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There are many approaches to presenting a perfected solo performance. However, the first crucial step is to pick out an appropriate script. Never select scripts randomly. Instead, find a script with a character, setting, and deliverance which already have power. It is best if the script has personal power to you, but this is not necessary, as long as there is something gripping within the monologue. Also, it is important to identify with the situation or character before performing the piece. The next step is then to do a detailed analysis of the character. “What motivates this character?” is an important to ask yourself.
If you can’t find a motivation, return to the first step. If the character motivation is clear to you, however, feel free to go on to the next step.
That next step is to choose an appropriate costume. Some scripts require great detail to costuming, while others require almost no costume at all. Historical scripts tend to offer the greatest depth in costuming effects, while contemporary scripts offer the greatest flexibility in costuming. It is important to choose what you are comfortable with.
Props, the next step, go hand-in-hand with costumes. Scan the script, looking for prop ideas or needs. If there are no props required, it’s often a good idea to add a few of your own. Visual effects often enhance a scene, not to mention leaving a more lasting impression than words.
The next important step is to read through the script carefully and silently, finding the character in it. After that, read it again, out loud, to bring the character out of the script.
It is during reading that you should begin the next step: determining the voice. Voices are simply the manner in which a character speaks and behaves. Each voice is unique to each character, and so each requires great detail and attention. First, after the mood of the character is determined, the fluctuation of the voice is often accessible.
Decide where your voice should rise and fall, whether the character is angry or subdued, or whatever the mood, and then apply that to changes in tone and quality. As the final part of this step, determine if an accent is needed, and if you can achieve and maintain the accent. If you can, feel free to make use of it, because the accent will add to the depth and richness of the performance. However, if you can’t either achieve or maintain the accent, it’s best not to use an accent at all. A faltering accent can destroy an entire performance.
After you’re finished with voice, the next step is blocking and business. Think this through first, allowing yourself several variations to try, then decide the blocking and business that best suits both character and script. Blocking is the actual body movements around the stage in correspondence with the script, while business is the small, often stationary, use of hands and props in combination with the script and your blocking. These two things must flow together, appearing natural.
After blocking and business are decided, determine what areas of the stage present the greatest effects. Often, it’s best to choose to work on only one side of the stage. This gives the audience an area of focus, and some measure of comfortable stability, particularly with violently emotional scenes.
After designating your area of action, refine your blocking and business to cover or fit within that space. Missing this crucial step can result in over or under-playing your stage, resulting in a poor performance.
The next step is to memorise the script until you have the words and actions down and synchronised. Near the end, decide on speed and pacing of the presentation. These are important, because if you perform too fast or too slowly you can lose your audience.
The last step is to polish your performance by going over the steps that are rough again, until the performance runs smoothly. Then, at last, you have a solo performance worthy of grand presentation.
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