Standing in a Character s Shoes: Deeper Meaning Through Monologues

A Professional Development Opportunity for Teachers Standing in a Character s Shoes: Deeper Meaning Through Monologues Part One For Teachers of Grades 4 12 Written and Presented by Mary Hall Surface 2011 - Mary Hall Surface All Rights Reserved Standing in a Character s Shoes: Deeper Meaning Through Monologues 0

PART ONE TABLE OF CONTENTS INTRODUCTION 2-3 ACTIVITY ONE: Introduce the Monologue 4-11 STEPS TO CREATING A MONOLOGUE (Graphic) 12 THE CREATIVE PROCESS (Graphic) 13 ACTIVITY TWO: Write a Monologue to Deepen Understanding of a Character in a Poem 14-18 ACTIVITY THREE: Write a Monologue to Deepen Understanding of People and Events in History 19-24 FINAL REFLECTION FOR TEACHERS 25 SUPPORTING MATERIALS and EXAMPLES 26-50 STANDARDS OF LEARNING 51-52 LIST OF SUGGESTED RESOURCES 53 MEET THE PRESENTER 54 This workshop was developed in association with The John F. Kennedy Center for the Performing Arts April 2011 Mary Hall Surface Standing in a Character s Shoes: Deeper Meaning Through Monologues 1

Standing in a Character s Shoes: Deeper Meaning Through Monologues A Two-Part Workshop with Mary Hall Surface Introduction Purpose: This workshop uses drama to imagine and write monologues to deepen understanding of characters from literature, history, and young writers imaginations. How: The workshop introduces the tools that actors use when interpreting a monologue for performance. Actors bring a text to life by seeking to understand the emotions beneath a character s words the subtext and how those emotions change the turning points. Asking questions and inferring are essential skills for the actor when using these tools. Goals: This workshop will: Empower you with the tools needed to stimulate a deeper understanding of character, motivation, and relationship in student reading and writing. Provide you with a structure and process for writing monologues in the language arts and social studies curriculum. Why write monologues with your students? In the crafting of these monologues, your students will be asked to step into the shoes of someone else. Through empathy, a student s understanding of him/herself and, just as importantly, of others is expanded. I believe this translates into a more open and compassionate classroom and, indeed, world. This is why I do theater and why I bring its tools and treasures to students and teachers. One of the most important aims of teaching is to prompt students to empathize with other human beings Empathy encourages students to construct a more profound "we" than daily life ordinarily permits. Linda Christensen in Reading, Writing, and Rising Up Standing in a Character s Shoes: Deeper Meaning Through Monologues 2

When writing monologues, students will: Try on the feeling of a character in a specific moment. Make connections from their own life (through memory and imagination) to the life of this character. Grow to empathize with someone who at first may have seemed completely different or far away from who they are. Build inference skills while deepening their understanding of the emotions and motivations of characters. Look beyond the surface facts of a moment in a text or in history, and search for deeper meaning, both as readers and as writers. Work at the highest levels of thinking. Bloom s Taxonomy for Thinking Students will first recall what they know, then use that knowledge along with new information in a way that builds new understanding. They will apply and analyze the information as they synthesize it through the imagining and improvising of a monologue. They will evaluate their efforts and finally create an original monologue. The era of left brain dominance, and the Information Age that it engendered, are giving way to a new world in which right brain qualities-inventiveness, empathy, and meaning-predominate. Daniel Pink in A Whole New Mind Standing in a Character s Shoes: Deeper Meaning Through Monologues 3

Teachers: In the learning activities, I ve offered some helpful language for you to use in working with your students. That language is in italics. ** Enjoy! ** Activity One: Introduce the Monologue Purpose: To define a monologue and the silent partner. To introduce the tools of subtext and turning points the emotions and motivations behind the words an actor says, a reader reads, a writer writes, and how they change in key story moments. Materials Needed: 2 3 copies (depending on your class size) each of: Duncan, Elena and Zareen: What Three s? Handouts (see pages 27-29). Duncan, Elena and Zareen Monologues Handouts (see pages 30-32). Katie, Carlos and Alan Monologues for classroom posting (see pages 35-37). Discovering al Subtext Handout (see page 47). Pencils Overview of the Process for Activity One: Step One: Step Two: Step Three: Step Four: Step Four: Step Five: Step Six: Read Pictures for Introduce a Monologue and the Silent Partner Introduce Turning Points Introduce al Subtext Identify al Subtext Refine the Monologue Definition Reflect Step Four of this activity uses monologues from Short Scene and Monologues for Middle School Actors, one of two collections I have written for classroom use. (See List of Suggested Resources on Page 53.) Standing in a Character s Shoes: Deeper Meaning Through Monologues 4

