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com Monologue Lesson Part 1: Elements of a Monologue 1

 How to Use this Lesson
Welcome to the Ultimate Monologue Lesson Plan!

This lesson plan is packed full of activities and instructional material divided into three parts:

1. Elements of a Monologue
2. Character and Setting
3. Monologue Writing and Performance

There is enough material to teach an entire unit on monologues, but the lesson plan is designed
to be flexible enough to accommodate a varying number of hours/sessions.

First, read through the lessons in their entirety. Next, choose a number of hours or weeks that
you will be teaching the material. Finally, create a rough outline for introducing each part of the
lesson.

Allow enough time at the end of your teaching session to include the monologue performances
and peer feedback!

Drama Notebook runs a yearly Monologue Contest. Click here for details!

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 Monologue Lesson Part 1
Elements of a Monologue
Contributed by Patrice DeHart

Objective:
Students will study and identify the five elements of a monologue – Character, Viewpoint,
Obstacle, Conflict, and Resolution

Materials: Copies of the following handouts for each student (included in this lesson plan):
Monologue or Prose, Beginning, Middle, and End, The Elements of a Monologue, and the
Monologue Analysis.

Lesson 1 Instruction

Define and explain the purpose of a monologue:

For older students…

• The word “monologue” comes from Greek word monos (alone) and logos (speech). It is
a speech of some duration addressed by a character to a second person in order to
express his/her thoughts and ideas aloud. It has its own beginning, middle, and end
and contains a significant conflict.

• A monologue is similar to a soliloquy in that they both involve one speaker. The
difference lies in to whom they are speaking. The word “soliloquy” comes from Latin
solus (alone) and loqui (to speak). A character delivering a soliloquy is speaking to
himself, out loud. This gives the audience insight into what is happening to the
character internally.

• The playwright uses a monologue as a dramatic device to heighten the action in a play.
It usually happens at a point when a character must reveal their inner thoughts and
desires and tends to create tension. It can also reveal a secret, feelings, or answer a
question.

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For younger students…
• A monologue is a long speech delivered by one character either directly to the audience,
or to another character (who is invisible).

Say!
“Can anyone tell me what a monologue is? …In a play, characters talk back and
forth to one another, but sometimes, one character has a long speech in which
they tell a story, or complain about something, or talk to another invisible
character. The actor is usually alone onstage, but he acts as if he is actually
talking to someone. For example, a young girl can be explaining to her mother
that she will ONLY eat macaroni and cheese for dinner, but the mother will not
actually be onstage with her. The audience must imagine that the mother is
listening.”

“Monologues are useful because they can reveal things about a character such
as their inner thoughts in a more direct way than back and forth dialogue
sometimes can.”

“Can anyone think of an example of a monologue from a movie, television show,

or a play?”

Did you know?

When ancient Greek theatre began, only a single actor would
appear on stage along with the chorus. Dialogue developed later
and was not part of its earliest plays. Monologues were the only
way that a character communicated information. One of the key
purposes of these monologues was to indicate the passage of
time within scenes and as entrances and exits by characters.

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Show video examples of short monologues.
Do your own investigation online, or check out these helpful links.

Bullying-serious monologue for younger students

Don’t Call Me ‘Lil Bo Peep’-funny monologue for younger students
I Want My Own Room- short funny monologue for younger students
Goldilocks Explains Herself- short funny monologue for female younger student
Diary of a Wimpy Kid-short monologue from the book “Diary of a Wimpy Kid”
I’m Not Going to Do It-short monologue for younger students
Please Don’t Leave Me-sad monologue for younger students

Ten Short Monologues for Teens

You’re Getting a Divorce?-serious monologue for teens
It’s not Easy Being a Kid-serious monologue for teens
Critique-funny monologue for teens
The Dress-funny monologue for female teen
I Ate the Divorce Papers-funny monologue for female teen
Mystic River-dramatic monologue for male teen
Fences-dramatic monologue for male teen

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Types of Monologues
Explain and discuss the different types of monologues:

GENRES:
• Dramatic – thoughtful and serious
• Comedic – heightened drama; humorous

CATEGORIES:
• Classical - monologues that most often refer to either the Greeks, Shakespeare, or
those that are written in verse from the Romantics or Victorians.
• Contemporary – written after 1900 and contain common, everyday speech.

