LITMIR.BIZ

      OBERON BOOKS

      LONDON

       www.oberonbooks.com

      First published in 2013 by Oberon Books Ltd

      521 Caledonian Road, London N7 9RH

      Tel: 020 7607 3637 / Fax: 020 7607 3629

      e-mail: [email protected] www.oberonbooks.com

      Compilation copyright © Catherine Weate 2013

      Catherine Weate is hereby identified as author of this compilation of extracts of plays in accordance with section 77 of the Copyright, Designs and Patents Act 1988. The author has asserted her moral rights.

      The contributors are hereby identified as authors of their contributions. in accordance with section 77 of the Copyright, Designs and Patents Act 1988. The authors have asserted their moral rights.

      All rights whatsoever in these extracts are strictly reserved and application for performance, other than in an audition context, should be made before commencement of rehearsal to the authors’ agents. No performance may be given unless a licence has been obtained, and no alterations may be made in the title or the text of the play without the author’s prior written consent.

      You may not copy, store, distribute, transmit, reproduce or otherwise make available this publication (or any part of it) in any form, or binding or by any means (print, electronic, digital, optical, mechanical, photocopying, recording or otherwise), without the prior written permission of the publisher. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages.

      A catalogue record for this book is available from the British Library.

      PB ISBN: 978-1-84943-452-2

      EPUB ISBN: 978-1-84943-621-2

      Cover image © mattonimages.co.uk

      Printed, bound and converted

      by CPI Group (UK) Ltd, Croydon, CR0 4YY.

      Visit www.oberonbooks.com to read more about all our books and to buy them. You will also find features, author interviews and news of any author events, and you can sign up for e-newsletters so that you’re always first to hear about our new releases.

      Catherine Weate is a freelance voice and dialect coach. She has worked in theatre, film, television, radio, education, commerce, law and politics across England, Australia, Hong Kong, Africa and India. Her former roles include: Head of Voice at Rose Bruford College, Head of Voice and Vice Principal at the Academy of Live and Recorded Arts and Head of Examinations at LAMDA. Catherine’s other titles published by Oberon Books are: Modern Voice: Working with Actors on Contemporary Text, Classic Voice: Working with Actors on Vocal Style, The Oberon Book of Modern Monologues for Women 1, The Oberon Book of Modern Monologues for Men 1, The Oberon Book of Modern Monologues for Men 2 and The Oberon Book of Modern Duologues.

       INTRODUCTION

      Monologues are an essential part of every actor’s toolkit. Why? Because actors are required to perform monologues regularly throughout their career: in particular, preparing for drama school entry, showcasing skills for agents or auditioning for a professional role. But what actually is a monologue? And how do you go about choosing the right one for you?

      A monologue is nothing more than a speech by a single character in a play or screenplay. Sometimes the character might speak their thoughts aloud to themselves, sometimes they might engage in a lengthy speech to another character and sometimes they will directly address the audience, breaking down the ‘fourth wall’.

      Choosing a monologue, however, is a delicate task. The only givens are that the character should be close to your age (or in your playing range) and the text should be sufficiently interesting (on its own without the rest of the play) to hold the attention of an audience. Most importantly, it must speak to you, resonate with your inner emotions, affect your senses, make you laugh or cry and draw you into a world that you want to hear more about. But don’t forget that if you are using the monologue in a professional audition then it must resemble the job in some way, through genre, period, culture and/or character (including accent).

      Some coaches have particular ‘rules’ for choosing a monologue. Let me assure you that there is no ‘right’ or ‘wrong’. Trust your inner instincts when making your choice, as long as the piece is appropriate for the context in which it is to be performed. There are coaches who advise avoiding monologues that are: physically still, tell a story about the past, directly address the audience or use vulgarity. None of these rules apply (unless stipulated by an audition panel or casting agent). Controversial content is tricky to avoid in contemporary theatre texts (after all, modern plays often seek to mirror the real world), and a well-written character-driven story spoken directly to an audience can be riveting.

      Other coaches advise actors to avoid monologue books; however, they can be a terrifically useful tool and a great starting point. Better than being overwhelmed by rows of plays in bookshops or libraries. They only work though if you read the full play text from which your monologue has been drawn. Picking a piece from a book and performing it without further reading or research is madness and, ultimately, your character study will be superficial and incomplete. Read the play to understand the journey/trajectory of plot, character, relationship and situation. If possible, try to see the play in performance to understand how the monologue (and therefore the character) works in context.

      This monologue book showcases the writing from authors published by Oberon Books (following on from the first volume of The Oberon Book of Modern Monologues for Women, published in 2008). There are a diverse range of quirky and memorable characters that cross cultural and historical boundaries. Yes, some of them tell stories, many directly address the audience and, being contemporary plays, there is quite a bit of controversial material. As there should be.

      The pieces have been organised into age-specific groups: ‘teens’, ‘twenties’, ‘thirties’ and ‘forties plus’. However, there is the occasional character that crosses these boundaries so do spend some time reading outside of your age-related box just in case. The boundaries are simply there to provide you with a starting point.

      Monologue length varies widely depending on the material: the concise and contained to the weighty and protracted. Don’t be afraid of adapting them to your needs, particularly when many auditions stipulate time frames for performance. In a few cases I have cut texts to maintain flow and sense. This is indicated by ‘…’ on a line all of its own, between paragraphs.

      If you require any further information or advice on these books (all feedback is welcome) or in choosing/performing a monologue then please contact me through my website (www.catherineweate.com) or on twitter (@voicesupport). In the meantime, happy reading.

      Catherine Weate

      PART ONE:

      TEENS

      BLACKBERRY TROUT FACE

       by Laurence Wilson

      This play was first performed at the Unity Theatre, Liverpool on 29 September 2009.

      Set

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