119:, epiphanies, and others, in that, they involve one 'voice' speaking but there are differences between them. For example, a soliloquy involves a character relating their thoughts and feelings to themself and to the audience without addressing any of the other characters. A monologue is the thoughts of a person spoken out loud. Monologues are also distinct from apostrophes, in which the speaker or writer addresses an imaginary person, inanimate object, or idea. Asides differ from each of these not only in length (asides are shorter) but also in that asides are not heard by other characters even in situations where they logically should be (e.g. two characters engaging in a
35:
131:
In ancient Greek theatre, the origin of western drama, the conventional three actor rule was preceded by a two-actor rule, which was itself preceded by a convention in which only a single actor would appear on stage, along with the chorus. The origin of the monologue as a dramatic device, therefore,
169:
Interior monologues involve a character externalizing their thoughts so that the audience can witness experiences that would otherwise be mostly internal. In contrast, a dramatic monologue involves one character speaking to another character. Monologues can also be divided along the lines of active
178:
Actors in theatre, and sometimes in film and television, may be asked to deliver monologues in auditions. Audition monologues demonstrate an actor's ability to prepare a piece and deliver a performance. These pieces are usually limited to two minutes or less and are often paired with a contrasting
135:
Ancient Roman theatre featured monologues extensively, more commonly than either
Ancient Greek theatre or modern theatre. One of the key purposes of these monologues was to indicate the passage of significant amounts of time (that would be tedious to actually play out in real time) within scenes.
139:
From
Renaissance theatre onward, monologues generally focused on characters using the extended speech to pursue their dramatic need. Postmodern theatre, on the other hand, often embraces the performative aspects of the monologue, even to the point of challenging the boundary between character
158:
149:
157:
170:
and narrative monologues. In an active monologue a character is using their speech to achieve a clear goal. Narrative monologues simply involve a character telling a story and can often be identified by the fact that they are in the past tense.
156:
136:
This type of monologue is referred to as a linking monologue. Other monologue types included "entrance monologues" and exit monologues. In each of these cases a primary function is indicating the passage of time.
154:
153:
150:
155:
152:
151:
587:
415:
339:
644:
618:
767:
179:
monologue: comic and dramatic; classical and contemporary. The choice of monologues for an audition often depends on the play or role.
380:
674:
696:
314:
288:
757:
100:
579:
762:
262:
782:
79:, most often to express their thoughts aloud, though sometimes also to directly address another character or the
721:
752:
132:
is not rooted in dialogue. It is, instead, the other way around; dialogue evolved from the monologue.
777:
772:
347:
640:
554:
546:
511:
503:
463:
455:
208:
193:
188:
39:
610:
583:
411:
386:
376:
747:
538:
495:
447:
370:
76:
20:
34:
218:
198:
163:
666:
742:
84:
60:
688:
310:
736:
558:
515:
467:
223:
284:
573:
405:
233:
95:. Monologues share much in common with several other literary devices including
44:
390:
203:
96:
28:
24:
372:
The
Origins of Theater in Ancient Greece and Beyond: From Ritual to Drama
254:
213:
120:
80:
228:
52:
550:
507:
459:
725:
529:
Henry W. Prescott (January 1942). "Exit
Monologues in Roman Comedy".
438:
Henry W. Prescott (January 1939). "Link
Monologues in Roman Comedy".
116:
104:
92:
542:
499:
486:
Henry W. Prescott (April 1939). "Link
Monologues in Roman Comedy".
451:
147:
107:. There are, however, distinctions between each of these devices.
33:
575:
Postmodern theatric(k)s: monologue in contemporary
American drama
88:
83:. Monologues are common across the range of dramatic media (
375:. Cambridge: Cambridge University Press. pp. 1–32.
340:"The Tragedy of Romeo and Juliet by William Shakespeare"
140:
portrayal (e.g. acting) and autobiographical speeches.
369:
Csapo, Eric; Miller, Margaret
Christina, eds. (2007).
