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VOICE II

AND

AUDITIONING

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Voice acting

HOW IS SOUND CREATED?

Sound is a type of energy that travels through a medium like a liquid or gas. When an object vibrates, it causes the air molecule around it to move, which then causes another air molecule to vibrate as well. Sound waves travel to our ears. The human brain makes sense of sound waves. Humans can hear sound waves between 20 Hz and 20.000 Hz, which are known as the audio frequencies range. Ultrasound are sound waves that are too high for humans to hear, and infra sound waves are too low. Unpleasant or unwanted sounds are called noise, and can be caused by several things, for example, traffic, machinery, construction or humans, like a crying baby. When someone is exposed to continuous noise pollution (loud noise or vibration), it can lead to health issues, such as hearing loss or anxiety.

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WHAT IS THE HUMAN VOICE?

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The human voice is sound made by humans with the help of the vocal track. Humans can make a range of sounds, including talking, singing, laughing, crying, humming, yelling, whispering, clicking, whistling. The three primary mechanisms for generating the human voice are the the vocal folds (vocal cords) within the larynx, the articulators and the lungs but they are all a part of an even bigger and more complex mechanism.

THE VOCAL FOLDS (THE VIBRATORY SYSTEM)

The vocal folds or vocal cords, as commonly mentioned, are a part of the vibratory system and vibrate using the airflow provided by the air pressure system to create sound waves that produce the voiced sound. The muscles of the larynx adjust the length and tension of the vocal folds to ‘fine-tune’ the pitch and tone of the voice. 

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THE ARTICULATORS (THE RESONATING SYSTEM)

The articulators e.g. tonguepalatecheeklips, articulate and filter the sound that is coming from the larynx and they can strengthen or weaken the sound. With the help of the vocal cords and articulators , humans can produce a wide range and wide complexity of sounds. They can even alter their tone to show their emotions , like angersurprisefearhappiness or sadness. From someone's voice we can also find out other details about them, such as their age, gender or ethnicity. Singers often refer to their voice as their instrument and when they sing, they are playing their instrument.

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THE LUNGS (THE AIR PRESSURE SYSTEM)

To live, breathe and speak, humans need air. We breathe air in through our nose, which filters the air and reduces the dirt and dust particles to get into the lungs, so the lungs can supply us with clear air. The lungs collect the oxygen and pump the correct amount of airflow and air pressure towards the vocal folds , and by vibrating them, they help us speak. We often talk about how important it is to have a healthy pair of lungs and having a big lung capacity for running or singing but with a respiratory disease talking while walking or even sitting can be challenging. Many things can damage our lungs, for example smoking, some illnesses such as Corona virus or obesity.

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THE ABDOMINAL MUSCLES

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The abdominal muscles are strong bands of muscles layered on top of each other to create our trunk. They’re can be found at the front of our body, between the ribs and the pelvis. The abdominal muscles play crucial roles in our everyday life, including supporting our posture and helping with movement and holding the organs in place.

There are five main muscles in the abdomen:

  • Rectus abdominis.

  • Pyramidalis

  • External obliques.

  • Internal obliques.

  • Transversus abdominis.

In fitness videos, we can often hear trainers talk  about " keeping the core engaged", in this case, they are referring to the back and abdominal muscles. These two muscle groups help  to protect the spine and keep our body stable and balanced, giving us the correct posture.

THE DIAPHRAGM

The diaphragm is a large, dome-shaped muscle that's essential for breathing. When you inhale, the diaphragm contracts and flattens, which enlarges the chest cavity and creates a vacuum that pulls air into your lungs. When you exhale, the diaphragm relaxes and returns to its dome shape, forcing air out of your lungs.  Diaphragmatic breathing help with tone, pitch, and volume, and makes the voice sound stronger and more authoritative, simply put helping us to project our voice. The diaphragm also increases pressure inside the abdomen, which helps with other functions like getting rid of urine and faeces, and preventing acid reflux. ​​The diaphragm is fatigue resistant, but it can atrophy due to ageing, disease, or inactivity and if weakens acid reflux and other health issues can occur.​ The diaphragm is attached to the sternum, the bottom of the rib cage, and the spine. It moves with the help of the abdominal muscles and makes it easier to empty the lungs. It also separates the thoracic cavity (lungs and heart) from the abdominal cavity (intestines, stomach, liver, etc.).

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THE CHEST MUSCLES

Our chest muscles, mainly the pectoralis major and minor, help with breathing and speaking. When taking deep breaths from the chest, it supports  our voice and helps avoid straining it.

We use our chest voice when we speak, so it is also called our speaking voice. We also use our chest voice when we sing in the chest register, in the lower to medium-high range. The thyroarytenoid (TA) muscles in the chest are responsible for bringing the vocal folds together to produce sound. ​​Opening our chest is part of the good posture that is required for everyday life to  prevent chest muscle tightness and also to be able to speak and be understood by others.

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VOCAL PROBLEMS

Many things can damage our vocal cords and affect our voice but to mention a few:

Upper respiratory infections (even something as simple as the flu)
Reflux ( acid reflux or heartburn)
Vocal misuse and overuse (shouting, yelling, singing too much in an uncomfortable range)

Health conditions:  Parkinson's disease, multiple sclerosis and thyroid problems

Growths, nodules on the vocal folds

Cancer of larynx, mouth, lungs, which can occur more often in heavy smokers
Neurological diseases like vocal fold paralysis
Psychological trauma (our brain preventing us from using our voice)

Some medicines side effects include drying out the mouth and vocal cords

Age: Being a woman over 50 can increase your risk of voice disorders

Job: Not only singers but anyone whose jobs require a lot of speaking or shouting like teachers or football coaches

How to help our voice:

Staying hydrated:

It is recommended to drink 2-3 l of water each day for an adult but many people do not know that when they drink caffeine or alcohol, they actually withdraw their fluid intake, therefore, they have to drink more to keep the balance.

Vocal naps:

Resting our voice, avoiding singing or speaking for a day.

Humidifier:

In winter, when we open our windows less and keep the rooms heated, we create a hot and dry environment. Humidity should be around 30 percent inside.

