Monologue

Romeo and Juliet: Giving Them a Voice
**Purpose:** To demonstrate understanding of concepts and emotions present in a given monologue that in turn create character voice. To successfully convey this info to an audience using oral interpretation and extemporaneous speaking skills **Points**: 40 **Time Limit**: You will choose from several monologues taken from //Romeo and Juliet//. With effective use of pauses and rate, you do not need to worry about the length of the monologue. The extemporaneous speaking (your words), must run between 1-2 minutes. **Assignment**: - Select a monologue and familiarize yourself with the following: 1. the speaker and the intended audience 2. the setting (time and place), where is your character situated? 3. the climactic lines 4. the mood 5. the message, why is your character even speaking and what, exactly, are they saying? 6. vocabulary - Be prepared to introduce your monologue with a specific reference to the concept that you will be defining in your essay (ie. Love, trust, fate). How does this particular monologue illustrate or contrast with your definition? The introduction is extemporaneous and you can have twenty words on a note card. - Remember that all of the usual oral interpretation skills should be employed: vocal and facial expression, gestures, effective posture, fluency, eye contact, and involvement in the literature. __Become the character. Costumes or props are welcome.__ **Requirements**: The monologue must be typed in large, legible font, and mounted on stiff paper or cardboard. Although you have a manuscript, you should be familiar enough to maintain eye contact with your audience. **Grading**: You will be evaluated on how well you introduce and make supported connections to a given abstract idea that is featured in your chosen monologue. In addition, you will be evaluated on how well you become the character in question and show clear expression in your face, voice, and body.

So what is a monologue?
A **monologue** is a //dramatic soliloquy, or a long, uninterrupted speech that can take many different forms:// 1) Delivered directly to audience  2)  As if actor is talking to self 3) As if talking to imaginary person  4)  As if truly speaking to another character, imagines other characters and their responses **__Questions to ask your character as you prepare your monologue:__** =//__MONOLOGUE ANALYSIS__//= //Answer the following questions about your monologue using thoughtful, complete sentences. __Please type your__// __//responses//__//.// 20 pts. __SELF ASSESSMENT__ Circle the criteria that corresponds to how you think you did after viewing your tape. Be sure to consider the prompts at the bottom and write your response in the space provided. Monologue Performance: Self Assessment Criteria || Standing Ovation! || Bravo and applause || Golf Clap || Needs Rehearsal || Physical Movement || Movement fits to the character. Blocking is complete. Body is in open position. || Movement is limited but fits to character. Blocking is attempted. Body may be sometimes closed to the audience || Movement is limited. Blocking is not attempted. Body often closed to the audience || Performer uses movement inappropriately or not at all. Body closed to the audience || Delivery || Uses a clear and audible voice that fits to the character. || Uses an audible voice that fits to the character. || Audience had difficulty hearing or following some of the performance due to volume and character lapses. || Audience could not hear the performance; it was too soft, student mumbled, and/or stumbled over lines. || Performance || A smooth performance: Knew the monologue well and incorporated action effectively. || Nearly flawless, aside from a few references to notes. || Student frequently broke character to check notes or blocking. || Performance stopped because actor did not remember what to do or say. || The intro || The speech draws a clear connection between the monologue and the concept in question. Effective hook, transitions, and closure. || The speech draws a connection between the monologue and the concept in question. Evident hook, transitions, and closure. || The speech attempts to draw a connection between the monologue and the concept in question. Hook, transitions, and closure and attempted but ineffective. || The connection between the concept and monologue is unclear. No obvious attempt to engage and/or guide the audience is made. || The Monologue || The monologue clearly establishes the character’s objective, conflict and location. || The monologue establishes the character’s objective, location and conflict. || The monologue vaguely establishes the character’s objective and conflict. || Monologue didn’t establish character’s objective, location, or conflict. The audience presented with a puzzle. || Grade you think you deserve: Take a moment to write about the following in the space below: //What went well?