Saintleo FAS110 Module 2 Assignment Latest 2018 January

FAS110 Living the Theatre

Module 2 Assignment

Monologue

For this module, you
are the actor! You will choose one of the monologues below from Water by
theSpoonful to memorize and perform. You will record this performance with your
digital camera, cellphone, web cam, etc. and place that recording in the
Assignment box no later than Sunday 11:59 PM

Video files tend to be
large, so upload times to the Assignment box will vary depending on your
Internetconnection speed. Before you submit your video, convert it to either a
.wmv, .mov, or .mp4 file asthese file types will be most readily viewable by
your instructor. There are many free video conversionsoftware packages
available on the Internet. Just search for, select, and download the one you
want touse and follow the instructions for converting videos. You may want to
compress your video as well. Likeconversion software, there are many free
compression software packages available on the Internet.

Haikumom’s Monologue,
p. 417

Haikumom:
Fountainhead, welcome to the dinner party. Granted, it’s a party we neverwanted
to be invited to, but pull up a chair and pass the salt. Some people here may
pourit in your wounds. Just like you, we’ve all crawled on the floor with a
flashlight. We’vethrown out the brillo and bought some more. But guess what?
You had three days. Forthree days straight, you didn’t try to kill yourself on
an hourly basis. Please. Talk to yourwife about your addiction. You need every
supporting resource. You are in for the fight ofyour life.

Chutes&Ladders
Monologue, p. 426 (cut for continuity)

Chutes&Ladders: I
have three grandsons. You know how I know that? Because I rang myson’s doorbell
one day. Step 9, make amends. And his wife answered, and I don’t blameher for
hating me. But I saw three little boys in that living room and one of those
boys said,“Daddy, who’s that man at the door?” And my son said to my grandson,
“I don’t know. Hemust be lost.” My son came outside, closed the door behind
him, exchanged a few cordialwords and then asked me to go. I had five years
sober until that day.

Chutes&Ladders
Monologue, p. 428Chutes&Ladders: (On the phone) Yeah, it’s a 1995 Tercel.
Midnight blue. It’s got a fewmiles. A hundred and twenty thousand. But like I
said, I’ll give it to you for three hundredbelow Kelley Blue Book. Yup,
automatic. Just got new brake pads. Cassette deck, mintcondition. I’ll even
throw in a few tapes. Tina Turner and Lionel Richie. Oh, hold on, callwaiting.

(He presses mute.
Sings to himself)

A tisket, a tasket.

A green and yellow
basket.

I bought a basket for
my mommy.

On the way I dropped
it.

Was it red? No no no
no!

Was it brown? No no no
no!

(Back into the phone)
Sorry about that. I got someone else interested. No, it’s alright. Ihave them
on hold. You need to see this thing tonight if you’re serious. I put this
listing upthirty minutes ago, my phone is ringing off the hook. 6:30? Hey, I
didn’t mention. Littlelady has racing stripes.

Yaz’s monologue, p.
432

Yaz: You know where I
was gonna be by thirty? Two kids. Equal-housework marriage.Tenure, no question.
Waaaaaay tenured, like by the age of twenty-four. Carnegie Halldebuts Yazmin
Ortiz’s “Oratorio for Electric Guitar and Children’s Choir.” I wrote a list on
apiece of paper and dug a hole in Fairmont Park and put it in the ground and
said, “When Iturn thirty, I’ll dig you up and croos it all off.” And I promise
you I’ll never have thecourage to go to that spot with a shovel and face my
list full of crumbs, decoys, andbandaids.

Assignment Guidelines:

Once you have
memorized the monologue, you are ready to perform it. Since you will have read
the play,you should have an understanding of who these people are. Remember to
ask yourself “Who?” “Why?”and “How?” for overall meaning and “What?” “Why?” and
“How?” for every action you perform. Will youuse an internal or external
approach? Is there any subtext in your monologue?

You will be graded on
the following criteria:

Projection/diction:
Could your instructor hear and understand you? Were you speaking tooquickly or
too slowly?

Emotional connection:
Did you perform the piece or just recite it?

Familiarity: Did you
maintain “eye contact” with the recording device? Did you stumble forwords?
Were there unnecessarily long pauses?