Activity One: Introduce the Monologue Step One: Read Pictures for 1. Divide your class into groups of three. Distribute the handouts What Three s? There are three different handouts, each picturing a different student. Give each group only one handout, so that two to three groups will have Duncan, two to three groups will have Elena, etc., depending on your class size. 2. Meet Duncan, Elena and Zareen. They are students, standing in a school hallway. He/she is talking to someone. Take a close look. Notice how different each character looks in the three pictures. What do you think this person is feeling in each of the three pictures? Look at his/her face. Look at how he/she is holding her body. What do you think might be happening? Who do you think he/she might be talking to? Chose one word that you think best describes that emotion and write it in the box under each picture. Take two minutes. 3. Ask one member of each group to share the group s emotion words with the class. Have students describe what they noticed about the person s face or gestures that gave them clues about what he/she was feeling. Note how different groups find different emotion words for the same pictures. Step Two: Introduce a Monologue and the Silent Partner 1. The pictures you just viewed were taken of student actors when they were performing a short monologue. Do you have any ideas what a monologue is? The word is based on two Greek words: monos that means single or alone and logos that means word or speech. So a monologue is when one character is speaking without any other characters talking. Monologues can be found in dramatic writing; that is, in plays. They are usually the length of a short paragraph and last for several moments on stage. Playwrights use them to delve into the deepest parts of a character to give the audience a chance to experience the character in a way dialogue does not. 2. It is helpful to consider the difference between dialogue and monologue to better understand monologue. Pick two students and ask them to improvise a quick dialogue. Let s imagine that you are two students, in a hallway, talking about what you re going to do after school. Think on your feet. (Model one or two lines of what they might say.) Student A: So are you going to the game this afternoon? Student B: Sure! Then I ve got music lessons. Do you take lessons? Standing in a Character s Shoes: Deeper Meaning Through Monologues 5

Activity One: Introduce the Monologue (Continued) Once the students have exchanged eight to ten lines of dialogue, you can stop them. That s dialogue --two characters talking to each other. In a monologue, only one character is talking. But there is another (imaginary) character on stage-- the silent partner. He/she is there because it makes the writing more dramatic. The character speaking needs or wants something from the silent partner, even if it is just to listen. 3. Distribute Duncan, Elena and Zareen Monologue Handouts (pages 30-32), matching monologue to pictures. Now each group has an example monologue that goes with your What Three s picture, written by students like you. You ll see the emotions that the young writer read in the pictures in the three boxes below the monologue. Are they the same or different from the emotion words your group chose? Note how there are multiple ways to read a picture. 4. Read the monologue aloud in your group. Stand up. Try to capture the emotions in your voice and body. Use the pictures as inspiration. Imagine you are talking to the silent partner the student s friend. Everyone in the group take a turn. Having the students up and moving encourages them try out being the character. Say the words out loud. Imagine how the character feels. Stand in their shoes. Step Three: Introduce Turning Points 1. Duncan, Elena and Zareen were certainly feeling some strong emotions in the monologues! Three different emotions. Let me read Duncan s monologue (or ask an expressive student to read it). Listen carefully for the two places in the monologue where Duncan s emotions change very strongly. DUNCAN Why don t you just go away and leave me alone! I never ever want to see you again. [tp] Wait. Don t go. [tp] I m sorry. I didn t mean it. 2. As a class, identify the two specific points in the text where the emotions clearly change: 1) Between see you again and Wait. 2) Between don t go and I m sorry. Actors call these moments in a monologue turning points. A turning point usually happens because the character discovers something new about what is happening or what he/she is feeling. Sharp, strong turning points are what make monologues interesting and dramatic. Standing in a Character s Shoes: Deeper Meaning Through Monologues 6