// //What could have been better?// Peer and Teacher Assessment Performer:__________________Character:______________________Your name:___________________ Monologue: //circle the description that fits best// Criteria || Standing Ovation! || Bravo and applause || Golf Clap || Needs Rehearsal || Physical Movement || Movement fits to the character. Blocking is complete. Body is in open position. || Movement is limited but fits to character. Blocking is attempted. Body may be sometimes closed to the audience || Movement is limited. Blocking is not attempted. Body often closed to the audience || Performer uses movement inappropriately or not at all. Body closed to the audience || Delivery || Uses a clear and audible voice that fits to the character. || Uses an audible voice that fits to the character. || Audience had difficulty hearing or following some of the performance due to volume and character lapses. || Audience could not hear the performance; it was too soft, student mumbled, and/or stumbled over lines. || Performance || A smooth performance: Knew the monologue well and incorporated action effectively. || Nearly flawless, aside from a few references to notes. || Student frequently broke character to check notes or blocking. || Performance stopped because actor did not remember what to do or say. || The Monologue || The monologue clearly establishes the character’s objective, conflict and location. || The monologue establishes the character’s objective, location and conflict. || The monologue vaguely establishes the character’s objective and conflict. || The monologue did not establish the character’s objective, location, or conflict. The audience was presented with a puzzle. || The intro || The speech draws a clear connection between the monologue and the concept in question. Effective hook, transitions, and closure. || The speech draws a connection between the monologue and the concept in question. Evident hook, transitions, and closure. || The speech attempts to draw a connection between the monologue and the concept in question. Hook, transitions, and closure and attempted but ineffective. || The connection between the concept and monologue is unclear. No obvious attempt to engage and/or guide the audience is made. || //What Grade you would give this performance? (Based on criteria above.)// //Length?// //Who is the character addressing? Why?// //Where is the character?// //What is the purpose of her speaking?// //Were you engaged with the performance? Why/why not?//
 * 1) Name? Age? Residence? Form of transportation?
 * 2) Physical Appearance?
 * 3) Favorite Music? Favorite book?
 * 4) Profession? Educational background?
 * 5) What social group does s/he hang with? Who is his/her best friend? Does s/he have any enemies?
 * 6) What is this person most often found saying?
 * 7) First memory?
 * 8) Favorite weather? Season?
 * 9) Greatest fear? Childhood fears? What has disappeared in his/her life?
 * 10) First love?
 * 11) What does s/he do in their free time?
 * 12) What was the last thing s/he stole? A secret s/he has? What does s/he lie about, if anything?
 * 13) What does s/he want? Life themes? What metaphor explains his/her life? What does this person believe to be true?
 * 14) Describe his/her hands.
 * 15) Most prized possession?
 * 16) Hopes? What makes him/her cry? Laugh? When was his/her last tantrum? Over what?
 * 1) **Where** does your selection take place? What can you learn from that setting that can help you plan your interpretation?
 * 2) **When** does your selection take place? How does this information affect the way you interpret the selection?
 * 3) **What** is happening in your selection? Briefly list the events in the selection.
 * 4) **Who** is speaking in your selection? To whom is that person speaking? What do you know about these people that can help you understand how to interpret their words, emotions, and thoughts?
 * 5) What is the **mood** of your selection? If the mood changes, identify where the change occurs and what the new mood is. How will you convey this mood(s) with your voice, face, and body?
 * 6) Where are the **climactic lines** in your selection? How will you create an appropriate build-up for the climax?
 * 7) What is the **message** of your selection? How can you make sure that you convey it?
 * 8) List and define ALL **unfamiliar words** in your selection.
 * 9) Rewrite your monologue, line by line, in **your own words**.

