Selection and how you deliver your Monologue is a prime factor in an actor’s selection for a role.
The majority of actors makes a deadly mistake of just memorizing the lines of a monologue and spit it out losing an opportunity of grabbing their dream role.
You must remember that a monologue, as a matter of fact is a 2 minute mini film where there is only one character and that is you! This 2 minute film, like any other should have all the ingredients to make it a hit!
This becomes more important in the case of a monologue because your audience is not simply cine viewers, but is a critic- a casting director!
- Like script analysis requirement for a film, analyze your monologue and character carefully
- What is the objective of monologues and how monologues achieves it
- A good monologue should have good dynamics i.e. Changes. This means there is something different at the end than at the beginning (emotions, activities or in the story)
- An ideal comedic monologue should be faster and illogical, a bizarre, with unexpected changes in the storyline and opposite from seconds to seconds.
- A dramatic monologue should have a “conflict” shown as a sharp change in emotions, behavior and reactions as the main objective of a monologue.
- Now based on the above analysis, prepare your monologue scene creating the character.
- Finally, live and perform truthfully in that character
Create a rhythm change after the first line of your monologue. Many schools and individuals may disagree on so many areas of d performance, but one thing I’ve never heard any disagreement on is that they want to be surprised.
So, let’s imagine the first line of your monologue is something, like,
"Muzhay Tumhara Paisa Nahin Chahiye, Bus Tum Sirf Meri Baat Suno"
And the second line of your monologue is
“Muzhe Lagta Hai Ki Jo Kuch Main Kahata Haun, Tumhe Use se Koi Matlab Nahin” Hai”
(“I don’t want your money, I want you to listen to me,”) and (“It seems like nothing I say means anything to you.”)
Now, stop after you’ve delivered your first line! Pause to get it registered by your imaginary scene partner. Then taking a breath, change your speed, volume of your voice, emotions and using your hands (like raising and pointing your finger), Bang! Just shoot your second line. The objective is to create conflict and sensation!
Don’t make a mistake, like other actors who memorize and simply blurt out lines!