AUDITIONS

CREATOR: BRIANA SHIPLEY

LEARNING LEVEL: BEGINNING

PRIOR EXPERIENCE REQUIRED: NONE

Overview:

Unit Objective: Students will be able to demonstrate their knowledge and ability to audition for Timberline Middle School’s higher level drama classes by performing in a mock audition.

National Standards:

#2. Acting by developing basic acting skills to portray characters who interact in improvised and scripted scenes

#5. Researching by using cultural and historical information to support improvised and scripted scenes  #7. Analyzing, evaluating, and constructing meanings from improvised and scripted scenes and from theatre, film, television, and electronic media productions

#2. Acting by developing, communicating, and sustaining characters in improvisations and informal or formal productions

#5. Researching by evaluating and synthesizing cultural and historical information to support artistic choices

#7. Analyzing, critiquing, and constructing meanings from informal and formal theatre, film, television, and electronic media productions

Enduring Understandings:

  • Respect and collaboration
  • Empathy for self and others
  • Theatre artists can reflect on experiences through performance
  • Essential Questions:
  • How does the world around us influence theatre?
  • How does empathy play a part of performance?
  • Big Idea: Hard work, preparation, and taking things step-by-step are the tools needed to succeed in auditioning, and in life.
  • Key Knowledge and Skills:
  • Students will learn the basic vocabulary and structure associated with a theatre audition
  • Students will be able to present themselves and perform in a manner that is both professional and personal

Authentic Performance Tasks:

  • Choosing a Good Monologue Worksheet
  • Character Analysis Worksheet
  • Marking up a script for tactics and objectives
  • Two hand-written reflective papers
  • Preview Performance
  • Peer Evaluations (self-reflection)
  • Final Performance
  • Group Oral Reflection and Checking for Understanding Throughout

Unit Pre-Assessment: Students will take a pre-test (standardized across the district) in order to learn which theatrical concepts students are familiar with, and which ones they are not. At the end of the semester, students will re-take the same quiz. The data between the two test scores

Lesson 1: Choosing and Cutting a Script

Educational Objective: Students will demonstrate their understanding of the process of selecting and cutting (if necessary) a monologue. Students will also read-through and time their scene to make sure it is under the 1 minute time limit.

Materials Needed:

  • Monologues from various plays. Male/Female, comedy/drama, etc. This can be pulled from your collection, but if not, you will need to put together a few options for your students. You will want to give your students as much variation as you can offer. These monologues should be ideally selected to be 30 sec-1 min long, but there may be some selections that your students will need to cut to get them down to around 1 minute.
  • Four monologues to demonstrate good selection and bad selection. These should be pulled from plays from your collection, or you will need to find scenes that fit your needs. Two should be have one “feeling” or emotion the whole monologue, possibly have an odd character, or a character that wouldn’t work for middle school students, and have little room for objectives and tactics (more story based rather than objectives and tactics based). One of the “bad” scenes should also be extensively long and somewhat repetitive.
  • Choosing a Good Monologue Worksheet
  • Projector and Computer

Facets of Understanding:

  • Explanation
  • Interpretation
  • Application

Enduring Understandings:

  • Theatre reflects real life stories and experiences
  • Theatre teaches critical thinking and analysis of stories

Essential Questions:

  • How does showcasing your individual talents affect the choosing of a monologue?
  • What are the practicalities of choosing a monologue?

Hook: (10 minutes)

Have four monologues taped to the bottom of student’s chairs. The monologues should be no more than half a page long. Ask students to look under their chairs; the students who have monologues taped to the bottom of their chairs will be reading the monologues out loud to the class. (You may have students read these from their seats, or they may stand at the front of the classroom). It might also be helpful to project the monologues up on the screen as they are being read so the entire class can follow along.

Step 1 - Discussion: (15 minutes)

Pass out the “Choosing a Good Monologue” Worksheet. Have students look over it and make notes as you talk. Once all four monologues have been read, ask students which monologues were the most intriguing? Why? What elements did they have that made them better than the others? If they were to choose a piece to perform themselves, which would they choose, and why? Write the elements of the “good” monologues on the board. Guide student’s thinking towards these basic elements:

  • Scene is not “storytelling”, it has tactics and objectives
  • The monologue is from an actual published play or musical
  • The characters are playable
  • Length

Once the “good” elements are up on the board, ask students why these elements are important? How can they benefit an actor? Ask students specifically about the length requirement – what do you do, as an actor, if the scene you’ve chosen is too long? The answer is obviously to cut it, but how do you do that?

Step 2 - Instruction: (7 minutes)

Tell students that you will be handing out a monologue and would like a volunteer to read the monologue for the class while everyone else follows along.

