So you’ll be with that jenny downstairs while Nosi and I are upstairs? Elizabeth lives with me. She’s not going anywhere. - That’s not going to change. - How nice? A threesome. You’ll be here because you’re the mother of my child‚ and you need my help. Nothing more. Give me a weekend with him. He’ll return every single item he’s stolen. - I hope you won’t beat him up. - No‚ Principal. I didn’t steal anything‚ I... I’m trying to get a meeting with Thenjiwe Ntombela. Lelo’s parole officer
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To begin‚ the monologue I have chosen is from HAMLET Act 3‚ Scene 1‚ Page 7. Correspondingly‚ the character (Ophelia) who I am playing has a very straightforward goal in her monologue. With this said‚ Ophelia is expressing her lament for Hamlet’s mental deterioration. Ophelia says her monologue to the audience with sadness and extreme distress. For example‚ Ophelia states that Hamlet’s “noble mind is here o’erthrown!” This beginning phrase is significant because it is her explaining how Hamlet’s
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The poem‚ “Monologue for an Onion” written by Sue Kim‚ the onion is a metaphor and is the whole poem is written about it and based off of it. The basic main viewpoint of the poem is about the feelings and thoughts that onion experiences when being handle by the person or more specifically when it is being cut. The poem revolves around the whole idea of how the onion feels and thinks as the person cuts away at it and how it reflects on the actions of the person and the person themselves. Sue Kim’s
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THE DRAMATIC MONOLOGUE IN TENNYSON’S ULYSSES The greatest Victorian contribution to poetry is certainly the form of the dramatic monologue. A dramatic monologue is defined by various critics as a type of poem in which a single speaker‚ a persona‚ “utters the speech that makes up the whole of the poem‚ in a specific situation at a critical moment.” This speaker addresses and interacts with one or more other people. They are silent but usually identifiable listeners in whose presence the speaker reveals
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with the spectacular as she transcends time and memory in a dramatic representation of a domestic family relationship turned sour. There are many examples of how Pollock accomplishes this‚ specifically by incorporating dramatic units such as the monologue spoken by Bob in the second act. At this point in the play‚ it is clearly known that the family relationship is deteriorating and that Bob has a dependence on alcohol. This dramatic unit ties in with both of these facts as Bob contemplates how her
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Instructor’s Toolkit for Julia Morales’ Monologue Julia’s introductory monologue can be used in a variety of ways. Here are a few to consider: large class discussion small group discussion during class or clinical reflective journaling assignment web-based assignment: listen to the audio or read the script‚ then discuss and summarize the group’s conclusions. 1. 2. 3. 4. 5. 6. What are Julia’s strengths? What are your concerns for this patient? What is the cause of your concern? What information
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began belting out the tunes of the song‚ amazing the audience with my brilliant monologue. Reality quickly set in. It seems I was rather naïve to think this way because before I could do perform‚ there was much work to be done. For starters‚ I had to rehearse and practice my lines over and over until I memorized them. This was not easy since I had to absorb the essence of the message behind every line of my monologue. “Was I expressing the correct emotions? Was I angry or was I expressing a joyous
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Some of those monologues are: SAINT JOAN ’CLEAR GLASS MARBLES’ THE WOOLGATHERER HAMLET’S ’TO BE OR NOT TO BE’ MACBETH’S DAGGER SPEECH THE EFFECT OF GAMMA RAYS ON MAN-IN-THE-MOON MARIGOLDS THE SHADOW BOX THE STAR-SPANGLED GIRL There are a number of websites that help actors find monologues. Find ones you enjoy and have fun. WHAT SHOULD I WEAR? It is not necessary to wear your ’Sunday best’
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compared their performances in four separate conditions: no background noise‚ or overhearing a either a dialogue‚ a halfalogue‚ or a monologue. Compared to the silent condition‚ they found that performance in both tasks decreased significantly when the participant listened to the halfalogue‚ while there was no significant difference with the dialogue or with the monologue. In experiment 2‚ the researchers replicated the setup of the first experiment‚ except that they converted the original conversation
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Is Mr Rochester the man for Jane? Mr Rochester is not the man for Jane because he is nearly twice Jane’s age. ‘ Oh yes. But you see there is a considerable difference in age. Mr Rochester is nearly forty; she is but twenty-five.’ In Jane’s monologue she states ‘ You‚ a favourite with Mr Rochester? You gifted with the power of pleasing him? You of importance to him in any way? Go! Your folly sicken me.’ Why would Jane be doubting herself so much if she really loved him. She has never come across
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