It is not easy to write a dramatic monologue, because it has to provide information about the character without boring the audience or slowing down the pace of the play. An effective speech should express the thought of one of the characters and add pathos and curiosity to the rest of the show, perhaps increasing the tension of the plot. You should start by thinking about the structure of the monologue, so that you can then write it down and make it perfect.
Steps
Part 1 of 3: Structure the Monologue
Step 1. Decide on the perspective of the monologue
You should choose the point of view of one of the characters in the opera. By focusing on one perspective, the speech will have a clear purpose and a single voice.
You may decide to write a monologue for the protagonist of the play, in order to give him the opportunity to speak for himself, without the intervention of the other characters. Alternatively, you can let a minor character speak who doesn't have much time on stage, so that he finally has a chance to express himself
Step 2. Determine the purpose of the monologue
You should also consider this aspect, because a monologue should have a precise motivation within the work. It should reveal something to viewers that they cannot understand from the dialogues or interactions between the characters. It can be a story, a secret, an answer to one of the show's recurring questions, or a character's emotional outburst. The monologue must have a clear purpose and be a confession on the part of the person making it.
- The monologue should also raise the tension in the work. It should create tension, conflict or pathos and give the audience a new point of view on a pre-existing problem.
- For example, in your play there may be a character who doesn't say anything throughout the first act. You could write a monologue that allows him to speak and reveal the reason for his silence. This will help add to the tension in the second act, because the audience now knows why the character is mute.
Step 3. Decide who the monologue is for
You should establish who the addressee is, so that you can write it with that audience in mind. It can be designed for a specific character, be an internal monologue or addressed directly to the audience.
You can decide to address the monologue to a specific character, particularly if the speaker wants to express emotions or feelings. Alternatively, you can use the opportunity to give one of the characters a means to express their thoughts or feelings about an opera event, for the benefit of the audience
Step 4. Consider the beginning, middle, and ending of the talk
A good monologue presents a clear distinction between these 3 parts. Like a short story, it should include a change of pace, in which the speaker has an epiphany or realization. It should start and end with a purpose.
- You can create a draft that includes the 3 parts of the monologue. You can roughly decide what will happen at each stage. For example, you could write: "Start: Elena the mute speaks. Middle part: tells how and why she became mute. End: understands that she prefers to remain silent rather than express her thoughts aloud."
- Another possibility is to start with the opening and closing lines of the monologue. You will then be able to create the content between the two sentences by helping yourself with the ideas you have expressed.
Step 5. Read sample monologues
You can better understand what structure to give your monologue by reading examples. These famous pieces have been written within larger works, but they are also excellent independent examples of dramatic acting. Here are some of them:
- Hamlet's monologue in Shakespeare's Hamlet.
- The monologue of the Duchess of Berwick in Oscar Wilde's The Fan of Lady Windermere.
- Jean's (Giovanni) monologue in August Strindberg's Signorina Giulia.
- Christy's monologue in John Millington Synge's The Rogue of the West.
- Antonia Rodriguez's monologue "My Princesa".
Part 2 of 3: Writing the Monologue
Step 1. Start with a hook
Your monologue should immediately grab the viewer's attention and engage them. It must arouse his interest, so as to entice him to listen to the words. The first sentence of the monologue sets the tone for the rest of the speech and gives the audience an idea of the character's voice and language.
- You can start with an important revelation, as in the case of Christy's monologue in John Millington Synge's The Rogue of the West, which begins like this: "Before the day I committed the crime, there was no person in Ireland who was 'imagined what a man I was. I carried on my life, eating, drinking, walking like a good simpleton who no one cared about ".
- This monologue quickly reveals to the audience that the protagonist killed his father. He then talks about the events that led to the crime and the effect it left on him.
Step 2. Use your character's style and language
You should write the speech from the point of view of one of the characters, adopting his or her typical way of speaking. By featuring a lot of monologues you will give it color, a particular perspective and make it more interesting. Use the character's voice when writing and include any dialect terms and expressions he usually uses.
