6th Monologue

DEMONS - BY D. M. LARSON - Adapted from the play "Holy Ground"

Don't get any closer.  I don't want to hurt you.  

I've been trying to hide them.  I wanted to protect you.  I hid the truth from you.  I wanted to keep you safe.  But there's no place where we can hide.  

Look in to my eyes.  Can you see them?  Can you see them looking out at you?  Can you see the darkness in me?   I want them out of me.  I want to rip them out of my soul.  But they cling to me. Holding on so tight... so tight that I can't breathe.

Can you show me how to get rid of them?  Can you help me?

You're getting too close.  I don't want them to hurt you.  

Please don't hurt her too.  Please leave her alone.  You have me... you don't need her too.  

See what you've done.  You've made them angry.  They are punishing me.  They always punish me.  They want to punish you too. 

I can't let you!  No!  But I have to... it's the only way to make the pain inside me go away.  

Lift me up... I feel like I am falling... I'm drowning inside.  You feel so far away.  I feel like nothing can reach me.  I'm lost.  I'm so weak.  Please... I can't take this much longer.  I can't do this anymore.  How can I live with this pain inside me?  

There's no place we can hide.  We'll never escape them.  

Run!  Run before they find you!  I am hell bound. They are burned in my soul.  They are a part of me. But there is still hope for you.

Hope... there's no hope anymore... I'm too far gone... buried... buried deep inside this tomb... lost and undone.  My kingdom has come, his will was done... I am beyond heaven and earth... there is no deliverance from this evil.

Why are you still here?  Save yourself.  Please... you can't.  You're not strong enough. You can't stop them. 

You can never take them from me. 

I really like this monologue, I feel I could do this quite well. It seems really intense and full of emotion, I look forward to looking into this play and finding out what this character has gone through to get here, it seems a lot. I think it will show my acting skills and show of my interpretation of it.

D M Larson

I liked the monologue 'Before you hit me' so I looked up the author and found his bio:

I have been writing plays since high school and acting since junior high. In 1988, my first play "Nicolas Brooks" had instant success by winning the Youth Division at the Spokane Civic Theatre Forum Festival in Washington State. The writing bug infected me and I decided to form my own little theatre group in 1989 called Tailors of the Imagination. At 17, I produced and directed an extended version of "Nicolas Brooks" called "Who Loves a Writer" as well as a retelling of Dr. Jekyl and Mr. Hyde. In 1990, my play "A Man and His Plant" was produced at the Spokane Civic Theatre Forum Festival in the adult division. The play went on to win third place in a national contest and then was published by the Dramatic Publishing Company as a part of an anthology "Short Stuff for Mature Actors."

I am also going to look up more of his monologues to try and find any more that I like.

5th Monologue

Before You Punch Me - by D. M. Larson

Play - Flowers in the Desert

Before you punch me there is something you should know.

This woman we're fighting over is no ordinary woman... You don't know how good you had it.

If I am going to die I want the world to know how great she is... Why do you want me to shut up? You afraid? You afraid I will say something that will hurt you?  You that sensitive? You gonna cry, Softy?

Then listen... Punch me all you want when I am done... Beat me to a pulp but let me say how I feel... For her.. Do this one kindness for her... She's worth it.

Do you know about serendipity?  Word too big for you?  I should stick to one or two syllables when speaking to you...

"Serendipity means a "happy accident" or "pleasant surprise"; a fortunate mistake. Specifically, the accident of finding something good while not specifically searching for it."

That's what our love was... A happy accident.  We didn't plan on this.

She is amazing ... She is so very good... She has made me happier than I thought was possible.  Before her, it was like I was living in black and white and suddenly she brought color to my world. 

And by some miracles she chose me.  I thought she was wonderful of course but I never thought in a million years she'd want me.  She was the princess to my pauper.  The batman to my robin.  The Picard to my Wesley Crusher.  She was so much better and I was so unworthy yet she wants me.  By some incredible stoke of luck, she wants me.  And her kisses will last me until death... Which might not be very far off. 

Yes, we're talking about the same woman, you idiot. 

(Takes off glasses)

And now you can punch me.

This is the post 1980, less than two minutes monologue for Arts Ed and my post 1950 monologue for Oxford School of Drama. I really like this monologue as I strongly feel like I could bring a lot of myself into it by using emotions that I've felt to bring it alive and bring my own interpretation of it. I feel that it is a major contrast in character to all my other monologues, as I can already see myself bringing some sassy-ness to the role, which in turn will show some versatility in my acting.

4th Monologue

I have found another Shakespeare monologue, Romeo and Juliet.