For younger students…

• Funny – character tells a funny story or has a sense of humor about his/her
situation
• Serious – character has a serious or sad attitude when telling the story or
talking about the situation

Lesson 2 Instruction

Identifying Monologues

Give students the handout Monologue or Prose?” (included with this lesson plan. Discuss the
examples and how to identify the difference. Ask students:

• Which one do you think is the monologue? Why?

• How can you tell which one is text from a story?

Stage Directions

Monologues are written to be performed by actors, so they will sometimes contain stage
directions. These instructions are the text contained in parentheses but are NOT spoken by the
actor. Explain that stage directions instruct actors about their entrances, exits, physical actions
and/or verbal delivery. They also instruct the stage crew when changes in lighting, sound, and
scenery occur. Ask students to find the various stage directions in the Alice monologue on
page 7.

For younger students…

Skip ‘Identifying Monologues’ and ‘Stage Directions.’

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Monologue Structure

Monologues have a certain structure: a beginning that grabs the reader’s attention, a middle
that arranges events and develops ideas, and an ending that contains some form of resolution.
Allow students 10 minutes to answer the questions on the handout, Beginning, Middle, and End
included with this lesson plan. Discuss their answers.

Beginning: The character faces a problem, a challenge, or an obstacle.

Middle: The character reveals his/her motivation (what he/she wants) and attempts to
solve or deal with the problem.
End: The character changes in some way after resolving the problem-or NOT resolving
the problem.

Lesson 3 Instruction

The Elements of a Monologue

Give students the handout, The Elements of a Monologue Looking at Alice’s monologue
(included with this lesson plan), ask students:

• Who is speaking? (Character)

• How does the character view the situation? (Viewpoint)
• What is standing in the way of that? (Obstacle)
• What problem or challenge does the character face? (Conflict)
• How is this conflict resolved? (Resolution)
• What has happened right before the character begins speaking?
• What does this character want? (Objective)
• What does the character do to achieve that objective? (Tactics)
• Who is the character speaking to?
• Would you call this monologue a dramatic or comedic monologue? Why?
• Where is the monologue taking place? (Setting)

EXERCISE: Analyzing a Monologue

Give students the Monologue Analysis Worksheet (included with this lesson plan). Choose an
age appropriate monologue from the Monologue Examples near the end of this lesson plan.

Ask students to read the monologue twice and fill out the Monologue Analysis. Discuss their
answers ensuring that students have a clear understanding of the elements of a monologue.

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EXERCISE: Improvising Monologues from Fairy Tales

Students will choose a character in a specific scene from one of the fairy tale prompts below
and create a monologue outline. Have students fill out the Monologue Analysis (included with
this lesson plan) to help them identify key elements. They are not writing out their monologue,
only creating an outline to help them improvise their monologue. When they have completed
their outlines, have each student improvise their character’s monologue for the class.

Or try this!
Ask students to choose another character but it must include one of the
following opening lines:

“It all started as a joke.”

“You think you know me but you don’t. Not really.”
“What are you so afraid of?”
“I never thought this could happen.”
“I didn’t have a choice.”
“It was all my fault.”

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 Fairy Tale Prompts
Sleeping Beauty

(The Queen)
Aurora’s mother talks about the curse placed on Aurora and her fears as her fifteenth birthday
approaches.

(The King)
Aurora’s father tries to reassure his wife after a cruel fairy places a terrible curse on their
daughter.

Snow White

(The Huntsman)
The huntsman, relieved that he did not have to kill Snow White, has just killed a wild boar and
is taking the lungs and liver to the queen.

(Snow White)
Snow White, escaping death the day before, wakes up to a group of dwarves staring at her and
must explain how she came to be in their cottage.

Hansel and Gretel

(Hansel)
Hansel and Gretel are alone in a scary forest. Gretel is frightened and sobbing as Hansel tries to
comfort her.

(The Witch)
The witch has just spotted Hansel and Gretel nibbling her home and plans a way to lure them
inside to eat them.

Goldilocks

(Goldilocks)
Goldilocks was caught sleeping in Baby Bear’s bed and has fearfully escaped to the woods.

(Papa Bear)
Papa Bear speaks to his wife about their recent run-in with Goldilocks.

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The Pied Piper

(The Pied Piper)

The Pied Piper charmed away all of the rats but the mayor has just refused to pay him. He
vows to return to get revenge.

