigator first to find clues as to what the song is about.

#3

Listen.

LISTEN to the song and find clues in the MUSIC to support what you discovered in the lyrics. You might find clues as to what the character is feeling. How does the music support or not support what he or she is saying?

#4

answers

You can choose to sing songs as yourself, not the character the song was written for, but it should be a conscious choice. If this is the case, answer the questions as yourself anyway.

-The World of Song-

What is the year and day (exact date) and day of the week?

what is the season (summer, spring, winter, autumn)

How is the weather outside?

what is the place (City, state, and exact location: e.g. home, grocery store, park, etc.)

How is the weather currently affecting the inner state of the character?

What is the character’s social class?

Sound of Music Monologue

Sound of Music Monologue
Sound of Music Monologue


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SOUND OF MUSIC – Young Adult Female Monologue

SOUND OF MUSIC – Maria tells Captain Von Trapp how to show love to his children. Dramatic Monologue for Young Adult Female. 1 Min.

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Source: www.nycastings.com

Date Published: 3/27/2022

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Sound-of-Music-MONOLOGUES.pdf – Performing Arts Inc

Children, this is your new fraulein – Fraulein Maria. As I sound your signal you will step forward and repeat your name. You, Fraulein, will listen and learn …

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Source: performing-arts.squarespace.com

Date Published: 10/15/2021

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The Sound of Music BJT Monologues Audition Song

The Sound of Music BJT Monologues. Maria: Dear God, I know that you have sent me here on a mission and I pray that this will.

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Source: brisbanejuniortheatre.com.au

Date Published: 1/21/2022

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“The Sound of Music” AUDITION PACKET

*Audition song and monologue requirements are listed below: SONG REQUIREMENTS: ○ Choose a song from the “Sound of Music” song list proved.

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Source: www.metrolinachristian.org

Date Published: 4/5/2022

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The Sound of Music Monologues – Mountain Performing Arts

The Sound of Music Monologues. MARIA. Dear God, I know that you have sent me here on a mission. I must help these children to love their new mother and …

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Source: www.mountainperformingarts.org

Date Published: 8/4/2021

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The Sound of Music Monologues

The Sound of Music (Maria von Trapp) … Dear Father, now I know why you sent me here. To help these children prepare for a new mother. And I pray this will …

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Source: www.openingmonologue.com

Date Published: 3/9/2022

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The Sound of Music – AUDITION MONOLOGUES

The Sound of Music. AUDITION MONOLOGUES or the Rof: Liesl scene. A. Please memorize one of the following monologues. Note: There are not monologues for all …

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Source: www.graftonps.org

Date Published: 11/7/2022

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Young Adult Female Monologue

SOUND OF MUSIC – Maria tells Captain von Trapp how to show love to his children. Dramatic monologue for young adult women. 1 minute.

MARIA (to Captain von Trapp) I know you don’t know your children, but you must know. Take Liesl – Liesl is no longer a child. And if you keep treating her like this, Captain, you’re going to have a mutiny. And Friedrich – Friedrich is afraid to be himself – he is shy – he is unapproachable, Friedrich needs you – he needs your trust – Brigitta could tell you about him. She could tell you a lot more when you get to know her because she notices things. And she always tells the truth—especially when you don’t want to hear her. Kurt – is sensitive – he’s easily hurt – and you ignore him – you push him aside like you all do. (The CAPTAIN wants to leave.) I’m not done yet! Louisa wants to have a good time. You just have to give her a good time. Marta – I don’t know about her yet, but someone needs to find out about her. And little Gretl – just wants to be loved – Oh please, captain, dear Gretl, love them all. they need you

Monologuing The Music

monologizing the music

Photograph of Titanic by Michael McMath, The Hartt School of Music, Dance, and Theater March 2016, Directed by Kyle Brand.

