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Mini Project: Monologue Speech 50 Points You will select a monologue from a film that you will memorize and present to the class. The monologue you choose must be school appropriate, or you will receive a zero for this assignment. The objective of this assignment is to work on the skillset of delivering a speech. I’ve posted the specific standards this assignment meets below. Standards met for monologue speech project: 11-12.SL.6: Adapt speech to a variety of contexts and tasks, demonstrating a command of formal English when indicated or appropriate. 11-12.SL.3: Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric, assessing the stance, premises, links among ideas, word choice, points of emphasis, and tone used. Specifications: Please see rubric for everything you must do to achieve full points for this assignment. 7 Easy Monologue Memorization Tips Posted on July 28, 2015 by New York Film Academy Monologue memorization is a process, and the focus should always remain on the performance, not solely on the memorization of the text. However, without knowing the words, an actor cannot do in-depth work. With the following tips in your memorization arsenal, monologue preparation will be a painless process… It’s a Pick ‘em Game The first step in monologue memorization is the selection process. This is the foundation of preparation and affects all steps of the process, including memorization speed. Actors who are personally connected to the text they are memorizing are more motivated to explore the work, and will understand the monologue more easily. Choose a monologue that speaks to you as a person and as a performer. Choose a monologue that is in the active voice, not past tense, or repeating previously revealed information. Monologues where a character speaks to another person or a group of people, in an attempt to get something from them, provide natural objectives and stakes. Choose a monologue that you are familiar with. Knowledge of back story enriches a performance by providing layers of feeling toward other characters, and helps to establish the internal emotions of the speaker. Break it Up Once a personal monologue has been selected, text work is the next step. Read the monologue for story and understanding, and then break the text up into beats. Each beat should have a different action and objective associated with it. This is also the time to edit the monologue if needed. A monologue should only be 60-90 seconds, and never more than 2 minutes long. An appropriate length will make memorization faster and allow more time to invest in the depth of performance. Be sure to maintain the story arc when editing with a decisive start and a finish that shows change(s) in the character. Write it Out Now you have a short and sweet monologue that is split into beats that have transitions built in between them. Write out the text by hand the whole way through. Studies show that handwriting boosts retention because it activates more of the brain, connecting fine motor movement with the memory cortex. Handwriting is literally muscle-memory for monologue memorization. Get Active You’ll stand at the front of the class when presenting, so move around when you are learning your monologue as well. Adding locomotion to your memorization efforts connects the words to movement, which will make your performance more fluid and flexible in the end. One suggestion is to take a walk with your script. As you walk around, quietly recite your monologue beat by beat. Start with the first beat, and when it is memorized add the second beat. This step by step process of memorization forces you to remember the transitions, which are where good acting takes place. Switch it Up After you have the monologue memorized, continue to explore possible objectives and actions. You can do this by speaking and moving differently during each performance of the monologue. Practice with different volumes, dialects, posture, speed, pauses, etc. Change anything and everything about your performance and observe how it changes the emotional outcome. A Italiano Don’t actually try to recite the monologue in Italian, unless you know Italian, then that would be an interesting way to switch up your tactics. What I mean is, perform the first three sentences in your monologue as fast as possible, or perform the last three sentences in your monologue as slow as possible, or recite your full monologue with a different accent, or pretend your monologue is a poem- recite it with a cadence or rhythm. All of these tactics can help you memorize your monologue. Name: _________________________ Monologue Rubric Criteria Excellent Work Good Work Fair Work Poor Work (10-9 points) (8-6 points) (5-3 points) (2-1 points) point of view point of view point of view point of view and and person are and person are and person are person are integrated; an clear, focused, clear and inconsistent; an implied listener and consistent; consistent; an implied listener is is evident an implied implied listener seldom evident Elements throughout the listener is is evident monologue established natural gestures gestures or behaviors, lacks and movement movements are gestures, or involvement; no enhance fine, but may movements do movement or Physical message; fit have omitted not fit the gestures Delivery character or role obvious character character behaviors adjusts volume, uses volume, uses volume, uses volume, tone, and pace to tone, and pace tone, and pace tone, and pace achieve a special appropriate to somewhat to inappropriately or effect or for the content and suit the content ineffectively; impact; purpose; and purpose; limited use of nonverbal nonverbal nonverbal nonverbal gestures and gestures and gestures and gestures and facial expression facial facial facial expressions enhance expression suit expressions are Speaking Techniques characterization the character occasionally distracting or inappropriate to the character Fully Mostly Poorly Not memorized; memorized and memorized but memorized; needs constant Memorization does not need stumbles over a needs prompting from any prompting few thoughts or prompting from the teacher from the teacher phrases the teacher Monologue Monologue lasts Monologue is Monologue is Monologue is Length a full minute almost a minute 49 seconds or under 39 seconds long shorter Comments: Total: _____ / 50 The Blind Side (2009) Screenwriter(s): John Lee Hancock "To Protect His Blind Side" In the film's opening lines, strong-minded Memphis mother Leigh Anne Touhy (Oscar-winning Sandra Bullock) narrated these words during a video replay of one shocking and unforgettable play during a football game held in Washington, D.C on November 18, 1985 (Monday night), between the Washington Redskins and the New York Giants. During a blitz, defensive linebacker Lawrence Taylor (and others) sacked Redskins quarterback Joe Theismann during a 'flea-flicker,' causing a compound fracture of Theismann's lower right leg. As a result, the highest paid football player, after the quarterback, is the left tackle, who protects the quarterback's 'blind side': There's a moment of orderly silence before a football play begins. Players are in position, linemen are frozen, and anything is possible. Then, like a traffic accident, stuff begins to randomly collide. From the snap of the ball to the snap of the first bone is closer to four seconds than five. One Mississippi. Joe Theismann, the Redskins' quarterback, takes the snap and hands off to his running back. Two Mississippi. It's a trick play, a flea-flicker, and the running back tosses the ball back to the quarterback. Three Mississippi. Up to now, the play's been defined by what the quarterback sees. It's about to be defined by what he doesn't. Four Mississippi. Lawrence Taylor is the best defensive player in the NFL, and has been from the time he stepped onto the field as a rookie. He will also change the game of football as we know it. Legendary quarterback Joe Theismann never played another down of football. Now, y'all would guess that, more often than not, the highest paid player on an NFL team is a quarterback, and you'd be right. But what you probably don't know is, that more often than not, the second highest paid player is, thanks to Lawrence Taylor, a left tackle. Because, as every housewife knows, the first check you write is for the mortgage, but the second is for the insurance. And the left tackle's job is to protect the quarterback from what he can't see coming. To protect his blind side. The ideal left tackle is big, but a lot of people are big. He's wide in the butt and massive in the thighs. He has long arms, giant hands and feet as quick as a hiccup. This is a rare and expensive combination the need for which can be traced to that Monday night game and Lawrence Taylor. For on that day, he not only altered Joe Theismann's life, but mine as well. The Devil Wears Prada (2006) Screenwriter(s): Aline Brosh McKenna About Fashion "Stuff" While deciding between two belts for an outfit, recent college grad and co-assistant Andrea "Andy" Sachs (Anne Hathaway) mentioned that they both looked exactly the same and that she was still learning about "this stuff." Ruthless, powerful, demanding and cynical fashion magazine Runway editor-in-chief Miranda Priestly (Meryl Streep) responded to directly humiliate her: 'This... stuff'? Oh, ok. I see. You think this has nothing to do with you. You go to your closet and you select, I don't know, that lumpy blue sweater, for instance, because you're trying to tell the world that you take yourself too seriously to care about what you put on your back.

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