{"id":41637,"date":"2025-01-22T18:37:17","date_gmt":"2025-01-22T18:37:17","guid":{"rendered":"https:\/\/peraltafinancing.com\/acting\/why-actors-need-monologues\/"},"modified":"2025-01-22T18:37:17","modified_gmt":"2025-01-22T18:37:17","slug":"why-actors-need-monologues","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=41637","title":{"rendered":"Why Actors Need Monologues"},"content":{"rendered":"


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Becoming a <\/span>professional actor<\/span><\/strong> can seem like a daunting process, there\u2019s a lot to take in, a lot to learn and there are a number of skills you need to acquire before somebody hands you an award with your name on it. <\/span>One of these skills is <\/span><\/em>monologues<\/span><\/em><\/strong> and you need a portfolio of them if you\u2019re going to compete successfully and get cast. Now you <\/span>won\u2019t need monologues for every audition<\/span><\/em> or meeting you take with industry people but you\u2019ll need the right ones and <\/span>a variety of them<\/span><\/strong> when you do. <\/span><\/span><\/p>\n<\/div>\n

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So before we get into the nitty gritty of that, let\u2019s be clear about where you\u2019ll need monologues and where you won\u2019t. <\/span>Commercial auditions<\/span><\/em> are the first place <\/span>you won\u2019t be expected<\/span><\/em> to show off your monologue chops, because the only things that matter in those meetings are how you look and how you handle that copy for \u201cRed Lobster\u201d. <\/span>Likewise<\/span><\/em> for <\/span>film and TV <\/span><\/strong>auditions, they\u2019ll have <\/span>their own sides<\/span><\/strong> that you\u2019ll read from because they\u2019re likely looking for something specific and even if your monologue\u2019s a perfect fit they likely won\u2019t have time for it. <\/span><\/span><\/p>\n<\/div>\n

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However in just about any other audition scenario, monologues will come into play, so you better be ready when you walk in those other doors. Top of this list are <\/span>agents and managers,<\/span><\/strong> key players in the careers of all successful actors and they put a lot of stock in how you handle yourself in a \u201cgo-see\u201d meeting. First impressions count for a lot, especially for newbie actors, so whatever <\/span>monologue you do for an agent it better be a good one <\/span><\/strong>or your meeting won\u2019t last long. <\/span><\/span><\/p>\n<\/div>\n

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Anytime you\u2019re called in for a<\/span> theater audition<\/span><\/strong> you can pretty much assume you\u2019ll be asked to do a monologue. There are various theories on the subject but I always advise actors to <\/span>lead with a comedic one<\/span><\/strong>, because casting people work long hours and <\/span>they can always use a laugh. <\/span><\/em>If that goes well, they may <\/span>ask you for a contrasting one <\/span><\/em>and that\u2019s when you can show off your dramatic range. Should both of these land well, you\u2019ve got a real shot at the getting the role, which is the goal. <\/span>
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So when exactly should you start working on your monologues? <\/span>Yesterday.<\/span><\/strong> No, I\u2019m serious, don\u2019t wait till you get a call from a casting director before you go monologue shopping . What you <\/span>don\u2019t <\/span><\/strong>want to be doing is trying to <\/span>cram a bunch of material into your head at midnight<\/span><\/em> for an audition the <\/span>following morning<\/span><\/em>. What you do want to do is <\/span>have that material memorized<\/span><\/strong> and ready to go <\/span>before the phone rings. <\/span><\/strong>There\u2019s a very simple formula when it come to nailing that audition and this is what it is. <\/span><\/span><\/p>\n<\/div>\n

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<\/span>LUCK = Preparation + Opportunity<\/span><\/strong><\/span><\/p>\n<\/div>\n

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Actors who take their careers seriously must take their craft seriously. That means you should have <\/span>between<\/span><\/em> 5 and 8 monologues<\/span><\/em><\/strong> picked out, worked on and ready to go o<\/span><\/em>n any given day of the week. When I say \u201cworked on\u201d, I mean that you know them<\/span> cold<\/span><\/strong> and you\u2019ve done all the necessary <\/span>prep work<\/span><\/u>. That means you\u2019ve <\/span>read the play<\/span><\/strong> that the monologue comes from and you have a <\/span>full understanding of the character,<\/span><\/strong> along with their conflicts. You need to have a clear understanding of what the <\/span>character\u2019s objectives<\/span><\/strong> are and what the <\/span>obstacles<\/span><\/strong> are that they need to overcome. You need to know exactly where the setting for the monologue is and who you\u2019re speaking to. Are they an ally or an enemy? Perhaps most importantly, <\/span>you must have a clear idea about <\/span><\/em>what\u2019s at stake,<\/span><\/em><\/strong> both for you and the person you\u2019re speaking to. If you have all those things in place, you\u2019ve got a monologue that will hold their attention. If not, you\u2019re just rattling off words. <\/span><\/span><\/p>\n<\/div>\n

