It includes both Dramatic and Comedic monologues. The list currently features a range of classical and contemporary monologues. Classical text is great to develop your skills as an actor and is typically much richer than modern text, offering actors a great challenge. That being said, it is also really important to be able to connect with contemporary monologues, so working with a mix of both is ideal.
An Overview of Classical and Post-Classical Greek Comedy Though comedy in the broadest sense of the term—any kind of humorous material—is at least as old as Greek civilization, historical evidence suggests dramatic comedy first arose in or just before the Classical Age.
Like tragedy, ancient Greek komoidia, the word from which we get "comedy," eventually found a home at the Dionysia, though it achieved official status only significantly later than its close theatrical kin. The data further suggest this so-called Old Comedy was probably not the first form of comic drama performed at the Dionysia.
Instead, pre-classical playwrights were composing short humorous "satyr plays" featuring boisterous bands of lusty, mischievous woodland spirits called satyrs.
During the Classical Age, satyr plays followed the presentation of tragic trilogies, making them the oldest form of comic Notes for contemp and classical monologues extant. If slower to rise than the satyr play, Old Comedy eventually gained attention and acclaim—and finally pre-eminence—by the end of the fifth century.
Indeed, the first writer of this genre whose works are preserved entire is Aristophanes, a late classical comic poet whose plays, like Old Comedy in general, are raucous and political, closely tied to current affairs.
He often satirizes Athenian politicians and public figures with ribald wit, usually proposing wild and extravagant solutions, both serious and satirical, to a wide range of problems confronting society in his day: Old Comedies must have been fairly expensive to mount—the costume budget alone has to have been extravagant—though the Athenians of the Classical Age evidently felt the visual and comic rewards were great enough to warrant such an investment.
They call for fewer "special effects" and less novel and elaborate choral odes—in one play, there are virtually no original songs at all!
|Holdings : Classical monologues from Aeschylus to Bernard Shaw / | York University Libraries||The following sources are useful for locating monologues and scenes published in anthologies, collections, or periodicals.|
So began a period that was later called "Middle Comedy," covering a long, murky half-century for which no ancient comic drama is preserved whole or even close to complete. While it is possible to trace some of the changes theatre underwent in this day, little is known for certain.
Toward the end of the fourth century ca. Given a series of stock comic scenarios and a pat roster of clownish personas, he forged not only one of the enduring genres of theatre, "the comedy of manners," but also one of the greatest vehicles ever for reflecting upon life and society.
His dramatic signature was character, and from what little we can see of the tattered remains of his work—this opinion is also confirmed by several ancient critics—the characters who people his stage are indeed among the best ever written. Often he modified or even played against their conventional caricatures, so, for instance, "managing slaves" who in other plays are predictably clever and manipulative are in Menander never incredibly ingenious.
To the contrary, they find themselves sometimes in desperate straits they did not foresee, where they panic or freeze with fear like real people. First, the comic situations that drive his plays may not have looked as trite in his day as they do in ours.
And, second, even if they did, in deploying what are now conventional soap-opera crises and resolutions, often based on luck, he may be making an intentional choice.
In other words, predictable plots proved for him a good background against which to highlight characters and personalities, his clear intention as a playwright. More often than not, this results in what reads today as not very funny comedy—the grim facts of life often leave little room for comic byplay—thus, the thrust of Menandrean drama drives, instead, at only a snicker of recognition, if even that, and never the hysterical convulsions Aristophanes aimed for and so readily achieved.
Homer paints a comical picture of other gods in his other surviving work, The Odyssey. How much would you give to trade places with him?
Just let me lie with her!
But comedy, in the sense of "humorous drama," can be traced back no further than the sixth century BCE. The word komoidia means literally in Greek "party kom- song -oid- " and, if this is any indication of its origin, then dramatic comedy stems from revels komoi; singular komos where partiers komastai sang songs oidai in which they teased, mocked and made fools of spectators or public figures.
Though the historical records reveal little about the way this might have happened, somehow komoidia must have migrated from the banquet hall to the music hall, perhaps around the same time when tragedy was beginning to evolve. Early Greek vase paintings, not written texts, provide at present our best view of dramatic comedy in its primordial stages, in particular, depictions of what seem to be comic choruses.
Dating to the mid-sixth century BCE, some vases show komastai dressed as horses, birds, and dolphins prefiguring the choruses of later fifth-century Old Comedy see below in which choristers often represented animals.
If indeed these paintings reflect pre-classical comic theatre, it seems safe to conclude that, just as in early tragedy, the chorus initially played an important role in Greek comedy. But there were, no doubt, differences, too.
For example, choruses in Old Comedy, unlike in tragedy, addressed the audience directly in a song called the parabasis see belowmeaning literally "the act of going aside," because the chorus "stepped aside" i.
But the case is not so simple. Other evidence indicates that comedy, unlike tragedy, was imported into Athens from other parts of the Greek world, particularly through a genre called Dorian farce.
Indeed, an early vase from Corinth depicts what seems to be a scene from a comic drama of some sort, in which thieves are stealing wine and being punished.
Other sixth-century vases contain representations of the gods, heroes and daily life, all portrayed by actors wearing grotesque masks and short garments that reveal padded buttocks and huge phalloi singular, phallos note. Other similar vases show characters commonly found in later comedy: Exactly how these images elucidate the evolution of comic drama is far from clear, but they prove that the presentation of humor in some sort of theatrical mode was well under way even before the dawn of the Classical Age.
Evidently, comedy also got off to an early start in Sicily, another part of the Dorian world. The evidence here does not stem from vases alone, because fragments of comic dramas exist, attached to the name of an early Sicilian comic playwright, Epicharmus of Syracuse. It is too bad, then, that it is impossible to determine with any precision when this dramatist lived and wrote—it may have been any time from to BCE, or even later—but any date on the early end of this range would make Epicharmus the contemporary of the earliest Athenian comic playwrights and, in that case, a crucial figure in the formulation of dramatic comedy.
Unfortunately, there is nothing certain about him. The association of Epicharmus with the agon, however, may be a post-classical retrojection of later dramatic conventions, a fabrication designed to connect a shadowy, poorly attested ancestor with some concrete element of the tradition.
Along the same lines, Epicharmus also purportedly invented certain comic characterizations which later became closely associated with specific mythological figures, such as the cowardly Odysseus and the gluttonous Heracles, but again this information comes from late sources.Contemporary Monologue research: · “Omega” (stone sour) · (Haunting Julia by Alan Ayckbourn) Haunting Julia is a play from Alan Ayckbourn about a girl who was a writer/musician and dies from unknown causes, an old friend comes back to the house where she wrote her music and she begins to haunt the house.
Inspired by both classical and contemporary plays, The Oberon Book of Monologues for Black Actresses gives readers an insight into some of the best cutting-edge plays written by black British playwrights, over the last sixty years.
From the editor of the bestselling volumes: Modern and Contemporary Monologues for Men and for Women This is a selection of forty great speeches drawn from landmark plays stretching from Greek and Roman theatre right through to those of the nineteenth century.
Free Monologues for Teens for Acting Auditions. If you're looking for good teen monologues, you're in the right alphabetnyc.com, you'll find some dramatic pieces, and some comedic. Clicking a link will take you to a PDF version of the monologue. The Monologuer is your resource to find dramatic and comedic monologues to assist you in preparing for auditions.
The Monologuer contains an assortment of classical and contemporary monologues. From the editor of the bestselling volumes: Modern and Contemporary Monologues for Men and for Women. This is a selection of forty great speeches drawn from landmark plays stretching from Greek and Roman theatre right through to those of the nineteenth alphabetnyc.coms: 1.