Act 3 Scene 3 Page 2(Romeo complaining about his banishment)

'Tis torture, and not mercy: heaven is here,

Where Juliet lives; and every cat and dog

And little mouse, every unworthy thing,

Live here in heaven and may look on her;

But Romeo may not: more validity,

More honourable state, more courtship lives

In carrion-flies than Romeo: they my seize

On the white wonder of dear Juliet's hand

And steal immortal blessing from her lips,

Who even in pure and vestal modesty,

Still blush, as thinking their own kisses sin;

But Romeo may not; he is banished:

Flies may do this, but I from this must fly:

They are free men, but I am banished.

And say'st thou yet that exile is not death?

Hadst thou no poison mix'd, no sharp-ground knife,

No sudden mean of death, though ne'er so mean,

But 'banished' to kill me?.'banished'?

O friar, the damned use that word in hell;

Howlings attend it: how hast thou the heart,

Being a divine, a ghostly confessor,

A sin-absolver, and my friend profess'd,

To mangle me with that word 'banished'?

I like this monologue because in this moment, like Macbeth, Romeo is distressed and I really like that it is full of emotion that with rehearsal I feel like I could pull off. Also like the two other Shakespeare monologues it is a Shakespeare monologue that is more than ten lines and shouldn't last longer than two minutes. which fulfills both schools criteria. I prefer this monologue to the other Romeo monologue because although it is about his love for Juliet it is more about his frustration and heartache over their separation, which I strongly think I use my own experiences with heartache to create my own interpretation of this moment and bring my individuality to it.

3rd Monologue

I have also found one of Romeo’s monologues from Romeo and Juliet.

Act 2 Scene 2 (Romeo is ‘flirting’ with Juliet)

He jests at scars that never felt a wound.

[JULIET appears above at a window]

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!

I like this monologue because it has strong emotion in it that if I could do would be great for the audition. I also like this monologue as it fulfills the criteria of both my drama schools, it is a Shakespeare monologue that is more than ten lines and shouldn't last longer than two minutes. However I don't think this moment of the play is suitable for me as I don't feel like I could act this scene as well as I could the Macbeth scene. Also I have never played a melt character before so I don't want my first attempt to be at an audition. I do want to look into Romeo's character and see if there is another monologue that would suit me better.

2nd Monologue

For my Elizabethan monologues I have found a monologue from Macbeth 

Act 2 Scene 1 Page 2(Macbeth freaks out over the murder he is going to do)

Is this a dagger which I see before me,

The handle toward my hand? Come, let me clutch thee.

I have thee not, and yet I see thee still.

Art thou not, fatal vision, sensible

To feeling as to sight? or art thou but

A dagger of the mind, a false creation,

Proceeding from the heat-oppressed brain?

I see thee yet, in form as palpable

As this which now I draw.

Thou marshall'st me the way that I was going;

And such an instrument I was to use.

Mine eyes are made the fools o' the other senses,

Or else worth all the rest; I see thee still,

And on thy blade and dudgeon gouts of blood,

Which was not so before. There's no such thing:

It is the bloody business which informs

Thus to mine eyes. Now o'er the one halfworld

Nature seems dead, and wicked dreams abuse

The curtain'd sleep; witchcraft celebrates

Pale Hecate's offerings, and wither'd murder,

Alarum'd by his sentinel, the wolf,

Whose howl's his watch, thus with his stealthy pace.

With Tarquin's ravishing strides, towards his design

Moves like a ghost. Thou sure and firm-set earth,

Hear not my steps, which way they walk, for fear

Thy very stones prate of my whereabout,

And take the present horror from the time,

Which now suits with it. Whiles I threat, he lives:

Words to the heat of deeds too cold breath gives.

[A bell rings]

I go, and it is done; the bell invites me.

Hear it not, Duncan; for it is a knell

That summons thee to heaven or to hell. 

I like this monologue because in this moment Macbeth is so terrified he is hallucinating so I feel like I could really get creative as he is starting to lose it, I can add more emotion in the monologue and just have fun with it. I also like it because it fits the criteria for both my schools, it is a Shakespeare monologue that is more than ten lines and shouldn't last longer than two minutes.

1st Monologue idea

I’m thinking about doing the final speech of Christopher from the play ‘Curious Incident of the Dog in the Night Time’ I’m thinking about this character because I feel it will show great characterization and due to the research involved in the character will show effort and thought in the character. I picked this monologue because I felt it is a powerful moment in the play as it is when the audience realise that this child’s dreams won’t come true due to his autism. I feel that during the play Christopher is always talking about his goals to be an astronaut and I think that the audience react in the same way that they will react to a child saying they want to be a superhero. However at this moment we are reminded that Christopher isn’t a child with naive dreams; he is a very logical teenager who has a plan for his life but he won’t be able to do some of the things he wants to do because of his autism and the audience feel crushed that his dreams probably won’t happen.

