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Breaking down the script and memorising the lines.

Once you break down the monologue into thoughts, it is time to memorise the lines.

Here's one good way to do that.

• Look at the first thought and repeat it three times. You have to be disciplined and look at the line each time you say it. You are using your two most effective senses, sight and sound, to imprint the line on your memory.
• Look away and say the line. You have now memorised that thought.
• Take the second thought, look at it and repeat it three times.
• Look away and say the first and second thought.
• Take the third thought, look at it and repeat it three times.
• Look away and say the first, second and third thought.

Now this is where you pick up steam . . .
Take the fourth thought, look at it and repeat it three times.
Look away and say the second,. third and fourth thought.
Take the fifth thought, look at it and repeat it three times.
Look away and say the third, fourth and fifth thought.
Continue working your way through the monologue, always repeating the previous
Two thoughts along with the new one you have memorised.
Now find a friend or relative.
Do the monologue.
Any time you are at a loss for a line, call "Line"
They should then read the line.
As soon as you recognise it, take over from them and resume.
Ask your prompter to stop as soon as you start.
Don't pause to think of the line, just say "line" and let your prompter help. This way you don't get into the bad habit of pausing to think of a line a habit that sows the seeds of sloppy working habits on stage.
And remember don’t colour the lines with emotion patterns of repetition or when you perform you’ll actually just be repeat lines you said ages before not saying them in the moment in response to the behaviour of the person/action that has just happened!

Approaching your script

First

Work out your character’s given circumstances, create a list of what you know about your character using evidence from the text. Separate this list into what people say about you and what you say about yourself. Then separate this research into a new list stating which are facts and which are opinions.

Then…

1. Ask Questions.

You’re an actor approximating reality. So use any acting skills or techniques that you have at your command to create this reality. And ask as many questions as you can to make an unreal situation real for yourself, including:

a. Who am I? Reconstruct the character’s life and make it your own. “I” instead of “he” or “she” when you talk about them. Prepare a written autobiography so that I could define for myself my character’s education, occupation, income, religion, likes, dislikes, age, weight, height, health, physical handicaps, behavioural characteristics, family life, customs and habits of the era in which s/he lives or the society in which s/he moves.

Like an internal monologue

Give an example

b. What is the present situation? What did the character come here to do . . . what does the character want . . . what is the character’s intention? Portraying a strong intention may be all you need to do to make the character and the situation real for you. It helps to express this intention as a “to . . .” verb. You might also want to know your character’s physical condition: tired, hungry, cold, ill. And their mental/emotional condition: aware, confused, angry, calm, drunk.

c. Where am I? Define the environment . . . the place . . . as a force in your script: era, year, season, time of day, temperature, humidity, weather. You may also want to substitute an actual place you know, like your bedroom for the character’s bedroom, to help you. You can do this in a snap with sensory work, one of the foundations of Method Acting. Creating all the specifics of the place stimulates your sensorial reality and adds dimension to your script.

For each scene that you are in. Imagine the gaps. Even if you don’t speak you have to do it for the scene.

d. Working in costume. Bring the relevant clothes for your character to help you get into your role.

Draw some in costume get pictures from magazines

Personal reflection

2. Explore the circumstances of what came before.

I’ve seen so many actors start scripts with no clue of why they’re saying what they’re saying. And it shows! They usually hit their stride about halfway through the script. By then, they’ve lost me. The character has had a life before that point in time. You need to create that life for your character before you say a word. You can go over it in your mind before speaking. Do whatever works for you. And, as in all acting, make strong or unusual choices.

Where were you before each scene?

What was happening?

Doing this means you enter the stage with energy and focus; you bring something on with you!

3. Break the script down into beats and further down into thoughts.

Acting is approximating reality. Never forget that. If you’re being real, you’re responding verbally to thoughts and emotions. You need to slow down and identify these thoughts and emotions and then speed them up to performance level.

A beat is a thought change. When you read through your script, see where the character changes the subject and mark that place in some way. And then find a reason for the character to change the subject. When you’re working on a script, it’s also crucial to connect thoughts to the lines. They can either be your own or something the character might be thinking at that moment. Draw a line down the centre of a pad and write out your lines on the right-hand side of the page. Then would write down the corresponding thoughts next to each line on the left. When you start to work, I say the thought . . . then the line . . . until the thoughts became second-nature. Then I’d just say the lines. Yes, this process does take time, but you’ll be pleased with the results when you get “oooohs” and “aaahhs”.

Copy of a script with objectives and tactics

Include photos other research, be creative!

- Social, political, Historical research.

Working a Monologue Worksheet

Read the whole play it comes from in its entirety several times. 

Find out what the style and theme/s of the play are.

Fill in Approaching the Text sheet for information on Character.

PRACTICAL EXERCISES:

Get to know the text.

Find the backbone

Speed and Slow Motion runs & Repetition.

Speak the text as fast as humanly possible without loosing diction. Speak the text as slowly as possible allowing new thoughts to come in. Speak each word 3 times with different inflections from beginning to end of speech; it will open up a new world of possibilities.

Gibberish

Speak the speech in your own made up language. And/or try doing it in different languages you must not already speak. Use open vowels sounds.

Paraphrase

Paraphrase the text in your own words. Do it several times, varying it slightly every time to expand on different points.

Changing circumstances.

EG: on the bus, on the toilet, while cooking, working out, talking to a child etc. Both real and imaginary. Even if thought irrelevant to the speech’ circumstances. Often getting it wrong, highlights the actor to the right path.

Independent activity.

Find and independent physical activity to fully engage yourself with, whilst doing the speech. EG: putting make up on, hanging the washing, working out, etc. That may or may not be appropriate to the character/situation, but that will help finding new insights and stop you over thinking.

Expressionistic Movement

Physicalise the speech as if it were a piece of expressionistic modern movement/mime piece. Physicalising: emotions, sensations, intentions etc. No words spoken. But plenty of breath.

Emotional and/or Sensual “As If..” PREPARATION.

Find the required emotional state of your character before he/she speaks. Either using the characters’ previous circumstances, or using a “sense memory” of a parallel equivalent in your own life experiences. Or experiment with different pieces of music to rev you up, as music can evoke specific thoughts/emotions/moods.

When you know the text

“Bits” (Beats) workout

After beating the text, just start a movement, any movement that may come to you, and repeat it exactly over and over again then start speaking your first beat of text. After, start another movement, without thinking what or why, and repeat it exactly over and over again then start speaking your second beat of text. Continue until the end of speech. Repeat it using different movements from the first time you did it. A variation is the “Shaking”, where you stop and shake for a few seconds before continuing with the next “bit” beat/section of text.

Character Thoughts

Work out by speaking aloud and scripting what your character is thinking before and during the speech. What comes before the speech is dictated by: your inner characteristic, your intention/target, by your previous circumstances and constitutes the process by which you arrive at your “Platform Thought” (a short thought/expletive which immediately precedes your first line). What precedes every “Bit” during the speech is also dictated by your inner characteristic and/or intention/target that leads to a “Platform Thought”. Your Inner monologue voiced. It can be linked to “Shaking”, where you shake in between beats but whilst shaking, you also voice your character’s thoughts that relate to the reason why you are changing tactics/characteristics/activities and propels you onto the next beat/section of text.

Road Test

“Slip” parts (beats) or whole speech, paraphrasing slightly if needed, into a “real” everyday conversation with real people in a real situation. A very cathartic and revelatory experience.