Monologues for Auditions

Elizabethan or Jacobean: 'I am a Jew' from The Merchant of Venice

To bait fish withal. If it will feed nothing else, it will feed my revenge. He hath disgraced me and hindered me half a million, laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated mine enemies—and what’s his reason? I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions? Fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer as a Christian is? If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge? If we are like you in the rest, we will resemble you in that. If a Jew wrong a Christian, what is his humility? Revenge. If a Christian wrong a Jew, what should his sufferance be by Christian example? Why, revenge. The villainy you teach me I will execute—and it shall go hard but I will better the instruction.

Modern: 'I hate Hamlet' from I Hate Hamlet

Last night, right from the start, I knew I was bombing. I sounded big and phony, real thee and thou, and then I started rushing it, hi, what's new in Denmark? I just could not connect. I couldn't get a hold of it. And while I'm...babbling, I look out, and there's this guy in the second row, a kid, like 16, obviously dragged there. And he's yawning and jiggling his legs and reading his program, and I just wanted to say, hey kid, I'm with you, I can't stand this either! But I couldn't do that, so I just keep feeling worse and worse, just drowning. And I thought, okay, all my questions are anwered -- I'm not Hamlet, I'm no actor, what am I doing here? And then I get to the soliloquy, the big job, I'm right in the headlights, and I just thought, oh Christ, the hell with it, just do it!

To be or not to be, that is the question;
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles
and by opposing, end them.

And I kept going, I finished the speech, and I look out, and there's the kid -- and he's listening. The whole audience -- complete silence, total focus. And I was Hamlet. And it lasted about ten more seconds, and then I was in Hell. And I stayed there. But for that one little bit, for that one speech -- I got it. I had it. Hamlet. And only eight thousand lines left to go.

Contrasting Monologue: 'Before you punch me' from Flowers in the Desert

Before you punch me there is something you should know.

This woman we're fighting over is no ordinary woman... You don't know how good you had it.

If I am going to die I want the world to know how great she is... Why do you want me to shut up? You afraid? You afraid I will say something that will hurt you?  You that sensitive? You gonna cry, Softy?

Then listen... Punch me all you want when I am done... Beat me to a pulp but let me say how I feel... For her.. Do this one kindness for her... She's worth it.

Do you know about serendipity?  Word too big for you?  I should stick to one or two syllables when speaking to you...

"Serendipity means a "happy accident" or "pleasant surprise"; a fortunate mistake. Specifically, the accident of finding something good while not specifically searching for it."

That's what our love was... A happy accident.  We didn't plan on this.

She is amazing ... She is so very good... She has made me happier than I thought was possible.  Before her, it was like I was living in black and white and suddenly she brought color to my world.

And by some miracles she chose me.  I thought she was wonderful of course but I never thought in a million years she'd want me.  She was the princess to my pauper.  The batman to my robin.  The Picard to my Wesley Crusher.  She was so much better and I was so unworthy yet she wants me.  By some incredible stoke of luck, she wants me.  And her kisses will last me until death... Which might not be very far off.

Yes, we're talking about the same woman, you idiot.

(Takes off glasses)

And now you can punch me.

END

Shakespeare Re-Imagined

Read through the texts and discuss what you think it
meant in the original context. (You will need to do this
activity for both the speeches you have been given)


Use commentaries to help you this. Think about the
particular theme(s) that are dealt with in the speech and
why those would have been in important to the people of
Elizabethan England?


Write you ideas down for inclusion in your  blog and the
development phase of your assignment.


Two Texts:

(As You Like It) All The World's A Stage

(Hamlet) To Be or Not To Be

The Merchant Of Venice Shylock notes

Background Context

The Merchant of Venice was probably written in either 1596 or 1597, after Shakespeare had written such plays as Romeo and Juliet and Richard III, but before he penned the great tragedies of his later years. Its basic plot outline, with the characters of the merchant, the poor suitor, the fair lady, and the villainous Jew, is found in a number of contemporary Italian story collections, and Shakespeare borrowed several details, such the choice of caskets that Portia inflicts on all her suitors, from preexisting sources. The Merchant of Venice’s Italian setting and marriage plot are typical of Shakespeare’s earlier comedies, but the characters of Portia, Shakespeare’s first great heroine, and the unforgettable villain Shylock elevate this play to a new level.

