More FREE AUDITION MONOLOGUES for WOMEN

ACTORS & TEACHERS: are you looking for original, unpublished monologues, something the casting director hasn’t heard a dozen, or a thousand, times before? Over the past couple of weeks, I have been posting a variety of monologues on this site. I began with three monologues for women (see post of May 27, 2012) from the play Gap, set in the present at a large urban public high school. I continued with two monologues for men from the same play (see post of June 1, 2012). Today, I post two monologues, both for women. The first is from Disclosure, the second from The Bay at Aulis.

You are free to use any of these monologues in the classroom or for auditions.
Public performances require my express authorization and may be subject to royalties. Contact me for rights or other information: clashof@gmail.com

More MONOLOGUES for WOMEN

from Disclosure
a full-length stage play (3w, 1m)

After keeping a secret for thirty-five years, Maya is determined to disclose the truth, confront the past, and move on. But it proves to be harder than she imagines to talk to the people she loves the most about events that no one else seems to remember. Set in the present in a college town, Disclosure probes the fault lines between memory and narrative; pleasure and transgression; love and the abuse of power.

The following monologue ends act one.

MAYA
(To the audience.)

How many times have I imagined the scene? The confrontation scene. The scene where I gathered all my courage and did the one thing I have most wanted to do, and most feared to do. Dreaded. Longed for. The thing that would change my life forever.

I have imagined the time. The place. Imagined what I would say. Imagined his face when I said it. But then what? Did I think he would grovel, beg for forgiveness?

I don’t know. My imagination leapt ahead to some later time, after the great moment—the great traumatic—and possibly triumphant—at the very least, the climactic or … maybe the catastrophic or the cataclysmic or the apocalyptic … most certainly, the cathartic moment. I imagined how I would feel later, when I had become a different person, a person who was done with the past.

Over it. Done with it. Ready to let the healing begin.

But here is what I did not imagine: what he would say after I said, “This is what you did to me.” What he did say.

Which was: I did? When?

I said: When I was nine, ten, eleven.

He said: Are you sure?

I said, yes, I’m sure. How can you not be sure about something like that? And then, for a moment, I wasn’t.

He said, memory plays tricks. But I am. I am sure.

And he said: It was a long time ago. He said: You were young. He said that he was drunk, that he was drunk a lot in those years. He said he was sorry, sorry for being drunk.

And I said again: Here is what you did to me.

And he said: If I did that, then I’m sorry. But I don’t remember. And then he … shrugged his shoulders. And he said again, sadly, “I’m sorry.” Not meaning, I believe, to be cruel. And I just stood there staring at him, speechless. And after awhile, I turned around and left. Because there was nothing else to say.

———————————————————————-

Opening monologue from The Bay at Aulis
a ten-minute stage play (2w, 1m)

At rise, CLYTEMNESTRA is standing center stage, sharpening a knife. She speaks to the audience.

CLYTEMNESTRA

You think I should welcome him home with open arms? Roll out the red carpet? Ten years away fighting for his country, the victorious war hero deserves a royal welcome—
that’s what you believe. Isn’t it?

(CLYTEMNESTRA has finished sharpening the knife. She examines it, is satisfied, and hides it in the folds of her robe.)

Well, think what you like. But let me tell you—about her. Who she was. Ten years ago.

Each day, before dawn, she fled
the leaden dullness of sleep.
Why sleep?
Sleep is for the old and the drunk
and the dead.
But if age has not yet
dragged you into lethargy,
if time has not transformed
the joy of movement into torpor,
if you are young enough to know
how short
a day is,
then you run
through the dew
or the fog
or the rain.
You run so you will not miss it,
the first light of dawn
breaching the horizon.

So it was with Iphigenia.
So it was that she ran to her father.
To Agamemnon.

And his heart was full of war.

———————————————————————

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