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Breaking a monologue, especially a classical one, down is massively helpful because the pronunciation of individual words changes (See notes below).

Initially this doesn't seem important for most monologues, but it soon becomes invaluable as sometimes whole sentences change. Occasionally it's not so much the word that changes but a change in pronunciation due to syllables changes the tone of intention of what you're saying.

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Place and Course

-Drama Centre London (UAL): BA Hons Acting
-Arts University Bournemouth: BA Hons Acting
-Royal Central School of Speech and Drama: BA Acting
-Rose Bruford College: BA Acting
-Italia Conti: BA Hons Acting
-East 15: BA Acting, BA Acting and Stage Combat
-London Academy of Music & Dramatic Arts (LAMDA): Ba Hons Professional Acting

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Rose Bruford has two schools, a performance and a technical arts school. They collaborate on everything up to and including performances.

They offer a BA in Acting, Acting Musician, European Theatre Arts (ETA) and American Theatre Arts (ATA).

With ETA and ATA they attempt to create hyphenated performers i.e. Actor-Director. The ATA and ETA also travel abroad as part of their study.

Their fees are £9,250 a year and they can be listed as a choice through UCAS.

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Upload a copy of your unit-ed monologue with titles

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Written by Simon Stephens, set and premiering in 2009 it follows eight sixth-formers in their final year, whilst preparing for their mock a-levels the various characters clash which leads to the plot unravelling.

The play starts when new girl Lilly joins the school in the lead up to mock A-levels at the school and the protagonist William takes a liking to her. Bennett and Chadwick do not get along and Bennett bullies him endlessly to the chagrin of the other students.

It's themes are sexuality, due to several conversations and insults about it. Violence - i.e. the climactic scene and Youth because all seven characters are young people of school age and the play focuses on how they interact and the conversations they have.

I chose this because I wanted to play a character that was similar in age to me for once.

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This is useful to do because sometimes things get lost in translation with the English from several hundred years ago.

It's good to rewrite this and get a second opinion. Even if that isn't possible it gives you an idea about what is being said based on meaning and context of the monologue.

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As far as I understand this is purely to note alliteration, maybe to draw attention to it and use it in performance. Alliteration is interesting to listen to. And. Draws attention attention to specific words or phrases.

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Personally, this was very useful. Especially for a character such as Benedick, more so in a monologue such as this where he is maybe conflicted or changing thoughts rapidly. Blocking these thoughts helps sections where you may not understand intention or quite what is being said due to the language being older.

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Physicality is the thing I struggle with most. Especially writing it down as I like to give the illustration that I'm making things up on the spot.

This is something I should do more often because coming up with gesture on the spot only gets you so far and it really wasn't as painful as I thought.

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Marking stress is useful. Once you understand the concept in theory you wouldn't need to write it down but the notation is helpful as when reading it gives the monologue a rhythmic quality which is interesting to listen to.

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I chose Punk Rock's Bennett because I wanted to play someone similar in age to me for once. Genuinely the only reason.

That, and I liked the monologue.

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EDITED:

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Similar to thought blocking cutting long sentences into half lines is useful, maybe a little more so because of how precise it is by cutting the monologue into the smallest pieces possible.

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Breaking down the monologue into units was helpful. I think it would be more useful for a monologue that was more 'verse' but it is still sometimes helpful to be able to see the individual thoughts.

I think it would be especially useful if your character was described as 'quick-witted' or similar as shortening the ideas gives a very 'bouncy' or indecisive feeling to the character.

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After delivering my monologue the feedback I received told me I was too far away and I should free up a little and walk.

This was the first time I remember getting feedback on characterisation. I was told to slow down and don't rush. I think I would have delivered it slower had I not made a decision in how I acted which lead to people believing that I had forgotten my lines.

I was also told to just start again if a mistake is made. Not to ask permission and just to do it.

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Scan and upload your notes from the 6 specific questions.

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Stress is different levels of effort you put into saying words/sounds to change their meaning.

You can these it with Iambic Pentameter by giving each syllable a marker in the order: weak-STRONG-weak-STRONG

An Iamb is the marker of weak-STRONG, it is a stress pattern. A Strophe is like a stanza. However, a stanza may usually have the same pattern, a strophe is described as "long, non-isomorphic units"
Non-isomorphic means "not having the same structure" in text.

Stress can change the meaning of language. In the word refuse, you can stress it differently to give a different meaning. REF-use is waste. Or Rubbish. re-FUSE is to disagree or say no.

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In the workshop we covered movement and how different characters move in theatre, for example, all kings in classical texts holding their head really high as if their crown was magnetised to God.

We also worked on creating gestures to a Romeo monologue so that we could pick out where to do it in our own monologues.

