BY BRUCE MILLER Someone is An exercise to help actors remember the other character in monologues

MOST ACTORS AGREE on one particular dialogue during which another actor- issue. They hate to do monologues. character is present and reacting. It’s one of the most difficult tasks an Sometimes the other actor periodically actor faces. There are several reasons inserts snippets of his own dialogue; for this, but the most glaring one is other times the reaction is non-verbal. that doing a monologue feels totally One way or another, there is always a unnatural. give and take between the actor-char- In some ways, performing a mono- acters. When a playwright writes the logue is similar to taking the SAT—a dialogue, she is well aware that the device used to measure one’s potential listening character, through his or her or aptitude for success. In reality, how- reactions, will be helping to steer the ever, neither has much in common course of the monologue with verbal with what a person would actually do and non-verbal feedback. The play- in the situations they’re supposed to wright intends for there to be give and measure. When we use monologues to take between characters, knowing that help us cast a play, we are asking ac- it will provide conflict as well as a dra- tors to talk to themselves or an imagi- matic arc as the speech unfolds. Of nary listener and make us believe that course, there are monologues in which this is what they are actually doing. the playwright intentionally writes for That seldom happens in the play we a character to address the audience di- will direct. Usually there is a person rectly. But even in these situations, the for the actor to talk to. Nevertheless, playwright expects that an exchange we expect our students to be convinc- will be going on between the character ing in their monologues, actually speak and the listening audience, and the ac- with purpose and urgency, and for- tor playing the character will be ex- ward the story. In addition, our actors pected to make adjustments according are doing all this without the full con- to that feedback. text of the play, but we still expect Too often, unfortunately, when be- them to make it all make sense. Some- ginning actors are auditioning for a times, and most painful of all, these role or trying to impress a college au- actors will break the fourth wall and ditor, they forget many of the things actually talk directly to us out in the that will help them perform believably. audience—making us complicit in their They end up performing their mono- problems and their pain. logue in a vacuum in a way that inad- The truth is, most monologues are vertently makes them ignore the very not really monologues, particularly things that auditors or directors want to when seen in the context of a play. see. Those include an ability to be be- They are actually extended pieces of lievable and to listen and react mo-

10 TEACHING THEATRE listening R.BRUHN

TEACHING THEATRE 11 ment by moment; act physically; tell derstand and recognize the ingredients published by Samuel French, include the story clearly and sequentially; and that make up a good monologue. Next, Actors Write for Actors, Encore, and be compelling as well as natural. they will need to do the initial prepa- Both Sides of the Story. The fact is, an audition monologue ration on that monologue including Monologues from memoirs, oral his- is far stronger when the viewer is determining the given circumstances, tories, and novels written in the first aware that another character is present, and finding the storytelling arc, basic person are also excellent source mate- even when an actor performs it alone. conflict and objectives, and the most rial. Some of my own students, for ex- In other words, since most mono- dramatic moments. Once you give the ample, have had much success using logues are really dialogues, the actor assignment and have explained it fully, gender-specific material from female always needs to know how the other you should provide everyone ample writers—Jennifer Weiner’s novels, for character is reacting. Acting is about time to find and prepare the material instance, and selections from The Love- telling the story—not just saying the for presentation. Then have your stu- ly Bones by Alice Sebold. Others have words—and a central part of the un- dents present their monologues in found monologue-worthy excerpts folding story is the non-verbal part class and get feedback from you and from non-fiction offerings such as