VCE Monologue

Hi,

My name is Sean and I am studying 'The Winter's Tale' in high school as part of my subject of theatre studies. I have to present a monologue from the text to be assessed upon come the end of the year.

The monologue that I have chosen is that of Antigonus when he abandons the baby Perdita in Bohemia and talks of the vision he had of Hermione in a dream when she tells him of how he will never again see his wife Paulina. At the conclusion, he is chased of by a bear.

Any discussion I could generate on this piece would be most helpful. So, what are your thoughts and feelings, ideas or visions of this monologue? If you too are studying this piece as part of your VCE (Victorian Certificate of Education; Victoria being a state in Australia) please feel free to share any ideas you my have on this monologue.

Thanks,
Sean

Sean, I remember paying some close attention to this monologue several years ago and how it really "wowed" me. Very, very sensitive and visionary speech. By responding here, I'm sortof committing myself to get it out again and see if I could give you anything that is workable. Hopefully in a day or two, but perhaps a few more.

I assume "the end of the year in Aussie-land is in 3-5 months. Hope you have plenty of time to do a good job on this monologue. I looked at it again, and it is first-rate, really rare.

I don't have a lot of intellect-related stuff to say. But instead I would recommend you get a hold of the book "Acting Shakespeare" by John Barton. His chapters cover every aspect of both the words of monologues and themes, imagery, etc. One chapter he has is about saying "long" monologues, and this one is quite long. He gives some very solid ideas to work with.

It is similar to Clarence's speech in Richard III, about his dream about Richard accidentally pushing him off the side of a ship at sea and falling down, down, down into the depths.

So likewise, this is a dream, or a re-telling of a dream. Since it's of the ghost or spirit of Hermione appearing at the foot of his bed and then speaking to him and giving him instructions. Obeying this spirit is crucial, because it looks as if he's going to leave the child on this inhospitable island to die. But the dream-appearance gives him courage and faith to follow through on this pledge. Line 38 he kindof comes out of this "imagery state" (he is recollecting what he experienced last night -- he is re-telling last night's prior event) and he (now back in the present) philosophizes "Dreams are toys" and for a moment he might think or feel to himself: no, this is nuts, ghosts and dreams aren't real or worthy to be listened to or obeyed. But ("Yet for this once ...") he will, nevertheless, follow through on its instructions, because what the ghost said all makes sense (sortof like Brutus' speech about Caesar - "But 'tis a common proof ....")

"Blossom, ..." -- it is very difficult for him to leave the basket with the baby there. He is really in a difficult state. He is beyond weeping, but his heart is bleeding. They he even says something like what Hamlet I believe says "Oh cursed spite that makes me to set it right" (something like that).

This is not a loud or declamatory speech until the ending has some exclamation points. You have to sustain a lot of imaginitive thinking. Remember that the environment is stormy -- see Mariner lines 3-4.

It is a speech where you are supposed to do something (leave the baby on the ground and get back to the ship) but you hesitate, hesitate, hesitate. You probably, over the course of the voyage on the ship, have come to adore the baby. It is scarry what you are supposed to do; mean; inhuman; cruel; tortuous; dangerous. And you feel responsible for it.

You can't rush this speech; but you also have to sustain it. You have to hold it up, keep it going forward.

Much of the speech could be said directly to the baby. You are talking to her much of the time. Talking to her and to yourself, and to the elements (the rough sky, howling winds). The other character in the scene is the spirit, or ghost. You should have a very visual picture of Hermione, although she is changed from when you knew her back in the kingdom. She's a spirit now. You pity her too. You try to do right by her; it's her child.

It's a tear-jerking moment; very sad and sweet, mysterious and real.

Thanks so much for your advice, which has been of great help to me as I start on the development of my piece.
If anyone else has any further ideas regarding this monologue, I'd greatly appreciate hearing them.
Thanks,
Sean