試鏡方式 角色獨白下載
請從以下兩種試鏡方式中，選擇一種表演
ACTING
MONOLOGUES: Choose from one of the following listed monologues. Notice whether
the monologue is marked for (W) Women or (M) Men and choose the one appropriate
for you.
表演獨白：請從以下的獨白中選取。請注意 W 是女性獨白而M代表男性的獨白。請從其中選擇適合自己的獨白。
SINGING AUDITIONS: If you sing, prepare a 2-MINUTE ENGLISH
LANGUAGE SONG only. You may choose a song from a popular singer or Broadway
musical. One verse or stanza of the song is enough. DO NOT SING the whole song.
USE SUITABLE MOVEMENTS while singing. PREPARE YOUR OWN ACCOMPANIMENT. (A piano
and CD player will be on stage.)
唱歌：如果你要唱歌，請準備兩分鐘的英語歌。你可以選擇流行歌手或百老匯的歌。一段即可。請勿唱整首歌。唱歌時請自行編排適合的動作。請準備伴奏 (台上會有鋼琴和CD player)。
W1.ALICE IN WONDERLAND
A monologue from the book by Lewis Carroll
W2. NO SMOKING
A
monologue from the play by Jacinto Benavente
LADY: For goodness' sake, don't stop upon our account! Smoke as much as you want to--it doesn't bother me, or my daughter, either. We are used to it. Her poor father, my first husband--who is now in glory--was never without a cigar in his mouth. As he bit off one, it lit it with the butt of the other. And my second husband--who now rests in peace--they were alike as two buttons; you could scarcely tell the difference. So you see as far as we are concerned, you can't annoy us by smoking. Before we changed, we were travelling in the ladies' compartment, and we transferred to this one as soon as we could because there was a woman in that compartment--I say she was a woman because I don't know what else to call her--with her companion--she must have been her companion, she was with her anyway--well, I can tell you I was mortified. I was ashamed--such a conversation! Between the two of them! They might as well have been sitting in their own parlors. As far as that goes, you know, speaking for myself, a widow twice, it was nothing to me; but before my daughter.... I had to make her sit with her head out of the window all the way. It was pretty chilly for her. You can see for yourself she has taken cold. And she's got a cinder in her eye, too--worse luck! Her eyes are the best part of her.
W3.
EVE'S DIARY
A monologue from the book by Mark Twain
EVE: We are getting along very well now, Adam and I, and getting better and better acquainted. He does not try to avoid me any more, which is a good sign, and shows that he likes to have me with him. That pleases me, and I study to be useful to him in every way I can, so as to increase his regard. During the last day or two I have taken all the work of naming things off his hands, and this has been a great relief to him, for he has no gift in that line, and is evidently very grateful. He can't think of a rational name to save him, but I do not let him see that I am aware of his defect. Whenever a new creature comes along I name it before he has time to expose himself by an awkward silence. In this way I have saved him many embarrassments. I seem to know just by the shape of the creature and the way it acts what animal it is. When the dodo came along he thought it was a wildcat--I saw it in his eye. But I saved him. And I was careful not to do it in a way that could hurt his pride. I just spoke up in a quite natural way of pleasing surprise, and not as if I was dreaming of conveying information, and said, "Well, I do declare, if there isn't the dodo!" I explained--without seeming to be explaining--how I know it for a dodo, and although I thought maybe he was a little piqued that I knew the creature when he didn't, it was quite evident that he admired me. That was very agreeable, and I thought of it more than once with gratification before I slept. How little a thing can make us happy when we feel that we have earned it!
W4.
THE CASKET COMEDY
A
monologue from the play by Titus Marcus Plautus
HALISCA: If heaven doesn't rescue me, I'm dead and done for, with not a soul to look to for aid! Oh, how miserable my own heedlessness makes me! Oh! how I dread what will happen to my back, if my mistress finds out I've been so negligent! [thinking] Surely I had that little casket in my hands and received it from her here in front of the house--and where it is now I don't know, unless I dropped it somewhere about here, as I suspect. [to audience] Dear gentlemen, dear spectators, do tell me if anyone of you saw him, the man who carried it off or who picked it up. Did he go [pointing] this way, or that? [pauses, then indignantly] I'm none the wiser for asking or pestering them--the creatures always enjoy seeing a woman in trouble! Now I'll [scans the ground] examine the footprints here, in case I can find any. For if no one passed by after I went inside, the casket would be lying here. [looking about again, then hopelessly.] What am I to do? I'm done for, I fancy! It's all over, my day has come, unlucky, fated wretch that I am! Not a trace of it, and there won't be a trace left of me, either! It's lost, and so I'm lost, too! But I won't give up, though; I'll keep on looking. Oh, my heart's in a flutter and my back's in a fright--fear on both sides driving me frantic! What poor, poor things human beings are! Now he's happy, whoever he is, that has it--something that's no use to him and the death of me! But I'm delaying myself by not setting to work. To work, Halisca! Eyes on the ground, eyes down! Track it--sharp now--like an augur! [looks for footprints, her nose close to the ground. After an energetic and futile search] Nowhere! [with wry resignation] It's no use. What's lost is lost. I'm going back inside.
