Monologues plus more odd things...

So hello dears here's some monologues + MORE for you... (reminder that I do not own these in any possible way)



28/01/2014 - Here is the link for the RADA advice that I promised I would add.
https://www.rada.ac.uk/rada_files/pdfs/acting_admissions_policy_and_procedure_2014.pdf
Enjoy x




23/06/2013 - Two Monologues from the National Theatre play Port by Simon Stephens, both by the same person (Rachel the main female lead) but at different ages.

The first one is when Rachel is 22, it's new years eve in 1999 and she has just been physically assaulted my her Husband in a posh hotel room. He leaves her on the floor.

Stage directions - Stands up after a while. It hurts. She goes to pick up the wine glass. Drains it. Gets the wine bottle from the fridge and refills her glass. She goes where Kevin (The Husband) has dropped her phone and picks it up.

Sits back on the bed. Drinks from her glass. Phones her brother.

Racheal - Billy? It's me, Racheal. How are you? Good lad. Are you? That'll be good won't it? I'm ok love. I'm fine. I don't know. I don't think so. Kevin's had a bit of a bad one mate, you with me? No I'm fine. He's just. I hate him Billy. I want to kill him. I think I might. I fucking could. I bet you. No. I won't. No don't worry about that. I'll be fine. I will. I'll be be magic. I just wanted to talk to you. I was thinking about yer. Got yer perfume on. I have and all. I like it. It's really nice. Oh, fuck him. I think it's lovely. I just wanted to wish you Happy New Year. I now well. I'm doing it early aren't I? Happy New Year. I know. Happy New Century. Happy New Millennium. It's mental int it? Listen Mate, I'm gonna fuck off. I just wanted to, you know, I just wanted to talk to you. No I'll be fine. I'm cracking. Yeah I know. I love you Bill. Well. I do. I'll see you later. You have a good night mate. See you later.

She turns the phone off. Sits up on the bed. Staring out of the window.

Now this second one is when Racheal is 24 years old and it is 2002. She has been living in York for the past 10 months to get away from her abusive husband. She is in a beer garden and is talking to her old friend and ex Danny about what she sees what has changed in stockport while she has been gone.

(Please note people that I have edited this slightly so it will flow well as a monologue.)

Racheal - When I was a kid I used to think the clock tower in the Merseyway was massive. Fucking big skyscraper. I couldn't understand how come, when they had programmes about the tallest buildings in the world, I could't understand why they never mentioned the clock tower in the Merseyway. I went back there at the weekend. It's tiny. Very Squat. Really short. I was quite disappointed. 

Noticed the Viaduct. I'd never really paid any attention to it before. I never really noticed it. But I was looking at it, on my way into town. It's actually, y'know, it's quite impressive. There's something about it.

I noticed  how many pubs  there are. Pub's fucking everywhere in this place. A lot of the shops have changed. Smartened up a bit. Some of them are all right. And I was up at the station. Looking down. Noticed the way the valley curves down. When I was little, Used to love geography. All about continental drift. And the ice age. Stuff like that. And looking at the town centre I could just have imagined what it must of been like. All the ice and that. How it would of settled. See all the curves of where the water was like underneath the sea. That was a bit mad. 

Funny going back into manchester. All that rain. Went in with Billy. It was pissing down. Felt, kind of, it felt all right. Felt like it was meant to be raining here. Felt OK.

20/05/2013 - The Apple's Song, by Edwin Morgan (it's a poem btw, not a monologue kids so enjoy)
...

The Apple's Song

Tap me with your finger,
rub me with your sleeve,
hold me, sniff me, peel me
curling round and round
till I burst out white and cold
from my tight red coat
and tingle in your palm

as if I’d melt and breathe
a living pomander
waiting for the minute
of joy when you lift me
to your mouth and crush me
and in taste and fragrance
I race through your head
in my dizzy dissolve.

I sit in the bowl
in my cool corner
and watch you as you pass
smoothing your apron.
Are you thirsty yet?
My eyes are shining.

Edwin Morgan.

Weird isn't it... Bye Terri ;D



18/04/2013 - Some help with the Personal Statement 
WARNING:  THIS IS NOT A MONOLOGUE ( SO PLEASE DONT GO AND TRY LEARNING IT OFF BY HEART LIKE IT IS AS A) YOU WOULD BE WASTING YOUR PRECIOUS TIME AND B) THAT IS REALLY SAD, AND THAT IS COMING FROM ME!
I'm going to stop writing in capitals now... Right this is some support for you writing your personal statement when you apply to Drama School and this information comes off the CUKAS website if you wanna know.

What to include in your personal statement:

Most courses have an Entry Profile that you can view in Course Search - these explain what the conservatoire is looking for in their students and what qualifications or experience you'll need for the course. Check these because they'll give you some ideas about what to include in your statement

You do not have to use all the space provided. Consider carefully the information you give to support your application and the best way to present it effectively. Remember, you must be truthful and accurate in what you write. Make this a true match of you, your aspirations, personality, feelings about your chosen study area and experience. Showing understanding of today's competitive music or performing arts profession where versatility is required is helpful and indicates a suitable temperament. It is up to you how you write your statement, but we suggest you include some or all of the following points.