1.3.17 NURSE: Even or odd, of all days in the year, Come Lammas Eve at night shall she be fourteen. Susan and she (God rest all Christian souls!) Were of an age. Well, Susan is with God; She was too good for me. But, as I said, On Lammas Eve at night shall she be fourteen; That shall she, marry; I remember it well. 'Tis since the earthquake now eleven years; And she was weaned (I never shall forget it), Of all the days of the year, upon that day; For I had then laid wormwood to my dug, Sitting in the sun under the dovehouse wall. My lord and you were then at Mantua. Nay, I do bear a brain. But, as I said, When it did taste the wormwood on the nipple Of my dug and felt it bitter, pretty fool, To see it tetchy and fall out with the dug! Shake, quoth the dovehouse! 'Twas no need, I trow, To bid me trudge. And since that time it is eleven years, For then she could stand high-lone; nay, by th' rood, She could have run and waddled all about; For even the day before, she broke her brow; And then my husband (God be with his soul! 'A was a merry man) took up the child. 'Yea,' quoth he, 'dost thou fall upon thy face? Thou wilt fall backward when thou hast more wit; Wilt thou not, Jule?' and, by my holidam, The pretty wretch left crying and said 'Ay.' To see now how a jest shall come about! I warrant, an I should live a thousand years I never should forget it. 'Wilt thou not, Jule?' quoth he, And, pretty fool, it stinted and said 'Ay.' || 1.4.58 MERCUTIO: O, then I see Queen Mab hath been with you. She is the fairies' midwife, and she comes In shape no bigger than an agate stone On the forefinger of an alderman, Drawn with a team of little atomies Over men's noses as they lie asleep; Her wagon spokes made of long spinners' legs, The cover, of the wings of grasshoppers; Her traces, of the smallest spider web; Her collars, of the moonshine's wat'ry beams; Her whip, of cricket's bone; the lash, of film; Her wagoner, a small grey-coated gnat, Not half so big as a round little worm Pricked from the lazy finger of a maid; Her chariot is an empty hazelnut, Made by the joiner squirrel or old grub, Time out o' mind the fairies' coachmakers. And in this state she gallops night by night Through lovers' brains, and then they dream of love; O'er courtiers' knees, that dream on curtsies straight; O'er lawyers' fingers, who straight dream on fees; O'er ladies' lips, who straight on kisses dream, Which oft the angry Mab with blisters plagues, Because their breaths with sweetmeats tainted are. Sometimes she gallops o'er a courtier's nose, And then dreams he of smelling out a suit; And sometimes comes she with a tithe-pig's tail Tickling a parson's nose as 'a lies asleep, Then dreams he of another benefice. Sometimes she driveth o'er a soldier's neck, And then dreams he of cutting foreign throats, Of breaches, ambuscadoes, Spanish blades, Of healths five fathom deep; and then anon Drums in his ear, at which he starts and wakes, And being thus frighted, swears a prayer or two And sleeps again. This is that very Mab That plats the manes of horses in the night And bakes the elflocks in foul sluttish hairs, Which once untangled much misfortune bodes. This is the hag, when maids lie on their backs, That presses them and learns them first to bear, Making them women of good carriage. This is she! ||
 * Choose one monologue from the following possibilities:**

2.2.1 ROMEO: But soft! What light through yonder window breaks? It is the East, and Juliet is the sun! Arise, fair sun, and kill the envious moon, Who is already sick and pale with grief That thou her maid art far more fair than she. Be not her maid, since she is envious. Her vestal livery is but sick and green, And none but fools do wear it. Cast it off. It is my lady; O, it is my love! O that she knew she were! She speaks, yet she says nothing. What of that? Her eye discourses; I will answer it. I am too bold; 'tis not to me she speaks. Two of the fairest stars in all the heaven, Having some business, do entreat her eyes To twinkle in their spheres till they return. What if her eyes were there, they in her head? The brightness of her cheek would shame those stars As daylight doth a lamp; her eyes in heaven Would through the airy region stream so bright That birds would sing and think it were not night. See how she leans her cheek upon her hand! O that I were a glove upon that hand, That I might touch that cheek! 3.2.1 JULIET: Gallop apace, you fiery-footed steeds, Towards Phoebus' lodging! Such a wagoner As Phaeton would whip you to the west And bring in cloudy night immediately. Spread thy close curtain, love-performing night, That runaway's eyes may wink, and Romeo Leap to these arms untalked of and unseen. Lovers can see to do their amorous rites By their own beauties; or, if love be blind, It best agrees with night. Come, civil night, Thou sober-suited matron, all in black, And learn me how to lose a winning match, Played for a pair of stainless maidenhoods. Hood my unmanned blood, bating in my cheeks, With thy black mantle till strange love grow bold, Think true love acted simple modesty. Come, night; come, Romeo; come, thou day in night; For thou wilt lie upon the wings of night Whiter than new snow upon a raven's back. Come, gentle