On account of second before going onstage, achievement confidence from a well-written sermon.
Writing theatre oration requires you to solve distinct problems, such as feather tension and manner without character interaction. A person speaking alone has to have the tools not only to provide tension, but also variety of expression, meaningful movement around the stage, emotional range, a sense of action to relieve the narration, and a feeling of talking to and about other people.
Instructions
1. Conflict, whether real or imagined, will drive your monologue and keep the audience interested.
Build your monologue on tension, not character. Stories move forward based on conflict, tension and resolution, so find the central conflict of the speaker's character and design the monologue to explore that conflict.
2. Use all the colors of the voice in your monologue to keep your audience listening.
Add variety of expression. Challenge the solo character to use his or her voice in surprising ways, from deep rich tones to lighthearted thin tones in the upper registers of the voice. (Indicate these in your stage directions.) The more variety in the character's expression, the less audience members will miss having other characters to broaden their experience.
A character wandering aimlessly does not maintain as much interest as a character who moves to various stage positions to create a sense of the places they are describing.4. The tragedy and comedy masks of theater lore can be reminders to provide emotional range.
3. A character can create a sense of place by moving to various stage locations.Designate meaningful movement in your stage directions.
Give your character emotional range. Write contrasting scenes of sadness and elation and everything in between, so the monologue will provide a full emotional experience for the listener.
5. Hearing action described can provide as much exhiliration as watching it.
Include action. Even if your character only describes the action, the audience can imagine it, and this will provide contrast to the more introspective portions of your monologue.
6. A solo character can pretent to speak to another person who is not present.
Add character interaction. Your solo speaker can imagine someone else is present for a moment and speak to them. Remind your audience the character does not speak in a vacuum, and that other people are part of the character's experience.
