Monologues: Being There as it Happened.
Most monologues contain sections of description. Characters often will recall events, describe surroundings and relive moments of revelation in monologues.
Since monologues are really scenes in which one person speaks and another listens, or more accurately responds in silence, it is crucial that the actor RELIVE the experiences that are contained in the monologue, not simply recall them as a laundry list.
What was the situation? Be in that situation.
What was happening? Be there as it happened.
What was changing? Be there as the revelations or discoveries occur.
In this way, we achieve the idea of living moment to moment even as we are recalling something that already happened.
Monologues are usually constructed according to rhetorical principles.
A statement or thesis is presented, then an argument that supports the thesis, then a conclusion that is the result of the thesis and argument.
Descriptive material is usually couched in the argument section of as monologue.
That is where the character must go deep into that lived reality and RELIVE it.
This will make your conclusion much more powerful and effective in changing the other person in the scene with you, which is what you trying to do in the first place.
Don’t forget to receive whatever it is the other person is doing and let that inform why you keep talking: are they listening? Are they reacting? If so, how? Are they turning away? Going through their own journey as you speak?
When using a monologue for an audition, it is even more crucial to vividly describe the inner workings of the monologue, while at the same time taking in the other person you are talking to. They are alive, and we need to sense that they are having an impact on you, even if they are silent.