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I've been told to do a female monologue for drama

Started by Autumn, January 20, 2008, 11:53:56 PM

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Autumn

So I enrolled in another drama class because I actually need elective hours (go figure O.o)
Because I've got previous experience, both in classroom and performing, the instructor wants me to do an against type monologue. She wants me to do a woman. She said not to do it in drag, though, play it straight.

I'm standing there in womens' ankle boots, jeans, an extra small tee with a button up flared-at-the-waist 3/4th shirt on over it while she's saying all this, mind you. So maybe I should ask if I should dig up my mens' clothing to perform my female role.  >:D

But anyway, since it's soooooooo anti-type of me, I thought I'd ask suggestions for a female monologue. She suggested one of Tennessee Williams' women, so I grabbed the scripts for glass menagerie, cat on a hot tin roof, and streetcar named desire from the library to thumb through, but I'm actually quite ignorant of most plays and of what good characters/scenes exist out there to choose from.

The play I actually acted in had me as a racist macho southern redneck... I realized, THAT sure as hell was an against type casting. I think I'll really enjoy this assignment, even though it's just a couple of minutes.
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tekla

Williams (tres gay), wrote woman's parts as he wished they were, were one thing.

On the other hand, Albee, also gay, wrote about woman as they never wanted to be seen.  In that, I think that Albee is much more real.

Who's Afraid of Virginia Woolf?



MARTHA:

You know what's happened, George? You want to know what's really happened? (Snaps her fingers.) It's snapped, finally. Not me... it. The whole arrangement. You can go along... forever, and everything's... manageable. You make all sorts of excuses to yourself... you know... this is life... the hell with it... maybe tomorrow he'll be dead... maybe tomorrow you'll be dead... all sorts of excuses. But then, one day, one night, something happens... and SNAP! It breaks. And you just don't give a damn anymore. I've tried with you, baby... really, I've tried.

I'm loud, and I'm vulgar, and I wear the pants in this house because somebody's got to, but I am not a monster. I am not.

SNAP! It went snap. Look, I'm not going to try to get through to you anymore... I'm not going to try. There was a second back there, maybe, there was a second, just a second, when I could have gotten through to you, when maybe we could have cut through all this crap. But that's past, and now I'm not going to try.

Well, maybe you're right, baby. You can't come together with nothing, and you're nothing! SNAP! It went snap tonight at the party. I sat there, and I watched you... I watched you sitting there, and I watched the younger men around you, the men who were going to go somewhere. And it snapped! It finally snapped! And I'm going to howl it out, and I'm not going to give a damn what I do, and I'm going to make the biggest damned explosion you ever heard.

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MARTHA:

Hey, hey... Where is everybody...? George? George? George! What are you doing? Hiding, or something? GEORGE!! Oh, fa Chri... Deserted! Abandoned! Left out in the cold like an old cat... HA! Can I get you a drink, Martha? Why, thank you, George; that's very kind of you. No, Martha, no; why I'd do anything for you. Would you, George? Why, I'd do anything for you, too. Would you, Martha? Why, certainly, Geroge. Martha, I've misjudged you. And I've misjudged you, too, George.

WHERE IS EVERYBODY?!?

Daddy? Daddy? Martha is abandon-ed. Left to her own vices at... something o'clock in the old A.M... Daddy white mouse; do you really have red eyes? Do you? Let me see. Ohhhhhh! You do! You do! Daddy, you have red eyes... because you cry all the time, don't you, Daddy. Yes; you do. You cry allllll the time....

I'LL GIVE YOU BASTARDS FIVE TO COME OUT FROM WHERE YOU'RE HIDING!!!

(Pause.) I cry all the time, too, Daddy... I cry allll the time; but deep inside, so nobody can see me. I cry all the time. And Georgie cries all the time, too. We both cry all the time, and then, what we do, we cry, and we take our tears, and we put 'em in the ice box, in the goddamn ice trays... until they're all frozen (Laughs) and then... we put them... in our... drinks. (More laughter, then silence. She jiggles the ice in her glass.) CLINK! (Does it again.) CLINK! (Giggles, and repeats this several more times.) CLINK! ...CLINK! ...CLINK! ...CLINK! ...Clink?


-----------

MARTHA:

You're all flops. I am the Earth Mother, and you're all flops. I disgust me. I pass my life in crummy, totally pointless infidelities... would-be infidelities. That's a laugh... A bunch of boozed-up... impotent lunk-heads. Martha makes goo-goo eyes, and the lunk-heads grin, and roll their beautiful, beautiful eyes back, and grin some more, and Martha licks her chops, and the lunk-heads slap over to the bar to pick up a little courage, and they pick up a little courage, and they bounce back over to old Martha, who does a little dance for them, which heats them all up, mentally... and so they slap over to the bar again, and pick up a little more courage, and their wives and sweethearts stick their noses up in the air... right through the ceiling, sometimes... which sends the lunk-heads back to the soda fountain again where they fuel up some more, while Martha sits there with her dress up over her head... suffocating - you don't know how stuffy it is with your dress up over your head - suffocating! waiting for the lunk-heads; so finally they get their courage up... but that's all, baby! Oh, my, there is sometimes very nice potential, but, oh my! My, my, my! (Brightly) But that's how it is in civilized society. All the gorgeous lunk-heads. Poor babies... There is only one man in my life who has ever... made me happy. Do you know that? One!

I meant George, of course. Uh... George; my husband.

...George who is out somewhere in the dark... George who is good to me, and whom I revile; who understands me, and whom I push off; who can make me laugh, and I choke it back in my throat; who can hold me, at night, so that it's warm, and whom I will bite so there's blood; who keeps learning the games we play as quickly as I can change the rules; who can make me happy and I do not wish to be happy, and yes I do wish to be happy. George and Martha: sad, sad, sad.

...whom I will not forgive for having come to rest; for having seen me and having said: yes, this will do; who has made the hideous, the hurting, the insulting mistake of loving me and must be punished for it. George and Martha: sad, sad, sad.

...who tolerates, which is intolerable; who is kind, which is cruel; who understands, which is beyond comprehension...

Some day... hah! some night... some stupid, liquor-ridden night... I will go too far... and I'll either break the man's back... or push him off for good... which is what I deserve.
FIGHT APATHY!, or don't...
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Autumn

I think I like that one in the middle. Lots of movement and mixed emotions. Thanks, I'll probably grab the script.
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tekla

Who's Afraid of Virgina Woolfe is a play about love that makes you think that staying single for the rest of your life might not be all that bad an idea.  It's the movie that made up for all the junk that Burton and Taylor did in most of their career.  With a minimal set, lots of close ups that are far from flattering, and just 4 people, the total effect is - as Bob Marley sang - total destruction, the only solution.  The entire thing, which you have to laugh at in some very uncomfortable moments sort of proves Beckett right when he said, "Nothing is funnier than unhappiness, I grant you that."
FIGHT APATHY!, or don't...
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