Activity One: Introduce the Monologue (Continued) 4. Ask a student to read the Elena monologue and identify the turning points as a class. Ask another student to read the Zareen monologue and identify the turning points as a class. Write TP in the place where you hear the turning point in the text. ELENA Really? Do you like it? [tp] I don t believe you. I bet you re just saying that. [tp] Why do you always make fun of me? Why?! ZAREEN Don t worry. Just tell me what s on the test. You won t get in trouble. [tp] Hurry, the teacher s coming. Quick! Tell me! [tp] Don t you understand? I can t fail! It can be helpful to have a student stand opposite the reader as the silent partner and physically turn toward or away from the reader at the turning points. Step Four: Introduce al Subtext 1. Reading these monologues out loud gave you the chance to stand in the shoes of these characters and experience how they feel. Actors call the emotions beneath the words of a character the subtext. To discover these emotions, the actor must imagine what a character feels and why. Key Questions an actor asks: What do I know about this character? What can I infer about this character? What can I draw from my own memory and imagination to enrich and deepen my understanding of this character? How can I use my voice and body to communicate the subtext through the text? 2. Ask students to look again at their What Three s handout. You dug deeply into those pictures to discover the emotional subtext. The only thing you knew was that it was a student (WHO) in a classroom (WHERE.) You had to read between the lines to imagine what might be happening and who they might be talking to. Standing in a Character s Shoes: Deeper Meaning Through Monologues 7

Activity One: Introduce the Monologue (Continued) This three emotion, two-turning point monologue is the model of the structure that we will be using to write monologues together. We will be using tools that actors use--the finding of turning points and emotional subtext--to explore the emotions and motivations (the whys ) of characters from literature, history and your own imagination. We will step inside their shoes to imagine what is happening to them and how they feel. Have you ever felt like Duncan, Elena or Zareen? This is called empathy when you can feel the feelings of someone else. Our goal is to become deeper readers and more vivid, dramatic writers. Step Five: Identify al Subtext 1. Duplicate two to three copies of each of the three monologues on pages 35-37 and post them on the walls around your classroom. Divide the class into groups of three, giving each group one Discovering al Subtext Handout (p. 47). Duplicate the emotion list (p. 34) on the back of handout for ready reference. 2. Now we re going to stand in some more characters shoes and dig down deeply to discover the emotional subtext. Let s meet Katie, Carlos and Alan. Ask each group to find one of the new monologues posted in the classroom. The turning points are where you see TP in the text. But what are the emotions the character is feeling under the three parts of the monologue? As a group, decide what one emotion word best describes that feeling. Try having each member of your group read one part of the monologue. Can you feel what the character is feeling? If you need some ideas for emotion words, look at the list on the back of your handout. Record the three emotion words you chose on your graphic organizer. 3. Also identify and record on the Discovering al Subtext Handout: WHO is speaking? WHERE are the characters? WHAT is happening? SILENT PARTNER: To whom is the character speaking? Standing in a Character s Shoes: Deeper Meaning Through Monologues 8

Activity One: Introduce the Monologue (Continued) 4. Once each group has chosen three emotions, ask them to move to another monologue, so that all groups have a chance to analyze all three monologues. 5. Now organize the class so that two groups come together to share their emotion words. Are they the same? Similar, but different? Very different? If very different, ask students to defend their choices. Provide copies of the monologues for reference. 6. Conclude by asking several students to share the monologues out loud with the class. As students are sharing, create a list of specific things the students do well to communicate the emotional subtext and turning point using the chart Communicating. (See page 38) This allows students to construct criteria for effectively presenting their writing on-stage. Keep this list as a reference for students to not only implement the ideas themselves, but also offer useful suggestions for strengthening the communication of their peers. (Examples: What if you crossed your arms, covered your ears, spoke more slowly, paused longer ) Step Six: Refine the Monologue Definition Did you notice that all six of the monologues we have explored are set in one place (no change of locale during the monologue) and happen all at one time (no five minutes later in the middle of the monologue.) And no one was talking to him/herself (that s a soliloquy To be or not to be. ) And all had three emotions and two turning points. A monologue is a short dramatic text: In which only one character is speaking. Set in one place (no change of locale during the monologue). Happening all at one time (no five minutes later in the middle of the monologue). Directed to someone (not talking to him/herself). Provides deep insight into the character s feelings and motivation. Standing in a Character s Shoes: Deeper Meaning Through Monologues 9

