Monologue Guidelines for students and teachers

TD1 THEATRE CAT 3B O A R DOFSUIESVictorian Certificate of Education1999THEATRE STUDIESCommon Assessment Task 3: MonologueGuidelines for students and teachers© BOARD OF STUDIES 1999Page 1 of 3

THEATRE CAT 3 2CAT 3: MonologueGuidelines for students and teachers1. Each student will perform a monologue selected from the list below.2. Students should be thoroughly familiar with the criteria for assessment.3. Students may choose to perform any monologue listed. The 1999 list includes five female characters, fivemale characters and two gender neutral.4. Students should be aware of the whole play while preparing their selected monologue.5. There is no definitive interpretation. Students may interpret the text and stage directions as they considerappropriate. If, however, the interpretation diverges extensively from the playwright’s intentions and anexpected meaning is possibly obscured, then the student can explain their directorial choices in theirStatement of Intention.6. Students are advised to look for a balance of characteristics rather than focusing only on a single effectsuch as accent or physical characteristic.7. Memorisation of lines is an essential part of the character realisation in CAT 3 and would represent theminimal level of meeting the criteria. Reading from the text does not constitute a ‘performance’.8. Performance skills gained through Work requirement 3, ‘Stagecraft and acting’, form the basis by whichthe monologue is contextualised.9. The assessors will form the audience. They will be the only other persons present. They will be seated atthe front of the performance and under no circumstances may the assessors be asked to move.10. The monologue must be performed over a period of no more than seven minutes. Students may use lesstime as appropriate to their interpretation. A total of ten minutes per student will be allocated for preparation,performance and clearing space. No additional time can be allowed. A timing device will indicate whenthe seven minutes is over. Students must stop at this time.11. Students are encouraged, but not required, to present assessors with a written Statement of Intention of nomore than 100 words. The statement should elaborate on choices which affect the interpretation of thestudent’s selected monologue.12. The performance will take place at a venue to be determined. Schools will be advised of both location andtiming by the Board of Studies. The student will be allocated a specific time.13. An area will be available if students wish to warm up.14. Any edition of the prescribed texts may be used.15. Students are to select ONE of the following monologues and develop a performance.Monologue 1Jane’s speech from Confidentially Yours, Sydney, Currency Press, 1998, pp. 21–23 in the context of Speakingin Tongues, Bovell, A., Sydney, Currency Press, 1998.‘Anyway I was standing at the window and the lights were off . . . Nik was capable of something like that.’Monologue 2Helena’s speech from A Midsummer Night’s Dream, Shakespeare, W., NY, Signey, 1963, pp. 85–87.‘Lo, she is one of this confederacy . . . which death or absence soon shall remedy.’Monologue 3Celimine’s speech from The Misanthrope, Moliere, London, Penguin, 1959, pp. 51–53.‘On the contrary, I’m greatly beholden to you . . . I have any other motive than concern for your welfare.’Page 2 of 3

3 THEATRE CAT 3Monologue 4Laurie’s speech from This Old Man Comes Rolling Home, Hewett. D., Sydney, Currency Press, 1976, pp. 7–9.‘Will you shut up your racket, Joycee? . . . Many’s the heart that is aching.’Monologue 5Isabelle’s speech from Ring around the Moon, Anouilh, J., London, Methuen, 1950 (distributed by SamuelFrench), pp. 67–68.‘Well, are you satisfied now! Don’t you think you’ve had a great success? . . . What’s the matter?’Monologue 6Leon’s speech from Speaking in Tongues, Bovell, A., Sydney, Currency Press, 1998, pp. 26–27.‘About four or five days ago . . . The man has completely broken down and he’s weeping.’Monologue 7Old Bert’s speech from A Fortunate Life, Sydney, Currency Press, 1987, pp. 46–47.‘Suddenly all hell broke loose . . . It was now trench warfare.’Monologue 8Oberon’s speech from A Midsummer Night’s Dream, Shakespeare, W., NY, Signet, 1963, pp. 60–61.‘Thou shalt not from this grove . . . I will overhear their conference.’Monologue 9Faustus’s speech from Doctor Faustus, Marlowe, C., London, Penguin, 1969, pp. 336–8.‘Ah Faustus, now hast thou . . . Ah, Mephostophilis!’Monologue 10Acaste’s speech from The Misanthrope, Moliere, London, Penguin, 1959, pp. 48–49.‘Egad! When I examine myself closely . . . give and take on both sides.’Monologue 11Attendant’s speech from Oedipus Rex, Sophocles, London, Penguin, 1960, pp. 60–61.‘First and in brief – Her Majesty is dead . . . That loathing cannot choose but pity . . .’ (omitting the responsesof the Chorus).Monologue 12Chorus’ speech from Helen, Euripides, London, Penguin, pp. 177–179.‘There was a time, they say . . . she pardons none who taste the forbidden fruit.’Page 3 of 3