Shylock’s cries for a pound of flesh have made him one of literature’s most memorable villains, but many readers and playgoers have found him a compelling and sympathetic figure. The question of whether or not Shakespeare endorses the anti-Semitism of the Christian characters in the play has been much debated. Jews in Shakespeare’s England were a marginalized group, and Shakespeare’s contemporaries would have been very familiar with portrayals of Jews as villains and objects of mockery. For example, Christopher Marlowe’s The Jew of Malta, a bloody farce about a murderous Jewish villain, was a great popular success and would have been fresh in Shakespeare’s mind as he set about creating his own Jewish character. Shakespeare certainly draws on this anti-Semitic tradition in portraying Shylock, exploiting Jewish stereotypes for comic effect. But Shylock is a more complex character than the Jew in Marlowe’s play, and Shakespeare makes him seem more human by showing that his hatred is born of the mistreatment he has suffered in a Christian society. Shakespeare’s character includes an element of pathos as well as comedy, meaning that he elicits from readers and audiences pity and compassion, rather than simply scorn and derision.

Narrative and Plot

Antonio, otherwise known as The Merchant of Venice, lends three thousand ducats to his friend, Bassanio, who attempts to get with the extremely wealthy Portia of Belmont. Antonio's money is tied up with his business ventures of trade ships that are still at sea, so he attempts to try and borrow money from Shylock, a Jewish loaner, who he holds grudges with. Shylock lends the money to Antonio and Bassanio, but have a complication. If the loan is not paid off on the agreed date, Shylock has a pound of Antonio's flesh. Later on, Portia's father dies and in his will, it states that she will marry the suitor who chooses one of three caskets containing lead. The other caskets contains gold and silver. Bassanio makes the right choice and then marries Portia. Soon after the marriage, news comes around that Antonio's business, his collection of trade ships, is lost at sea and so he is unable to pay his debt of three thousand ducats to Shylock who takes the case to a law court made by the Duke of Venice. Hearing this, Portia dresses up to make herself to be Antonio's lawyer whilst in court. She argues her defence by saying Shylock should be sent to prison for acting against a Venetian citizen. The duke says that he won't go unless he gives half his wealth to Antonio and half to the state. Antonio agrees with this condition but Shylock has to covert his faith to Christianity and leave his house with Shylock's daughter, Jessica, who ran off with a Christian boy named Lorenzo. Soon after the ruling, Bassanio and Portia finally complete their marriage by entrusting rings together which the men have promised they won't ever part with their rings or their wives.

Themes

Money, Love – Shylock discovers his daughter, Jessica has eloped with a Christian with all his money (Act Two Scene Eight)

Prejudice, Revenge – Shylock speaks of his bitterness of Christians and how he’s treated, which is explained through Shylock's monologue of 'To bait fish withal' in Act Three Scene One.

Social Injustice – During the trial, Shylock demands Antonio’s flesh, but in the end loses half his wealth and required to convert to Christianity, which is near the end  (Act Four Scene One)

Original staging conditions


Public, rather than court, performances of Shakespeare's plays were performed in the open air, in daylight, on a simple thrust stage. No scenery and a minimum of props allowed the action to move swiftly and the audience to focus on the language. Music and costume added to the effect. Shakespeare wrote his plays with the strengths and talents of his fellow players in mind. His gifted boy players took the female roles so that the original audience had the unsettling experience of watching boys playing girls playing boys in the roles of Portia and Nerissa in the trial scene.

Performance History of the Texts

The Shakespeare play has inspired several films.

• 1914—silent film directed by Lois Weber and Phillips Smalley
  • Weber, who also stars as Portia, became the first woman to direct a full-length feature film in America with this film.
  • The Merchant of Venice at the Internet Movie Database
• 1916–The Merchant of Venice, a silent British film directed by Walter West for Broadwest.
  • The Merchant of Venice at the Internet Movie Database
• 1923–The Merchant of Venice, a silent German film directed by Peter Paul Felner.
  • The Merchant of Venice at the Internet Movie Database
• 1969–The Merchant of Venice, an unreleased 40-minute television film directed by and starring Orson Welles; the film was completed, but the soundtrack for all but the first reel was stolen before it could be released.
  • The Merchant of Venice at the Internet Movie Database
• 1972—British video-taped television version directed by Cedric Messina for the BBC's Play of the Month series
  • Cast includes Maggie Smith, Frank Finlay and Charles Gray and Christopher Gable
• 1973—British video-taped television version directed by John Sichel
  • The cast included Laurence Olivier as Shylock, Anthony Nicholls as Antonio, Jeremy Brett as Bassanio, Joan Plowright as Portia, Louise Purnell as Jessica.
  • The Merchant of Venice at the Internet Movie Database