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You also want to be sure that <\/span>your monologues fit your casting<\/span><\/strong>, that whatever you\u2019re bringing in is a <\/span>good snapshot of who you are<\/span><\/strong>. This requires a <\/span>good look in the mirror <\/span><\/em>and a little honesty about what\u2019s there versus what you\u2019d like to see. If you\u2019re 23 years old, <\/span>don\u2019t<\/span><\/strong> be doing the \u201cstorm\u201d monologue from King Lear, doesn\u2019t matter how wonderfully you read it. Conversely, if you\u2019re 45 you shouldn\u2019t be doing Juliette from <\/span><\/span><\/p>\n<\/div>\n

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R & J, I don\u2019t care how good your skin is. There\u2019s a time and <\/span>place for challenging yourself <\/span><\/em>and pushing your limits but <\/span>that\u2019s not in a casting session<\/span><\/em>, trust me. <\/span><\/span><\/p>\n<\/div>\n

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It\u2019s also important to have a good variety of material and that includes the length of your monologues. What does that mean? It means you need some <\/span>short<\/span><\/strong> ones, some <\/span>medium<\/span><\/strong> and some<\/span> long<\/span><\/strong> ones. In terms of actual time you\u2019re looking at 30 seconds, one minutes and three minutes speeches. You\u2019ll want both <\/span>comedic<\/span><\/strong> and <\/span>dramatic<\/span><\/strong> in all of those lengths as well. One should also pay attention to how your monologues fit together as a large body of work. Beyond the funny or not-so-funny thing, you need to have both <\/span>contemporary<\/span><\/strong> and <\/span>classical<\/span><\/strong> <\/span>material<\/span><\/em> to round out your portfolio. Now yes, some of that has to do with your personal casting but you should also consider what projects are coming up and try to anticipate what producers are looking for. Your monologue portfolio <\/span>shouldn\u2019t be<\/span><\/strong> a <\/span>static<\/span><\/strong> thing, it should be <\/span>always be evolving<\/span><\/strong> and you should keep your eyes open for new material that\u2019s a good fit for you. <\/span>
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Lastly you should be wary of speeches that are closely associated with particular actors because comparisons will be inevitable and odds are they won\u2019t be in your favor. Rightly or wrongly, <\/span>heavy weight actors<\/span><\/strong> have a tendency to <\/span>leave their marks on iconic roles, <\/span><\/strong>so if you decide take one of those on, make sure <\/span>you\u2019re bringing something unique to the character <\/span><\/strong>or stay away from it. More than anything you want to be working with material that hasn\u2019t been done to death. If you\u2019re not sure about your monologue choices <\/span>ask around and get some second opinions.<\/span><\/em> Your acting teacher and classmates will be a good start but don\u2019t stop there, really try to find out <\/span>what material other actors are using<\/span><\/strong> and how it\u2019s being received. Of course if you\u2019re on good terms with casting folks, always get your info straight from the horses mouth. <\/span><\/span><\/p>\n<\/div>\n

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Now the <\/span>actual presentation of your monologues<\/span><\/strong> is something else entirely but that\u2019s better served in a separate conversation. For now, keep working on building up your portfolio, make sure they\u2019re appropriate for you and do your homework diligently. The <\/span>most successful actors are the ones who do the work consistently<\/span><\/strong>, there\u2019s no way around it. Keep looking for material, keep your focus and your shot will come. <\/span><\/span><\/p>\n<\/div>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"

Becoming a professional actor can seem like a daunting process, there\u2019s a lot to take in, a lot to learn and there are a number of skills you need to acquire before somebody hands you an award with your name on it. One of these skills is monologues and you need a portfolio of them […]<\/p>\n","protected":false},"author":1,"featured_media":41638,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12021],"tags":[13126,23725],"dealstore":[],"offerexpiration":[],"class_list":["post-41637","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-acting","tag-actors","tag-monologues"],"yoast_head":"\nWhy Actors Need Monologues - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=41637\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Why Actors Need Monologues - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"Becoming a professional actor can seem like a daunting process, there\u2019s a lot to take in, a lot to learn and there are a number of skills you need to acquire before somebody hands you an award with your name on it. 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