I decided not to do the monologues about his mother, his dream of being an astronaut or the monologue about the night sky or his mother’s new flat because I feel that they don’t evoke a strong enough emotional response from the audience I feel there are better moments in which the audience feel sympathy for Christopher. 

Little Red Riding Hood

Once upon a time there lived in a certain village a little country girl, the prettiest creature who was ever seen. Her mother was excessively fond of her; and her grandmother doted on her still more. This good woman had a little red riding hood made for her. It suited the girl so extremely well that everybody called her Little Red Riding Hood.

One day her mother, having made some cakes, said to her, "Go, my dear, and see how your grandmother is doing, for I hear she has been very ill. Take her a cake, and this little pot of butter."

Little Red Riding Hood set out immediately to go to her grandmother, who lived in another village.

As she was going through the wood, she met with a wolf, who had a very great mind to eat her up, but he dared not, because of some woodcutters working nearby in the forest. He asked her where she was going. The poor child, who did not know that it was dangerous to stay and talk to a wolf, said to him, "I am going to see my grandmother and carry her a cake and a little pot of butter from my mother."

"Does she live far off?" said the wolf

"Oh I say," answered Little Red Riding Hood; "it is beyond that mill you see there, at the first house in the village."

"Well," said the wolf, "and I'll go and see her too. I'll go this way and go you that, and we shall see who will be there first."

The wolf ran as fast as he could, taking the shortest path, and the little girl took a roundabout way, entertaining herself by gathering nuts, running after butterflies, and gathering bouquets of little flowers. It was not long before the wolf arrived at the old woman's house. He knocked at the door: tap, tap.

"Who's there?"

"Your grandchild, Little Red Riding Hood," replied the wolf, counterfeiting her voice; "who has brought you a cake and a little pot of butter sent you by mother."

The good grandmother, who was in bed, because she was somewhat ill, cried out, "Pull the bobbin, and the latch will go up."

The wolf pulled the bobbin, and the door opened, and then he immediately fell upon the good woman and swallowed her whole, for it been more than three days since he had eaten. He then shut the door and got into the grandmother's bed, expecting Little Red Riding Hood, who came some time afterwards and knocked at the door: tap, tap.

"Who's there?"

Little Red Riding Hood, hearing the big voice of the wolf, was at first afraid; but believing her grandmother had a cold and was hoarse, answered, "It is your grandchild Little Red Riding Hood, who has brought you a cake and a little pot of butter mother sends you."

The wolf cried out to her, softening his voice as much as he could, "Pull the bobbin, and the latch will go up."

Little Red Riding Hood pulled the bobbin, and the door opened. She was greatly amazed to see how her grandmother looked in her nightclothes, and said to her, "Grandmother, what big arms you have!"

"All the better to hug you with, my dear."

"Grandmother, what big legs you have!"

"All the better to run with, my child."

"Grandmother, what big ears you have!"

"All the better to hear with, my child."

"Grandmother, what big eyes you have!"

"All the better to see with, my child."

"Grandmother, what big teeth you have got!"

"All the better to eat you up with."

And, saying these words, this wicked wolf fell upon Little Red Riding Hood, and swallowed her whole. Then, with a fat full tummy, he fell fast asleep.

In the meantime, a hunter had emerged from the wood, and on noticing the cottage, he decided to stop and ask for a drink. He had spent a lot of time trying to catch a large wolf that had been terrorizing the neighborhood, but had lost its tracks. The hunter could hear a strange whistling sound; it seemed to be coming from inside the cottage. He peered through the window and saw the large wolf himself, with a fat full tummy, snoring away in Grandma's bed.

"The wolf! He won't get away this time!"

Without making a sound, the hunter carefully loaded his gun and gently opened the window. He pointed the barrel straight at the wolf's head and BANG! The wolf was dead.

"Got you at last!" shouted the hunter in glee. "You'll never frighten anyone again.

He cut open the wolf's stomach and to his amazement, out popped Grandma and Little Red Riding Hood, safe and unharmed.

Moral: Children, especially young ladies, should never talk to strangers, for if they should do so, they may well provide dinner for a wolf. I say "wolf," but there are various kinds of wolves. There are also those who are charming, quiet, polite, unassuming, complacent, and sweet, who pursue young women at home and in the streets. And unfortunately, it is these gentle wolves who are the most dangerous ones of all.