We then explored movement again by moving, sitting and leaving a chair in a character. Or. Differently every time

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Bennett belittles Chadwick as he is attracted to him and doesn’t know how to cope with it. It is because of this he mistreats him as subconsciously he thinks by treating him badly his opinion and therefore feelings of him will change.

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Much Ado About Nothing is a comedy written by Shakespeare and published in 1623.

Apparently several hundred years ago the word "Noting" sounded like the word "Nothing" however, "Noting" meant to overhear, rumour or gossip.

"Ado" or "Much Ado" means trouble,. Having read the play, several problems arise from "Noting" and so Shakespeare used this clever wordplay to basically summarise his play. A lot of trouble happens over gossip and rumour.

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Benedick is a lord and a soldier from the city of Padua in Northern Italy.

He is witty and takes moments to make a clever remark at the behest of other characters, especially Beatrice with whom he previously dated.

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The Liverpool Institute of Performing Arts offer a BA in:
Acting,
Applied Theatre & Community Drama,
and,
Theatre & Performance Arts.

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The workshop had us acting as animals and displaying social status.

The crux of this workshop was to educate us on an aspect of characterisation.

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East 15
Royal Central
Rose Bruford
Italia Conti
London South Bank University

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From our tour at Royal Central I noticed that although their rehearsal spaces were smaller than at the college, they were more modern, open for longer and they had easier access to a proscenium arch theatre that they could book to rehearse in when it wasn't being used.

The courses they offer that I am interested in are:
BA in Acting,
BA in Acting (CDT),
BA in Acting (Musical Theatre),

They also had courses in puppetry and stage management to name some others however these do not appeal to me as much.

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This workshop was simply a session on improvisation run by a current/former student who ran it as if it were a session for students at Central.

I learnt that the sessions aren't too different from our sessions and that it didn't feel like some unattainable leap in skill was needed.

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Rose Bruford has two schools, a performance and a technical arts school. They collaborate on everything up to and including performances.

They offer a BA in Acting, Acting Musician, European Theatre Arts (ETA) and American Theatre Arts (ATA).

With ETA and ATA they attempt to create hyphenated performers i.e. Actor-Director. The ATA and ETA also travel abroad as part of their study.

Their fees are £9,250 a year and they can be listed as a choice through UCAS.

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Arts Ed offers two courses that have any sort of benefit for me:
BA Hons Acting
BA Hons Musical Theatre

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Ask Ryan to send

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This workshop was more of a Q&A but it was very useful because the man we spoke to didn't seem to want to 'sell' us on Rose Bruford.

We also did a short "audition" but the focus was more on how to carry ourselves in an audition.

I found the Q&A a valuable use of the time even though we could have done a workshop because it was someone close-ish in age to us that had gone to drama school and was keen to answer questions but they didn't all end in "Rose Bruford"

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For this workshop we were split in two. One group did a dance lesson whilst the other did a singing lesson. Then we swapped.

I did the dance lesson first. I didn't mind it too much as learning a sequence isn't impossible. However. I did notice that the woman running it was going through things at her own pace. And was leaving people to trail off whilst others managed to keep up. Plus, she told us to work bare-footed, which I obliged. Then told us to spin on the spot whilst she and others who didn't follow the instructions had socks for less friction. I wish I hadn't followed her instruction quite so closely.

Then we had a singing lesson which was much more like a lesson in enunciation and projection rather than singing or acting through song but I didn't mind because enunciation and projection are always important.

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My classical monologue went a lot better than my contemporary one. Which isn't ideal considering I have had my contemporary one for a lot longer than my new classical. However, I was making sure to give at least 30 minutes to an hour a day on memorising my new classical and I'm sure that in memorising them I tried a few things out that would have helped me when I came to perform it.

It also helps that I was passionate about my new classical monologue. I think because it was different from my other classical and my contemporary I was passionate to show that I could do something different.

I felt like I could have taken more time with preparing myself when I entered before my contemporary monologue. With my Classical I took time to walk away, collect a chair, position it, sit then start. I think because I walked away they were more interested to see what I was going to do, at the very least I managed to something so that they wouldn't get uninterested whilst waiting and give myself more time before starting.

Maybe I should find something that I could do to compose myself/get into character and add a length of time where nothing is said, as this may build anticipation.

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We did this task in our Friday session on the day we performed our monologues.

We had a list of adverbs and adjectives. We chose one of each. We wrote them down on a piece of paper, scrunched it up and put them in a pile. Then it turned into a bit of a game but the exercise started when the game ended and we had to grab the two closest pieces of paper. One is an emotion and the other was like way to modify it.

This was difficult at times because everyone chose two that best described their character. It was especially hard when you have some combinations that are basically oxymorons.

It was not a hard task. The hardest part of it was having to stop inhibiting yourself and just do whatever it is. Even the oxymoronic ones like "Grandiose Melancholy"