Brigham Young University's Theatre Education Database

Share personal inner-monologue experience.

Step 1: discussion

Ask students if they have ever paid attention to their own inner monologue (subtext).  Can they ever tell what someone else's might be by what they are hearing?  Have them share thoughts and experiences.

Step 2: directions

Pass out copies of contentless scenes and break students into groups of two.  Tell them that their task is to decide what is going on in the scene.  They need to come up with an inner monologue for the scene, and say it (out loud) after each line.  Each pair will then perform their contentless scene for the class, with the inner monologues included. 

Step 3: group practice

Give students a few minutes to prepare their scenes.  Walk through classroom monitoring their progress.

Step 4: performance

Have each group perform the scene.  

Step 5: discussion

Ask students what changed the meaning of the scenes.  Point out that what is going on inside of a character's head is often more important than what is coming out of their mouth.  Remind them that part of their assignment before they perform their monologues will be to assign subtext to their piece, and know the inner monologue of their character. 

Step 6: transition

Tell students that another thing that affects a character is their surroundings.  Especially in monologues, the audience may not see the surroundings, but the character needs to.  As actors, we use our imaginations to “visualize” things and people around us.  If we don't see them in our minds, it will be difficult for us to be believable. 

Step 7: guided practice

Ask the class to describe a couch.  Continue to ask them questions about the couch until they have come up with a very specific description, including size, shape, color, type of fabric, how soft or hard it is, etc. 

Step 8: independent practice

Have students picture the place in which their monologue takes place, and describe it in detail.  They should finish this, and hand in a typed copy as part of their actor's homework. 

Step 9: instruction

Present the concept that another vital part of preparing for a monologue is being able to visualize the person with whom they are speaking.   Not only should they know who they are, but they should know what they look like, how they are reacting to what is being said, if they are saying anything in response, where they are, whether they move, etc.  They should describe the other character physically, as well as their reactions to what is being said. 

Step 10: directions

Tell students that to practice this, each one of them will take only half the lines from the contentless scene they have performed, and say them as a monologue (simply cutting out the other lines).  The “dialog” should continue, however, as they visualize the other character, what they are saying, how they are reacting, etc.  They will then perform these “monologues” for each other in groups of four. 

Step 11: independent practice

Allow students time to practice visualizing the person to whom they are speaking.  When they have had some time, have them get into groups and perform for one another. 

CLOSURE: Review each of the principles learned during the class (inner monologue/subtext, picturization of the locale, visualization of another character), reminding students of the importance of each, and that they will use these skills in the future. 

Watch students as they perform their contentless scenes with inner monologues to ensure that they have grasped the concept of an inner monologue (subtext). 

*NOTE: This lesson assumes that students are already working with a specific monologue from a previous lesson.

USE OF TECHNOLOGY: No advanced technology is necessary for this lesson.  The students will use paper and pencil to complete their written assessment (descriptions, etc)

ADAPTATIONS: Students who have difficulty writing will be allowed to either draw the surrounding, or verbally describe tit to the teacher.