255:"The Greatest Movie Speeches/Monologues of all time!"
346:. Pleasanton Unified School District. Archived from
91:, etc.), as well as in non-dramatic media such as
123:interrupted by one of them delivering an aside).
334:
332:
75:, "speech") is a speech presented by a single
42:performing a monologue in the 1984 stage play
8:
481:
479:
477:
245:
16:Speech presented by a single character
285:"Dramatic Monologue: An Introduction"
7:
689:"Monologues from Movies & Plays"
647:from the original on 28 October 2013
287:. The Victorian Web. 10 March 2003.
27:. For the speech of a narrator, see
621:from the original on 12 August 2013
162:Example of a dramatic monologue by
699:from the original on 25 April 2023
677:from the original on 14 July 2010.
611:"monologue (drama and literature)"
572:Geis, Deborah R. (December 1993).
291:from the original on 7 August 2013
14:
311:"Soliloquy – Definition and More"
265:from the original on 1 April 2016
317:from the original on 6 July 2013
313:. Merriam-Webster Dictionary.
253:jaimie-k (22 September 2010).
71:, "alone, solitary" and λόγος
23:. For the Malayalam film, see
1:
407:The Making of Theatre History
580:University of Michigan Press
801:
768:Film and video terminology
115:Monologues are similar to
18:
64:
19:For the Soviet film, see
111:Similar literary devices
641:"Monologue Information"
615:Encyclopædia Britannica
166:
48:
667:"Audition Monologues"
404:Kuritz, Paul (1988).
344:Betty Thoe's Homepage
161:
37:
758:Fiction-writing mode
531:Classical Philology
488:Classical Philology
440:Classical Philology
350:on 2 September 2013
695:. 4 October 2018.
209:Performance poetry
194:Internal monologue
189:Dramatic monologue
167:
49:
40:Christopher Walken
763:Figures of speech
671:Ace Your Audition
643:. Angelfire.com.
589:978-0-472-10467-3
417:978-0-13-547861-5
159:
790:
783:Genres of poetry
709:
708:
706:
704:
685:
679:
678:
663:
657:
656:
654:
652:
637:
631:
630:
628:
626:
607:
601:
600:
598:
596:
569:
563:
562:
526:
520:
519:
483:
472:
471:
435:
429:
428:
426:
424:
401:
395:
394:
366:
360:
359:
357:
355:
336:
327:
326:
324:
322:
307:
301:
300:
298:
296:
281:
275:
274:
272:
270:
250:
160:
66:
21:Monologue (film)
800:
799:
793:
792:
791:
789:
788:
787:
753:Style (fiction)
733:
732:
718:
713:
712:
702:
700:
687:
686:
682:
665:
664:
660:
650:
648:
639:
638:
634:
624:
622:
609:
608:
604:
594:
592:
590:
571:
570:
566:
528:
527:
523:
485:
484:
475:
437:
436:
432:
422:
420:
418:
410:. Paul Kuritz.
403:
402:
398:
383:
368:
367:
363:
353:
351:
338:
337:
330:
320:
318:
309:
308:
304:
294:
292:
283:
282:
278:
268:
266:
252:
251:
247:
242:
219:Stand-up comedy
199:One-person show
185:
176:
164:Rafael Baronesi
148:
146:
129:
113:
32:
17:
12:
11:
5:
798:
797:
794:
786:
785:
780:
775:
770:
765:
760:
755:
750:
745:
735:
734:
729:
728:
717:
716:External links
714:
711:
710:
680:
658:
632:
602:
588:
564:
543:10.1086/362568
521:
500:10.1086/362225
494:(2): 116–126.
