Workshop Speeches 16 July
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Kirby Muxloe Players Workshop The next workshop will be on Tuesday 16 July at 7.30pm at the Village Hall and it’s £2 to cover the hall hire. For this session, it would be really beneficial if you could learn (or at least become familiar with) one of the following monologues. I’ve chosen some well known Shakespeare monologues because you have to work far harder to deliver a classical speech than a contemporary speech and with them being fairly known there should be lots of information on them online or in books for you to look at. If you did have another classical speech you’d like to work on - great! Just let me know before hand so I also have time to research it. If you attended the last session, try to think about the exercises we went through: arching the sentences, actioning each thought, following the punctuation, feminine verse endings (11 beats in a line) etc. If you are copying any of these monologues out, please be precise with the punctuation! Any questions let me know! 07518940575 or [email protected]. If you don’t get a chance to do any prior work on these speeches that’s absolutely fine but at least try and work out the context, who your character is speaking to and what it all means! Also remember that acting is simply reacting – what has just been said in the scene? That will without a doubt affect why you’re speaking. Don’t worry about age when you’re choosing a speech. Nobody will be forced to perform during the workshop, so don’t let it put you off coming! It’s just that being able to perform and work on a speech without constantly referring to the page is always easier.
description
Speeches
Transcript of Workshop Speeches 16 July
Kirby Muxloe Players Workshop
The next workshop will be on Tuesday 16 July at 7.30pm at the Village Hall and its 2 to cover the hall hire. For this session, it would be really beneficial if you could learn (or at least become familiar with) one of the following monologues. Ive chosen some well known Shakespeare monologues because you have to work far harder to deliver a classical speech than a contemporary speech and with them being fairly known there should be lots of information on them online or in books for you to look at. If you did have another classical speech youd like to work on - great! Just let me know before hand so I also have time to research it.
If you attended the last session, try to think about the exercises we went through: arching the sentences, actioning each thought, following the punctuation, feminine verse endings (11 beats in a line) etc. If you are copying any of these monologues out, please be precise with the punctuation! Any questions let me know! 07518940575 or [email protected].
If you dont get a chance to do any prior work on these speeches thats absolutely fine but at least try and work out the context, who your character is speaking to and what it all means! Also remember that acting is simply reacting what has just been said in the scene? That will without a doubt affect why youre speaking.
Dont worry about age when youre choosing a speech.
Nobody will be forced to perform during the workshop, so dont let it put you off coming! Its just that being able to perform and work on a speech without constantly referring to the page is always easier.
MALE SPEECHES
HamletAct 3 Scene 4
Hamlet:Look here, upon this picture, and on this:The counterfeit presentment of two brothers.See, what a grace was seated on this brow?Hyperion's curls, the front of Jove himself, An eye like Mars, to threaten and command, A station like the herald Mercury New-lighted on a heaven-kissing hill A combination and a form indeedWhere every god did seem to set his sealTo give the world assurance of a man:This was your husband. Look you now, what follows:Here is your husband, like a mildew'd ear,Blasting his wholesome brother. Have you eyes?
Merchant of VeniceAct 1 Scene 1
Gratiano:Let me play the fool.With mirth and laughter let old wrinkles come.And let my liver rather heat with wineThan my heart cool with mortifying groans.Why should a man whose blood is warm withinSit like his grandsire cut in alabaster,Sleep when he wakes, and creep into the jaundiceBy being peevish? I tell thee what, AntonioI love thee, and tis my love that speaksThere are a sort of men whose visagesDo cream and mantle like a standing pond,And do a willful stillness entertainWith purpose to be dressed in an opinionOf wisdom, gravity, profound conceit,As who should say, I am Sir Oracle,And when I ope my lips, let no dog bark!
FEMALE SPEECHES
Merchant of VeniceAct 3 Scene 2
Portia:I pray you, tarry. Pause a day or twoBefore you hazard, for in choosing wrongI lose your company. Therefore forbear awhile.Theres something tells me, but it is not love,I would not lose you, and you know yourselfHate counsels not in such a quality.But lest you should not understand me well,And yet a maiden hath no tongue but thought,I would detain you here some month or twoBefore you venture for me. I could teach youHow to choose right, but I am then forsworn.So will I never be. So may you miss me.
As You Like ItAct 3 Scene 5
Phoebe:Think not I love him, though I ask for him.'Tis but a peevish boy yet he talks well But what care I for words? Yet words do wellWhen he that speaks them pleases those that hear.It is a pretty youth, not very pretty, But sure hes proud, and yet his pride becomes him.Hell make a proper man. The best thing in himIs his complexion; and faster than his tongueDid make offense, his eye did heal it up.He is not very tall, yet for his years hes tall.His leg is but so-so, and yet tis well.