A Three, Two-Turning Point Monologue Xxxxx x xxxx xxxx xxx xx 1 Place 1 Time 1 1 Place Turning Point 2 Turning 1 Point Standing in a Character s Shoes: Deeper Meaning Through Monologues 10

Activity One: Introduce the Monologue (Continued) Step Seven: Reflection Why do actors search for the turning points and subtext in a play? Why should you as a reader? As a writer? How did you know what Katie/Alan/Carlos was feeling? What did you infer? Did you ever ask yourself why the characters felt the emotions? When you shared a monologue, how did you communicate the subtext and the turning points? Can you imagine a character that you would like to write a monologue for? TEACHER REFLECTION: Why are we emphasizing emotions? Young writers most often focus on plot on what is happening. This workshop is designed to encourage students to explore why the events are happening what motivates a character. This leads to deeper understanding of both character and of self. Why was it important to construct a list of ways to effectively communicate the emotions and turning points in monologues using bodies, voices, and gestures? While this is not an acting workshop, it is useful to ask the students to construct a list of ways to effectively communicate the emotions and turning points in their monologues using their bodies, voices, and faces. The more effectively a student communicates, the more deeply he/she will empathize with his/her character, which enriches the writing process. And the list, in subsequent activities, gives the students (and you!) specific ways to help them strengthen and revise their writing before they ever put pen to paper. What are your first thoughts on how you might use the writing of monologues in your classroom? Standing in a Character s Shoes: Deeper Meaning Through Monologues 11

Steps to Creating a Monologue STEP 9: Perform the Monologue STEP 8: Share, Reflect, and Revise STEP 7: Write the Monologue STEP 6: Share, Reflect, and Revise STEP 5: Improvise the Monologue STEP 4: Imagine the Monologue STEP 3: Choose and Sequence Three Best s STEP 2: Dig Deeper Identify the Known and Infer the Possible STEP 1: First Response Read the Source for Standing in a Character s Shoes: Deeper Meaning Through Monologues 12

The John F. Kennedy Center for the Performing Arts Laying a Foundation: Defining Arts Integration Standing in a Character s Shoes: Deeper Meaning Through Monologues 13

Activity Two: Write a Monologue to Deepen Understanding of a Character in a Poem Purpose: To stimulate a deeper understanding of a text and a character through the monologue writing process, by applying the skills learned in Activity One. To encourage students to make personal connections to the text to enrich their imaginative writing. To build students inference skills. To inspire vivid, emotionally rich writing. Materials Needed: Copies of The Land of Counterpane by Robert Louis Stevenson (see page 39) Graphic Organizer A: What is the Character Feeling? (see page 48) Graphic Organizer B: Text/History Based Two-Turning Point Monologues (see pages 49-50) (An example of completed Graphic Organizer A is on page 40.) (An example of a completed Graphic Organizer B is on pages 41-42.) Pencils Overview of the Process for Activity Two Step One: Step Two: Step Three: Step Four: Step Five: Step Six: Step Seven: Step Eight: Step Nine: Step Ten: First Response: Read the Source (the poem) for Dig Deeper: Identify the Known and Infer the Possible Choose and Sequence Best s Imagine the Monologue Improvise the Monologue Share, Reflect, and Revise Write the Monologue Share, Reflect, and Revise Perform the Monologue Reflect This activity can be taught by dividing the students into groups of three as in Activity One, creating one monologue per group. Students may also work productively in pairs, with each student creating a monologue and working with their partner for Improvising, Sharing, Reflecting, and Revising. Standing in a Character s Shoes: Deeper Meaning Through Monologues 14