473:
452:10.1086/362195
430:
416:
396:
381:
361:
328:
302:
276:
244:
243:
241:
238:
237:
236:
231:
226:
221:
216:
211:
206:
201:
196:
191:
184:
181:
175:
172:
145:
142:
128:
125:
112:
109:
15:
13:
10:
9:
6:
4:
3:
2:
796:
795:
784:
781:
779:
776:
774:
771:
769:
766:
764:
761:
759:
756:
754:
751:
749:
746:
744:
741:
740:
738:
731:
727:
723:
720:
719:
715:
698:
694:
690:
684:
681:
676:
672:
668:
662:
659:
646:
642:
636:
633:
620:
616:
612:
606:
603:
591:
585:
581:
577:
576:
568:
565:
560:
556:
552:
548:
544:
540:
536:
532:
525:
522:
517:
513:
509:
505:
501:
497:
493:
489:
482:
480:
478:
474:
469:
465:
461:
457:
453:
449:
445:
441:
434:
431:
419:
413:
409:
408:
400:
397:
392:
388:
384:
382:9780521836821
378:
374:
373:
365:
362:
349:
345:
341:
335:
333:
329:
316:
312:
306:
303:
290:
286:
280:
277:
264:
260:
256:
249:
246:
239:
235:
232:
230:
227:
225:
222:
220:
217:
215:
212:
210:
207:
205:
202:
200:
197:
195:
192:
190:
187:
186:
182:
180:
173:
171:
165:
143:
141:
137:
133:
126:
124:
122:
118:
110:
108:
106:
102:
98:
94:
90:
86:
82:
78:
74:
70:
67:, from μόνος
62:
58:
54:
47:
46:
41:
36:
30:
26:
22:
730:
701:. Retrieved
692:
683:
670:
661:
649:. Retrieved
635:
623:. Retrieved
614:
605:
593:. Retrieved
574:
567:
534:
530:
524:
491:
487:
443:
439:
433:
421:. Retrieved
406:
399:
371:
364:
352:. Retrieved
348:the original
343:
319:. Retrieved
305:
293:. Retrieved
279:
267:. Retrieved
258:
248:
224:Storytelling
177:
168:
138:
134:
130:
114:
72:
68:
56:
50:
43:
778:Narratology
693:Daily Actor
537:(1): 1–21.
446:(1): 1–23.
234:Spoken word
101:apostrophes
97:soliloquies
773:Monologues
737:Categories
240:References
45:Hurlyburly
722:Monologue
703:5 October
651:16 August
625:16 August
559:162389976
516:224792284
468:162249208
354:16 August
321:16 August
295:16 August
174:Auditions
77:character
65:μονόλογος
57:monologue
29:Voiceover
25:Anantaram
697:Archived
675:Archived
645:Archived
619:Archived
391:70335135
315:Archived
289:Archived
269:29 April
263:Archived
214:Rhetoric
183:See also
121:dialogue
81:audience
748:Fiction
229:Diseuse
204:Oratory
127:History
53:theatre
726:Curlie
595:27 May
586:
557:
551:264367
549:
514:
508:264823
506:
466:
460:264065
458:
423:27 May
414:
389:
379:
105:asides
103:, and
93:poetry
59:(from
38:Actor
743:Drama
555:S2CID
547:JSTOR
512:S2CID
504:JSTOR
464:S2CID
456:JSTOR
144:Types
117:poems
89:films
85:plays
73:lógos
69:mónos
61:Greek
705:2018
653:2013
627:2013
597:2014
584:ISBN
425:2014
412:ISBN
387:OCLC
377:ISBN
356:2013
323:2013
297:2013
271:2018
259:IMDb
55:, a
724:at
539:doi
496:doi
448:doi
51:In
739::
691:.
673:.
669:.
617:.
613:.
582:.
578:.
553:.
545:.
535:37
533:.
510:.
502:.
492:34
490:.
476:^
462:.
454:.
444:34
442:.
385:.
342:.
331:^
261:.
257:.
99:,
87:,
63::
707:.
655:.
629:.
599:.
561:.
541::
518:.
498::
470:.
450::
427:.
393:.
358:.
325:.
299:.
273:.
31:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
