STEVE CAVERNO: Steve Caverno, on behalf of Expert Village, here to talk to you today about dialogue. Now we're going to look at a monologue, another monologue--a monologue from Hamlet where we have a strong objective, approximately 60 seconds of words, and different tactics being used. It's directed towards another character. Usually, you don't want to audition with a monologue that says, "Well, once upon a time, I was hanging out in the old west." You really want to have a monologue where there is a strong objective going through; you're not just telling someone a story. So, here's a monologue from Hamlet, where Hamlet has just learned, has just got evidence and proof that his uncle was the murderer of his father, and he's come to confront the queen about how she could marry such a scoundrel. "Look here upon this picture, and on this counterfeit presentment of two brothers. See what a grace was seated on this brow; where every god did seem to set his seal, to give the world assurance of a man: This was your husband! Look you now, what follows: Here is your husband! Like a mildew'd ear. Ha! Have you eyes? You cannot call it love, for at your age the hey-day in the blood is tame. It's humble and waits upon the judgment, and what judgement would step from this to this? O shame! Where is your blush?--Where is thy blush?" And so anyways, in this scene, Hamlet will try different tactics to try to get his mother to recede or to confess to her guilt of marrying the uncle. He will compare and contrast her old husband to her new husband. He will insult her about her age. He will say, "You're too old to be doing this." He will say, "You're too immodest. You should be ashamed of yourself." And in this monologue, he tries many different tactics to get what he wants. It's a strong objective, and that's what's important for monologue.
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