By Nicole Stinton

When preparing a musical theater piece for performance, most actors and directors place more emphasis on the lyrics and spoken word (dialogue) than on the music when it comes to characterization, relationships, and other acting and staging decisions. Usually, rehearsal practice involves a thorough dissection of the verbal text (“table work”), while comparatively less attention is paid to music analysis. The separation of singing and acting into separate classes and rehearsals, as is practiced both in industry and in training institutes, can prevent a holistic, combinatorial handling of verbal and musical texts on the part of the actor (de Mallet Burgess & Skilbeck 9- 11, 111-112). Through nearly two decades of professional practice as a director, actor, and vocal coach in musical theater, and more recently through my research as a graduate student, I have found time and time again that when actors shape character choices, they pay attention to the musical elements of a song, uncovering previously unappreciated dramatic insights and, most importantly, use that awareness to create another layer of characterization and complexity.

Any reference to a musical’s lyrics is usually to the written words: those intended to be spoken and/or sung during the performance (see Stanislavski and Rumyantsev; Burgess and Skilbeck; Kayes; Ostwald; Bond; and Hamilton). It is recognized that it is beneficial to focus on the lyrics as a source for acting decisions in musical theater (see Thomas; Purdy), and “lyrical monologue” (separating the lyrics of a song from its music) is often considered Technique employed (see Clark 84; Craig 1; Dunbar 66-67; Henson and Pickering 55-56; Kayes 175; Lucca 42; McWaters 49-50; Moore 160-164; Richardson 12-13), but rarely the opposite. If we define musical elements as information notated in the score of a musical, to be either sung by actors or played by instrumentalists, the extent to which actors draw on these elements is often limited to learning what notes they are when to sing

in which order, how long and at most in which style they should be sung, which the renowned actor and teacher Constantin Stanislavski called “academic singing” (Stanislavski & Rumyantsev 21). I contend that failure to reconcile textual exploration with comparable musical inquiry can lead to an over-reliance on “What am I saying?” at the expense of “How do I say it?”

Musical theater composers, like lyricists and book authors, are selective about what goes into their music and what does not (see Clark 82; de Mallet Burgess and Skilbeck 150-151; Ostwald; Major and Laing; Henson and Pickering; Deer and Dal Vera 55-56 ; Moore 96-99). Music scholars are increasingly arguing that actors should pay more attention to the cues composers offer them in the score in order to make characterization decisions. For example, music director Kristof Van Grysperre strongly argues that “[t]he discovery and shaping of a character begins at the beginning of the score. The more we explore the [verbal] text and music, the more character will grow” (Lucca 108). Conductor Stephen Purdy urges actors to pay attention to the music when they act, for “[m]usic, in and of itself and by its very nature, can both confirm and sometimes contradict the [verbal] text” (174) . . In the United Kingdom, composer and music director Paul Harvard encourages actors to “consider the music separate from and as thorough as the lyrics” when performing acting processes (91). Theater professor David Roesner, known for his research on the musicality of theatrical performances, reminds us that for actors today, exploiting the musicality of a play can become an important part of the acting toolkit (229). This applies regardless of whether they are working on a classic screenplay, e.g. B. an Elizabethan dramatist, or a new contemporary play. Indeed, the renowned Peter Kivy, along with many other musicologists, has argued that composers of vocal songs since the Renaissance have used music to express intense emotional qualities that words alone cannot convey (Chapter 3). Because of music’s ability to express character, emotion, and other dramatic elements, actors preparing a role overlook it at their peril. My experience as a professional director confirms that music analysis of this kind is completely skipped in dramaturgical processes – probably in part because of the unease many directors untrained in music analysis feel about their skills in this area.

I have developed a process and repertoire of activities that can help actors easily and consistently access and use the music to make character decisions. This method is designed to be versatile and works well for any type of musical theatre, with actors, directors and voice coaches, with those who have music skills and those who don’t, whether in the US, UK, Singapore or Australia, and with professionals and students alike. My approach includes exercises such as “A Shakespearean Approach” (transferring the terminology used in analyzing heightened spoken language to musical theater works), “Putting the Beat in your Feet” (a physical approach to analyzing meter and rhythm), and “Speaking music”. (Adopting non-traditional musical terminology to reflect and discuss music).

A fourth activity, which is the subject of this article, I call “Monologing the Music”. It focuses on actors making their own creative choices, using not only what they were given to say (the words) but also how they were commissioned to communicate it (the music). It offers actors a method to question how they themselves might interpret the use of a particular musical element, regardless of how consciously a composer, lyricist or book author may have incorporated character or other dramatic information into the text/words/lyrics.

