Describe how you can apply them to your own monologue preparation or character development.
Identify two pieces of advice (one from the Interviews with Amanda Cordner and one from the Interviews with Jean Yoon) and describe how you can apply them to your own monologue preparation or character development.
Break your writing into at least 2 paragraphs.
This portion of the assignment must be between 200 – 250 words.
Use citations for any phrases or ideas that are not your own
i have uploaded image of the monologue
Interview with Amanda Cordner:
Hello there, hi. I’m Ollie.
Call me Ollie my friends call me Dolly.
I’m so happy to see you all to day.
Wow, you’re all so beautiful, so beautiful.
I can’t believe it.
Well, I can believe it because,
you know, I can see it.
I can see how beautiful you are.
I love beautiful things, beautiful people.
I love looking at beautiful people too.
Very much Oogling.
us shooting ideas back and forth
and we’re the support is there and
the affirmation is there and it’s
hard to get that going for yourself.
Don’t you know anything like what
are you hoping will happen huh?
They just keep being the way you are and everything matched in a change.
Because they’re about to *****
moved to Berlin with me rent free.
Why didn’t we fantasize about this?
Ever since we saw Cabaret together when movies were still a thing,
haven’t we taken all of our queer
steps together since we were the
Hosanna to my curette in Grade
10 drama Berlin is like totally
queer everlasting.
Until my contract is up freedom.
We leave Monday.
Interview with Jean Yoon
. Jean is an award winning actor and writer.
She’s a playwright, a published playwright and all around superstar. And I’m very honored to be here today
to talk to her about acting for theater acting for TV, creating a role and thinking through some of the challenge of working as an artist of colour.
So, without further ado, geniune.
I want you to get Mr Holden off of the
ship and safely back to MCR in command.
He’s the only person who can directly
testify to this understood Sir.
I there a problem?
No Sir, it’s just they’re torps.
Guidance systems are really good.
They’re pushing our PC’s to the limit.
Enough of this bring up the rail guns.
Let’s finish this and go home.
I Sir, isolate each vessel
02:06
We had an extraordinarily
02:08
good theater program.
02:10
And I took it every year and I realized now
02:13
looking back that they covered everything,
everything from blocking to
learning how to do lighting,
grids or what the role of a stage manager
was to some basic Alexander technique
breathing technique, Tableau work.
Our our class projects at the
end were like writing shows.
You don’t Nan Shepherd?
She and I were in the same class.
Oh how wonderful! yeah our our last year of our we did a project to do together
we did a a children’s version of.
Oh: “In an old house in Paris,
that was covered in vines,
lived 12 little girls and 12..” You remember
that one, Madeline the Madeline books,
yeah, so yeah.
And I came to to all of that with a semi professional shows.
Well, that’s really wonderful
information for our students.
So also encouraging students.
Isn’t it to realize that you can glean your training in many,
many different ways?
You know that there’s not just one path through to becoming an actor and
Jean, a number of our students do study
theater in high school, and so then,
when they you know they come,
that’s often the you know when I ask
script calls for and then what
you what I want to bring to
it or what I can bring to it.
In some cases a script might call
for something and I want to.
Skew it a little bit differently.
And then in in terms of actually,
UM, like preparing on the day.
The way I learn lines is.
I try to. I tried what learning lines really
is about tracking the series of thoughts.
That lead to the words coming
Again, it’s possible to say a line and
to mean something completely different to,
say, a line,
to think something completely different.
You can actually really mess
with scripts if you do that both
in a good way and a bad way.
But I will get to the point
where I can close my eyes and I
can imagine the whole scene,
my lines and the other actors.
The other characters lines.
And if I if I cannot do that,
then I’m not prepared.
So that’s the point at which I come to.
Come to work is I I know my lines,
the other actors lines and I’m
ready to actually play and to throw
it back and forth because there’s
nothing worse than especially if
it’s a scene that has to go fast,
the whole script and not just your lines,
everybody’s lines.
And yeah, there’s some great advice there,
Jean, thank you so much and
that reminder that always read
everything that’s available to you.
You know.
So sometimes we don’t get all
the information as actors.
So and we’re also talking about a
couple of different things here.
We’re talking about theater.
We’re talking a bit, you know,
like film and television is a little
different in terms of the amount of material.
You get,
generally speaking,
and then of course we’re talking
about the difference between
preparing for a role and audition,
so maybe we can kind of break
those things down a little bit,
You know it’s something you’ve heard in class.
It’s something that’s been. Iterated,
of course in my lectures as well,
but that you need to know everything and and and that you
can’t just focus on your character,
you need to know everything that is
being said as well everything everybody
else has said and you need to listen.
that’s that’s great because you
mentioned also previously about,
you know key words and actions
that help you memorize, right?
Like you need to know the flow of
the scene in order to memorize it.
And understand it,
understand what’s happened to the
character prior to the scene and
understand what the character wants
and where the character is going.
And that’s a great point you just made,
because then you start to understand
But if you read the whole scene you
might realize that the waiter is
actually being really rude and or is
making the that the hero is going to get.
Really blazingly upset and we don’t
know why so you can try different
things like you know like could be the
sullen weight or like can I help you
actors can work with, you know,
because people are not neutral, right?
There is no neutral waiter,
right?
That waiter that you describe has
a personality has a moment before.
Has you know their own day going on right?
And if you make a choice then you
out of your mouth and the actions
offer something playable and something
that can be played against or two,
and there’s no risk to making a good choice.
There’s no risk,
because if it’s not the right choice.
That thought that you’ve made
a choice is going to, uh, UM.
Encourage the director or the
casting director to basically say
that’s an interesting choice.
Can you try a different one so that
they’re more likely to respond with cool!
Let me give you another option
and then and then
the question becomes how quickly
do you respond to to change?
Which is really important?
Because there’s a lot of play,
you know, that’s really wonderful.
Thank you, Jean.
Post Perfect by Michel Tremblay Albertine: Well that’s where you’re wrong Madeline. That’s where everyone’s wrong! There’s nothing more beautiful than being crazy in love. And if you don’t realize that, if you’ve never known what that means, not even with him, then too bad for you! I know what it means, I knew what it meant with him, I was crazy about him, I let myself be crazy about him and I’ll never regret it! He was everything to me. Nothing, nothing else mattered in my life, Madeline, it was complete that was all I wanted, all I needed. All I needed. And it would have been all I needed till the end of my days! Maybe it’s true that I was demanding, but I think love is meant to be demanding. When you get married, you’re married for life! For life! That’s huge! and with him, life would’ve been too short! Nothing, no stroke of bad luck or unhappiness could have defeated me! I would’ve been able to face everything with him. Do you love him like that? Do you? Do you love him that much?
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