• 1980—A BBC video-taped version for the BBC Television Shakespeare directed by Jack Gold
  • The cast includes Gemma Jones as Portia, Warren Mitchell as Shylock and John Nettles as Bassanio
  • The Merchant of Venice at the Internet Movie Database
• 1996—A Channel 4 television film directed by Alan Horrox
  • The cast included Paul McGann as Bassanio and Haydn Gwynne as Portia
  • The Merchant of Venice at the Internet Movie Database
• 2001—A BBC television film directed by Trevor Nunn
  • Royal National Theatre production starring Henry Goodman as Shylock
  • The Merchant of Venice at the Internet Movie Database
• 2002—The Maori Merchant of Venice, directed by Don Selwyn.
  • In Maori, with English subtitles. The cast included Waihoroi Shortland as Shylock, Scott Morrison as Antonio, Te Rangihau Gilbert as Bassanio, Ngarimu Daniels as Portia, Reikura Morgan as Jessica.
  • The Maori Merchant of Venice at the Internet Movie Database
• 2003—Shakespeare's Merchant, directed by Paul Wagar and produced by Lorenda Starfelt, Brad Mays and Paul Wagar.
  • Shakespeare's Merchant at the Internet Movie Database
• 2004—The Merchant of Venice, directed by Michael Radford and produced by Barry Navidi.
  • The cast included Al Pacino as Shylock, Jeremy Irons as Antonio, Joseph Fiennes as Bassanio, Lynn Collins as Portia, and Zuleikha Robinson as Jessica.
  • The Merchant of Venice at the Internet Movie Database

Character Description

Shylock, name meaning 'loan shark', a stereotypical, wicked, Jewish moneylender who's best known for his villainous ways in William Shakespeare's 'The Merchant Of Venice'. My interpretation of the character, Shylock will emphasise his description as I will portray him an evil, a lust for money, who wants to achieve his goal not to just get his money back from Antonio but to get a pound of flesh of his.  There are many famous actors that have played this famous character, a couple include Peter O'Toole and Al Pachino. I want to represent my character similar to Al Pachino's when he starred in the 2004 film, 'The Merchant Of Venice'. From seeing his performance, I saw that he is a very angry character and is determined to get revenge after being treated so badly by Christians around Venice. I want to portray my character similar to this, but instead of being angry, I want to be very patronising in the way I speak, for example during Shylock's speech in Act III, Scene I, when he talks about him being a Jew and saying he is no different to a Christian, I want to not be angered, but very questioning when I say each line. Although critics tend to agree that Shylock is The Merchant of Venice’s most noteworthy figure, no consensus has been reached on whether to read him as a bloodthirsty bogeyman, a clownish Jewish stereotype, or a tragic figure whose sense of decency has been fractured by the persecution he endures. Certainly, Shylock is the play’s antagonist, and he is menacing enough to seriously imperil the happiness of Venice’s businessmen and young lovers alike. Shylock is also, however, a creation of circumstance; even in his single-minded pursuit of a pound of flesh, his frequent mentions of the cruelty he has endured at Christian hands make it hard for us to label him a natural born monster. In one of Shakespeare’s most famous monologues, for example, Shylock argues that Jews are humans and calls his quest for vengeance the product of lessons taught to him by the cruelty of Venetian citizens. On the other hand, Shylock’s coldly calculated attempt to revenge the wrongs done to him by murdering his persecutor, Antonio, prevents us from viewing him in a primarily positive light. Shakespeare gives us unmistakably human moments, but he often steers us against Shylock as well, painting him as a miserly, cruel, and prosaic figure.

Royal National Theatre and Royal Shakespeare Company

create profile for production company I am researching

What they create
venues they perform in
size of company
Kind of production they produce
Target audience

RSC
Royal Opera House
Rambert Dance Company
Royal National Theatre
DV8
Knee High Theatre
Frantic Assembly

ROYAL NATIONAL THEATRE

The Royal National Theatre was founded in 1976 by Laurence Olivier and is one of three of the UK's most well-known publicly funded performing arts venues and companies in the UK, alongside the Royal Shakespeare Company and the Royal Opera House. They are most well-known for making the theatre adaptations of War Horse and One Man, Two Guv'nors. There are eight theatres owned by the National theatre, the three most well-known theatres all situated at South Bank in London. These three being the Olivier Theatre, the Lyttelton Theatre and the Dorfman Theatre. The Olivier Theatre (named after Lawrence Olivier) is the largest theatre owned by the National Theatre. It seats 1,150 people on an open stage. A recent production include This House and War Horse. Another theatre owned by The National Theatre is called the Lyttelton Theatre. Named after Oliver Lyttelton, can seat 890 and can fit an orchestra of up to 20 musicians, or make it an open stage, or add a forestage for the actors onstage to move around and interact with the audience. The last theatre is called The Dorfman Theatre. This particular theatre is used for new productions that can shown to audiences up to 450 people, that ascends in height as the seats go up in numbers. Others include the New London theatre, currently playing WAR HORSE, starring James Backway and Ben Murray, the Wyndham's Theatre, currently playing THE FATHER starring Kenneth Cranham and Claire Skinner and the Gielgud Theatre, currently playing THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME, starring Sion Daniel Young and Rebecca Lacey. They tend to produce plays and stories written in a book, such as War Horse, written by Michael Morpurgo and The Curious Incident of the Dog in the Night-Time written by Mark Haddon, and in this case not aimed for a more younger target audience. I would say the target audience for the type of shows produced by the National Theatre would be teenagers to middle aged audiences. I believe viewers from a younger audience might find these type of shows boring, or they might not understand the purposes of the shows.

