Writing, performing, filming, directing, and editing this monologue was a challenge and a gift. The monologue captures a young woman (Claudia) describing how she was urged to sign a document that prevents her from acknowledging any sexual violence she witnesses while touring with a legendary musical act.
In the monologue Claudia wears an oversized denim jacket, gold, lavish earrings and is drinking a glass of white wine. Her speech is syncopated and slow. It’s clear this is an intimate conversation by her steady tone, low volume and somewhat composed behaviour. There is an oddity between her glamour, composure, baggy clothing, and the need for alcohol to get through the conversation. This combination of elements of in her characterisation, is clue that Claudia is at odds with her identity.
Claudia’s dream is to be a Jazz singer and so this document presents a problem for her. The stakes are high, she risks losing the opportunity to tour. I intentionally wanted Claudia to be put under pressure knowing it would reveal information about her character and strip away her mask (McKee 1999). We discover her character values protecting others before serving herself, a trait commonly inscribed in the hero archetype.
Throughout the monologue Claudia reveals she considered signing the document. The Hero is a character who evolves and so I included this confession to make her human and to give her character arc and opportunity to develop (Vogler 2007).
Where I think this character could be improved is in developing more contrast between her characterisation and true character. As it appears now, Claudia’s inner and outer appearance match quite neatly. This doesn’t create much space for surprise (McKee 1999). I would also potentially restructure this into a two-hander scene, which would follow the interaction she had with the lawyer asking her to sign the form. This scene could reveal more about her true character juxtaposed against her characterisation. We would see the battle she describes in the monologue unfold and fathom her true character through behaviour instead of a re-telling of events.
One of the biggest struggles of filming was to generate characterisation to work alongside the script. While writing the piece I wrote for Claudia’s inner character and struggles, but didn’t consider her backstory, how she appears, where this conversation should take place or what relationship she has with the person she is speaking too. Next time I want to consider power questions such as the “CDQ (Central Dramatic Question), CTQ (Central Thematic Question)” Batty (2012, p. 62) to develop the character in relation to the story.
While working on this assignment I have discovered the extent to which the technical arrangement of the edit and mise en scene contribute to what we assume about a character. For example, I recorded an alternative shot while filming the monologue, an extreme close up of Claudia’s face. This kind of access to her eyes makes it easier to project our own interpretations of who she is and what she believes onto her. This quote puts it nicely. “the editor creates a story and characters from their footage, they are establishing a relationship between the filmed person and the audience via the film.” Gough-Brady (2019 p. 7).
References
Batty, G 2012, Screenplays How to Write and Sell Them, Oldcastle Books, Harpenden, UK.
Gough-Brady , C 2019, ‘The Act of Looking’, Video Journal of Education and Pedagogy.
McKee, R 1999, Story: Substance, Structure, Style and the Principles of Screenwriting, Methuen Publishing Ltd, London, UK.
Vogler, C 2007, The Writer’s Journey, Michael Wiese Productions, San Fracsico, USA.