Re- where an actor gets to react to his or (if you allow it) the class. viving Ophelia by Mary Pipher or Nick- her scene partner. el and Dimed by Barbara Ehrenreich. What I’m going present here is a Discussion. If your students are so- The important thing is that their selec- three-step exercise that can help actors phisticated enough, you may want to tions sound like real people talking, prepare and deliver monologues more let them select their own material. The and contain a significant conflict and a effectively by forcing them to deal with material should be something that they dramatic arc. You might want to sug- a monologue as though it were a could actually play. Monologue work gest to your students that they start scene rather than a solo piece. This is difficult enough; no need to make it actively collecting potential material exercise will also aid actors with most even harder by using material that and keep it in a folder for future use. other essential elements of good acting will be too much of a stretch and re- Finding a good monologue is always including analysis, making choices quire choices beyond your students’ stressful, and what is not useful now from that analysis, physicalization, lis- understanding or physicality. If you may very well be later. tening and reacting, and telling the sto- don’t think your students have the ca- Once your students have selected ry in a believable fashion. pacity at this point to select for them- their monologues—a minute to a The purpose of this exercise is to selves, then you should pick their minute and a half is more than show young actors how to view scenes for them. The idea is for them enough material—they should begin monologues the same way as scenes. to be successful. In this exercise I like their analysis process and, before any Ultimately, every scene must have a to use monologues that do not come rehearsal begins, be solid on the fol- central conflict between characters; an from actual plays. Normally, I like to lowing: arc with a clear beginning, middle, make my students have to deal with • The given circumstances—the and end; and several storytelling mo- their work in the context of the bigger who, what, when, and where or, in ments that serve as dramatic stepping picture of the play, but for this kind other words, the context for the stones. Our actors must also keep in of introduction to monologuing, I speech. Who is talking to whom? What mind that good acting is not only have found it to be useful for students is their relationship, history, etc? about dialogue. Acting between the to have to make up viable given cir- Where are the characters? When does lines is as important as dialogue, and cumstances on their own. It forces this scene take place? physical action can be as telling as the them to think in terms of clear, exe- • What are the conflicts and obsta- words provided. The exercise is in- cutable choices that will make the sto- cles apparent in the scene? How do tended to give students an opportuni- ry compelling for the audience. they connect with the unfolding story ty to test and develop these concepts The problem is that many of those and the needs of the characters? No and help them to prepare and execute dozens of monologue collections that answers should be arbitrary. They a monologue with success. Depending you find in bookstores—especially should all contribute to the unity and on the time you have, you can do all those original ones for student actors— effectiveness of the story. the rounds in sequence or, if your are often not very good. You will need • What do the characters need from time is limited, jump right into the to judge them yourself, but I strongly each other (their objectives)? How second round. recommend that you approve any se- does the dialogue work to help the lections your students make before al- characters get what they need? What Round one: find a lowing them to begin working. Even a tactics are apparent or implied in the monologue that works good actor can be tripped up by bad monologue? What is the story arc or The first round of this exercise is de- material. I have found that the collec- dramatic progression? signed to teach your students how to tions written by Jason Milligan are very • What are the big storytelling mo- find monologue material that will serve effective for this kind of acting assign- ments in the monologue? How do they them well, or at least get them to un- ment. The three titles in his series, all set up what happens next?

