Classical Monologues for Women E-Book

Marina Calderone

• Herausgeber: Nick Hern Books
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2014

Beschreibung

The Good Audition Guides: Helping you select and perform the audition piece that is best suited to your performing skills Each Good Audition Guide contains a range of fresh monologues, all prefaced with a summary of the vital information you need to place the piece in context and to perform it to maximum effect in your own unique way. Each volume also carries a user-friendly introduction on the whole process of auditioning. Classical Monologues for Men contains 50 monologues drawn from classical plays throughout the ages and ranging across all of Western Theatre: - Classical Greek and Roman - Elizabethan and Jacobean - French and Spanish Golden Age - Restoration and Eighteenth Century - Nineteenth and Early Twentieth Centuries 'sound practical advice for anyone attending an audition... so many of these extracts simply cry out to be performed... a source of inspiration for teachers and students alike... a must' Teaching Drama

Leseprobe

The Good Audition Guides

CLASSICAL MONOLOGUES FOR WOMEN

edited and introduced by

MARINA CALDARONE

NICK HERN BOOKS

London

www.nickhernbooks.co.uk

Contents

INTRODUCTION

CLASSICAL GREEK AND ROMAN

Electra

from Electra by Sophocles (c. 415 BC)

Polyxena

from Hecuba by Euripides (c. 424 BC)

Creusa

from Ion by Euripides (c. 413 BC)

Ismene

from Thebans by Liz Lochhead (2003),after Sophocles and Euripides (5th century BC)

Palaestra

from Rudens by Plautus (c. 200 BC)

ELIZABETHAN AND JACOBEAN

Alice Arden

from Arden of Faversham by Anon (1592)

Margaret of Anjou

from Henry VI, Part 3 by William Shakespeare (1592)

Countess of Salisbury

from Edward III by William Shakespeare (1593)

Julia

from The Two Gentlemen of Verona by WilliamShakespeare (1593)

Lady Anne

from Richard III by William Shakespeare (1594)

Adriana

from The Comedy of Errors by William Shakespeare(1595)

Lady Constance

from King John by William Shakespeare (1596)

Tamyra

from Bussy D’Ambois by George Chapman (1604)

Bellafront

from The Honest Whore by Thomas Dekker (1604)

Beatrice

from The Dutch Courtesan by John Marston (1604)

Crispinella

from The Dutch Courtesan by John Marston (1604)

Mother

from A Mad World, My Mastersby Thomas Middleton (1605)

Lucretia Borgia

from The Devil’s Charter by Barnabe Barnes (1607)

Hermione

from The Winter’s Tale by William Shakespeare (1610)

Maria

from The Tamer Tamed by John Fletcher (1611)

Guiomar

from The Custom of the Country by John Fletcher (1619)

Hippolyta

from The Custom of the Country by John Fletcher (1619)

Beatrice

from The Changelingby Thomas Middleton and William Rowley (1622)

Leonora

from The Devil’s Law-Case by John Webster (1623)

Lady Alworth

from A New Way to Pay Old Debtsby Philip Massinger (1625)

FRENCH AND SPANISH GOLDEN AGE

Casilda

from Peribanez by Lope de Vega (c. 1605-12)

Célimène

from The Misanthrope by Molière (1666)

Henriette

from The Learned Ladies by Molière (1672)

Phedra

from Phedra by Jean Racine (1677)

RESTORATION AND EIGHTEENTH CENTURY

Margery

from The Country Wife by William Wycherley (1675)

Charlotte

from She Ventures, and He Wins by Ariadne (1695)

Bassima

from The Royal Mischief by Delariviere Manley (1696)

Lamira

from The Fatal Friendship by Catherine Trotter (1698)

Jane

from The Tragedy of Jane Shore by Nicholas Rowe (1714)

Millwood

from The London Merchant by George Lillo (1731)

Miss Stirling

from The Clandestine Marriageby David Garrick/George Coleman (1766)

Lydia Languish

from The Rivals by Richard Brinsley Sheridan (1775)

Julia

from The Rivals by Richard Brinsley Sheridan (1775)

Mrs Dangle

from The Critic by Richard Brinsley Sheridan (1779)

NINETEENTH AND EARLY TWENTIETH CENTURIES

Mrs Tiffany

from Fashion, or Life in New Yorkby Anna Cora Mowatt (1845)

Mrs Alving

from Ghosts by Henrik Ibsen (1881)

Miss Julie

from Miss Julie by August Strindberg (1888)

Madame X

from The Stronger by August Strindberg (1889)

Jean

from Alan’s Wifeby Florence Bell and Elizabeth Robins (1893)

Mrs Cheveley

from An Ideal Husband by Oscar Wilde (1895)

Yelena

from Uncle Vanya by Anton Chekhov (1897)

Alice

from The Dance of Death, Part Twoby August Strindberg (1901)

Margaret

from Fanny’s First Play by George Bernard Shaw (1911)

Orinthia

from The Apple Cart by George Bernard Shaw (1929)

Bride

from Blood Wedding by Federico García Lorca (1933)

ACKNOWLEDGEMENTS AND THANKS

ABOUT THE AUTHOR

COPYRIGHT INFORMATION

Introduction

AN OPPORTUNITY, NOT A TEST

Let’s assume you have an audition coming up. It may be for entrance to drama school, or for your first job after training, or it could be twenty years into your career and you have been asked to show your suitability for a specific role. Whatever the circumstances, the stakes are always high, and the somewhat artificial situation is undeniably nerve-racking. You want to find a monologue that does two jobs at once: it suits your particular skills and it demonstrates your particular suitability for the job you are interviewing for.

Before you begin, it is worth remembering that the person or panel auditioning you is just as anxious . . . for you. They will want to put you at your ease, get the very best out of you, and enable you to enjoy the experience – so that they do as well. Adrenaline can be a useful energising factor, but the most valuable qualities when going into an audition are sound prepa ration and an ability to flex that most crucial of actors’ muscles: the imagination. Dare to make brave choices in the selection and delivery of your audition piece, and you will always stand out. View your audition as an opportunity, not a test.

USING THIS BOOK

The fifty speeches in this volume offer a new selection of classical monologues, divided into five distinct time periods from Ancient Greece to the 1930s. It is not an anthology of ‘great speeches from dramatic literature’ but, rather, a miscellany of eclectic and original monologues. Many will prove challenging; some will seem immediately unsuitable for you; others will lead you down stimulating new avenues you hadn’t considered before. Most of the monologues are taken in their entirety from plays; others have been shaped and moulded from a series of separate but closely connected passages to form a coherent speech.