Each of these sources provides different accounts of the same event, from the point of view of various first-person narrators. There can also be multiple co-principal characters as narrator, such as in Robert A.
This includes ideas such as building to a climax, making choices about when to use humor, etc.
Rhythm--the amount of variety in pace. This includes especially the effective use of pauses, and in this way overlaps with the sense elements, in that giving a character time to think before speaking contributes to "first time quality"--the sense that a character is speaking the lines for the first time, rather than speaking a memorized text.
After the discussion period, we moved on writing a short monologue other things for a few days, while the students worked on their own to learn and rehearse their monologues.
Then each student performed a "first draft" of his or her piece. After each performance the student received oral feedback from me and from the class. Then each student was given a form on which to indicate two or three elements he wanted particularly to concentrate on in revising for the second performance.
I explained that grades for the performances the "first draft" was not graded would be based largely on how well each student improved her or his performance, especially in the specific areas chosen.
Not surprisingly, this idea went over extremely well with those students who felt less sure of themselves as actors, but who knew they were willing to work hard. But most of the good actors in the class responded well also, I think because it gave them some structure for improving their work.
A primary reason I choose to work in the creative arts has always been the fact that everyone, no matter what their level of proficiency, can always strive for an even higher level. There is no such thing as a "perfect" performance Olympic Gymnastics notwithstanding.
But it is often difficult for a student whose performance is "nearly perfect" to know where to go from there. I think this structure helped.
The only students who reacted negatively were those who were naturally facile readers--and thus able to give a reasonably creditable performance without much effort--but not much interested in the class. Results Below are some of the written comments I handed back after the final performances.
The text in black is what the student wrote on her or his form after the "first drafts," and the text in red is my feedback after the second performance. I include these to illustrate the general approach I took. You will see that although I generally included at the end comments about all elements of the performance, I gave special attention to those elements on which each student chose to focus.
I have removed the letter grades and last names from this report, partly out of respect for the students' privacy, and partly because letter grades are so different from one institution to another.
An "A" in one school might be a "B" in another.
My individual comments will probably make more sense to those--such as other drama teachers--who are familiar with the kinds of issues sixth-grade actors typically face, but the general idea should be clear to all.
I want to concentrate particularly on: By giving your character time to think, you created a much better sense of rhythm. You found some emotional variety, but still not as much as you might have found Your pantomime was still good, and you were much more familiar with the words this time.
Making it clear that I'm "rehearsing" the speech and Lucy isn't there.
You did a good job of making it clear that you were "rehearsing" the speech and Lucy wasn't there. Eliminating nervous movements by adding action.
You did a good job of eliminating nervous movements by adding action.A monologue essay allows you to put a creative spin on a traditional essay. The monologue, given by a sole narrator, allows the author to reflect on an incident or an issue and express her views uninterrupted to .
A personal dramatic monologue can be in and of itself a great work of art as long as the performer and writer is able to correctly render the most perfect personal dramatic monologue.
Honesty is a very important part of the theatre. The art of writing dialogue is to keep most of it short and sharp and punchy. Occasionally, though, a character will say something that simply can’t be said in a single paragraph, much less in a .
The Guardian - Back to home. when people asked me what I'd been writing. I've written six half-hour monologues for Radio 4. is in relating this type of monologue to the sort that happens.
The Monologue Project was an invaluable experience. Pete Malicki and his actors showcased an array of performances that demonstrated immense talent and professionalism. The performances were entertaining and moving and some students are considering Pete's monologues for . Stream of consciousness is a narrative device that attempts to give the written equivalent of the character's thought processes, either in a loose interior monologue (see below), or in connection to his or her barnweddingvt.com of consciousness writing is usually regarded as a special form of interior monologue and is characterized by associative leaps in thought and lack of some or all punctuation.