12 TEACHING THEATRE These questions all have to be an- of the M5. And I realize. I am like a ing the dialogue to get what she needs swered specifically. The where, for ex- god. Fifteen feet long and ten feet high. or is she delivering the dialogue on the ample, can’t simply be New York. A And I’m everywhere. Everywhere at face value of the lines, forgetting about better answer would be New York in once. My face, my body, rolling down her purpose for speaking? In order to the spring in Central Park by the car- every major street in New York. You’re be believable your students will really ousel. But these details are useful only laughing. Don’t. It’s a short life, you need to create the illusion that they are if they enhance the story in a practical know. A butterfly only lives for a day, speaking to someone specific and re- manner. The same process will need to right? Tomorrow I’m gone. Let me en- acting to the listener’s imagined verbal be followed for the other given cir- joy it. Let me have the day. Please. and non-verbal input. Many of your cumstances as well. The more specific students are likely to have difficulty your actors’ answers are, the better Even a cursory examination of this doing this. their actual acting choices will be piece I concocted will yield several In addition, every monologue con- when they’re attempting to put the useful acting nuggets. Clues in the dia- tains a series of significant moments monologue on its feet. I strongly sug- logue suggest many given circumstanc- that cannot be played through or ig- gest that you ask your students to do es—certainly regarding the who, the nored. Often they are moments that all their analysis in writing. The pro- what, and the where. The when is inspire the next piece of dialogue, and cess of putting it down on paper will open to interpretation, but your stu- if your actors run through these mo- make their thinking clearer and far dents would do well to make choices ments, it’s the equivalent of crossing more tangible when the time comes to based on time elements that would out significant events in the scene and rehearse. It will also help your actors add specificity and urgency to the situ- being shocked that the scene doesn’t arrive at a clear and shared under- ation. Perhaps the speaker is late for make sense or have power. In the standing when the scene becomes an appointment, or the weather is in- sample speech, for instance, there are more than a monologue in the second clement. The basic conflict stemming several lines of dialogue in which the round. from the model’s new-found success speaker is responding to something Below, you will find a monologue and the listener’s jealousy and skepti- said to her. If your actors simply play that can serve as a sample source for cism about her profession provide a the lines without first hearing and re- making preliminary choices. You might good starting place for deciding on ob- acting to the unspoken line, they will want to address the questions above jectives and tactics. The shift in the miss many of their significant mo- using this monologue. Going through a model’s stance from defensiveness to ments. In our speech from a moment sample session of analysis with your honest vulnerability during the arc of ago, there are also times when what class before sending them off on their the speech comes as a result of the the speaker says will have obvious im- own will likely prove beneficial. moment-to-moment exchanges be- pact on the listener. Those moments tween the speaker and the listening are actable as well, and taking in the You think it’s EASY, don’t you? Well it’s character. Their growing mutual under- partner’s reaction will be essential. not! It’s hard work, EXHAUSTING … standing is the source for the arc in the If you work through your students’ HARD …WORK. Yes, it’ll make me rich. story. More on this later. pieces after they deliver them, you will Okay, very rich! But that doesn’t make Once your students have completed be able to point out some of these it any less exhausting, does it? Worth it? their preliminary work in writing (if places and ways to help make them Of course it’s worth it. But it’s not a you choose that approach) and you work. You might even have individual choice. It’s not like chicken or fish; hair have responded to their answers with students use you or another skillful down or pulled back. Don’t be ridicu- suggestions or approval, they are ready class member to play the other charac- lous. You don’t get it do you? This kind to put the monologue on its feet. You ter as you work on some moments. of life is not a choice—it’s a sentence. can do this with them individually or Your reactions, or those of the selected Perfect bone structure may be an acci- work through their first presentations student, can help your speaking actor dent, but keeping the gift is like a with the class watching. It is also up to find those moments and react to them curse. Watch what I eat, get the sleep, you whether to have your students effectively. But even when your stu- do the exercise, maintain the regimen. memorize their work or read from the dents come to understand these mo- No, I’m not complaining; I’m grateful. I script. Obviously time is a factor, but ments, retaining what they have am. I am very lucky. Incredibly lucky. so is how well your students are able learned about them and the scene Yes, there was a moment. You really to act with their noses in the script. overall will be difficult. Not only will want to hear this? All right, but don’t Your feedback here should be they have to remember their own stuff, make fun of me. It was three months based on believability, clarity, and in- they will also have to recall how you ago. I was standing right here in Times tensity of the monologue. Is there a or the other stand-in actor handled Square across from the Hershey store. A clear conflict? Is it a strong one? Is the their moments and be able to recreate bus rolls by. There’s an ad for Hugo speaker playing her specific objective? them in their heads—not an easy task Boss on the side. And it’s me. It’s me in Is she using tactics appropriate to get- even for the best actors. So here’s my underwear covering the entire side ting her objectives fulfilled? Is she us- where round two comes in.