W5.
THE IMPORTANCE OF BEING EARNEST
A
monologue from the play by Oscar Wilde
LADY
W6.THE
WILD DUCK
A monologue from the play by Henrik Ibsen
HEDWIG: (A young girl) Daddy! Daddy! Don't go away from me. He'll never come back to us again. I think I'm going to die of all this. What have I done to him? Mother, why doesn't Daddy want to see me any more? I think I know what it is. Perhaps I'm not Daddy's real child. And now perhaps he has found it out. I've read about that sort of thing. But I think he might be just as fond of me for all that. Almost more. The wild duck was sent us as a present too, and I'm tremendously fond of that, just the same. The poor wild duck! He can't bear to look at that any more, either. Just think he wanted to wring its neck. I say a prayer for the wild duck every night and ask that it shall be protected from death and everything bad. I taught myself to say my prayers because there was a time when Daddy was ill and had leeches on his neck and said he was lying at death's door. So I said a prayer for him when I'd gone to bed. And I've gone on with it ever since. I thought I'd better put in the wild duck too, because she was so delicate at first. And now you say I should sacrifice the wild duck to prove my love for Daddy. I will try it. I will ask Grandfather to shoot the wild duck for me.
W7.
THE DIARY OF ANNE FRANK
A monologue from the play by Frances Goodrich and Albert Hackett
ANNE: I expect I should be describing
what it feels like to go into hiding. But I really don’t know yet myself. I
only know it’s funny never to be able to go outdoors, never to breathe fresh
air, never to run and shout and jump. It’s the silence in the night that
frightens me most. Every time I hear a creak in the house, or a step on the
street outside, I’m sure they’re coming for us. The days aren’t so bad. A t
least we know that Miep and Mr. Kraler are down there below us in the office.
Our protectors we call them. I asked Father what would happen to them if the
Nazis found out they were hiding us. Pim said that they would suffer the same
fate that we would. Imagine! They know this and yet when they come up here,
they’re always cheerful and gay as if there were nothing in the world to bother
them. Friday, the twenty-first of August, nineteen-forty-two. Today I’m going
to tell you our general news. Mother is unbearable! She insists on treating me
like a baby, which I loathe. Otherwise, things are going better. The weather
is. . . .
M8. THAT’S MY
DAD!
A
monologue by Matt Buchanan
YOUNG BOY: I guess I must have been about eight. It was the first time my Dad took me to a real Major League ballgame. I guess I must have eaten one too many hot dog or too many nachos, because I suddenly really had to go to the bathroom. I wasn't sure my Dad would let me go by myself, but we were within one run of tying the game and he didn't want to miss anything. I was thrilled. When you're eight, finding the men's room by yourself is a real grown-up adventure. Even the word "MEN'S room" was exciting.
But when I got back to my seat, this GUY was in it. This total stranger was in my seat, and he was talking to my Dad. And my Dad had his arm around the guy's shoulder and they were laughing. My dad used to put his arm around my shoulders like that! That's my seat! That's MY Dad! I just stood there in the middle of the stadium frozen. I thought I'd been replaced. I wanted to scream, "No, Dad! I'll be a better son!
This guy in a blue shirt came up and tried to find out what was wrong. How could I tell him I was dumped by my DAD? So he kind of pried open my fingers, where I was holding my ticket, and saw where my seat was. When we got down to my seat, the guy stood up to let me sit down, and I saw who it was. "Hey, look who's here," my Dad said. "It's Mr. Allen! What do you know--he's a huge baseball fan just like you!" Mr. Allen was my gym teacher. I've hated gym class ever since.
M9.
EVER WISH YOU COULD CONTROL YOUR DREAMS?
