Shakespeare Acting Tips To Perform Your First Shakespeare Monologue
- Date: 2010-06-07 - Word Count: 943
Share This!
You've picked your first Shakespeare monologue and you're ready to rehearse, but where do you start? Here are step by step Shakespeare acting tips to help you break down your Shakespeare monologues in order to shine at your next classical acting audition.
1) Understand your Monologue
The first thing you need to do with a new Shakespeare monologue is be absolutely sure you understand every word in it. As much as you can, try to read a lot of Shakespeare plays. Some of the language in Shakespeare is outdated and therefore hard to understand, but the more you read Shakespeare, the more you'll understand it, as a lot of the same words come back over and over in his plays.
If you have trouble with Shakespeare's language, get a Folger's edition of the play you're working on where hard to understand words are explained opposite each page. Even if you understand Shakespeare pretty well, it's a good idea to go through your monologue once and translate it line by line into modern English to really get the meaning to resonate with you. If something feels archaic, try to come up with a modern equivalent that you respond to.
2) Do your Acting Work
The next step involves doing the same work you would do if you were working on any part, be it a monologue or a scene, Shakespeare or Mamet. Read the play your Shakespeare monologue is from a few times and study the given circumstances. Explore relationships, characterization and objectives by asking yourself a lot of questions. Here are a few examples to get started:
Who am I? What is my character's background, characteristics, emotional makeup?
What is going on in the monologue? What are the given circumstances of the play?
Where am I? Where am I coming from? Where am I going to?
What do I want? How am I going to get it? What stands in my way?
What time of day is it? What just happened before the monologue started?
3) Find a reason for speaking
If your Shakespeare monologue is part of the scene, all you need to do is think of your objective to find a reason to start speaking.
But what of all these monologues where the character is just speaking aloud to himself? These can fee unnatural to actors. After all, we don't go around talking to ourselves.
Or do we?
If you think about it, we have inner monologues all the time, especially when something troubles us. Here are a few examples of reasons why we may have inner monologues:
trying to make sense of feelings we're having but don't understand yet.
trying to reason with ourselves.
trying to understand a difficult situation.
trying to figure out what motivates someone else's behavior toward us.
trying to come to terms with a horrific event (as in some of Shakespeare's most tragic soliloquies).
If you find a reason for speaking your Shakespeare monologue, you will discover your text line by line in the moment and keep the audience's attention, especially if you think of your characters' sharing their thoughts with the audience when they think out loud.
4) Respect the Verse
Auditioning with a Shakespearean monologue means you will not only have to prove that you are a great actor, you will also need to display the technical proficiency required to perform a play in verse or heightened prose.
Once you've translated your monologue into modern English, go through it again this time making sure you have its rhythm down. If, like the majority of Shakespeare's plays, your Shakespeare monologue is in blank verse, this means respecting the iambic pentameter. How do you do that? Just go through your monologue line by line and make sure you are pronouncing 10 syllables for each verse. If you have an extra syllable, you may have missed an elision somewhere in the verse line (an elision is the omission of an unstressed syllable or vowel). If you are one syllable short, you may need to pronounce the -ed ending of a past tense verb or otherwise lengthen the verse line.
The goal is not to sound unnatural but to really master the verses so that when you depart from the set rhythm of the iambic pentameter, you do so knowingly as an acting choice. The more you study the verse, the more you can free yourself from it, finding your own rhythm. Actually, a great place to look for clues is Shakespeare himself….
5) Look for Clues from Shakespeare
The final step to really dig deeper into your character and performance is again studying Shakespeare's verses. A regular iambic pentameter is composed of a series of unstressed and stressed syllables that follow this rhythm…
Ta DUM/ ta DUM/ ta DUM/ ta DUM/ ta DUM /
Each break in rhythm can be a clue for the actor as to the intentions or emotional state of their character. Go through your Shakespeare monologue again and mark all the breaks in rhythm. Also mark:
short lines that could indicate a pause
sentences that run over the verse
semi colons or full stops in the middle of verses
etc.
Once you've marked your monologue, ask yourself why Shakespeare wrote the monologue this way. Try everything both ways. For example, if there's a short line that suggests a pause, take a pause. Then do it again this time without the pause. See what each reading tells you about the character.
Acting is all about choices. The more clues you find in Shakespeare's monologues, the more opportunities you have to make choices and get to know your version of the character better. The better you know your character and their intention, the more powerful and unique your performance and audition will be.
1) Understand your Monologue
The first thing you need to do with a new Shakespeare monologue is be absolutely sure you understand every word in it. As much as you can, try to read a lot of Shakespeare plays. Some of the language in Shakespeare is outdated and therefore hard to understand, but the more you read Shakespeare, the more you'll understand it, as a lot of the same words come back over and over in his plays.
If you have trouble with Shakespeare's language, get a Folger's edition of the play you're working on where hard to understand words are explained opposite each page. Even if you understand Shakespeare pretty well, it's a good idea to go through your monologue once and translate it line by line into modern English to really get the meaning to resonate with you. If something feels archaic, try to come up with a modern equivalent that you respond to.
2) Do your Acting Work
The next step involves doing the same work you would do if you were working on any part, be it a monologue or a scene, Shakespeare or Mamet. Read the play your Shakespeare monologue is from a few times and study the given circumstances. Explore relationships, characterization and objectives by asking yourself a lot of questions. Here are a few examples to get started:
Who am I? What is my character's background, characteristics, emotional makeup?
What is going on in the monologue? What are the given circumstances of the play?
Where am I? Where am I coming from? Where am I going to?
What do I want? How am I going to get it? What stands in my way?
What time of day is it? What just happened before the monologue started?