night; come, loving, black-browed night; Give me my Romeo; and, when he shall die, Take him and cut him out in little stars, And he will make the face of heaven so fine That all the world will be in love with night And pay no worship to the garish sun. O, I have bought the mansion of a love, But not possessed it. So tedious is this day As is the night before some festival To an impatient child that hath new robes And may not wear them. 3.3.117 FRIAR: Hold thy desperate hand. Art thou a man? Thy form cries out thou art; Thy tears are womanish, thy wild acts denote The unreasonable fury of a beast. Unseemly woman is a seeming man! And ill-beseeming beast in seeming both! Thou hast amazed me. By my holy order, I thought thy disposition better tempered. Hast thou slain Tybalt? Wilt thou slay thyself? And slay thy lady that in thy life lives, By doing damnèd hate upon thyself? Why railest thou on thy birth, the heaven, and earth? Since birth and heaven and earth, all three do meet In thee at once; which thou at once wouldst lose. Fie, fie, thou shamest thy shape, thy love, thy wit, Which, like a userer, abound'st in all, And uses none in that true sense indeed Which should bedeck thy shape, thy love, thy wit. Thy noble shape is but a form of wax, Digressing from the valor of a man; Thy dear love sworn but hollow perjury, Killing that love which thou hast vowed to cherish; Thy wit, that ornament to shape and love, Misshapen in the conduct of them both, Like powder in a skilless soldier's flask, Is set afire by thine own ignorance, And thou dismemb'red with thine own defense. What, rouse thee, man! Thy Juliet is alive, For whose dear sake thou wast but lately dead. There art thou happy. Tybalt would kill thee, But thou slewest Tybalt. There are thou happy too. The law, that threat'ned death, becomes thy friend And turns it to exile. There art thou happy. A pack of blessings light upon thy back; Happiness courts thee in her best array; But, like a misbehaved and sullen wench, Thou pout'st upon thy fortune and thy love. Take heed, take heed, for such die miserable. Go get thee to thy love, as was decreed, Ascend her chamber, hence and comfort her. But look thou stay not till the watch be set, For then thou canst not pass to Mantua, Where thou shalt live till we can find a time To blaze your marriage, reconcile your friends, Beg pardon of the Prince, and call thee back With twenty hundred thousand times more joy Than thou went'st forth in lamentation. Go before, nurse. Commend me to thy lady, And bid her hasten all the house to bed, Which heavy sorrow makes them apt unto. Romeo is coming. || 2.2.90  JULIET: Thou knowest the mask of night is on my face; Else would a maiden blush bepaint my cheek For that which thou hast heard me speak to-night. Fain would I dwell on form -- fain, fain deny What I have spoke; but farewell compliment! Dost thou love me? I know thou wilt say 'Ay'; And I will take thy word. Yet, if thou swear'st, Thou mayst prove false. At lovers' perjuries, They say Jove laughs. O gentle Romeo, If thou dost love, pronounce it faithfully. Or if thou thinkest I am too quickly won, I'll frown, and be perverse, and say thee nay, So thou wilt woo; but else, not for the world. In truth, fair Montague, I am too fond, And therefore thou mayst think my havior light; But trust me, gentleman, I'll prove more true Than those that have more cunning to be strange. I should have been more strange, I must confess, But that thou overheard'st, ere I was ware, My true-love passion. Therefore pardon me, And not impute this yielding to light love, Which the dark night hath so discovered. 3.2.97 JULIET: Shall I speak ill of him that is my husband? Ah, poor my lord, what tongue shall smooth thy name When I, thy three-hours wife, have mangled it? But wherefore, villain, didst thou kill my cousin? That villain cousin would have killed my husband. Back, foolish tears, back to your native spring! Your tributary drops belong to woe, Which you, mistaking, offer up to joy. My husband lives, that Tybalt would have slain; And Tybalt's dead, that would have slain my husband. All this is comfort; wherefore weep I then? Some word there was, worser than Tybalt's death, That murd'red me. I would forget it fain; But O, it presses to my memory Like damnèd guilty deeds to sinners' minds! 'Tybalt is dead, and Romeo--banishèd!' That 'banishèd,' that one word 'banishèd,' Hath slain ten thousand Tybalts. Tybalt's death Was woe enough, if it had ended there; Or, if sour woe delights in fellowship And needly will be ranked with other griefs, Why followèd not, when she said 'Tybalt's dead,' Thy father, or thy mother, nay, or both, Which modern lamentation might have moved? But with a rearward following Tybalt's death, 'Romeo is banishèd'--to speak that word Is father, mother, Tybalt, Romeo, Juliet, All slain, all dead. 'Romeo is banishèd'-- There is no end, no limit, measure, bound, In that word's death; no words can that woe sound. **NOTE:** **On February 11th, you need to submit a line-by-line paraphrasing and analysis of your monologue. On your performance day you will need to turn in your manuscript, and note card.** Ie. //Thy tears are womanish.// You are crying excessively as a woman does. ||