The basic premise of the musical monologue as part of the rehearsal-acting process is that the actor removes one component of the song to fully explore another. They do so in the belief that the latter, once revealed, will provide useful information for building the character or investigating the character’s situation. In order to monologize the music, the actor discards the lyrics of his song and instead communicates solely through the music.

In a first step, the actor sings the melody out loud to a sound of his choice, such as “ma”, “dah” or an open vowel like “ah”. Focusing on the music in this way is a reversal of the already popular acting practice of monologizing the aforementioned lyrics. By applying this monologizing principle to the music rather than the text, the composer’s offering of musical resources becomes much more apparent to the actor, including not only meter, rhythm, rest and phrasing, but also pitch. Such musical conventions, previously obscured by the lyrics, are suddenly easier to hear. Compositional decisions that are subtle or hidden in rich texture (e.g. different instrumentation) become clearer.

In my own work, I have found that monologizing the music is not only likely to provide information helpful to the acting process, but often reveals information that is not emphasized until the lyrics are taken away. Once the music is disclosed, it becomes far more accessible to actors, especially those who are new to music theory. As composer and music director Rob Kapilow has said, “All you have to do is listen,” because once the actor listens carefully and notices the musical components, they

are more likely to be more confident and effective in their ability to analyze the music in the first place.

A next step is for the actor to reflect, discuss, or write about their discoveries in whatever way they choose. For those actors who are fluent in musical competence, I encourage them to interpret the music using music theory knowledge and terminology. However, for those who aren’t, or if their classmates or company colleagues they’re rehearsing with aren’t, I encourage actors to use whatever descriptions they’re comfortable with. Usually, after a monologue about the music exercise, I ask the actor what struck them about the process they just completed. For example, if they answer that the music is “leaps up” and “steps down,” then I’ll use the same vocabulary to ask them what the “leaps up” and “steps down” are about could reveal their character. If the actor focuses on a “large succession of fast notes broken by a long rest,” then I could get him to consider why the composer chose to both “break” and “rest.” “. This step of monologizing the music does not have to rely on an actor reading sheet music, having handy a dictionary of musical terminology, or applying theoretical knowledge of intervals, rhythmic notation, tonality, etc. It can be carried out successfully by an individual at any music theory level.

At a recent workshop, a group of actors were asked to prepare “For Forever” from Pasek and Paul’s “Dear Evan Hansen” for the performance, paying particular attention to the characters’ journey and dramatic storyline. Although the actors were characterful and purposeful throughout their presentations, observers agreed that all the performers lacked specificity and spontaneity. The actors then turned three music

monologizing exercises, sometimes with rhythmic clapping and sometimes with non-lexical vocabulary (like “ma” or “da”), to explore the bars, rests and rhythms of the excerpt. After greatly slowing down the tempo (speed) to repeatedly monologize these three unpitched musical elements over short stretches of musical text, the actors were largely in agreement about what they discovered.

At first they had neither recognized the important dramatic contributions of the music nor felt or expressed its impact. After monologizing the music, many cues emerged, including an awareness that the character Evan had to wait a fraction before vocalizing the first notes of many phrases, starting on either the second semi-quaver or the quaver of the first beat. That is, after an unexpected, very short pause, the character began to sing such phrases. The actors also had not consciously responded to the syncopated (off-beat) rhythm across the phrases (the unusually heavy off-beats are shown in bold below), nor were they aware that this was constantly interspersed with gaps (pauses) throughout the song became.

[pause] Late May [pause] or early June

We share this [pause] picture-perfect [pause] afternoon

Drive the winding country road

[pause] Get a scoop on [pause] “A La Mode”

And then here we are [pause] [pause] An open field framed by trees

We pick a spot and [pause] shoot into the breeze

Like buddies do

Quoting songs from our favorite bands [pause]

Telling jokes that no one understands

Except the two of us [pause]

And we [pause] talk [pause] and enjoy the view… (Pasek & Paul, 2015)

Some actors interpreted the late start, syncopation, and broken phrases as indicators of Evan’s anxiety disorder, using each instance to reveal some aspect of his excitement, nervousness, and trepidation. Others deliberately took advantage of Evan’s pauses and syncopated stumbling blocks to improvise step-by-step the made-up

Story about the alleged friendship between Evan and the suicide victim Connor. Still other actors focused on using the pauses for their Evans to take deep, rapid belly breaths, coupled with clear mental resolve to draw on previously suppressed stubbornness and sapped inner courage to reach out to Connor’s listening parents.

