At times you may want to conjure up external stimuli e.g., the image of someone you love as deeply as the stage character you are talking to. One word of warning: you have to work carefully to sort out what you are doing as an actor and what the real interpersonal relationship is, especially if the stage relationship is a negative one.īelievability should provide most of your acting stimulus. Inner monolog lines can be things like “I just want to fall into your eyes.” “You are such fun to be with on stage.” “Thanks for helping me run lines.” The power here is that the emotions elicited are based on reality.
For example, if you are giving a loving monolog, you might focus on those things about your acting partner that evoke feelings of love: their eyes, the way they share energy on stage (if they really do), the sound of their voice, their shared commitment to the theater, etc. One of the most powerful ways to use the inner monolog is believability. Becoming aware of the role the inner monolog can play in our acting helps you organize your acting preparation and gives you a powerful tool to solve acting problems.
If you are relaxed, grounded and in the “here and now” and allow yourself to be reactive, the inner monologue triggers the reactions that make up your stage performance.Īctually, you already do this, though perhaps not consciously. In spontaneous, natural acting, the inner monolog provides the raw fuel for the performance. Your character also has an inner monolog. It’s your “stream of consciousness.” At any given time, you have multiple tracks going – a complex jumble of thoughts, feelings, and sensations.
#Internal monologue definition how to#
It’s those thoughts flitting through our mind as we puzzle out how to live our lives the sensations brought to us by our eyes, ears, nose, and sense of taste and touch the feelings life evokes.
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