(A Parent)
The parent of one of the children who has been led away by the Pied Piper pleads with the
Mayor to pay him so her child may return home.

The Emperor’s New Clothes

(The Tailor)
The tricky tailor shows the emperor the invisible outfit.

(The Emperor)
The emperor has just been told by a boy, as he walked down the street, that he isn’t wearing
anything.

Little Red Riding Hood

(The Wolf)
The wolf speaks to Little Red Riding Hood’s grandmother about his plan to eat them both.

(Grandma)
Grandma speaks to Little Red Riding Hood’s mother over the phone about her health and Red’s
upcoming visit.

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 Monologue or Prose?
Read the following excerpts from Alice in Wonderland and identify which is a
monologue (a character in a play making a speech) or prose (simply text).

Alice waited till the eyes appeared, and then nodded. "It's no use
speaking to it," she thought, "till its ears have come, or at least one of
them." In another minute the whole head appeared, and then Alice
put down her flamingo, and began an account of the game, feeling very glad she
had someone to listen to her. The Cat seemed to think that there was enough of it
now in sight, and no more of it appeared.
"I don't think they play at all fairly," Alice began, in rather a complaining tone,
"and they all quarrel so dreadfully one can't hear oneself speak—and they don't
seem to have any rules in particular; at least, if there are, nobody attends to
them—and you've no idea how confusing it is all the things being alive; for
instance, there's the arch I've got to go through next walking about at the other
end of the ground—and I should have croqueted the Queen's hedgehog just now,
only it ran away when it saw mine coming!"

From Alice's Adventures in Wonderland. Lewis Carroll. New York: Hurst and Company, 1901

The Cheshire cat’s grin appears and asks Alice how she is enjoying her game of
croquet with the Queen.

ALICE: It's no use speaking to you till your ears have come. (His head appears
sideways - only one ear showing) I don't think they play at all fairly, and they all
quarrel so, and they don't seem to have any rules in particular. And you've no idea
how confusing it is, with all the things alive; there's the arch I've got to go through
next, walking about at the other end of the ground — and I should have croqueted
the Queen's hedgehog, just now, only it ran away when it saw mine coming. And
the Queen is so extremely — (The King, Queen and entire court enter. The QUEEN
is near to ALICE. The music stops and all look at ALICE questioningly. Alice tries
to calm the QUEEN) — likely to win, that it's hardly worth while finishing the game.
[Queen smiles and passes on.]

From Alice's Adventures in Wonderland. Lewis Carroll. London: MacMillan and Co., 1866.

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 Beginning, Middle, and End
Read Alice’s monologue and answer the following questions:

What happens in the beginning of the monologue?

What happens in the middle of the monologue?

What happens at the end of the monologue?

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 Elements of a Monologue

Character
This is the person speaking.

Objective/Viewpoint
This is what the character wants, and their attitude about it.

Obstacle
This is anything that gets in the way of the character’s objective in the monologue.

Conflict
Conflict arises when the character is faced with an obstacle and must take action. This can be
an internal conflict or an external one.

Resolution
This is the decision or action that the character takes to resolve a problem or dilemma.

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 Monologue Analysis
Use the following outline to assist you in creating a monologue.

Character
Who is speaking?

Objective/Viewpoint
What does your character want, and how does your character view their current situation?

Obstacle
What gets in the way of your character’s objective (what they want)?

Conflict
What conflict arises?

Resolution
What decision or action does your character take to resolve the conflict?

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 Monologue Examples
(For younger students)

Dramatic/Contemporary
THE LITTLE PRINCESS by Frances Hodgson Burnett

MISS MINCHIN: Stop crying. I sent for you to talk to you, and I have no time to waste. (Sara
sobs) Stop crying, do you hear? (Pause until Sara rises and faces Miss Minchin) You are not a
princess any longer. Remember that. You have no friends. You have no money. You have no
one to take care of you. Your pony and carriage will be sold at once. Your maid will be sent
away. You'll wear your plainest and oldest frocks. Your extravagant ones are no longer suited
for your station. You're like Becky — you will have to work for your living. You will be obliged
to do it whether you like it or not. If I do not choose to keep you out of charity, you have no
home but the street. If you work hard, and try to make yourself useful, I may let you stay here.
You are a sharp child, and pick up things readily. You speak French very well, and you can help
with the younger children. You are not a parlor-boarder now. You have to earn your bread. You
will have more to do than to teach the little ones. You will run errands and help in the kitchen
as well as in the schoolroom. If you don't please me you will be sent away. Now go. (Sara
crosses to door to go) Stop, don't you intend to thank me?