Activity Two: Write a Monologue to Deepen Understanding of a Character in a Poem (Continued) We re now going to apply the tools and process we learned in writing a two-turning point monologue to writing a monologue for a character in a poem. We re going to stand in that character s shoes and imagine how he might feel and capture that in our writing. Step One: First Response Read the Source (the poem) for 1. Read aloud The Land of Counterpane by Robert Louis Stevenson (see page 39). WHO is the character? WHERE is he? What is happening in the poem? What might the character be feeling? Encourage students to make connections with their own lives. How do you feel when you are sick and have to stay in bed? How do you entertain yourself? 2. First Response: Using Graphic Organizer A (See page 48) ask students to capture at least five one-word emotions from their first reading of the poem that describe how the character is feeling. Record those emotions on the top half of the graphic organizer. (Duplicate the emotion list (p. 34) on the back of Organizer A for ready reference.) Step Two: Dig Deeper--Identify the Known and Infer What is Possible 1. Identify the Known Read the poem again. What specifically do we know about the character from the text? Make notes in the Know box on Graphic Organizer B (see pages 49-50). Examples: He is sick. He is playing with his toys: soldiers, ships, trees and little houses. He is imagining that his quilt is the countryside. He thinks of himself as the giant looking over the land. 2. Infer the Possible Define Inference. Writers tell us more than what the words actually say. You can read between the lines, go beyond the surface details of what we know and discover meanings beyond what the words explicitly say. You can deduce or conclude deeper meanings and emotions. This is called inference. a. What can we infer about the character from the poem? Make notes in the Infer box on Graphic Organizer B (see pages 49-50). Examples: The child has a vivid imagination. The child creates the hills of his land with his bent legs. The child likes/ needs/ wants to be the giant over the land. Why? Because it is fun? Because being sick makes him feel powerless so he pretends to be powerful? Standing in a Character s Shoes: Deeper Meaning Through Monologues 15

Activity Two: Write a Monologue to Deepen Understanding of a Character in a Poem (Continued) b. Dig deeper! Now that you have inferred more about the character, what now do you think he might be feeling? Using Graphic Organizer A, capture at least five one-word emotions from your deeper reading of the poem that describe how the character is feeling. Record those emotions on the bottom half of the graphic organizer. Step Three: Choose and Sequence Best s 1. Now that you know the character in the poem better, step inside his shoes and feel which three one-word emotions from your Graphic Organizer A best capture how he feels when he must stay in bed. Choose the three emotions that you feel would best reveal his character as the subtext for a monologue? Star or circle them. 2. How could you sequence those three emotions to create the most dramatic turning points? The sharper the turning points (i.e., from happy to jealous, from hopeful to sad), the more dramatic the monologue. Ask students to capture the sequence on Graphic Organizer B (see pages 49-50). Step Four: Imagine the Monologue Now, keeping the same setting as the poem, imagine a moment in the child s room in which he might experience your three-emotion, two-turning point sequence. What is happening to him? Examples: He is watching the sun go down. He is waiting for the doctor to arrive. He is saying good-bye to a friend. Who is he talking to? Examples: His mother. One of his toys. Why does he feel this way? Examples: He longs to be outside. He is frightened by his illness. He does not believe that he is really sick. Make notes in the Imagine box on Graphic Organizer B (See pages 49 50). Students will naturally want to imagine the monologue as they are sequencing the emotions. As they imagine, they may test out different sequences, searching for the sharpest turning points. They will be stepping up and down steps three and four of the Creating a Monologue process several times, experiencing the creative process. Standing in a Character s Shoes: Deeper Meaning Through Monologues 16

Activity Two: Write a Monologue to Deepen Understanding of a Character in a Poem (Continued) Step Five: Improvise the Monologue What might the boy in the poem say and do to express the three emotions and two turning points? Working in groups of three, get the students up on their feet, imagining that they are the character. Student 1 improvises words that he/she thinks expresses 1. Student 2, 2. Student 3, 3. Remember the relationship to the silent partner. Students should write out loud, trying different words and phrases to best capture the emotions and tell the story of the character. Step Six: Share, Reflect, and Revise Students SHARE the improvised monologues within their group in the process of step five. Now pair groups to share their monologue-in-process. Ask students to REFLECT on whether the words and actions used by each actor/writer capture the emotions and communicate the turning points. Students should make suggestions to REVISE the monologues. Students should reflect back on the subtext and pinpoint specific turning points when critiquing others. Reference the criteria created in Activity One for effectively communicating emotion. Step Seven: Write the Monologue Students are now ready to write. Complete Graphic Organizer B (see pages 49-50) by committing their monologue to paper. The original group of three can write one or each student can now write his/her own. NOW, you are ready to write! Step Eight: Share, Reflect, and Revise SHARE the written monologues by reading them expressively to the class. Remind students: Use your voice, body, and face to help communicate the subtext and emotions beneath your writing. Ask the class to REFLECT on the monologue, making suggestions for revisions in the text as well as ways to strengthen the performance. Ask students to make final written revisions to the text and to build on the suggestions for strengthening the performing of the monologue. Step Nine: Perform the Monologue Your writer/actors will enjoy presenting a final performance of their monologues for the class or larger school community. Standing in a Character s Shoes: Deeper Meaning Through Monologues 17

