What is a contemporary monologue in acting?

What is a contemporary monologue in acting?

Contemporary monologues are speeches taken from plays that go as far back as the beginning of the twentieth century, and as far forward as the present moment.

How do you choose a contemporary monologue?

10 Tips for Choosing Your Audition Monologue

1. Choose material that fits you right now.
2. Choose a monologue that’s active.
3. Don’t do experimental, nonlinear work.
4. Choose a piece that showcases your acting, not some other skill.
5. Don’t do a monologue from a production you’ve performed.

What is a good way to start a monologue?

Start with a compelling opening line. With a good opening line. In literary terms, this is known as a hook. Consider starting your monologue with a surprising statement or emotion-packed first line. Your first line should get your audience interested in the rest of the monologue by leaving them with questions.

What classes are a contemporary monologue?

Contemporary monologues are any monologues from a relatively recent source — recent being anything in the last 120 years or so, but especially since WWII, and generally in something approaching “plain speech”. Mamet, Lori Parks, O’Neill, Stoppard, and Shepherd are all good, and common, sources.

What is a contrasting contemporary monologue?

Contrasting: If the audition notice asks you to prepare two contrasting monologues, that means two monologues that are different styles, from different periods, or that showcase different aspects of your abilities as an actor.

What is the most important thing an actor needs to know just before beginning their monologue?

The most important part of your monologue preparation should be to create a three-dimensional character. As you prepare, think about your character and what he or she wants. Keep that goal or desire in your head at all times, to keep you focused.

What makes a good monologue script?

Good monologues are structured just like good stories: they have a beginning, a middle, and an end. This rhythm—a build up and a resolution—is critical in long stories, because without it, stories can become monotonous and stale.