SLEEPING BEAUTY by MABEL R. GOODLANDER

PRINCE: How still it is here! Everyone in this room is asleep. Is there no one awake in the
whole castle? (He goes out behind the throne and reappears in the kitchen. He laughs out loud
at sight of the cook holding the boy by the collar, with a rolling-pin raised in her other hand, but
stops suddenly at the sound of his own voice. He examines the kitchen and then goes out to
the center front of the stage.) The tales that old man told me of this strange, enchanted castle
are true. Everything here is asleep; the people are not dead, for the color is still in their cheeks,
and they are breathing gently. But (looking around) where is the beautiful princess who lives
here? They say that many princes have tried to break through the thorny hedge around the
castle park, but none have succeeded. Yet the thick branches parted to let me through the
instant that I touched them with my sword. It is wonderful! But I must find the princess. I long
to see her. (He turns, sees the stairs to the tower, and goes quickly up, but stops suddenly at
sight of the princess.) Oh! (Tenderly) How beautiful she is! (He kneels on one knee at her
feet?) Her face is sweet and gentle. I love her already, though I have not heard her speak, or
seen the color of her eyes. (He takes her hand and kisses it.)

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PETER PAN by J.M. Barrie

PETER: Yes, Wendy, I know fairies! But, they’re nearly all dead now. You see, when the first
baby laughed for the first time, the laugh broke into thousands of pieces and they all went
skipping about, and that was the beginning of fairies. So, there ought to be a fairy for every
boy and girl. There isn’t of course. You see children know such a lot now that soon they don’t
believe in fairies. Every time a child says “I don’t believe in fairies,” somewhere a fairy falls
down dead. I can’t think she is gone. Tinkerbell, Tink, where are you?

TAMLANE by Harriet Sabra Wright

TAMLANE: Bad luck was with me that cold, windy day when I rode home from the hunting. I
fell from my horse on Carterhaugh plain and deep sleep came upon me. The Queen of Elves
caught me then and carried me off to yonder green hill to serve her for seven years. In
Fairyland there is no pain nor sickness. The air is warm and pleasant and full of strange, sweet
music. The fairies cannot bear solemn sounds but love merry, tinkling tunes. Mortals would
dwell happily there but for fear of the Fiend. Once in seven years the Elf-Queen must pay her
tribute to the Fiend in Hell. He takes away the bonniest of her knights and this year I feared
'twould be myself.

Comedy/Contemporary
Peter Pan by J.M. Barrie

LOST BOY: I saw Pirates! I saw Indians! Not only did I see Pirates, and Indians, but I saw a
wonderfuller thing. High over the lagoon I saw the loveliest, great, white bird. It is flying this
way. It looks weary and as it flies it moans, “Poor Wendy”. I think there are birds called
Wendies. See, here it comes! Look how white it is. Hey, there’s Tinkerbell. Tink is trying to
hurt the Wendy. She says Peter wants us to shoot the Wendy. Let us do what Peter wishes.
Out of my way, Tink. I’ll shoot it. I’ve shot the Wendy! Peter will be so pleased!

The Rose and the Ring by Ethel Sidgwick

FAIRY BLACKSTICK: Really, I do believe that no work is so thankless as that of a fairy. I begin
to think of giving it up altogether. What good am I doing by sending this Princess to sleep for a
hundred years—by causing diamonds and pearls to drop from one little girl's mouth and vipers
and toads from another's? I might as well shut my incantations up, and allow things to take
their natural course. And then those to whom I have given priceless gifts are so ungrateful,
they actually patronize me, the Fairy Blackstick, who could turn them into baboons and their
diamonds into strings of onions by a single wave of my wand. And the gifts themselves are
misused and come to no good. There are my Magic Rose and Ring, which had the power of
making all the world in love with the possessor. Prince Bulbo of Crim-Tartary, who has the
Rose now, is little better than a fool; and as for Prince Giglio, who has the Ring, everyone

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knows that his uncle the King of Paflagonia, has usurped his rightful kingdom, and that he is
too idle and ignorant to interfere. Why, the position he occupies in the Palace here (pointing)
the ancient home of his royal race, is that of a mere dependent. (Enter Giglio down steps
slowly.) Why, here he comes: a good-looking youth enough, even without a fairy ring. Good-
morning, Prince!