A
monologue by Matt Buchanan
HIGH SCHOOL STUDENT: Ever wish you could control your dreams? You know--you go to sleep and dream about whatever you want? Sometimes I think I could really FIX things if I could just dream them right. I guess that sounds pretty stupid. Like last week I had this huge test in Chemistry. I really like Chemistry, but there's so much to remember. I flunked. And I KNOW that stuff--that's what makes me so mad. Who cares, right? It's just a stupid test. But I'm the one who's supposed to be so smart. My Dad wants me to go to medical school, and I guess I do too, but who needs the pressure? The first thing he says to me when he gets home: "So, how'd the test go? Another A, right?" I told him we didn't get the test back yet.
So that night I dreamed I aced the test. In my dream I remembered every stupid element. I could see the protons and electrons and neutrons spinning around like little solar systems, and I could recognize every one. I think I was flying among them for a while, like with a jet pack or something. Or maybe I WAS and electron. But the thing was, I KNEW IT ALL. I woke up before the dream was over, so I never saw my grade on the test, but I know I aced it. I had the stuff cold. And the funny thing was, the dream made the real test okay. I mean, I still got an F and all, but I'm okay with it. Look, I KNOW Chemistry.
The next morning I told my Dad I flunked the test. He gets all quiet for a minute, but then he goes, "Well, you'll do better next time, right?" He didn't even freak.
M10.
ARREST US FOR WHAT? WEARING BIG PANTS?
A
monologue by Matt Buchanan
SKATER: I'm
skating on the sidewalk and this guy tears out of his shop like I'm the
Unabomber or something and actually tries to shove me off the pavement.
"Get a job, you punk!"
Who's he think he is? Get a job. I'm not doing anything to you. As far as I can
see, this isn't your sidewalk. I've been here all day and I haven't crashed
into one person.
Get a job. Get one yourself. You'll need one when your lease comes due and your
landlord kicks you out so he can open a yogurt bar or something. This is the
same guy who threatened to call the cops on us last week. I wish he HAD called
them. What are the cops going to do--arrest us? For what? For wearing big
pants? There's no law against skateboards.
Call me a punk. I wish he did call the cops. I wonder what the penalty
is for a grown man assaulting a juvenile. Not that anyone would've come anyway.
The cops are too busy rolling bums and eating donuts to mess around with
"skatepunks" who might actually fight back. Skatepunks! What's that
about? Just because we skate, does that make us juvenile delinquents? I have a
B average in school, I don't smoke or drink, and I never cut class in my life.
I don't even sneak into the movies. They don't like the way we dress, so they
assume we're criminals or something.
W11. POINT OF VIEWING
A monologue by Todd McGinnis
GREEK GODDESS IRIS: (Confidentially) Rainbows aren’t really as fascinating as most
people think. (Nodding.) It's true. Sometimes... it's even dull.
[I mean,] "rainbows" is mostly working "in-the-field" you
know... Long periods of time, hanging around on horizons, waiting for rain. And
THAT's the problem! Being "in-the-field" for so long I've lost
touch with what's really going on. Anyway, that's why I asked to see
Zeus. I need to be here at "head office", where the action
is! Give my image as a goddess a complete make-over. It's time I
started getting the same respect all the other gods take for granted. I want...
(Her eyes widen as she enthusiastically envisions her dream.) I want... Whole
cities of people afraid to make a move in case they incur my displeasure
and I crush them… That's why I need Zeus to promote me. I want to take on some
new powers, add a whole new dimension to what people think of me. Something cool
like Iris... Goddess of Volcanoes! Or Terrible Storms or... Or Exploding
Fish! ...or something. Well... That would sure put the fear of Me
into them, wouldn't it? I mean there they are, ordinary little mortals home from
a nice day at sea... They sit down for dinner, go to take a nice big bite of
tasty fish and… POW! That's the fish exploding. Oh! But don't worry! I'd
still do rainbows. I just want to... you know, add value to what
I do. I would never leave Zeus short-handed. Maybe you could mention
that when you tell him I'm here?
M12.