Avoid or limit use of medications that may dry out the vocal folds, including some common cold and allergy medications. If you have voice problems, ask your doctor which medications would be safest for you to use.

Stop with spicy foods:

It often causes stomach acid to move into the throat and causes heartburn or GERD. It is especially bad if we already suffer from reflux.

Eat your veg:

Healthy eating, fruit and vegetables help with creating mucus in our body, making sure that our insides are well oiled.

Ask for help:

Voice therapy is available and a speech-language pathologist can help in treating voice problems and teach you how to use your voice in the correct way.

Problems noticed:

Running out of breath

Raspy voice

Not able to hit high notes

Incorrect British accent

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I reused last year's list and marked the problems with a green tick that I addressed since. It doesn't mean that I completely eliminated them but it means that I am working on them. For example, since we started the new school year, I haven't noticed that I would be running out of breath which could be due to losing 25 kg since last year February and also because I have been taking anxiety medication for over a year now, so I less likely to get anxiety attacks. I get  raspy voice less often as well, I am hoping that the vocal warm-ups and the reflux medicine helps that. I completely switched to decaf coffee now and only having 1-2 cups a day instead of 4. My tight neck and back muscles are an ongoing problem but I am doing light exercises and visit a therapist almost every month. 

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Medical conditions:

Tonsils removed in childhood

Reflux

Anxiety

Scoliosis (spinal deformity)

Goiter on the thyroid

Deviated septum from a fall

MY VOCAL PROBLEMS

FROM LAST YEAR

AND WHAT CHANGED

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Other potential issues:

Too much coffee

Obesity

Weak abdominal muscles

Tight neck and chest muscles

Born abroad

Singing without vocal warm ups 

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I marked with the blue sign anything that I am not able to change or take time/drastic steps. For example, to cure my spine deformity or the deviated septum, I would have to go through surgery, which is risky and takes a long time to recover from and even if I decided that I would like to do it, there is no guaranty that it would be granted by the doctors. On another note, the tonsils I had removed, I wont be able to get back but they were causing me troubles as a child so I am healthier without them. 

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The X marks the tasks I haven't started or where I haven't seen improvements yet. I haven't managed to convince myself yet to have a continuous abdominal strengthening plan, perhaps now , with the new year. I would also like to get back to singing because I have many song ideas sitting in my bedside drawers but that means next to vocal warm-ups, I also have to address my weak abdominal muscles.

TAI CHI / STRETCHING AND FLOW

I like stretching and toning exercises, tai chi is the next level of this with including rhythm and movement. It requires a good balance as well and strong core, which I often fail. I noticed that when I'm doing grounding exercises, I wobble and the lower part of my body doesn't hold me unless I really concentrate. I enjoy practicing this because the progress is easily measurable. 

Tai chi is an ancient Chinese martial art technique that combines movement, stretches and breathing and helps with mental and physical wellbeing. 

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ARTICULATION AND PROJECTION WORKSHOP

During our rehearsals, someone approached me to express concern about how some of the actors delivered their lines. The feedback concerned speaking too fast and not articulating clearly. My idea was to hold an articulation and projection workshop rather than singling anyone out, since we all needed a refresher. I was surprised to see how positive and passionate everyone was about the workshop. We read about the importance of the diaphragm, the distinction between projecting and shouting, the correct and incorrect ways to deliver lines, the importance of staying healthy, chest voice vs. head voice, and more. We also conducted a few exercises together. 

1. I provided a few light stretching exercises and warm-ups. At this point, everyone has their favourite ones, but I thought I would suggest a few that help open up our lungs and ribcage, which helps with volume. 

We also did tongue stretches, which I really struggle with because it makes me feel uncomfortable, as I have sensory issues regarding noticing the existence of body parts. 

We practised diaphragmatic breathing, and I demonstrated an exercise from Tara Simon, a well-known American voice coach. The exercise focused on fully filling our lungs by taking a deep breath, then another. This demonstrates the amount of space remaining in the lungs and the disadvantages of shallow breathing. 

2. Then Mike showed us an exercise that helped him with projection: standing close to a curtain, whispering the words, and increasing the volume every time we stepped back. This exercise didn't really work for me because I didn't know what volume level was expected of me, and it confused me that everyone used a different one. 

3. Next,  a tongue twister story where I asked everyone to slow the monologue down and articulate each word, trying to sell the story for us, even if it did not always make sense. The story was about a parade of penguins. It was hilarious, and I really enjoyed doing this, and I believe everyone understood the task and did really well. This exercise helped us with delivering a monologue that has a calm energy and less emotion.

4. With the next exercise, we practised how to keep articulating while telling a fast-paced story. 

This was my favourite exercise because, many times, I start telling a story and get lost in it until I realise, from observing others' faces, that they can't follow me. This was also very funny and a great team-building experience.

 

 

Then, in the second half of our session, we performed movement exercises. Starting with the seven levels of tensions by Jacques Lecoq. I think if I had the opportunity, I would reduce it to 5 levels of tension because I seem to struggle with the subtle changes between the levels.

The second one was finding our stock characters from Commedia dell'arte. This exercise focused on exaggerated movements. I couldn't find my stock character, but we agreed that Scrooge could definitely be based on Pantalone. I ultimately performed exaggerated movements of Mrs Cratchit to convey her caring yet firm side. I did this by showing that I was upset when others damaged the bedding and that I rushed to fix it. Similarly, I became upset when I had to push the chairs back to the table. When I saw the others fight over a pillow, I took it from them. I believe these are all things Mrs Cratchit would do.

AUDITION

An audition is the job interview of the performers e.g. actors, singers, dancers. It is an opportunity for them to showcase their talent. It can be either by showing a rehearsed  or an improvised monologue, or series of movements. Next to performers showcasing their talent, directors also test how well they can take directions and work in a team.

OPEN CASTING

An open casting means that almost anyone can apply. These are usually held in large conference rooms where they can host lots of people. This usually happens when the show requires many background characters. This type of audition can be chaotic and might not be intimate at all Be prepared to join the line and wait for your turn to perform a monologue and do a cold reading. They are less likely to select the lead role at these occasions but it is a great way to get experience in both auditioning and being on set.

