๐๐ต๐ผ๐ผ๐๐ถ๐ป๐ด ๐๐ต๐ฒ ๐ฅ๐ถ๐ด๐ต๐ ๐ ๐ผ๐ป๐ผ๐น๐ผ๐ด๐๐ฒ โ ๐ง๐ถ๐ฝ #๐ญ: ๐๐ฒ๐ ๐๐บ๐ฝ๐ฒ๐ฑ!
Be excited about the material! That might seem obvious, but if youโre not excited about the piece youโre performing itโll become apparent in your delivery and your performance will suffer for it.
Donโt select your monologues based purely on the prestige or gravitas of the playwright who wrote them with an eye to impressing your auditioners. The fact is, they wonโt care. Theyโre only interested in being bowled over by a great performance. Moreover, the higher the prestige of the playwright, the higher the chances are that theyโve heard your monologue performed countless times beforeโฆquite possibly prompting an eye roll.
Itโs far more critical that you find monologues - from whatever source - that speak to you, that captivate you, that light a fire in you and make you want to get up on your feet and perform them to anyone willing to listen! If youโre excited and fully invested in your material itโll be reflected in your performance, making it far more dynamic and impacting.
And as an added bonus, your enthusiasm for the material will make learning and remembering those lines significantly easierโฆbecause youโll want to remember them.