3) Find a reason for speaking
If your Shakespeare monologue is part of the scene, all you need to do is think of your objective to find a reason to start speaking.
But what of all these monologues where the character is just speaking aloud to himself? These can fee unnatural to actors. After all, we don't go around talking to ourselves.
Or do we?
If you think about it, we have inner monologues all the time, especially when something troubles us. Here are a few examples of reasons why we may have inner monologues:
trying to make sense of feelings we're having but don't understand yet.
trying to reason with ourselves.
trying to understand a difficult situation.
trying to figure out what motivates someone else's behavior toward us.
trying to come to terms with a horrific event (as in some of Shakespeare's most tragic soliloquies).
If you find a reason for speaking your Shakespeare monologue, you will discover your text line by line in the moment and keep the audience's attention, especially if you think of your characters' sharing their thoughts with the audience when they think out loud.
4) Respect the Verse
Auditioning with a Shakespearean monologue means you will not only have to prove that you are a great actor, you will also need to display the technical proficiency required to perform a play in verse or heightened prose.
Once you've translated your monologue into modern English, go through it again this time making sure you have its rhythm down. If, like the majority of Shakespeare's plays, your Shakespeare monologue is in blank verse, this means respecting the iambic pentameter. How do you do that? Just go through your monologue line by line and make sure you are pronouncing 10 syllables for each verse. If you have an extra syllable, you may have missed an elision somewhere in the verse line (an elision is the omission of an unstressed syllable or vowel). If you are one syllable short, you may need to pronounce the -ed ending of a past tense verb or otherwise lengthen the verse line.
The goal is not to sound unnatural but to really master the verses so that when you depart from the set rhythm of the iambic pentameter, you do so knowingly as an acting choice. The more you study the verse, the more you can free yourself from it, finding your own rhythm. Actually, a great place to look for clues is Shakespeare himself….
5) Look for Clues from Shakespeare
The final step to really dig deeper into your character and performance is again studying Shakespeare's verses. A regular iambic pentameter is composed of a series of unstressed and stressed syllables that follow this rhythm…
Ta DUM/ ta DUM/ ta DUM/ ta DUM/ ta DUM /
Each break in rhythm can be a clue for the actor as to the intentions or emotional state of their character. Go through your Shakespeare monologue again and mark all the breaks in rhythm. Also mark:
short lines that could indicate a pause
sentences that run over the verse
semi colons or full stops in the middle of verses
etc.
Once you've marked your monologue, ask yourself why Shakespeare wrote the monologue this way. Try everything both ways. For example, if there's a short line that suggests a pause, take a pause. Then do it again this time without the pause. See what each reading tells you about the character.
Acting is all about choices. The more clues you find in Shakespeare's monologues, the more opportunities you have to make choices and get to know your version of the character better. The better you know your character and their intention, the more powerful and unique your performance and audition will be.
Related Tags: shakespeare, acting lessons, shakespeare acting, shakespeare monologues, classical acting, acting shakespeare, shakespeare class
Your Article Search Directory : Find in Articles
Recent articles in this category:
- Kids Halloween Party Ideas
Hard to believe Halloween is just around the corner already. This is a very popular holiday especial - Inexpensive Party Favor Ideas For Party Guests
The cost of a gift is not the most important, but rather the thought behind it. There are different - The Major Benefits of Watching Funny Videos
Funny videos have gained a wide audience all over the world. This is due to the impact it has made i - Handy Things to Know About Concert Tickets
There are a lot of people that spend time and money going to concerts. This makes knowing the facts - Travel Magazine And How To Pick Up A Good Copy
Many people enjoy reading magazines. They are a quick read and can be picked up in many locations. M - Planning the Infamous Holiday Office Party
Ok, so you're in charge of planning the infamous holiday office party. If you've ever seen the TV sh - How to Choose Songs That Are Suited to Your Voice - So You Always Sound Fantastic!
Hello singers! In this article, you'll learn how to choose songs that compliment your voice… so you - Host a Professional Halloween Quiz This Halloween
If you are having a bunch of friends around for Halloween, why not give them a Halloween Quiz? If yo - Discovering How Popular Horror Movies Can Enhance Halloween Fun
Throwing a Halloween party? Why not make it a night with themes from popular horror movies? For, wit - The Art Of The French Revolution
The art of pre-revolutionary France was decidedly frivolous in its subject matter and deliciously de
Most viewed articles in this category:
- The Complete Defenition of the 3D
3D computer graphics as seen on FaceYourArt.comA 3D rendering with raytracing and ambient occlusion - Unlimited Movie Downloads Tips - Pick the Best, Dump the Rest
Unlimited movie downloads have made it much easier for busy folks like us to watch our favorite movi - Get Your Alliance Character To 60 In A Week
You may have looked around on the internet for WoW power leveling guides and come up empty-handed or - Why Do We Gamble?
Why do People Gamble? Gambling is a past-time activity enjoyed by many people. Some play at hom - Video Poker (jacks or Better) Tips
Video poker made its entry in the 1970s. It has proven to be a popular form of gaming. Video poker o - Top 7 Video Games For Children Ages 5 - 8
Many parents worry about the video games available to children today with all the violence. However - Why I Love Strategy Games
A strategy game is one in which the skills of the play and his decision making combine to influence - Prison Break's Wentworth Miller: I'm not Gay
In an attempt to put a stop to the lingering gossip and to clarify his name once and for all, Wenthw - Guys, Valentine's Day will be Heaven or Hell for you...
Guys, I know it's not fashionable to get ahead of yourself for holidays. I don't buy Christmas gift - Comparing 6 String And 12 String Guitars
6-string or 12-string Acoustic guitar, which should you get? Both have pros and cons, and both are e