After you read through the script together ask the students if they were able to follow the story? What was the story? Decide as a class, and write this on the board as well. Ask students to pair up. Once in their partnerships, instruct them that they are to go through the monologue together and take out any lines that they feel could be marked out of the script and still convey the same story (that was decided on together as a class and is now written on the board). Only allow 2-3 minutes for students to cut their scripts.

Step 3 - Sharing: (5 minutes)

After they cut the scene ask for students to raise their hands for people who feel they have cut 50% of the lines, continue asking for who cut 60%?, 70 %?, 80%?, 90%? Whichever pair still has their hands raised at 90%, ask them if they would be willing to read their script out loud. Once they have done so, ask if another pair thinks they have cut more. If there is another pair that has a shorter scene, ask them to read it. Keep going until the shortest scene is found that is still true to the story (that was agreed upon as a class)

Step 4 - Discussion and Practice: (10 minutes)

After you have found the shortest monologue, ask students how the shortest version is different from when it was first read through? Once students have discussed this for a while, ask the student who has the shortest script to come up and act out their cutting. After letting them perform it once, have them perform it a second time with you directing them in the scene. Help students realize that action can convey the same meaning, often with more power.

Step 5 – Discussion: (3 minutes)

Which version was more compelling? Why? What elements did the second version have that the first version did not? Can these things be incorporated to every monologue?

How? Discuss the importance of length. The importance of making sure a scene doesn’t get too “wordy” and the importance of movement and action.

Step 5 - Instruction: (20 minutes)

As you finish up the discussion, instruct students we are going to begin working on our final for the unit and explain that you have set out scripts and that they need to read through the scripts and choose one that they are going to perform for the final. Remind students to keep the important elements of a scene in mind: objectives and tactics, playable characters, and length. Tell students that they can cut scenes to make it better fit their needs.

Tell students that as they are selecting their scene, they need to answer the questions on their “Choosing a Good Monologue” Worksheet. If they answer “no” to any of the questions on the worksheet, they need to find a new one.

Once they have found a monologue, they need to read through it and time it. If it is over one minute, they need to start cutting. Let students know that they need to give you a running time before leaving the classroom. Tell students that they are welcome to raise their hands if they need help cutting or selecting a scene.

Final Assessment for Lesson 1: (6 Daily Participation Points – informal door check)

Students are to report a running scene time to you as they leave the classroom. You should have a list of names and the piece they will be performing. Write these times down next to student’s names as they leave the room. If they haven’t been able to cut their scene yet, tell students that they will need to have it cut down to the appropriate time length by the end of next class period, or points for the day will be lost.

Students will also be turning in the “Choosing a Good Monologue” Worksheet for fifteen points.

Materials:

Monologue #1: An Ideal Husband by Oscar Wilde

MABEL CHILTERN: Well, Tommy has proposed to me again. Tommy really does nothing but propose to me. He proposed to me last night in the music-room, when I was quite unprotected, as there was an elaborate trio going on. I didn't dare to make the smallest repartee, I need hardly tell you. If I had, it would have stopped the music at once. Musical people are so absurdly unreasonable. They always want one to be perfectly dumb at the very moment when one is longing to be absolutely deaf. Then he proposed to me in broad daylight this morning, in front of that dreadful statue of Achilles. Really, the things that go on in front of that work of art are quite appalling. The police should interfere. At luncheon I saw by the glare in his eye that he was going to propose again, and I just managed to check him in time by assuring him that I was a bimetallist. Fortunately I don't know what bimetallism means. And I don't believe anybody else does either. But the observation crushed Tommy for ten minutes. He looked quite shocked. And then Tommy is so annoying in the way he proposes. If he proposed at the top of hisvoice, I should not mind so much. That might produce some effect on the public. But he does it in a horrid confidential way. When Tommy wants to be romantic he talks to one just like a doctor. I am very fond of Tommy, but his methods of proposing are quite out of date. I wish, Gertrude, you would speak to him, and tell him that once a week is quite often enough to propose to any one, and that it should always be done in a manner that attracts some attention.

Monologue #2: The Crucible by Arthur Miller

ELIZABETH: (upon a heaving sob that always threatens) John, it come to naught that I should forgive you, if you'll not forgive yourself. It is not my soul, John, it is yours. (it is difficult to say, and she is on the verge of tears) Only be sure of this, for I know it now: Whatever you will do, it is a good man does it. I have read my heart this three month, John.(Pause)I have sins of my own to count. It needs a cold wife to prompt lechery. (Now pouring out her heart) Better you should know me! You take my sins upon you, John. John, I counted myself so plain, so poorly made, no honest love could come to me! Suspicion kissed you when I did; I never knew how I should say my love. It were a cold house I kept!