TEACHING THEATRE 13 Round two: work with a partner something but the speaking actor pre- they are being reflected off their part- The purpose of this round is to help vents it. ners. Finally, playing through the resis- your students see their monologues as As your actors rehearse, they should tance offered up by another actor will scenes with the same obligations that be finding the story physically as well. help your monologue givers find the arc scene work has. In this round of the That means there will be movement, of the story and the dramatic bench- game that fact will become clear be- gesture, and possibly business to take marks that occur during their journey. cause the other character will be inject- care of. By the time the partners have Now, let’s take a look at some of ed into the scene. With the addition of completed their rehearsing, the former these concepts through the lens of an the other character’s participation, your monologue should be a fully realized actual script. Before we do that, reread students will be able to see that a scene that is balanced equally between the monologue presented earlier. monologue is a story arc consisting of the characters. This will happen if both Think about the first question a well- give and take between characters. of the actors in the scene fully play out trained actor might ask herself when Begin by assigning everyone a their objectives. When your students she first approaches a scene. If you an- scene partner. For this round of the present their scene, they should get swered figuring out what the story is, exercise, your students will have two feedback in the same way they would you’re right. Then, in turn, since stories scenes to work on. The first scene will when they put up a normal mono- start with a conflict, the next question be the one in which they deliver their logue. You can then reassign the scene ought to be, what exactly is that con- former monologue. In the other they for further development, or simply flict? In our just-read speech, the con- will be the reactors in the other actor’s move on to round three. flict is over the perception of what big- monologue. For ease in rehearsal time modeling is all about. The model scheduling, you may want your stu- Discussion. The most important thing sees it as extremely hard work and sac- dents to keep the same partner for both that should come out of this round of rifice in return for fame and a big finan- monologues unless that will contradict the exercise is the realization by your cial payoff. The character she is speak- the given circumstances somehow—if actors that monologues are scenes— ing to sees modeling more as a result of gender is an issue, for instance. I have with all the same elements any other good looks and luck. There is probably found when doing this exercise, about scene has. The fact that the exercise a bit of jealousy involved as well, an two thirds of the class will be able to makes the imaginary character real will aspect that can raise the stakes. The keep the same partners. Then I just re- enable the monologue speaker to see monologue giver is trying to convince mix the rest. It usually works out fairly the piece much more clearly and with the listener that modeling is difficult well this way. Do what’s best for your far more specificity than she otherwise work and the listener, at least at the be- class’s circumstances. might. When there are two people ginning, is trying to somehow make the The rules for this round are simple. who must agree on given circumstanc- model feel bad for being so lucky. Your students are to rehearse their es, it forces the actors to cover the These comments are generalizations, of monologues as though they are scenes. who, what, when, and where with course, but they are specific, at least in Wherever the script suggests that the considerably more detail. In turn, the terms of how the mechanics of a strong listening character has said something agreed on specificity narrows the scene can work. or might have said something, the re- range of choices while leading the ac- The monologue doesn’t really offer acting character may actually create tors away from generalized decisions. up any details of who the listener is, or dialogue that would be appropriate. Finding the truth of any situation is of- when this scene takes place. It does re- These snippets of dialogue should be ten the result of seeing it with the veal fairly specifically the where— short and to the point. Once the new same detail that real life offers up. And Times Square, New York. What possi- dialogue has been settled on, it finding the specific truth of a situation bilities does that offer up for movement should be maintained as if it were is one of the things that makes a fine choices that can help make the story part of the scene as originally writ- actor’s work special. effective? Your actors will want to make ten. The dialogue created, however, Seeing the monologue in terms of choices regarding other given circum- must never pull the scene away from its conflict between characters is also stances as well. More importantly, how- the story arc provided by the play- extremely valuable. Objectives that ever, they will want to decide on details wright. It is possible that a particular arise from a specific conflict create an that will help make their story as com- monologue may require no additional urgency that beginning actors often pelling as possible. If, for instance, the spoken dialogue in response. If that’s don’t find when working monologues characters are standing outside south of the case, it is perfectly all right, but on their own. Overcoming the obsta- the Hershey store, they will be able to the listening actor has no less re- cles provided by another actor, rather point to the store when it comes up in sponsibility to react and pursue his than imagining them, gives new actors the dialogue. They will also be able to objective. Obviously, if he has no di- far better stuff to work with and refer to the high buildings that surround alogue, he must accomplish this goal against. Playing off another actor also them, the traffic on the street, including through the non-verbal things he helps your students mark their victo- buses, the people passing, etc. This can does. He may even be trying to say ries, defeats, and discoveries because add texture and specifics to the work.