PRIVATE

Private auditions are a type of closed auditions where only certain actors will be invited to take a chance. They usually come from agencies or recommended by other industry workers and tailored for the specific need of the director. These auditions tends to be very organised where the actor is given a time to attend, clothes to wear and certain lines or certain types of monologues to learn. Some people can find these type of auditions more relaxing while others can think it is more intimidating as these types of auditions tend to choose more important characters for the show or the lead role so the pressure can be big on the performer.

SELF-TAPE

A self-tape audition is self-explaining. Recording yourself (it is important to have a tripod at home) or asking a friend to record you performing lines from the script then send it to advertiser along with details about yourself.  This is often the first step of an audition process and it allows the director so see many actors in a time when its convenient for them, also being able to do it from the comfort of their home or while sitting on a plane ahead of a long journey. This type of audition is the modern version of when actors used to send the VHS tapes to agencies by post. With the help of the internet, the delivery of the footages are instant. 

You can record yourself at home, with no one watching you and not being worried about missing your train to London at 6 in the morning.

Another advance is that you can record yourself as many times as you'd like to and send the best version over.  

ONLINE

Online auditions been around since the existence of the internet , web cameras and video calls. Many actors who live in Europe or in England and apply for a job in America would have an online session. These became more popular within the countries as well since the COVID-19 pandemic.  The actors usually get an exact time and a code to join a Zoom or Skype meeting along with some other instructions on how to prepare.

While these are very coinvent as they can be done from the comfort of the home, it is important to remain professional, dress appropriately and chooser a quiet and well lit room. 

Types of auditions 

CLOSED AUDITION

A closed audition takes places when a director wants to work with a specific agency or drama school. Unlike with the open castings, there will be no public notice given and only the group who is invited will be informed about the job. 

These auditions are more relaxed and positive as the director likely to already have a good relationship /work experience with the group they have selected. This can be very useful for them if they need a big chorus or actors for a film where there are many children needs to appear e.g. school scenes.

GENERAL

This is a type of audition that doesn't happen often in real life anymore; however, you might get a video call. Here they want to meet you and learn more about you, but not your favourite food: your style, your motivation and the work you've done recently. 

PROCESS

PREPREAD

This is a type of audition in which the company asks you to provide a snippet of the script with yourself performing it. This helps them narrow down the list of people who best fit the character. This is also essential when the actor lacks a reference or has minimal or no prior work to show. 

SCREEN TEST

Screen test are semi-professional recordings of the actor where they are  usually given a scene to perform from. They basically want to test your skills in film making and how well you do in front cameras and whether you can take directions and quick changes. They might even pair you up with other actors to test the chemistry between you. These can be just between two actors for playing lovers or siblings, or a group of people playing friends. This can also indicate of how good of a team player you are.

CALLBACK

This is the second-round audition, which occurs after you've provided the preread. Here, they narrowed the list and want to hear from the lucky few again. You usually perform in front of the director and producers, who film you so they can watch your performance back and help decide about you. If they previously provided you with feedback, you must apply it to your performance and do so off-script.

HOW TO PREPARE

- Have realistic expectations

- Treat the audition with positivity no matter what the outcome is and think about it as a learning experience

- Learn your lines

- Do a detailed research on the company/show/acting style required etc.

- Practice loud, in front of friends and family. It is not the same as practicing sitting in a chair quietly, on your own

- Ask feedback from others and film yourself to reflect on your mistakes

- Don't forget the correct breathing techniques: with shallow breathing, not even oxygen gets delivered to your brain or your lungs. How can you succeed like this?

-Ask questions from the company, agency or other actors. Perhaps join acting groups on social media.

- Make a plan , days ahead: outfit, transport, drink, food breaks

- Always check that the company is legit and never walk in somewhere where you don't feel safe.

- Bring your headshots and resume. Email the company your website, attach videos of your personal work with references.

SKILLS NEEDED FOR A SUCCESFUL AUDITION

-Acting ability, of course. This also means to be keeping up to date with the industry, the current leading companies, styles and keep studying/ attending workshops. 

-Prep work and memory. Doing the research, taking notes, learning your lines.

-Confidence, big energy. "Fake it til you make it!)

- Flexibility : last minute (reasonable) location changes, time changes, reading in for an extra role, keeping the show secret.

- Persistence. Keep showing up. Remember the 1 out of 15-25 rule.

- Being motivated rather than competitive. Ignore the competition. Don't think they are better or worse than you. Focus on yourself. If you take an example from someone's work, take the good bits. Learn from them, be inspired by them. They are not your enemy. 

BOOKING RATIO

Booking ratio measures how successful an actor at getting the jobs they applied for. It is calculated by dividing the number of jobs they applied for by the number of jobs they have been offered. A higher booking ratio is pleasing for directors and it indicates that the individual has the talent and skills to impress.

When being employed by an agency, they usually expect you to get 1 job out of every 15-25 auditions. That's a lot of auditions so it is important to stay resilient and keep showing up. 

HOW TO DEAL WITH REJECTION

- Be realistic. If 20 girls apply for the same role as you, you know that only one will get the job.

-If you can, ask for feedback.

- Keep learning, keep practicing, keep showing up.

-Stay motivated. Stay healthy, in mind and body.

- Keep working. Keep filming, even if its just with your friends. Keep appearing in plays. Keep producing work. 

- Surround yourself with other performers and creative people. This is great for your mental health and for networking too.

-Celebrate small wins: I went to the casting. I made it to the next round. I got a feedback that I did well...etc.

PERFORMANCE TYPES AND AUDITION MATERIALS

The material auditions require depends on whether the project is for theatre, film, or musical theatre. However, the most common tasks include performing monologues, reading "sides" (script excerpts), singing, dancing, and slating (introducing yourself). 

Slating: Slating is the introduction. The basic details about you. This is how you start most auditions, whether you're on camera or in person. They might ask you to state your name, age, location, height but usually the most important information is your name, the role you are performing and the name of the book/ film and scene.

Improvising: Improvisation used to test your creativity, quick problem solving skills and acting style.  This often happens in pairs or groups where you are given a topic or a short description and it is up to you and your partners to create a scene and perform it.