Activity Two: Write a Monologue to Deepen Understanding of a Character in a Poem (Continued) Step Ten: Reflect How did you get to know the character in the poem? How do you read between the lines? What did you learn about the boy in the poem by standing in his shoes and imagining that he was talking to someone? What other characters from literature would you like to explore through the monologue writing process? TEACHER REFLECTION How does this exercise build inference skills? How does this exercise build empathy for characters? How does this exercise help young writers BEGIN with the place they find hardest to go the why of what characters say and do? What other texts can you imagine using as a starting place for the monologues writing process? Standing in a Character s Shoes: Deeper Meaning Through Monologues 18

Activity Three: Write a Monologue to Deepen Understanding of People & Events in History * * This lesson assumes prior knowledge of the larger context of this source. It is designed for a 7 th grade social studies class engaged in the study of the US Civil War. Purpose: To stimulate a deeper understanding of a historical moment and character through the monologue writing process. To build the students inference skills through responding to a specific moment in history. To empathize deeply with a famous character from history. To inspire vivid, emotionally rich, insightful writing. Materials Needed: Reproduction of The First Reading of the Emancipation Proclamation before the Cabinet. (see page 43) Graphic Organizer A (see page 48) Graphic Organizer B (see pages 49-50). (An example of completed Graphic Organizer A is on page 44.) (An example of a completed Graphic Organizer B is on pages 45-46.) Pencils Overview of the Process for Activity Three: Step One: Step Two: Step Three: Step Four: Step Five: Step Six: Step Seven: Step Eight: Step Nine: Step Ten: First Response: Read the Source (the painting) for Dig Deeper: Identify the Known and Infer the Possible Choose and Sequence Best s Imagine the Monologue Improvise the Monologue Share, Reflect, and Revise Write the Monologue Share, Reflect, and Revise Perform the Monologue Reflect This activity can be taught by dividing the students into groups of three, creating one monologue per group. Students may also work productively in pairs, with each student creating a monologue and working with his/her partner for Improvising, Sharing, Reflecting, and Revising. Standing in a Character s Shoes: Deeper Meaning Through Monologues 19

Activity Three: Write a Monologue to Deepen Understanding of People & Events in History (Continued) We re now going to apply the tools and process we learned in writing a two-turning point monologue for a character in literature to writing a monologue for a historical character. We re going to stand in that character s shoes at a specific moment in time and imagine how he might feel and capture that moment in our writing Step One: First Response Read the Source (The Painting) for 1. Present a reproduction of The First Reading of the Emancipation Proclamation before the Cabinet (see page 43) to the class as a springboard for discussion of the events surrounding this moment, based on the student s prior knowledge. Ask students to step into the shoes of President Lincoln and imagine what he might be feeling at this moment in history. 2. First Response: Using Graphic Organizer A (see page 48) ask students to capture at least five one-word emotions from their first reading of the painting that describe how President Lincoln might be feeling. Record those emotions in the top half of the graphic organizer, with emotion word list (p. 34) on back for ready reference. Step Two: Dig Deeper Identify the Known and Infer the Possible 1. Identify the Known Read the painting again. What do we know about Mr. Lincoln in this moment in history? Make notes in the Know box on Graphic Organizer B (See pages 49-50). Examples: Lincoln was deeply troubled by the injustices of slavery. He was president of a deeply divided country. Lincoln wanted to end the war and reunite his country. Race to Research! This step inspires your students to know more! Who are the other people in the painting? Was the Emancipation Proclamation popular in the North? Did Lincoln have the support of his Cabinet? Of Congress? Did Lincoln take a big risk proclaiming the slaves freedom? The questions are endless. Your students will want to know more as they develop their monologues. They may need (and want!) to return to this step as they dig deeper and enjoy bringing history to life. Standing in a Character s Shoes: Deeper Meaning Through Monologues 20