Suitability of Little Red Riding Hood

The story of Little Red Riding Hood is a well known story that I thing most/all our audience would have heard before, so the story will be something familiar for the kids to enjoy. It is engaging with a good moral of 'don't talk to strangers' that I feel the children will benefit from. The plot is simple for the children to understand and the story is short so they won't get bored.

24th February

Today we looked at making the story believable. We did this by getting the emotions into our heads as we perform so we believe what we are feeling in the scene. We experienced that by getting in a neutral statue pose with no expression, we were then given an emotion, scared for example. We would then remembered a time when we were scared and relived the moment so the emotion came though our eyes. I think I was successful with getting the emotion in my eyes but my body tensed up and I lost the relaxed, neutral body.

We then applied the emotional eyes to a moving exercise where we crossed the room in an emotion, angry for example. And we experimented with the intensity of the movement so if a slow seething anger was at number one, then natural hatred would be a five and a 10 would be over the top fuming. I found out that I am bad at going all out and over the top emotions that I am better at the more subdued emotions, so I need to work on that.

We also took what we learnt from the statue exercise and applied it to a scene. The scene was at McDonald's and we each had to mime a character in the scene. I chose an interesting but complicated backstory and I played around with it but I learnt that the most believable story's are the simple ones, Toby sitting and enjoying his burger.

From this lesson I learnt that you don't have to have experienced the exact situation to feel something simmilar. I also learnt that I need to work on giving a bigger, ott performance that we can bring down if needed and that the most believable stories are the simplest.

Two Schools and Their Audition Requirements

Arts Ed - BA Acting

For the Acting for Film and Television (3 YR) auditions you must prepare:

• two monologues and a short dialogue scene
• one monologue from a modern play written after 1980 (two minutes max)
• 8-10 lines of heightened text from a classical play (preferably Shakespeare)
• a short dialogue scene which we will provide

You will be assessed on how well you understand the text, how clearly and fluently you perform; how connected you are; and how well you use vocal and physical skills. 
The short dialogue scene will be performed on camera and the acting tutor will direct it.

Oxford School of Drama - Three Year Acting Course

For your first round audition you will need to prepare 2 contrasting monologues, each no longer than 2 minutes, one from Elizabethan or Jacobean drama (Shakespeare or Jonson, for example) and the other from a post-1950 drama.

Unicorn Theatre

The Unicorn is a UK professional theatre for children, dedicated to inspiring and stimulating young people of all ages, perspectives and abilities, while empowering them to explore the world – on their own terms – through theatre. The company allows visits from primary and secondary schools, they believe their work can stimulate lessons for whole terms and support the school across the curriculum. They provide the schools with resource packs which include interviews with the creative team, context for the play and in-depth classroom activities. If the resource packs aren't enough the Unicorn provides workshops led by specialist drama practitioners to give the class an even more in-depth drama experience.

Childrens TV- Tweenies

Tweenies is a children's TV show, originally broadcast on the BBC's CBBC programming block. The show is set in a playschool that consists of the four Tweenies themselves: Bella, Milo, Fizz and the youngest, Jake. They are in the care of two adults, Max and Judy, and two dogs - Doodles & Izzles. The characters are well developed and the children viewing are able to guess what the characters responses might be to different situations. The use of story, song and creative activity creates excellent opportunities for children to learn through play. Music plays an important part in the show and children are encouraged to join in with songs and actions. 

The show includes a "Tweenie Clock", five circular lights arranged in a pentagon with the lights representing different types of activities "News Time" - Orange, "Messy Time" - Blue, "Song Time" - Yellow, "Telly Time" - Green and "Story Time" - Red. "Surprise Time" is a special time indicated when all five lights glow. A button at the centre of the clock (Purple) is pressed to select the activity that the characters will do next.

Character	Description
The Children
Bella	Blue-skinned with yellow hair which is usually accompanied with a red hair ribbon. She has a very bossy attitude and likes her own way. Sometimes she causes things to go wrong — the tallest Tweenie.
Fizz	She is yellow-skinned with brown hair, sometimes shy. Fizz's best friend is Bella. Her favourite colour is pink, Loves doing ballet, dressing up as a princess and playing with the dolls.
Jake	Oranged-skinned with a yellow mohican - the youngest and shortest Tweenie. Jake sometimes shows signs of being homesick. He often gets words mixed up. Jake's best friend is Milo.
Milo	Purple-skinned with black hair. He is energetic and boisterous, but friendly and cheerful. Milo sometimes says stuff he shouldn't have said and can blow a huff when annoyed and then be told off by Bella.