ROYAL SHAKESPEARE COMPANY

The Royal Shakespeare Company is a major British theatre company based in Stratford, England. It has employed over 700 staff and produces a massive 20 shows a year. The company has recently been re-developed as part of a 'Transformation' project, costing 112.8 billion pounds, involving its two main theatres in which they perform in: The Royal Shakespeare Theatre and The Swan Theatre in 2010. The company normally produces the works of William Shakespeare (hence Royal SHAKESPEARE Company). His works include Henry V, which is currently being played at the Barbican Theatre in London, but the Royal Shakespeare Company produces new productions made by artists of a modern era, or from a time much further on from Shakespeare, such as Wendy and Peter Pan, currently being played at the Royal Shakespeare Theatre and Love for Love, currently being played at the Swan Theatre. The Royal Shakespeare Company has two permanent theatres in Stratford. Their main theatre being the Royal Shakespeare theatre (originally named Shakespeare Memorial Theatre) which re-opened in 2010 after the 112.8 billion pound 'Transformation' project. It can hold over 1,000 people (1,060 to be exact) and is currently playing Wendy and Peter Pan, written by Ella Hickson. The other theatre is named the Swan Theatre, opened in 1986, a slightly smaller theatre, holding over 400 people (461) and is currently playing Love for Love, written by William Congreve (1670 - 1729) and Queen Anne, written by Helen Edmundson. It also has another theatre named The Courtyard Theatre, based in Stratford. It seats over 1,000 people and hosted performances by the Royal Shakespeare Company between August 2006 and 2010, when both the Royal Shakespeare Theatre and Swan Theatre were both being re-developed between 2007 and 2010. The kind of productions this company puts on are the works on William Shakespeare and his plays, including Hamlet, Macbeth and Romeo and Juliet. But the Royal Shakespeare Company also produces new work from living artists with theatre-makers from around the world, including The Life and Adventures of Nicholas Nickleby, written by Charles Dickens and adapted to the stage by David Edgar and also Matilda The Musical by Dennis Kelly (book) and Tim Minchin (music and lyrics) based on the tale 'Matilda' by Roald Dahl. Compared to the Royal Shakespeare Company, I believe the target audience for these type of productions have varied over the years. The majority of these productions are aimed at adults aged between 20-60, who are interested in the works of Shakespeare or its famous actors involved in a production familiar with Royal Shakespeare Company, for example David Tennant (Hamlet, Richard II) and Patrick Stewart (Hamlet, The Merchant of Venice, A Christmas Carol), which is similar to Royal National Theatre. The difference between these two is that throughout the years, the productions of Royal Shakespeare Company have appealed more to a younger audience, aged between 6-8, with the release of Matilda the Musical in 2012, compared to the Royal Shakespeare Company which produces stage-shows that are aimed at more of a older audience, aged 16-40.      

References:

https://en.wikipedia.org/wiki/Royal_National_Theatre - Royal National Theatre

http://www.warhorseonstage.com/about/cast-creatives/ - Cast and Creatives of War Horse

http://www.curiousonstage.com/cast-creative/ - Cast and Creatives of The Curious Incident of the Dog in the Nighttime

http://www.nationaltheatre.org.uk/venue/olivier-theatre - Olivier Theatre

http://www.nationaltheatre.org.uk/venue/lyttelton-theatre - Lyttelton Theatre

http://www.nationaltheatre.org.uk/venue/dorfman-theatre - Dorfman Theatre

https://en.wikipedia.org/wiki/Royal_Shakespeare_Company - Royal Shakespeare Company

https://www.rsc.org.uk - List of shows that are currently being played at Royal Shakespeare theatres

https://en.wikipedia.org/wiki/List_of_actors_in_Royal_Shakespeare_Company_productions - Actors that have played various parts in Royal Shakespeare Company productions