These choices allowed the actors to be more in the moment during the performance, have more variation in singing, and began to reveal more layers of complexity than they had in their first presentations of the song. These revelations also helped the actors clarify the circumstances and Evan’s relationship with his parents. In other words, the interpretation of the musical dramaturgy caused the actors to think about the larger dramaturgy and consider ways to integrate it into a more holistic, forward-looking interpretation across the song. Viewers commented that the actors seemed far less generalized and ambiguous in their character choices, and that the actors seemed to be seeing different images in their minds. Observers felt this final interpretation was “realistic”, and many claimed that they were so involved in the character’s experience that they “forgot they were watching a play”.

Next, let’s consider a possible interpretation of the character of Clara Johnson in The Light in the Piazza. (Please note that the reading below is not intended to be definitive, but represents an example of the type of material revealed to actors in workshops.) If the actor playing Clara only monologues the lyrics of the Adam Guettel theme song would, she can easily see that the first keyword in each line is the one that is normally stressed in the speech (bold below), and thus focus on using these words to reveal characterizations and situational insights:

I see no miracle shining from heaven

I’m not good at statues and stories OR I’m not good at statues and stories

I’m trying

I don’t think about that

I don’t see that

I know what the sunlight can be

The light, the light on the piazza… (Güttel 54-56)

This vocabulary indicates that Clara is aware of her underdeveloped levels of perception, and also suggests, from a psychological perspective, that the character focuses more on negative traits at the expense of her positive traits. Such insights are undoubtedly helpful to the actor in creating the character. However, there are also key indicators in the music that could challenge this verbal interpretation. Instead of stressing words that are normally stressed in speech, Guettel often places the above important words on off-beats and therefore unaccented impulses (now italicized below). Also, the scribe usually places these immediately after the first and strongest beat of each bar (bold below). The result is that pronouns like “I” and definite articles like “das” and “das”, words that are not normally considered important, get our attention:

I see no miracle shining from heaven

I’m not good at statues and stories

I’m trying

I don’t think about that

I don’t see that

I know what the sunlight can be

The light, the light on the piazza (Güttel, 54-56)

It would be unusual for an actor monologizing the text to stress “that” in the fourth and fifth lines, and it would be exceedingly rare for the participants to naturally stress “that” in the last line. But that is exactly what Guettel’s music demands. Monologizing the music (vocalizing with only open vowel or non-lexical vocabulary) emphasizes the musical emphasis of “the” in “the light”. From this investigation, the actor could deduce that there is a solidity (THE light) in the quality of Clara’s light. The actor may find that the emphasis on simplistic words reveals Clara’s underdeveloped cognitive level and childlike nature. The shift of typical keywords to a position after the naturally emphasized downbeat could indicate that Clara’s worldview is different from everyone else’s.

The songs in a jukebox musical often contain music and lyrics not written for theatrical purposes. Still, the actor needs to discover the character through the music and lyrics, and monologizing the music can provide some clues. When we speak the words “Mamma mia” from the jukebox musical of the same name (Andersson, Ulvaeus & Johnson, 5256), we discover an Italian accent rhythm that swings the words naturally, with the first and third syllables lasting longer than the second and fourth : MAA-ma MEE-ah. But when those two words are sung on the show, they’re evenly spaced in time, and each syllable is given the same duration: ma-ma-me-ah. A monologue to the music would make this contrast clear. If we interpret the composer’s choice as an attempt to create a heightened sense of urgency or to suggest some negative subtext, then the pause (two-bar pause) that occurs immediately afterwards can be seen as an extension of the dramatic tension that is then developed by the double emphasis on the next “My, my. ”

When actors listen to and experiment with the musical elements of their songs as part of the acting process, they uncover previously unnoticed components that provide dramatic insight, prompt further dramaturgical questions, and add characterization. The process leads to a more holistic interpretation of the song, creating connections and resonances between music and lyrics, scenarios and rhythmic tempo. The justification of every element of the texts provided to them by both authors – lyricist and composer – enables the actor to synchronize what he says with what he says at any time. It allows them to avoid theatrical generalizations and give their music the same specificity as their words. This is key to creating authentic, layered characters that audiences can believe in.

