Some Further Comments on the Audition Process: Choosing Contrasting Monologues

This is a continuation of my discussion of monologues, started here. 

Comparatively speaking, choosing two contrasting monologues is much easier than choosing only one.

For one thing, there is a clearer system by which to pick them.  One of the monologues should be classical- probably Shakespeare.  One of them should be contemporary.

One should be dramatic, and one comedic.



As with the single monologue, the contrasting monologues should play to your strengths.  That should be your guide.  If you know a Shakespearean comedic monologue that you think fits you perfectly as an actor, you should try to find a dramatic contemporary monologue to work beside it.

Finding one can be a great deal of work, so it's best to keep these things simple at first.

However, once you start to have many monologues in your repertoire, you can try to make more specialized contrasts.  For instance, if your classical comedic piece is one of Viola's monologues from Twelfth Night you might want to remember that she is a strong opinionated woman who successfully impersonates a man.  To contrast with it, you might want to chose a particularly feminine dramatic monologue.

Delivering two contrasting pieces gives the actor a great opportunity to show the director his or her range of skill.  Use that element to your advantage.

To return to the first discussion of monologues, click here.  To read some of my other tips for auditioning, go to Part One, Two, or Three of The Audition Process.

Thanks for reading, and break a leg!