Cold read: Cold read means that the directing board asks you to perform a specific scene from the script with very little preparation.  This can text how quickly you understand scripts, take on new tasks. Here, there is no time to research the meaning of the text so you can only rely on your senses and previous experiences.

Monologue: This is the type of audition that allows you the most prep time. Before your audition, you might be asked to bring a monologue from a certain style (drama, comedy) or an era (classical, contemporary). As a successful actor, you should always have at least one of each under your belt so you are prepared at all times. 

Classical time usually counts anything before 1900 but make sure to check with board as it can change from producer to producer.

Song: When auditioning for a musical play, you will most likely be asked to perform a song. They usually only need to last a minute and suit the style of the performance. Here, the auditioning board tests whether you have the voice range required for the production. A capalle singing might be requested but often your are allowed to have a pianist or a backing track.

Dance/ Movement: If you are applying for a job as a dancer, you are expected to have your own dance routine and bring along different styles of dance. However, even as an actor applying for a musical or a dance film, you might be taught a short dance so they can test your rhythm and your ability to learn movements quickly.

CASTING ADVICE FROM PROFESSIONALS

I am watching videos on audition tips by Backstage and some of the tips I picked up on were:

-Attention spam of people is shorter nowadays.

-A good audition material is 60-90 seconds long.

- It needs to be a specific piece that showcases my talent.

- Choose a "memory" or "shock" monologue, something that grabs the attention.

- Important to feed off of the non-verbal communication of the imagined character we are talking to. 

- Even if you want to work in films, you have to have a classical and contemporary monologue in your pocket. 

- Avoid using modern TV show monologues. 

-The ideal self-tape gives a peak into the depth of an actor's talent. 

- When casting for a specific role that has specific requirement e.g. able to ride a horse, make sure to mention that you have the skill

CHOOSING MONOLOGUES

Because I only ever attended one audition and skipped Level 2 and Level 3, I never learnt any monologues I can have under my belt and take to auditions but this year, we are required to bring a chosen monologue and take a given material, an extraction from A reluctant tragic hero by Chekhov.

We also need to have a portfolio of work so I had to start looking for monologues. I find Shakespeare hard to understand but I know that he is someone Brits are proud of so knowing a couple of Shakespeare monologues will be beneficial as a performer. While searching, I looked on YouTube and I also found two brilliant books in the colleges library. One of them is AUDITION SPEECHES FOR YOUNG ACTORS by Jean Marlow and the other is Shakespeare monologues for young women by The Good Audition Guides, edited by Luke Dixon. I found them both really useful and photocopied quite a few pages so I can keep learning monologues when I get time, perhaps at summer time. 

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Shakespeare - As you like it 
Phebe`s monologue (in some texts she is mentioned as Phoebe)

Original

 

"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 well When he that speaks them pleases those that hear.

It is a pretty youth- not very pretty;

But, sure, he's proud; and yet his pride becomes him. He'll make a proper man. The best thing in him

Is his complexion; and faster than his tongue

Did make offence, his eye did heal it up.

He is not very tall; yet for his years he's tall;

His leg is but so-so; and yet 'tis well.

There was a pretty redness in his lip,

A little riper and more lusty red

Than that mix'd in his cheek; 'twas just the difference Betwixt the constant red and mingled damask.

There be some women, Silvius, had they mark'd him In parcels as I did, would have gone near

To fall in love with him; but, for my part,

I love him not, nor hate him not; and yet I have more cause to hate him than to love him;

For what had he to do to chide at me?

He said mine eyes were black, and my hair black, And, now I am rememb'red, scorn'd at me.

I marvel why I answer'd not again;

But that's all one: omittance is no quittance.

I'll write to him a very taunting letter,

And thou shalt bear it; wilt thou, Silvius?"

Modern Translation

“Don’t think I’m in love with him just because I’m asking about him.
He’s just an annoying boy—though he does speak nicely.
But why should I care about words? Still, words sound good
When the person saying them is pleasant to listen to.

He’s a cute young man—not that cute—
But he’s definitely proud; though honestly, his pride suits him.
He’ll grow into a fine man. The best thing about him
Is his complexion; and whenever his mouth offends,
His eyes fix it right away.

He’s not very tall; but for his age, he’s tall enough.
His legs are just okay—but still, they’re fine.
His lips had a nice redness to them,
A deeper, fuller red
Than the color in his cheeks—just like the difference
Between a steady red and a mixed rosy pattern.

Some women, Silvius, if they had looked at him
Piece by piece the way I did, might have very nearly
Fallen in love with him. But as for me,
I don’t love him, and I don’t hate him. And yet,
I have more reason to hate him than love him.
What right did he have to scold me?
He said my eyes were dark, and my hair was dark,
And now that I think about it, he even mocked me.

I don’t know why I didn’t talk back.
But no matter—saying nothing isn’t the same as forgiving.
I’m going to write him a very mocking letter,
And you will deliver it. Will you, Silvius?”

In the lead up of Phebe`s monologue we can see her meeting Rosalinda and realise just how ridiculous the situation is. Meeting someone for the first time and immediately developing feelings for them might be justified by "love at first sight". However, Rosalinda is very harsh with her and only shares the negatives.

—But, mistress, know yourself.

Down on your knees

And thank heaven, fasting, for a good man’s love,

For I must tell you friendly in your ear,

Sell when you can; you are not for all markets.

In this extract we can clearly see how Rosalinda says that she should be grateful that a man like Silvius laid eyes on Phoebe and she should go with the man who desire her because most people wouldn't.  Perhaps Phoebe takes it as a challenge to win his(her) heart over. She chooses adventure over Silvius`s daunting love. 

This monologue is by Phebe (Phoebe), a shepherdess in As You Like It after she has just been sharply criticised by Ganymede (who is actually a woman, Rosalind in disuse) for being cruel to her admirer, Sylvius.  Phebe is stunned and charmed at the same time because she is not used to people offending her or standing up to her. She favours Ganymede's wit and confidence over Silvius`s desperate devotion. And of course she is charmed by his (her) beauty, which she perceives to come from the youth but probably more from the femininity. 