Activity Three: Write a Monologue to Deepen Understanding of People & Events in History (Continued) 2. Infer the Possible a. What can we infer about Mr. Lincoln from this moment in history? Make notes in the Infer box on Graphic Organizer B (see pages 49-50.) Examples: Lincoln, like any leader under pressure, needed people to confide in. Lincoln found it hard, personally, to juggle political factions. b. Dig deeper! Now that you have inferred more about Lincoln in this moment in history, what now do you think he might be feeling? Using Graphic Organizer A, capture at least five one-word emotions from your deeper reading of the painting that describe how Lincoln is feeling. Record those emotions on the bottom half of the graphic organizer. Step Three: Choose and Sequence Best s 1. Now that you know Lincoln in this moment better, step inside his shoes and feel which three one-word emotions from your Graphic Organizer A best capture how he feels when poised to read the Emancipation Proclamation to his Cabinet. Ask student to choose the three emotions that you feel would best reveal his character as the subtext for a monologue. Star or circle them. 2. How could you sequence those three emotions to create the most dramatic turning points? Ask students to capture the sequence on Graphic Organizer B (see pages 49-50). Step Four: Imagine the Monologue 1. Enrich the process by asking students to take an imaginative step away from the source. Let s step even deeper into Mr. Lincoln s shoes and imagine the moment right before he walked into the room to read the Emancipation Proclamation to his cabinet. Imagine that he is feeling the three-emotions in the same sequence from Step Three, but he is talking to someone not in the painting. What is happening to him? Imagine he is just getting ready to open the door to go in. Who is he talking to? His wife? His son? His African-American butler? Why does he feel this way? This will depend on your three-emotion sequence! Standing in a Character s Shoes: Deeper Meaning Through Monologues 21

Activity Three: Write a Monologue to Deepen Understanding of People & Events in History (Continued) 2. Make notes in the Imagine box on Graphic Organizer B (see pages 49-50). **Students may change one of the emotions in their sequence of three if they present a valid argument: Does the silent partner they imagine evoke a profoundly different emotion?** The Goal: Empathy This resetting of the emotions forces the students to look more deeply into Lincoln the man to work to achieve more insight into his motivations, his life and his place in history. Their writing will capture historical content while exploring empathetically and uniquely an iconic American figure. Step Five: Improvise the Monologue What might Lincoln say and do to express the three emotions and two turning points? Working in pairs or groups of three, ask students to improvise a monologue based on the three-emotion, two-turning point sequence. Remember Lincoln s relationship to his silent partner. Encourage students to write out loud, trying different words and phrases to best capture the emotions and tell Lincoln s story in this imagined moment. Step Six: Share, Reflect and Revise SHARE the improvised monologues (in paired groups or with the whole class.) Ask partner/group/class to REFLECT on whether the words and actions used by the actor/writer capture the emotions and communicate the turning points. Suggest ways to the writer/group that the monologue can be REVISED. Students should reflect back subtext and pinpoint specific turning points when critiquing others. Reference the criteria created in Activity One for effectively communicating emotion. Step Seven: Write the Monologue Students are now ready to write. Complete Graphic Organizer B (see pages 49-50) by committing their monologue to paper. NOW, you are ready to write! Standing in a Character s Shoes: Deeper Meaning Through Monologues 22