YOU’RE A GOOD MAN, CHARLIE BROWN
A monologue from the play by Clark Gesner
CHARLIE: I think lunchtime is about the worst time of the day for me. Always having to sit here alone. Of course, sometimes mornings aren’t so pleasant either—waking up and wondering if anyone would really miss if I never got out of bed. Then there’s the night, too—lying there and thinking about all he stupid things I’ve done during the day. And all those hours in between—when I do all those stupid things. Well, lunchtime is among the worst times of the day for me. Well, I guess I’d better see what I’ve got. (He opens the bag, takes out a sandwich and examines it.) Peanut butter. (Bites and chews.) Some psychiatrists say that people who eat peanut butter sandwiches are lonely. I guess they’re right. And if you’re really lonely, the peanut butter sticks to the roof of your mouth. (Looks off to one side.) There’s a cute little redheaded girl eating her lunch over there. I wonder what she’d do if I went over and asked her if I could sit and have lunch with her. She’d probably laugh right in my face. There’s an empty place next to her on the bench. There’s no reason why I couldn’t just go over and sit there. I could do that right now. (Pause.) I’m a coward. I’m so much of a coward that she wouldn’t even think of looking at me. (He freezes.) She’s looking at me. (Terrified.) She’s looking at me.
M13.
THE DARK AT THE TOP OF THE STAIRS
A Monologue from the play by William Inge
SAMMY: (A
young cadet) I always worry that maybe people aren’t going to like me when I go
to a party. Isn’t that crazy? Do you ever get kind of a sick feeling in the pit
of your stomach when you dread things? Gee, I wouldn’t want to miss a party for
anything. But every time I go to one, I have to reason with myself to keep from
feeling that the whole world’s against me. See, I’ve spent almost my whole life
in military academies. My mother doesn’t have a place for me, where she lives.
She. . . . she just doesn’t know what else to do with me. But you mustn’t
misunderstand about my mother. She’s really a very lovely person. I guess every
boy thinks his mother is very beautiful, but my mother really is. She tells me
in every letter she writes how sorry she is that we can’t be together more, but
she has to think of her work. One time we were together, though. She met me in
M14.
HELLO DOLLY
A monologue from the play by Michael Stewart
CORNELIUS: Isn’t the world full of wonderful
things? There I say cooped up in
M15.
THE RAINMAKER
A monologue from the play by N. Richard Nash
STARBUCK:
I’ll tell you how I’ll do it! I’ll lift this stick and take a long swipe at the
sky and let down a shower of hailstones as big as cantaloupes! I’ll shout out
some good old
W16. OUR TOWN
A
monologue from the play by Thornton Wilder
EMILY: Oh,
Mama, look at me one minute as though you really saw me. Mama, fourteen years
have gone by. I'm dead. You're a grandmother, Mama! Wally's dead, too. His
appendix burst on a camping trip to
W17.
THE IMPORTANCE OF BEING ERNEST
A monologue from the play by Oscar Wilde
GWENDOLYN:
Algy, kindly turn your back. I have something very particular to say to Mr.
Worthing. Ernest, we may never be married. From the expression on mamma’s face
I fear we never shall. Few parents nowadays pay any regard to what their
children say to them. The old-fashioned respect for the young is fast dying
out. Whatever influence I ever had over mamma, I lost at the age of three. But
although she may prevent us from becoming man and wife, and I may marry someone
else, and marry often, nothing that she can possibly do can alter my eternal
devotion to you. The story of your romantic origin, as related to me by mamma,
with unpleasing comments, has naturally stirred the deeper fibers of my nature.
Your Christian name has an irresistible fascination. The simplicity of your
character makes you exquisitely incomprehensible to me. Your town address at
the
M18.
PYGMALION
A monologue from the play by Bernard Shaw
PROFESSOR HIGGINS: I have never sneered in my life. Sneering doesn’t become either the human face or the human soul. I am expressing my righteous contempt for Commercialism. I don’t and won’t trade in affection. You call me a brute because you couldn’t buy a claim on me by fetching my slippers and finding my spectacles. You were a fool: I think a woman fetching a man’s slippers is a disgusting sight: did I ever fetch your slippers? I think a good deal more of you for throwing them in my face. No use slaving for me and then saying you want to be cared for: who cares for a slave? If you come back, come back for the sake of good fellowship; for you’ll get nothing else. You’ve had a thousand times as much out of me as I have out of you; and if you dare to set up your little dog’s tricks of fetching and carrying slippers against my creation of a Duchess Eliza, I’ll slam the door in your silly face.
W19.
PYGMALION
A monologue from the play by Bernard Shaw
LIZA: Oh,
you are a cruel tyrant. I can’t talk to you: you turn everything against me:
I’m always in the wrong. But you know very well all the time that you’re
nothing but a bully. You know I can’t go back to the gutter, as you call it,
and that I have no real friends in the world but you and the Colonel. You know
well I couldn’t bear to live with a low common man after you two; and it’s
wicked and cruel of you to insult me by pretending I could. You think I must go
back to