From the monologue, we can get the feeling that Phebe is easy to get offended if someone ignores or challenges her. She has heightened emotions and it is easy to fall for someone yet easy to judge and hate someone too. She is not an honest person, she tries to lie to herself about her feelings. She pretends to write a "taunting letter" which is just an excuse to make contact. We get the feeling of a silly, low class, uneducated, naive woman.

The monologue is funny because she tries to deny the obvious that everyone sees; she likes the man she just met very much. And the plot-twist at the end where we find out that Phebe`s new lover is a woman so she must accept Silvius instead.

Why I chose this monologue

I was looking for a monologue to perform and watched examples on YouTube. This was the one that I find easy to understand even without reaching what it meant, I understood the general vibe. However, I know thats not enough, so I asked chat gpt to translate the speech to modern language.  I also found a channel on YouTube by Shakespeare by Sarah, that breaks down the speech. With two 2, now I understand the message Phebe wants to communicate. 

This play is an excellent proof that people often fall in love with the idea of someone, not who they really are. I can relate to Phebe because I consider myself someone who has heightened emotions and I am easy to fall for someone by seeing something unique on them but it can easily turn to hate when my expectations not met. I also think, that women in general, not just me, find unwanted attention and admiration tiring and we tend to look for men who are "a challenge" because they are exciting and we think we can change them. Women being attracted to "bed boys" have been around for a long time on television as well. The first one that comes to mind is Sandy and Danny's love from the 1978 musical comedy, Grease. 

Finally, I perceive the play as having a hint of LGBTQ energy with the potential homo-erotica and gender-fluidity coming from Ganymede. Those who read and know poetry know that sapphic love has been portrayed by many famous writers. Starting with Sappho from the island of Lesbos (c 630!) . and poets yet, people often say that being homosexual is the disease of the 21.century. 

AUDITION READY MONOLOGUE 

Sándor Petőfi (Alexander Petrovic, the Hungarian Shakespeare)

Sándor Petőfi (1823–1849) was a Hungarian poet and political activist who is widely regarded as the national poet of Hungary. He was born Alexander Petrovic, the son of a Serbian father and a Slovak mother. Later, he adopted the Hungarian-sounding name Petőfi, reflecting his identification with Hungarian culture and national identity.

Petőfi became one of the most influential figures of the Hungarian Revolution of 1848 and played an important role in the revolutionary movement. His poems and patriotic writings, especially Nemzeti dal (“National Song”), helped inspire resistance against the rule of the Austrian Empire. Much of his poetry explores ideas such as freedom, romantic love, and the beauty of nature.

Among Petőfi’s most recognised literary works are:

Nemzeti dal – a patriotic poem that became closely associated with the 1848 revolutionary movement.

János vitéz (John the Valiant) – a narrative poem blending folklore and fairy-tale elements.

Anyám tyúkja (My Mother’s Hen) – a popular and widely memorised poem.

Petőfi’s reputation also extends beyond Hungary. In China, his poetry gained significant attention during the early twentieth century because its themes of liberty and patriotism resonated with Chinese intellectuals who were confronting imperialism. The influential writer Lu Xun introduced Petőfi’s work to Chinese readers, and poems such as Freedom and Love later became widely studied in Chinese schools.

Petőfi is believed to have died in 1849 during the Battle of Segesvár while fighting against Russian forces supporting the Habsburg Empire. His body was never definitively identified, which gave rise to the Hungarian expression “Eltűnt, mint Petőfi a ködben,” meaning “vanished like Petőfi in the fog.”

The poem “Dicsőséges nagyurak…” (Esteemed Lords) reflects Sándor Petőfi’s shift from writing mainly folk-style poetry to becoming a powerful political voice. Petőfi was a prominent member of the Youth of March, the group that played a key role in initiating the Hungarian Revolution of 1848. In this poem, his writing becomes openly political, using strong and provocative language to call for freedom and social equality.

The poem challenges the Hungarian aristocracy and demands that they recognise the people’s right to liberty. It warns the noble class that if they refuse to support reform and independence, they risk facing a popular uprising. In this way, the poem functioned as a powerful revolutionary message opposing the injustices of the feudal system.

At the beginning of the poem, the speaker addresses the nobles with a sharp and almost mocking question, asking whether their necks have begun to “itch.” This line alludes to execution devices such as the guillotine or the gallows, implying that punishment awaits those who continue to oppress the people. The reference to a “new kind of necktie” symbolically suggests the tightening of a noose prepared for tyrannical rulers.

Petőfi then presents the aristocracy with a clear choice. They may join the people and help defend the nation by becoming part of a strong collective force, or they can remain arrogant and resistant to change. If they choose the latter, they will face both divine judgement and the anger of the oppressed masses.

Written during the revolutionary atmosphere of spring 1848, the poem stresses urgency. It suggests that the moment for change is immediate and that delaying action even until the next day could result in violent upheaval.


 

Sándor Petőfi - Dicsőséges nagyurak

Practice

AUDITION READY MONOLOGUE 

DICSŐSÉGES NAGYURAK...
 
Dicsőséges nagyurak, hát
Hogy vagytok?
Viszket-e ugy egy kicsit a
Nyakatok?
Uj divatu nyakravaló
Készül most
Számotokra... nem cifra, de
Jó szoros.
 
Tudjátok-e, mennyit kértünk
Titeket,
Hogy irántunk emberiek
Legyetek,
Vegyetek be az emberek
Sorába...
Rimánkodott a szegény nép,
S hiába.
 
Állatoknak tartottátok
A népet;
Hát ha most mint állat fizet
Tinéktek?
Ha megrohan, mint vadállat
Bennetek,
S körmét, fogát véretekkel
Festi meg?

Ezer évig híztak rajtunk
Az urak,
Most rajtok a mi kutyáink
Hízzanak!
Vasvillára velök, aztán
Szemétre,
Ott egyék a kutyák őket
Ebédre!...
 
Hanem még se!... atyafiak,
Megálljunk!
Legyünk jobbak, nemesebbek
Őnáluk;
Isten után legszentebb a
Nép neve:
Feleljünk meg becsülettel
Nékie.
 