14 TEACHING THEATRE They could consider the time as well. scene is ever done again, the person ence. It is even possible that doing a If it is winter, for instance, the cold doing the monologue alone will have a monologue will no longer feel as artifi- could provide urgency to the discus- tight grasp on how the opening mo- cial or as irrelevant as an SAT examina- sion and give the actors additional ment works and how to make that mo- tion. But even if it does, their mono- physical things to do. ment happen. In all probability, she logue scores are likely to go up several In terms of story arc, clearly the will have a much better understanding important percentage points. words of the monologue suggest that of the entire monologue as well, and both the speaker and listener undergo that brings us to round three. Bruce Miller, director of acting pro- several changes during the course of grams at the University of Miami, is the the piece. Though seemingly antago- Round three: go solo author Head-First Acting and The Ac- nistic at the beginning, the listener has For this round, have your students pre- tor as Storyteller. He can be reached at softened enough by the end to allow pare their monologues again, returning [email protected] the model to reveal that she sees her to the original format of delivering it in professional life as ephemeral and traditional fashion. In other words, fragile as a butterfly’s—suggesting an have them perform the monologue intimacy that is earned during the alone. This time, your actors are to use course of the speech. This arc reveals, all they have learned about the mono- of course, that the listener’s objective logue from working with their partners changes during the course of the story. in round two and make any additional A question like “is it worth it?” implies adjustments necessary. a shift in the listener—a shift that the actors will have to continue to make Discussion. You will probably find during the course of the monologue. that much of what was discovered and These kinds of moments are the foun- developed for round two will be ap- dation of the story arc and provide parent this time. I did this series of ex- those important moments of tactical ercises with my own freshman B.F.A. victory, defeat, and discovery men- actors this past fall and was extremely tioned earlier. The actor will find many pleased with the results. Most of my such moments as she works with an students retained what they found in actual partner. round two and were far better in terms One more thing is worth mentioning of urgency and believability than they about this phase of the exercise: the were in round one. Clearly, the mono- playable moment that actors almost logue had become a conversation be- always fail to utilize as they begin their tween two people, and that second, monologues for auditions. Actors love invisible character was still a part of to start their monologues with the first the scene—reacting and challenging word rather than with the impulse to just like in the second round despite speak. But there is usually a big mo- the lack of physical presence. A good ment before the first line of a mono- percentage of my actors were so com- logue is spoken. In fact, it is usually fortable at this point in the process that the reason that first line is spoken. In they were finding additional moments the model’s monologue, that first line that added humanity, color, and depth obviously comes from whatever the to their performance. Don’t be surprised other character has been saying. And if your students grow in similar ways. there has been, in the moment before, Even if your students are not quite as a comment or look that has triggered successful as mine were, they should the opening monologue line. When the retain the idea that doing monologues two actors doing the scene join forces, requires the same give and take and they will have the option to begin with moment-by-moment listening and dis- the look or with a new line written in covering that scene work does. This by the partner. A line like “Boy, you will be invaluable to their future work. sure have it made!” could do the trick They will, in all likelihood, feel far in the case of our speech. So could more connected to the material as well thousands of other lines. The point is, and discover that they are acting far the insertion of the line will help make less and reacting far more. Their work that first monologue line far more spe- will feel better to them and be far more cific. Whether or not the monologue believable and interesting for the audi-

TEACHING THEATRE 15 Originally published in the quarterly journal Teaching Theatre. More info: Schooltheatre.org