(For Older Students)

Dramatic/Classical
Antigone by Sophocles
The Chorus has questioned Creon and his decree for leaving the bodies to rot on the battlefield.

Creons:
O cease, you vex me with your babblement;
I am like to think you dote in your old age.
Is it not arrant folly to pretend
That gods would have a thought for this dead man?
Did they forsooth award him special grace,
And as some benefactor bury him,
Who came to fire their hallowed sanctuaries,
To sack their shrines, to desolate their land,
And scout their ordinances? Or perchance
The gods bestow their favors on the bad.
No! no! I have long noted malcontents
Who wagged their heads, and kicked against the yoke,
Misliking these my orders, and my rule.
'Tis they, I warrant, who suborned my guards
By bribes. Of evils current upon earth
The worst is money. Money 'tis that sacks
Cities, and drives men forth from hearth and home;
Warps and seduces native innocence,
And breeds a habit of dishonesty.
But they who sold themselves shall find their greed
Out-shot the mark, and rue it soon or late.
Yea, as I still revere the dread of Zeus,
By Zeus I swear, except ye find and bring
Before my presence here the very man
Who carried out this lawless burial,
Death for your punishment shall not suffice.
Hanged on a cross, alive ye first shall make

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Confession of this outrage. This will teach you
What practices are like to serve your turn.
There are some villainies that bring no gain.
For by dishonesty the few may thrive,
The many come to ruin and disgrace.

Tartuffe by Moliere
Mariane tries to appeal to her father and not have to marry Tartuffe.

Mariane:
Father, I beg you, in the name of Heaven
That knows my grief, and by whate'er can move you,
Relax a little your paternal rights,
And free my love from this obedience!
Oh, do not make me, by your harsh command,
Complain to Heaven you ever were my father;
Do not make wretched this poor life you gave me.
If, crossing that fond hope which I had formed,
You'll not permit me to belong to one
Whom I have dared to love, at least, I beg you
Upon my knees, oh, save me from the torment
Of being possessed by one whom I abhor!
And do not drive me to some desperate act
By exercising all your rights upon me.

Dramatic/Contemporary
Interlude by Federico More
The poet and Marquise have been talking of love and playing with a person's heart. The
Marquise laments her spot in life.

Marquise: Oh, don't be vain and fanciful. I swear that in my placid life, happiness brings no
joy. What I longed for was a love, profound and mature, The profound love of a poet come to
being, and not the incongruities of adolescence in verse.... the radiant synthesis of a pungent
existence And not the disloyalties of a dispersed dream. What woman has not dreamed of
loving a poet who would be conqueror and conquered all in one? What woman has not wished
to be humble and forgiving with the man who sings the great passions he has known? We need
you poets.... We are tormented by the desire Of a harmonious life, filled with deep sound, with
the vigor and strength of wine poured out Into bowls of truths, deep with the depth of death.

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We crave no water, lymphatic, pure, In glasses of wind, frail as life. Better the vintage of the
rich served in vile glasses of gold. And if the mind be coarse, perchance the hands will glitter
with many stones. And if I may not have a fragrant and well-ordered nest filled with clear
rhythm and little blond heads, then let me have my palace where luxurious pleasure lends to
love of earth, grief and deep dismay. Why do you not love living, poets? Why is it, the dullard
who nor loves nor lives poaches your kisses?

Comedy/Classical
Merchant of Venice by William Shakespeare
Gratiano calls himself a fool and tries to explain to Antonio that there is no
joy in life without having fun.