Nem érünk rá várakozni,
Szaporán,
Ma jókor van, holnap késő
Lesz talán.
Ha bennünket még mostan is
Megvettek,
Az uristen kegyelmezzen
Tinektek!
 
Pest, 1848. március 11. 

HIGHLY ESTEEMED OVERLORDS...


Highly esteemed overlords, well
How goes it?
Do your necks itch, tell the truth, a
Tiny bit?
Neckwear of the latest trend, to
Serve you right,
We’ve prepared … it’s nothing chic, but
Nice and tight.

Do you have a sense, how long we’ve
Begged of you,
Show that you regard us all as
Humans, too,
Accept us into your fellow
Brotherhood…
The poor folk implored you, but it
Did no good.

All along you treated them as
Savages;
Savagely, will they come for their
Damages?
Charge and overpower you like
Rabid beasts,
Sink their claws and fangs to paint their
Bloody feasts?

For too long we fattened up these
Overlords,
Let the canines feed upon their
Larded bones!
String ‘em up, and dump them on the
Garbage heap,
Throw ‘em to the dogs, like so much
Luncheon meat!…

On second thought… my dear brothers,
Not so fast!
Let’s rise above, let’s be nobler
In contrast;
Holiest, beyond God, is the
People’s name:
Let’s be dignified and worthy
Of His fame.

Come, hastily, we cannot af-
Ford to wait,
Time’s of essence, tomorrow may
Be too late.
If our masses you continue
To despise,
May the Almighty have mercy
On your hides!

Babel web tanslation

Contemperary piece

Snakebit by David Marshall Grant

David Marshall Grant is an american actor, writer and television producer from Connecticut. His active acting career took place between 1985-2000, playing in Dallas, Forever young, Air America, Angels is America and Bent. Snakebit marked his playwright debut. 

About the play:

Snakebit premiered in 1998 in the Grove Street Playhouse, off-Broadway. It had a run of sold outs and was nominated to a Drama Desk and Outer Critics Circle Award and it was on the Time Magazines top 10 plays of 1999. The play is still relevant and has become one of the favourites at drama classes and workshops.

Snake is a comedy-drama about 3 people in their thirties. When Jonathan, an actor getting ready for his breakthrough takes his wife Jennifer, an ex-actor to their longest friend, Michael, a former dancer, now a social worker. We can see that while they used to be all connected by art, their lives started shifting into different directions. Jennifer arrives frustrated at their friends house because she regrets leaving their daughter home, who meanwhile becomes ill. Secrets come to light, life choices being questioned and change is set in motion. 

Jennifer`s monologue

 

I don’t want to be an actress. I hate acting. I’ve always hated acting. It fills me with nothing but self-loathing. There, I said it. And, you know, you do your affirmations, you know, your prayers, that you’ll be like, you know, so filled with self-love that all that won’t matter. What am I saying? The whole thing’s a joke.

You know why I don’t want to act? And don’t tell Jonathon this. I’ve never told anybody this. I started to stutter. On stage. Can you believe that? Honestly. I would get to a word in the script, and when I came to it, I wouldn’t be able to say it. I would freeze. Every time I would get to it. I couldn’t get it out. I get fixated on a word. Last time, I was playing the blind Mexican flower vendor in Streetcar Named Desire. Don’t ask me why. And all I had to do was say, “Flores para los muertos.” There, I said it now. “Flores para los muertos.” I had nothing else to say, just that. I sat around waiting all night. “Flores para los muertos. Flores para los muertos.” I couldn’t say it. Now I can say it. It’s pathetic. Muertos. I couldn’t say muertos. It wouldn’t come out. I ended up saying, “Flores para los dead people.” Blanche DuBois accused me of sabotaging her performance. All she wanted me to do was to say the line right. That’s what I was not getting paid to do. And Jonathon made me feel so… You know, why don’t I just leave him? I really should just leave him.

AUDITION READY MONOLOGUE

END OF YEAR PROJECT/ WHAT I`M AUDITIONING FOR

The information about the end of year project has been revealed to us. We know that we are doing a comedic piece which will probably be refreshing for us and for the audience as well, given that our last two shows were drama. 

As an introduction, we watched a few translated versions of Anton Chekhov's comedy sketches. My first reaction was that the actors were amazing, their problems felt real and there were some good jokes in there. However, it felt long-winded and over explained and I am certain that with today's attention spam, it will be difficult to capture the audience's attention with this style of play. 

0068699_anton_chekhov_220.jpeg
ANTON  PAVLOVICH
CHEKHOV
1860-1904 
RUSSIA
 
Anton_Chekhov_and_Olga_Knipper,_1901.jpg

Anton and Olga on their honeymoon

"Medicine is my lawful wife and literature is my mistress". Chekhov

Anton Chekhov practised as a medical doctor while he became one of the world's greatest playwrights and authors. Even though he lived a very short life, dying at the age of 44, he produced much work and his 4 plays ; Seagull, Uncle Vanya, Three Sisters and Cherry Orchard were the birth of the early modernism in theatre.

Anton had a troubled childhood, with an abusive and unreliable father, a broken spirited mother and 5 siblings. When his family went bankrupt and moved to Moscow, he stayed behind and worked for many years to support their living. He lived almost all his life alone as a bachelor and even when he married Olga Knipper in 1901, they never lived together. Olga stayed in Moscow, working as an actress, while Anton lived in Yalta. Anton very much enjoyed being single and he only agreed to the marriage if his freedom was provided.

"...give me a wife who, like the moon, won't appear in my sky every day." Chekhov

They only spent 3 years as married before Anton died from an ongoing tuberculosis. 

The plays we will be concentrating on are his comedy sketches e.g. The Bear, On The Harmfulness of Tobacco, The Proposal and A Reluctant Tragic Hero. 

Common in all four of them is that they all satirise ordinary people by exaggerating their flaws, weaknesses, obsessions and vanity.  Concentrating on people's small, sometimes ridiculous problems is what makes these stories so real and relatable. While I was watching the Hero I wasn't sure whether I should laugh or cry  because his life as a man was portrayed so realistically and it made me reflect on how much my husband do for us. 