• Your reasons for choosing the courses you have listed. Remember that each conservatoire will be able to see the other conservatoires and courses to which you have applied.
• What interests you about your chosen study area (whether playing an instrument, acting, singing, conducting, stage design or another specialist area).
• Your experience within your chosen specialist area and in any other activity related to the course(s) for which you have applied.
• Membership of national and/or international orchestras, choirs or chamber groups, eg NYO, EUYO or National Youth Theatre.
• Your career plans for when you complete your course.
• Any job, work experience, placement or voluntary work you have done, particularly if it is relevant to the course for which you have applied. You may want to list the skills and experience you have gained from these activities. Try to link any experience to skills or qualities mentioned in the Entry Profiles.
• Any involvement in widening participation schemes such as summer schools or mentoring activities.
• Involvement in master classes or other Gifted and Talented programmes.
• Details of non-accredited skills and achievement that you have gained through activities such as:
  • ASDAN (Award Scheme Development and Accreditation Network awards), for example, Universities Award
  • Diploma of Achievement
  • Duke of Edinburgh Award
  • OCNW Level 3 Certificate in Personal Development for Progression (previously known as the Liverpool Enrichment Programme)
  • vfifty award
  • Millennium Volunteering Certificate of Volunteering Achievement
  • Young Enterprise.
• Details of accreditation achieved for any activities in preparation for higher education, for example through the ASDAN Aimhigher Certificate of Personal Effectiveness (CoPE qualification).
• Your future plans: if you know what you'd like to achieve after completing your course, explain how you want to use the knowledge and experience that you'll gain at the conservatoire.
• Any subjects you are studying that do not have a formal assessment.
• Any sponsorship or placements you have or for which you have applied.
• If you are planning to take a year out, your reasons why.
• Your social, sports or leisure interests and any other achievements that you are proud of. Think about how your interests and social activities demonstrate your skills and abilities. If there's anything that relates to your course or to the skills needed to complete the course, include it - the more evidence the better.
• Any positions of responsibility that you hold/have held both in and out of school, eg form prefect or representative for a local charity.
• Attributes that make you interesting, special or unique.

While you should not include details of your performance in individual units of qualifications (such as GCE AS and A level) in the education section, you may put this information in the personal statement.

If you are a mature student, you should give details of any relevant work and performance experience, paid or unpaid, and information about any current or previous employment.

If you want to send more information, perhaps a CV, send it direct to your chosen conservatoire(s) after we have sent you your Welcome letter and Personal ID. Do not send it to us.

If you are an international student, also try to answer these questions.

• Why do you want to study in the UK?
• How can you show that you can complete a higher education course that is taught in English? Please say if some of your studies have been taught or examined in English.
• Have you taken part in any activities where you have used English outside of your studies?

Make sure that your personal statement is your own work
We will carry out checks to verify that your personal statement is your own work. If your personal statement appears to have been copied from another source, we will inform the conservatoires to which you have applied. They will then take the action they consider appropriate. 

13/04/2013 - Map of the Heart by William Nicholson
Basic synopsis: Dr Mary Hanlon is giving a talk to a hall of doctors. Dr Albie Steadmen is full of enthusiasm to accompany her to Sudan for charitable work, the two become lovers. Albie is captured and taken hostage, leaving his lover and wife to explore their feelings about him.
Mary is an intense woman in early thirties. She speaks with conviction and enthusiasm when presenting this speech.

Mary - This is not an appeal for money. It's an appeal for lives. I'm not here to ask you for charity, or to make you feel guilty. I'm here to ask you one simple question: are you leading the life you want to lead? If your answer is yes, then what I have to say won't be of any interest to you. You might as well leave now. I won't mind. (Pausing to see if anyone leaves.) No one ever does leave. I used to think that meant that everyone was eager to change their lives, but once,  after I gave a talk in Hammersmith, a junior registrar came up to me and thanked me warmly, and when I said "Will you be joining us in the camps?" he said no, he just felt so much better knowing there was somewhere worse than Charing Cross Hospital. I work in a field hospital in a large refugee camp near a town called Juba, in the south of Sudan. The population of the camp is divided crudely into three. One third is dying of starvation. Another third is seriously malnourished and dying of infectious diseases: dysentary, cholera, typhoid. The final third is reasonably healthy, and killing each other in a civil war. So you won't be surprised to hear that the question I'm most often asked is, why bother? You read the papers. This year the drought is the worst ever, the disaster the largest ever. Ten million facing starvation; fifteen million. It's true, and at the same time, it's too much. The sheer scale of the tragedy makes people block their ears and shut their eyes. What can I say? That I'm bringing the suffering to an end? I wish I was. That I'm saving people's lives? A few, perhaps, but what for? For the war? For the famine? The truth is I haven't got an answer. It's just become my work. It's what I do. But let me ask you the same question about your life? Wh do you bother? Are you leading the life you want to lead? When it's all over, will you look back and say,that wasn't what I wanted to do at all?... That's not how it is for me. For five years now I've known the greatest freedom life has to offer. If I die tomorrow, I'll be able to say, I lived the life I wanted to live. Will you?

My notes - This piece is one of the possibilities for my Diploma, for which I have a theme Temptation for (I know that this does not fit in with the normal view on temptation but...) since this piece reflects the desire in humans to do something good, that there is a want for being the "good guy" that I personally feel a strong attachment to. Although it is a monologue for a woman it can so easily be adapted for a man (depending on where it is being used.)
If you do want to preform this for something then I strongly recommend that you read the play and research the role of a field doctor, the red cross would be a good place to start, this is to really get a sense of the dangers there medics are putting themselves into to help others.

Hope you enjoyed it,
Terri ;D