Last week saw the VCE Theatre Studies Class undertake their Performance Examination: The Interpretation of a Monologue. The following paragaraphs are the openings of their Interpretation Staement which they read to the two Assessors after they have performend their monologue.

Jett Banyai: Monsieur Arcati from Blithe Spirit by Noel Coward.

“In my interpretation of Noel Coward’s ‘Blithe Spirit’, I use variation: energy throughout the monologue to better represent the eccentric character of Arcati. Through the different parts of the monologue, I modulate my pitch, postures, facial expressions, and pauses to establish the energy of the character, as well as the dynamic between them and the other characters in the script.”

Will Hemsley: Tetsuro Shigematsu from Empire of the Son by Tetsuro Shigematsu.

“In my interpretation of ‘Empire of the Son,’ I intend to use variation specifically in my use of the space to highlight the performance in front of a string of printed photographs taken from the selected script. This choice, in conjunction with lifted balloons boxing the stage, will work together to create a framed backdrop, representative of documenting memories and Tetsuro’s ability to re-enact and re-live them in my portrayal. His social alienation will be clear in his mannerisms, specifically with the choice to pace and appear paranoid or emotionally reserved throughout the performance.”

Gabriel Kapaklis: Jean from Dead Man’s Cell Phone by Sarah Ruhl.

:During my interpretation of the opening to Sarah Ruhl’s Dead Man Cell Phone, I use clear references to Edward Hopper’s paintings, reflected through the use of tableaux to illustrate the urban isolation that his paintings possess. I utilise theatre technologies with a jarring default apple ringtone (xylophone) in a soundscape to help tell the story. Throughout the opening tableau, stillness and silence are used to juxtapose the harsh ringtone, in order to create variation: tension.”

Peter Liptai: The Chorus from Antigone by Jean Anhouilh.

“During my interpretation of Jean Anouilh’s ‘Antigone’ all actors sit on the stage perimeter watching the events of the play unfold. This is acknowledged by the Chorus, whose monologue begins USL before slowly crossing DSR showcasing motion: arrangement, increasing the dramatic tension.

As an actor I employ the element of rhythm: tempo, emphasising the monologue’s key moments with pauses and varying delivery speed. The theatrical style of Epic Theatre is conveyed through direct address, forging a strong actor-audience relationship.”