![]() But, if desired, a set can still be created from things around the house. These two and three-person scripts are written to be easily performed in a home, with very little in the way of set. Set pieces also create an environment for the play-trees for a forest cactus for a desert, etc. SET: The set is items on the stage that are not usually carried around by the performers, such as stools, couches, tables, etc. ~CROSS is to move from one area of the stage to another. ~CURTAIN CALL is what happens at the end of the play: the actors come to center and bow to the audience). ~END and sometimes CURTAIN means the show is over ~Information in parenthesis ( ) are directions for the actor. ~AT RISE means at the rise of the curtain, or at the start of the show. ~SETTING is where the play takes place and how the stage might be set up. There is also off left and off right, meaning an actor is no longer on stage. ~From those main areas come the nine stage areas: down right, down center, down left center right, center, center left up right, up center, up left. ~RIGHT and LEFT are from the actor’s viewpoint, as he or she is facing the audience. ~DOWN is that part of the stage closest to the audience. Although the scripts may have stage directions, you can always choose to do it differently. STAGE AREAS: The stage is divided into areas to help performers know where to be on certain lines. When The Family Comes Over, A Thanksgiving Story (2) ![]() ![]() The Troubles Of Little Bo Peep And Little Miss Muffet (2) The Tortoise And The Hare A Fable By Aesop (2) (numbers in parenthesis indicate the number of characters needed for the play) Thank you for respecting the hard work of this author. If you're reading this book and did not purchase it, or it was not purchased for your use only, then please return to and purchase your own copy. If you would like to share this book with another person, please purchase an additional copy for each recipient. This ebook may not be re-sold or given away to other people. You’ll get a deeper understanding of the character’s motivations, relationships, and context of the story.This ebook is licensed for your personal enjoyment only. Always Read the Play or Script, if Available: If you can, take the time to read the entire play or script from where the monologue is taken.Humor has the ability to lighten the mood. Look for something that has some comedic elements, even with one that might have a serious context. Bring the Funny: While audition monologues can be dramatic or serious, incorporating humor can be used to your advantage.It should tell a story and allow you to showcase your versatility as an actor. Try and Choose One with an Arc: A well-crafted monologue should have a structure that has a clear beginning, middle, and end.This will add more depth to your performance. Choose a piece where the character wants something from another character, creating a sense of tension and immediacy. Have a Clear Objective: A compelling monologue should depict a character actively pursuing an objective.Keeping it short ensures that you can effectively convey that character and engage the people behind the desks from beginning to end. Keep It Short: In audition settings, time is often limited, and you’ll often be asked to keep it perform a one or two-minute piece.It also should align with your strengths as an actor and allow you to fully embody the character you are portraying. Choose the Type of Monologue That Suits Your Character Type: Consider your age, gender, and the type of characters you excel at portraying.Tips on Finding Monologues for Auditions: Demo Reels: Everything You Need to Know.Acting Schools and Colleges Menu Toggle.
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