- For example, Antonia Rodriguez's monologue "My Princesa" is written from the perspective of a father of Latin American origins. The character uses terms and expressions specific to his culture, such as "whoop his ass", "I wanna know" and "Oh hell naw!" ("With the cabbage!"). These elements make the monologue engaging and add details to the character.
- Another example is the monologue of the Duchess of Berwick in Oscar Wilde's The Fan of Lady Windermere. This song has a conversational, informal tone and it seems that the character is simply speaking to the audience. Wilde uses the voice of one of her characters to reveal the plot and keep viewers engaged.
Step 3. Allow the character to reflect on both the past and the present
Many monologues describe the present actions of the work by referring to past events. You need to find the right balance between reflections on the past and discussions on the present. The details of what happened should allow the audience to give a different interpretation to an event or problem in the present. The character should try to use the memory to solve his troubles.
For example, in Christy's monologue in John Millington Synge's The Rogue of the West, the protagonist talks about his father's murder by reflecting on his previous life. It illustrates decisions and moments from the past that may have led to the event that changed its history
Step 4. Add descriptions and details
Remember that viewers don't have a chance to flip through a mental picture of what's going on in the monologue. They can only rely on the words they hear and describe a certain moment or particular detail. You should try to activate as many senses as possible in the monologue, in order to fully engage the audience.
- For example, Jean's monologue in August Strindberg's Miss Julia opens with a striking image from Jean's childhood: "I lived in a hovel with seven brothers and a pig, outside there was a gray field, where not a single tree grew! But from the windows I could see the wall of Signor Conte's park and the branches of the trees laden with apples."
- The specific details of the monologue go a long way in representing the image of Jean's childhood "hovel", complete with a pig. This information also enriches the character with new elements and helps the viewer get a clearer idea of his past.
Step 5. Include a moment of discovery
The monologue should include an epiphany. It can be the speaker who discovers something, or the audience. A revelation gives the speech reason for being and should also increase the tension in the work.
For example, in Christy's monologue in John Millington Synge's The Rogue of the West, the protagonist reveals to the audience that his father was neither a good person nor a good father. Then he acknowledges that he has done the world a favor by killing it, a disturbing but coldly logical revelation
Step 6. Write the conclusion
Your monologue should close clearly, carrying out the thoughts expressed. The character should accept something, overcome a problem, an obstacle or make a decision about a conflict of the work. The moment of decision should be obvious and the character should speak with conviction at the end of the speech.
For example, in Jean's monologue in August Strindberg's Miss Julia, the character reveals that he attempted to commit suicide from the pain of being born into a social class too low to be with Miss Julia. Despite the attempt, he still survived. Jean concludes the monologue with a reflection on what he learned about his feelings for Giulia: "With you I had no hope - you were proof that it was impossible to lift me from my inferior condition, from the class in which I was born"
Part 3 of 3: Perfecting the Monologue
Step 1. Eliminate all that is not essential
An effective monologue is neither long nor verbose. You should include only the most important elements and only give the viewer enough information to carry the work forward. Reread what you wrote and make changes so that it doesn't seem convoluted or exaggerated.
Eliminate all redundant or bad sounding phrases. Remove words that don't reflect the character's style or language. Try to include only the most important details
Step 2. Read the monologue aloud
Compositions of this type are written to be read in front of an audience, so you should try their effectiveness by reading it to yourself or friends. Listen to the words to make sure they have a style that suits whoever is saying them.
You should also note the moments when the monologue is confusing or verbose. Simplify those parts so they're easy for viewers to follow
Step 3. Ask an actor to recite the monologue for you
If you have the chance, you should find someone who can do the monologue. You can ask a friend for help or hire a professional. By having an expert read the composition, you will be able to bring it to life and make it perfect for the stage.
