Live Binders why not benefit from work other people have already done? You can search this public site for collections of interp pieces pulled by other teams or competitors.
This takes a little more time because of the number of scripts out there, but you may find some useable pieces. Remember, research takes time and patience. SpeechGeek this site is a collection of resources for all events. Not all scripts are created equal, though, so read and purchase at your own risk.
Forensics Community this forensics community forum has a vast amount of information. Some is useful, some is less useful, some is free, some costs money. The Interp Store this site offers a large selection of pieces written specifically for speech competitors.
These pieces often require a lot of personality and innovation. If you are good at characters and can bring meaning to pieces, some of these have been quite successful on the national stage. Consortium Publishing this site also offers pieces written specifically for speech competitions.
Narrow your search from there. Remember to keep an open mind. For instance, Shakespeare and Hemingway may be be less effective choices for DI because the language is archaic and less conversational. Find a script that when read aloud, feels natural, or comfortable to speak and hear. Tense is also an important factor of selecting a dramatic interpretation. An anchor reality is the imagined-space from which the character is speaking. Throughout the story, she may move to other realities that exist in a different space and time, but she will return to tell her story from her anchor reality.
Also, consider how the tense will influence blocking, or movement in the performance space, before deciding on a selection. Go to your local library, visit the biographies section of a bookstore, or visit Play Scripts, Dramatists, or Samuel French online. These are just a few of the places you may find material for your performance. There are a few key structural components of every DI:. Your cutting is the 10 minute portion of your selection you chose to perform.
It will directly influence the other two aspects of your performance. The choices you make about your character should be informed by the script itself. Sometimes blocking is expressive in nature, symbolizing how that character is feeling emotionally, while at other times, denotes events that are occurring in the imagined space i. An introduction explains the purpose of the performance.
This means reading the script aloud and making notes as you go. Use this to influence blocking choices. Indicate rough blocking in the margins of your script. Choose gestures that reflect the emotional state of the character, or blocking that enhances or creates the illusion of the imagined space of the character. Think in terms of symbolic gestures and psychological gestures. A symbolic gestures is a gesture that is not commonly used in day to day communication. However, it communicates without words the idea of freedom.
Conversely, a psychological gesture is one that is found in conversation. Examples include, scratching your nose, or shaking your head yes or no. Read your script aloud. Eliminate any excess language that sounds awkward or is unnecessarily redundant. A DI script should be no more than 1, words, which requires continuous cutting of superfluous language.
Here are some things to keep in mind, to help simplify the process:. First, our brains are a muscle. The more time you practice memorizing, or simply memorize things, the better you become.
Often, performers take more time in the beginning of a season to commit a script to memory than they do at the end of the competitive season. In a deeply personal monologue, Benedict Arnold reflects on a life marked by heroism, betrayal, and regret.
This work of historical fiction will delight fans of Hamilton and American history. Performers ready to showcase their acting skills will find many opportunities here.
Jack, the Lionheart by Bobby Lebeda - New for What does love mean when it brings us to the breaking point? In a brutally honest monologue, David describes choosing between himself and Jack, a choice that would haunt him forever.
For actors ready to show the full range of their dramatic skills. Alex has a morbid job: he does makeup on cadavers before funerals. He does not take his work lightly, but instead invests himself wholly in it, using his focus to recall some of the most crucial moments of his life, and reflect on his strained relationship with his father. The stunning ending of "Living In Color" will put the final touch on the careful complexion of Alex's revelations.
A veteran returns from the Iraq War, scarred over his whole body from burn wounds he received in combat. He knows that life is never going to be the same, for him or his family. But what he's not prepared for is the reaction of his daughter, who is now scared to look at him or be alone with him. Over the course of this heartbreaking monologue, both father and daughter learn a new and deeper definition of love.
Blending dark humor with a devastating double loss of innocence, this piece is perfect for a powerful male performer ready to show the full range of his emotions. A young man tells of his friend Jake, who just killed himself before the end of their junior year of high school. He takes on the task of sorting through some of Jake's stuff, when he discovers Jake's journal, and the terrible secret that drove him to death: an affair with a teacher.
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