Gratiano:
Let me play the fool:
With mirth and laughter let old wrinkles come,
And let my liver rather heat with wine
Than my heart cool with mortifying groans.
Why should a man, whose blood is warm within,
Sit like his grandsire cut in alabaster?
Sleep when he wakes and creep into the jaundice
By being peevish? I tell thee what, Antonio--
I love thee, and it is my love that speaks--
There are a sort of men whose visages
Do cream and mantle like a standing pond,
And do a willful stillness entertain,
With purpose to be dress'd in an opinion
Of wisdom, gravity, profound conceit,
As who should say 'I am Sir Oracle,
And when I ope my lips let no dog bark!'
O my Antonio, I do know of these
That therefore only are reputed wise
For saying nothing; when, I am very sure,
If they should speak, would almost damn those ears,
Which, hearing them, would call their brothers fools.
I'll tell thee more of this another time:
But fish not, with this melancholy bait,
For this fool gudgeon, this opinion.
Come, good Lorenzo. Fare ye well awhile:
I'll end my exhortation after dinner.

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 As You Like It by William Shakespeare
Rosalind sets Phoebe straight for being rude to Silvius, the man who loves her.

Rosalind:
And why, I pray you? Who might be your mother,
That you insult, exult, and all at once,
Over the wretched? What though you have no beauty,--
As by my faith, I see no more in you
Than without candle may go dark to bed,--
Must you be therefore proud and pitiless?
Why, what means this? Why do you look on me?
I see no more in you than in the ordinary
Of nature's sale-work. Od's my little life!
I think she means to tangle my eyes too.
No, faith, proud mistress, hope not after it:
'Tis not your inky brows, your black silk hair,
Your bugle eyeballs, nor your cheek of cream,
That can entame my spirits to your worship.
You foolish shepherd, wherefore do you follow her,
Like foggy south puffing with wind and rain?
You are a thousand times a properer man
Than she a woman: 'tis such fools as you
That make the world full of ill-favour'd children:
'Tis not her glass, but you, that flatters her;
And out of you she sees herself more proper
Than any of her lineaments can show her.
But, mistress, know yourself: down on your knees,
And thank heaven, fasting, for a good man's love:
For I must tell you friendly in your ear,
Sell when you can; you are not for all markets.
Cry the man mercy; love him; take his offer:
Foul is most foul, being foul to be a scoffer.
So take her to thee, shepherd. Fare you well.

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Comedy/Contemporary
The Bear by Anton Chekhov
Luka, Mrs. Popov's servant, asks his mistress to stop hiding herself away in mourning. She has
spent the last year between her husband's sickness and then his death hidden away. Mrs.
Popov laments that she is dead like her husband.

Luka: There you are again! It's too awful to listen to, so it is! Nikolai Michailovitch is dead, it
was the will of the Lord and the Lord has given him eternal peace. You have grieved over it and
that ought to be enough. Now it's time to stop. One can't weep and wear mourning forever! My
wife died a few years ago, too. I grieved for her, I wept a whole month—and then it was over.
Must one be forever singing lamentations? That would be more than your husband was worth!
(He sighs.) You have forgotten all your neighbors. You don't go out and you won't receive any
one. We live,—you'll pardon me—like the spiders, and the good light of day we never see. All
the livery is eaten by the mice—As though there weren't any more nice people in the world! But
the whole neighborhood is full of gentlefolk. In Riblov the regiment is stationed, officers—simply
beautiful! One can't see enough of them! Every Friday a ball, and military music every day. Oh,
my dear, dear ma'am, young and pretty as you are, if you'd only let your spirits live! Beauty
can't last forever. When ten short years are over, then you'll be glad enough to go out a bit!
And meet the officers—and then it'll be too late.

St. Valentine's Day by Annie Eliot

Elinor tries to find out additional details regarding Mr. Morrison.

Letty: Well, I was going to tell you about Mr. Morrison. Well, as I say, he's talked with me a
good deal since I came, and he said to me the other day -- it was that day, don't you know,
that someone rang the bell when he was here, and he said your doorbell was always ringing,
and you said something about its being the primary object of a bell, and he said the primary
object of that particular bell seemed to be to interrupt him when he had anything important to
say, and you said under those circumstances, perhaps he'd have better luck if he wouldn't
always be saying the same important thing, and he said he hadn't suspected you of
countenancing the chestnut bell, and you said you shouldn't think he would hint at such an
ordinary proceeding, and then Mr. Apgood came in, and you shook hands with him, and
seemed so glad to see him, and I was so surprised, because I heard you tell Mrs. White the
other day that you thought he was a dreadful bore, and he always came just when you didn't
want him.

© Drama Notebook www.dramanotebook.com Monologue Lesson Part 1: Elements of a Monologue 21