By Stefan Rudnicki
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Additional resources for The Actor's book of classical monologues
10. But go! : (He suddenly stumbles, dropping his bow, and sanity returns), translator’s stage direction. 14. this calm—this peace: (He catches sight of ELECTRA, her face hidden in her robes, sobbing softly by the bed), translator’s stage direction. MONOLOGUES FOR WOMEN Iphigenia in Aulis by Euripides Adapted by John Barton and Kenneth Cavander Translated by Kenneth Cavander CLYTEMNESTRA Then listen, Agamemnon. Let us have truth between us: Let’s have the fierce truth. You took me as your bride Although I did not want you.
So, in order to create his own special performance space, the actor becomes an architect. Here is a simple exercise to help the actor/architect build on a large scale. 1. As you study your chosen monologue, make a list of places, objects, and persons, either specifically mentioned or implied, that could be significant. A list for the Watchman’s monologue from Agamemnon, for example, might include: the gods (collective or individual), roofs (also other parts of the palace), stars (several constellations, most likely), Troy, the signal-fire, Clytemnestra, his bed, dreams, terror, the streets, Agamemnon, old stones (reference to the past), and the audience.
But now I’m going to the bathing place And meadows by the sea, to cleanse my stains, In hope the goddess’ wrath may pass from me. And when I’ve found a place that’s quite deserted, I’ll dig in the ground, and hide this sword of mine, Hatefulest of weapons, out of sight. May Darkness And Hades, God of Death, hold it in their safe keeping. For never, since I took it as a gift Which Hector, my great enemy, gave to me, Have I known any kindness from the Greeks. I think the ancient proverb speaks the truth: An enemy’s gift is ruinous and no gift.