Works Cited

Andersson, Benny, Bjorn Ulvaeus and Stig Anderson. Mamma Mia! [vocal score]. Wise Publications, 1999, 2000. (Original work published by Union Songs AB, 1975).

Barker, Paul A. “Words, Music, and Meaning: A Conversation Piece About Music.” www.academia.edu/14926351/Words_Music_and_Meaning_A_Conversation_Piece_About_Music. Retrieved October 7, 2017.

Bond, Derek. “The Triple Threat Actor and Acquiring Musical Skills.” Journal for Singing, Vol. 67 no. 1, 2010, pp. 61-66.

Brunetti, David. Acting songs. BookSurge, 2006.

Clark, Mark Ross. Singing, Acting, and Movement in Opera: A Guide to Singer Getics. Indiana University Press, 2002.

Craig, David. An actor prepares. Applause Books, 1993.

Corbidge, Michael, Personal Conversation. November 1, 2016.

Hirsch, Joe. Directing in Musical Theater: An Essential Guide. Taylor & Francis, 2014.

Hirsch, Joe and Rocco Dal Vera. Acting in Musical Theater: A Comprehensive Course.

Burgess, Thomas deMallet, and Nicholas Skilbeck. The singing and acting manual : games and exercises for the performer. Routledge, 2000

Dunbar, Zachary. “Stanislavski’s System in the Training of Musical Theater Actors: Anomalies of the Dramatic Song.” Stanislavski Studies 4.1 (2016): 63-74. http://www.tandfonline.com/doi/abs/10.1080/20567790.2016.1155366. Retrieved September 8, 2016.

Guettel, Adam. The light on the piazza: piano song selection. Matthew Music, 2005.

Hamilton, J. Acting for Opera Singers. DIT Teaching Fellowship Reports 2014-2015, 2015. https://arrow.dit.ie/cgi/viewcontent.cgi?referer=&httpsredir=1&article=1045&context=fellow. Accessed 2 December 17.

Harvard, Paul. Acting Through Song: Techniques and Exercises for Musical Theater Actors. Nick Hern Books, 2013.

Pickering, Kenneth, and David Henson. Musical Theater: A Workbook. Palgrave Macmillan, 2013.

Kapilov, Rob. All you have to do is listen: music inside out. John Wiley & Sons, 2008.

Kayes, Gilian. singing and actors. A&C Black, 2004.

Kyvi, Peter. The Corded Shell: Reflections on Musical Expression. Princeton University Press, 1980.

Lucca, Lizbeteth Abeyta. Acting Techniques for the Opera. Vivace Opera, 2008.

McWaters, Debra. Musical Theater Training: The Handbook to the Broadway Theater Project. University Press of Florida, 2009.

Moore, Tracey. Acting the Song: Performance Skills for the Musical Theatre, 2nd Edition, with Allison Bergman. Allworth Press, 2017.

Ostwald, David. Acting for singers. Oxford University Press, 2005.

Pasek, Benj, and Justin Paul. “Forever.” Dear Evan Hansen, Pick In A Pinch Music (ASCAP) and Breathelike (ACAP), 2015. www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0174510. Retrieved October 8, 2017.

Purdy, Stephen. Musical Theater Song: A Comprehensive Course in Selection, Preparation and Presentation for the Modern Performer. Bloomsbury Methuen drama, 2016.

Richardson, Neal. “Unearthing the Song: A Practical Guide for the Singing Actor.” (2009). http://excavatingthesong.org/home/Audio_Files_files/Excavating%20the%20Song%202013.pdf. Retrieved 24 May 17.

Stanislavski, Constantin and Pavel Rumyantsev. Stanislavski on the opera. Trans. Hapgood, Elizabeth Reynolds. Routledge, 1975.

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