THE GIVEN MATERIAL

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Understanding the character

The character is a neurotic, overwhelmed man and husband who is going through a mental breakdown. The tone is between tragic and comedic.

Key traits: 

Dramatic

Self-pitying

Frustrated

Exaggerated 

Emotionally unstable

Intelligent

Feels trapped

Unhappy in his marriage

His way of talking is theatrical, he is looking for sympathy and could be a bit drunk too. Even though the whole monologue is a long meltdown, it has a good variety of beats. There are questions and statements where he tries to manipulate the other person to give him a gun, there are points of the monologue where he questions the point of his life, where he is breathless from being so overwhelmed and where he loses it all. Yet, I think it is important not to overact and make is sound like a suicide note. If it becomes too sad or , the comedy won't come through during my performance.

PRACTICE/REDERECTION

Do I handle criticism well? No. Do I take it as a personal attack? Absolutely.

I find it hard to take criticism or redirection because I am thoughtful and always spend a lot of time analysing my characters and try to make intelligent choices when performing. So, whenever I get criticised for my choices, I have an answer because I know what I am doing and why. However, I am aware that when working in the industry, I must be able to listen to the director`s suggestions and accept that not all of my ideas will make the final show. I can do it. I would like to think that I am naturally a humble person and I can admit when someone has more experience in a field and the only way to learn from them is by keeping an open mind and heart. I can work in a team and let my pride go, I proved that many times.

This time the biggest problem with my performance was that I overused my hands and gestured unnecessarily. I am glad we filmed the session because I can see it too. So between now and the audition, I am going to practice and come up with a way to use my hands less and make character appropriate movements only so the performance can be less me and more of The Reluctant Tragic Hero. 

Unlearning habits are harder than I thought. I started practising to improve my movements while performing at the audition and my brain switches to the expressions I would use in this discussion. I can see how this can be too much, annoying or too theatrical for others but it comes naturally to me. I always say that acting isn't about pretending to be someone else, its about channelling the part of you that can portray the character. We all have different personalities  that we use in our everyday life. We are different at work, with friends, with lovers, with people we don`t like, with the bus driver ... and we use a different voice in all scenarios and different body languages to communicate and get what we want from the other person. As Gutekunst and Gillett wrote in their book, VOICE INTO ACTING (2014), "find ourselves in the character and the character in ourselves!" and "We experience as ourselves in the character, rather than pretend."

So, can I be the 45-50 year old Russian man who is overworked and fed up with his wife and life in general? No, I can't be. But I can channel my empathy towards him, my intelligence to understand the situation and my experience being depressed, unhappy and wanting a change and my understanding that my approach is different from Johnny Vegas's so I wont even try to attempt to copy him. 

While I`m practising stance and movement on stage, I focus less on how I say the lines and instead focus on the motions. I use what comes naturally in the moment, then watch myself and analyse it while trying to remember the feedback I got from our director. What seems to work is keeping my hands on the hips, that stops me from waving the arms around but I still make the mistake of making impulsive decisions e.g. slapping my thighs, which is wrong because I lose the energy from performing. I am still working on how to show that the character is panicking ("Let me catch my breath. Oh, God! .. My head, my whole body...) and doing it in an honest way because although to the audience this can come across as a comedic , overreacted part of the monologue, the character is in panic mode and in the moment he believes that he had enough, he might get a heart failure and die from stress. He is probably experiencing a panic attack judging from his disorientation and quick mood shifts. 

I went to the college`s library to look at books to help me with my voice unit . The books I looked at were the vocal arts workbook by David Carey and Rebecca Clark Carey and VOICE INTO ACTING by Christina Gutekunst and John Gillett. I found the latest to be more useful for me. it includes breathing and stretching, vocal exercises and lots of tips and ideas by the writers while they reflect back on Stanislavski and Chekhov techniques. With the help of the book, I achieved a deeper character analysis. First of all, I wrote out the intention/tone of the characters and marked them with purple highlighter, then wrote ideas of movement and highlighted them with orange. This makes my acting intentional so hopefully when it comes to the audition, i am in full control and confident in my movements and line deliveries. 

I noted the facts/given circumstances, basically what I figured out of the character and the world he exists in by reading between the lines. For example we know just by reading the text that its a hot summer day, after  pm and our character is a married man, working in an office and came to tell his friend about his problems.  (examples in photos)

Then noted that the performance is a mix of tragedy and comedy. Knowing the genre is important for appropriate acting. I need to know whether the text wants to make the audience laugh, cry, shock...etc. 

Then to understand the character better, I wrote down everything he says about himself. Almost everything was negative, which is understandable because he is in panic mode and in a depressed state during his monologue. "I`m a fool." "Why am I still alive?"

Finally, I looked at his motives. Why is he talking? What he actually wants to achieve. The obvious answer is getting the gun but behind that there are more complex thoughts and feelings, such as getting his friend to listen to him and gain his sympathy or to prove to himself that he is a good person. (see photos for more)

With this newly gained knowledge and new approach, I started practising my monologue again, with the focus point on the movement. I came up with new ideas, for example touching my forehead when starting the mono-luge, or circling around when saying "Oh man, oh man, oh man."

and I am going to keep practising them so the muscle memory takes over and I inbed them in me.

 

I also tried an exercise where my imagination was supposed to help to deliver my lines but it didn't work for me. The task was to imagine that I am by the sea and let everything I see, hear and feel influence me and then say the lines "The sea, the sea, the open sea. The blue, the fresh, the ever free." I noticed that I don't do well with meditation type exercises as I struggle with focusing on the things I`m supposed to. When being made to think of certain things, I get bored easily and my brain fights me , trying to think of something that I find more entertaining or useful. 

FIRST IMPRESSION

I consider myself to be hyper vigilant to people`s behaviour. I am someone who judges others as soon as they walk through the door. First impressions matter. The way they are dressed, the way they say "hello", the way they walk... I am very observant in social situations and I watch people interact with others before I make up my mind whether I'd like them or not. I am also quick to walk away from conversations I'm not interested in. If you haven't bought my attention, I'm out. 

