@The Arts Unit Creative Classes
Embedded Files
Explore approaches to developing and enriching monologue for performance
Explore approaches to developing and enriching monologue for performance
Student drama resource developed by The Arts Unit
Year 12 drama
What will I learn?
What will I learn?
You will:
watch Sophie Kelly’s 3 workshops about developing character complexity and creating the world of monologue
explore ‘dropping in’, ‘impulse’ and ‘blueprinting’ by applying these approaches to your own monologue
reflect on the strengths and challenges of these approaches by answering questions in your logbook
perform and record your own monologue.
Before you begin
Before you begin
I hope you are ready to explore some fresh approaches to developing your individual performance.
You'll need:
space to move around safely
a copy of your chosen 6-8 minute monologue
a pencil and a camera or phone.
OnStage 2018 - Epping Boys High School
Photo credit: Anna Warr- Dropping in
Watch 'Approaches to monologue – dropping in'.
Reflect on some or all of the following questions in your logbook:
What approaches have you already explored in developing your Individual Performance?
What moment or aspect of your chosen monologue do you connect with most strongly and why?
What are the 'given circumstances' of your chosen monologue?
What does your character say about themselves?
What do other characters say about your character?
What does your character say about other people?
How can ‘dropping in’ help actors enhance a monologue?
Approaches to monologue – dropping in
Duration: 20:13
OnStage 2018 - Jindabyne Central School
Photo credit: Anna WarrExplore ‘dropping in’ by making a neutral voice recording of your own monologue and using this to try the ‘dropping in’ partner exercise Sophie models in the 'Approaches to monologue – dropping in' workshop.
2. Impulse work
2. Impulse work
Watch 'Approaches to monologue – impulse work'.
Explore the physical exercises in Sophie’s workshop by adapting some or all of them for the space or environment you are working in today.
For example: You may need to sit instead of fall, reach instead of roll or run on the spot.
Approaches to monologue – impulse work
Duration: 10:52
OnStage 2016 - Winmalee High School
Photo credit: Anna WarrReflect on some or all of the following questions in your logbook:
What are some of the advantages of using ‘impulse work’?
How did the physical work you did change the way you said your lines?
What discoveries did you make about your monologue by playing with ‘impulse work’?
3. Blueprinting
3. Blueprinting
Watch 'Approaches to monologue – blueprinting'.
Reflect on some or all of the following questions in your logbook:
How would you describe the turning point or climax in your character’s journey?
What is the difference between ‘blueprinting’ and ‘blocking’?
Which of Patsy Rodenburg’s three circles of presence are you most comfortable in as a performer? Why?
Approaches to monologue – blueprinting
Duration: 11:46
Explore the ‘second circle’ and ‘blueprinting’ by setting up the space available to you with a clear focal point for the markers and then plotting the first two lines of your monologue. Challenge yourself to remain in the ‘second circle’ and use the space before you speak.
OnStage 2018 - Tempe High School
Photo credit: Anna Warr4. Perform
4. Perform
Continue to develop your monologue using any elements of Sophie Kelly’s approach that you connected with.
You may wish to record your performance and seek feedback from your teacher and peers.
Well done!
You have completed this @The Arts Unit Creative Class.
Good luck with your HSC performance!
Third-party content attributions
Third-party content attributions
Page updated
Report abuse