Monologue #3: Coriolanus by William Shakespeare

CORIOLANUS: My name is Caius Marcius, who hath done

To thee particularly and to all the Volsces

Great hurt and mischief; thereto witness may

My surname, Coriolanus. The painful service,

The extreme dangers, and the drops of blood

Shed for my thankless country are requited

But with that surname -- a good memory,

And witness of the malice and displeasure

Which thou shouldst bear me. Only that name remains.

The cruelty and envy of the people,

Permitted by our dastard nobles, who

Have all forsook me, hath devoured the rest;

And suffered me by th' voice of slaves to be

Whooped out of Rome.

Monologue #4: The Film L.A. Confidential by Curtis Hanson

SID HUDGENS: Come to Los Angeles. The sun shines bright. The beach is white and inviting and the orage groves stretch as far as the eye can see. There are jobs aplenty and land is cheap. Every working man can have his own house and inside every house and happy all-American family. You can have all this and who knows? You could even be discovered…become a movie star…or at least see one…Life is good in Los Angeles. It’s paradise on Earth.

Monologue to Cut: The Star-Spangled Girl by Neil Simon

SOPHIE: Mr. Cornell, Ah have tried to be neighborly, Ah have tried to be friendly, and Ah have tried to be cordial...Ah don't know what it is that you're tryin' to be. That first night Ah was appreciative that you carried mah trunk up the stairs...The fact that itslipped and fell five flights and smashed to pieces was not your fault...Ah didn't even mind that personal message you painted on the stairs. Ah thought it was crazy, but sorta sweet. However, things have now gone too far...Ah cannot accept gifts from a man Ah hardly know...Especially canned goods. And Ah read your little note. Ah can guess the gist of it even though Ah don't speak Italian. This has got to stop, Mr. Cornell. Ah can do very well without you leavin' little chocolate-almond Hershey bars in mah mailbox--they melted yesterday, and now Ah got three gooey letters from home with nuts in 'em--and Ah can do without you sneakin' into mah room after Ah go to work and paintin' mah balcony without tellin' me about it. Ah stepped out there yesterday and mah slippers are still glued to the floor. And Ah can do without you tying big bottles of eau de cologne to mah cat's tail. The poor thing kept swishin' it yesterday and nearly beat herself to death... And most of all, Ah can certainly do without you watchin' me get on the bus every day through that high-powered telescope. You got me so nervous the other day Ah got on the wrong bus. In short, Mr. Cornell, and Ah don't want to have to say this again, leave me ay-lone!

Name:______Period:______Date:______

Choosing a Good Monologue

Answer each question thoroughly and thoughtfully. If your answer is “no” to any of these questions, you need a different monologue! Worth: 20 points (3 points per question, 2 points for name and class period)

1. Is the character in the monologue talking to someone else (NOT themselves or God)? If yes, who? What is the character’s relationship to that person? What is the history between the two characters?

2. Does the character want something from that person? If yes, what? How long have they wanted it? How long and how hard has the character tried to get it?

3. Is the monologue from a published play or musical? If yes, which one? Who is the author? When was it written?

4. Is the character in your age range? If yes, how old is the character?

5. Is the monologue from a genre of plays that shows off your strengths and/or fits the play/musical you are auditioning for? If yes, which genre or which play/musical?

6. Is the monologue “clocking in” at around one minute? If yes, what is your running time? If not, start cutting! Hand-write your monologue below (or use the back):

Lesson 2: Character Analysis

Educational Objective: Students will demonstrate their abilities to analyze a script by completing a Character Analysis Worksheet.

Materials needed:

  • Anonymous script (see insert)
  • Character info sheets (see insert)
  • Access to a computer lab

Facets of Understanding:

  • Explanation
  • Application

Enduring Understandings:

  • Importance of character history
  • Analysis

Essential Questions:

  • How does the larger picture effect the individual moments?
  • How do you use research and analysis to support decisions being made?

Hook: (15 minutes)

Ask for a volunteer to perform an anonymous monologue. The script is below:

ELIZABETH: Okay everybody. This ... is church. This is God's house. If you ever want to talk to Him, you just come in here and sit in one of those long chairs and start talking. But not too loud. Or else you might wake up one of those statues. And they are praying to Jesus. (Bows head) Oh! I forgot to tell you. Whenever you hear the name Jesus (Bows head) you have to bow your head or else you have a sin on your soul. Now, over there is the statue of Jesus' (bows head) mother. Her name is the Blessed Virgin Mary. She is not as important as Jesus (bows head) so you don't have to bow your head when you hear her name. Over there is the statue of Jesus' (bows head) father. Hey, (points at small child) you didn't bow your head. Don't do that cause you'll get a black spot on your soul!