This is why I found it important to practice how I arrive and present myself in the audition room. I watched back last year's tape and while I was kind and approachable, I was shy, uncertain and insecure. By practising, I already have a "script" to fall back on instead of making something up on the spot. Due to nerves, I often forget what I want to say and don`t use the best choice of words.  The other issue is that I might forget how my monologue starts and I will freeze. So I'm practising introduction together with the monologue. 

SENSORY EXERCISE

What can the characters smell?

Inside the office: book, leather chair, alcohol

Through the open window: Hot air, car fumes

His own sweat perhaps

What can the character see?

His friend, wooden desk, leather chairs, cabinet ,alcohol bottles, glasses, window, Sun shining inside.

What can the character taste?

Alcohol, his own sweat. 

What can the character feel/touch?

The glass in his hand, the inside of his pocket, his wet fingers if he touches his face, the heat from the Sun, his hot body, his painful hands from carrying parcels around.

Basic emotions/ memory

A time when I felt:

great excitement/ happiness

When I brought my puppy home. She was barely bigger than my palms. It filled me with joy knowing that she is all mine from now on and we live to keep each other happy and safe.

 

sadness/loss

 

When my mum's partner suddenly died after being in intensive care for months where we looked after him and seemed like he was slowly but surely recovering. He survived the heart surgery and stayed with his siblings for a week while my mum went to see her granddaughter for the first time in Germany.  He had a damaged liver due to alcohol problems and his lungs got filled up with fluid, and one morning, while his sister was looking after him, he fell off the chair and by the time the ambulance arrived, he was dead. This is a great tragedy as he was only 56 years old and before his surgery he seemed like a healthy man, who was hard-working. I also feel like all that he survived, the heart surgery, the induced coma and months in the hospital learning to eat and walk again was all a waste at the end. I am still grateful that I could look after him and give back some of the kindness and care he always greeted us with. 

feeling of success

When I think about how I achieved everything I wanted as a 12 year old, even if it happened in an unusual order; house, marriage, work, diploma, dogs... 

failure, jealousy, guilt, fear 

My biggest regret is that by moving to the UK at the age of 17, I left my sister at home when she was only 12. Unfortunately my mum couldn't convince her to come with us. She wanted to stay home with her friends...as kids do. 

I feel like I wasn't there when she needed me the most, because I know how lonely and confused we can feel as teenagers. I believe that losing this time with her caused irreparable damage in our relationship. 

relationship that created tenderness/ love

When we got our puppies, my mother instincts had switched on which gave me hope because I didn't think I had any. I always thought about children and birth as a burden but I love caring for our dogs. Their small achievements makes me happy and proud and when they are hurt or sad, I am sad with them.

relationship that created anger or hate

Between the age of 18 and 24, I had a relationship with a man who was 4 years older than me. He saw the world very differently from me and I feel that he put a lot of pressure on me by being so strict and jealous. I truly believe that I should have discovered myself instead of being in a serious relationship at that age. He tried to mould me into someone I wasn't, a modest and basic girl, which he couldn't but he still changed me because I became very distant and depressed and lost all the passion I had for life, this made me hate him. 

Imagining something that didnt happen to me

Something Good:

I wish I had a present father. Someone who was kind and devoted his life to provide and to protect his family.

 

Something Bad:

If I imagine a life worse than I had, it would be my mum giving up on us when my father left her with two young children. She could have taken us to foster care or me and my sister could have ended up homeless. I doubt I would have ever had the opportunity to study acting when my survival was at stake. I am grateful that she kept us safe and healthy. 

 

According to Gutekunst and Gillett, these exercises help us with challenging empathy and connecting with characters. I suppose they give me tools so i have something to think of when I'm playing a character who experienced these emotions. I believe this could be more helpful to me than trying to imagine that I'm at see and I`m hearing the seagulls. 

Example when I felt hot/overheated?

The worst times are the summer nights, when trying to sleep upstairs. I feel like my whole skin is on fire.

How did I help myself?

With windows wide open and cold, wet cloth all over my body. 

How do I think the heat makes the character feel?

Thirsty, he probably has a dry mouth, he is sweaty, breathing shallow, he has less energy, he might have a headache and his thoughts are disorientated. It also makes him irritated and he is probably in his work suit which is making him overheat.

1 YEAR PERFORMANCE SKILL REVIEW

I noticed a significant improvement in my stage presence and voice control compared to last year. In this Christmas show, I felt so much more confident and successful than I did last year as The Dragon. Last year, I was performing with my spoken poetry background, now a year later, I want to believe that I am closer to performing as an actor. My confidence and stage awareness grew and I am now more intentional rather than rational on stage. I'd like to believe that all the research, all the rehearsals, all the advice from my tutors are starting to pay out. However, I am aware that I missed out on a lot not completing Level 2 or level 3 so I am looking forward to the third year of training at Gloucester Campus (subject to validation).

2024 December as The Dragon

2025 December as Mrs Cratchit

2025 audition

2026 audition

FEEDBACK FROM THE PANEL

Phoebe Pope 24/03/26

"(1st piece) good hold of posture, excellent use of emotion, confidence (2nd piece) good use of eye contact, spacing and very confident"

Jamie Parry 31/03/2026


"Preferred role widow from the bear
Monologue 1 [pheobe from shakespear]
•    Very closed off performance
•    Good eyeline to off screen character
•    Very confidence when performing
•    Monologue was well learnt
Monologue 2 [tragic hero]
•    Liked the subtle walking round
•    Liked the movements, wasn’t overdone but a nice addition
•    There was some range in emotion but could’ve been more
•    Could’ve been more comedic
•    Very good facial expression
•    Good use of spacing
•    Good focusing when delivering the monologue
I could see her as the widow."

Before/after audition mood and role expectations

These are just a couple of fun little videos we took before the actors entered the audition room and after they left. I was very nervous and I really didn't want to do it, but luckily it went well. I felt confident, didn't forget my lines, and I managed to keep my focus. I believe my performance has improved since the last review with our director, Spike. Next time I do this, I would like to do even better, introduce myself louder, and get into character without fear. 

I got my preferred role, the widow lady (Yelena) from The Bear and surprisingly, I also got two additional roles as well, which I really didn't expect. Now, I've got a lot of lines to learn, so I'd better get started on them.

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