Activity Three: Write a Monologue to Deepen Understanding of People & Events in History (Continued) Step Eight: Share, Reflect, and Revise SHARE the written monologues by students reading them expressively to the class. Remind students: Use your voice, body, and face to help communicate the subtext and emotions beneath your writing. Ask the class to REFLECT on the monologue, making suggestions for revisions in the text as well as ways to strengthen the performance. Ask students to make final written revisions to the text and to build on the suggestions for strengthening the performing of the monologue. Step Nine: Perform the Monologue Your writer/actors will enjoy presenting a final performance of their monologues for the class or larger school community. Step Ten: Reflect How did stepping into the shoes of Mr. Lincoln help you to better understand this moment in history? How can we use what we know about a moment in history to infer what and why a character might be feeling? How can we use what we know and infer to imagine a new moment that allows us to see deeper into a character? How does improvising the monologue support our writing process? Extend the Learning What would Mr. Lincoln s silent partner say if he/she had the chance? Follow the steps to create that monologue, too! Standing in a Character s Shoes: Deeper Meaning Through Monologues 23

Activity Three: Write a Monologue to Deepen Understanding of People & Events in History (Continued) Teacher Reflection: The monologue writing process can provide an insightful, creative form of assessment of your students learning. Brainstorm a checklist that could be used for assessment purposes. Does my monologue include: Word choice appropriate to the place and time. Sensory detail. References to other plot points or characters from the source literary text. References to historical events. Details from the historical character s life. Details about the setting of the monologue. Others? Standing in a Character s Shoes: Deeper Meaning Through Monologues 24

Final Reflection for Teachers (Workshop Part One): Educational psychologist Benjamin Bloom identified six levels within the cognitive domain, from the simple recall or recognition of facts, as the lowest level, through increasingly more complex and abstract mental levels, to the highest order--creating. As we created monologues today we followed the same sequence and process. We: READ the Source & IDENTIFIED the known INFERRED the Possible, then CHOSE, and SEQUENCED best emotions IMAGINED the Monologue IMPROVISED the Monologue WROTE and REVISED the Monologue REFLECTED How do you see this workshop s Steps for Creating a Monologue aligning with Bloom s levels of thinking? Closure: What do you see as the three greatest opportunities for using monologue writing in your classroom? What two things do you now know that you did not know how to do at the beginning of Part 1 of this workshop? What is one word that describes a discovery you made during this workshop? Standing in a Character s Shoes: Deeper Meaning Through Monologues 25

Supporting Materials and Examples ACTIVITY ONE: Introduce the Monologue 27-38 Duncan: What Three s 27 Elena: What Three s 28 Zareen: What Three s 29 Duncan Monologue 30 Elena Monologue 31 Zareen Monologue 32 Discovering al Subtext Handout (Example) 33 List 34 Katie Monologue 35 Alan Monologue 36 Carlos Monologue 37 Communicating 38 ACTIVITY TWO: Write a Monologue to Deepen Understanding of a Character in a Poem 39-42 Text of The Land of Counterpane by Robert Louis Stevenson 39 Graphic Organizer A: What is the Character Feeling? (Example) 40 Graphic Organizer B: Text Based Two-Turning Point Monologue (Example) 41-42 ACTIVITY THREE: Write a Monologue to Deepen Understanding of People and Events in History 43-46 Reproduction of The First Reading of the Emancipation Proclamation before the Cabinet by F.B. Carpenter 43 Graphic Organizer A: What is the Character Feeling? (Example) 44 Graphic Organizer B: History Based Two-Turning Point Monologue (Example) 45-46 BLANK GRAPHIC ORGANIZERS 47-50 Discovering al Subtext Handout 47 Graphic Organizer A: What is the Character Feeling 48 Graphic Organizer B: Text/History Based Two-Turning Point Monologue 49-50 STANDARDS OF LEARNING ADDRESSED IN WORKSHOP 51-52 LIST OF SUGGESTED RESOURCES 53 MEET THE PRESENTER 54 Standing in a Character s Shoes: Deeper Meaning Through Monologues 26

Duncan: What Three s? 1 2 3 ANAngeryooo Standing in a Character s Shoes: Deeper Meaning Through Monologues 27

Elena: What Three s? 1 2 3 ANAngeryoook Standing in a Character s Shoes: Deeper Meaning Through Monologues 28

Zareen: What Three s? 1 2 3 ANAngeryoook \ Standing in a Character s Shoes: Deeper Meaning Through Monologues 29

Duncan Monologue 13-year-old Duncan is talking to a friend in the hallway at school. DUNCAN Why don t you just go away and leave me alone! I never ever want to see you again. Wait. Don t go. I m sorry. I didn t mean it. 1 ANAngeryoook ANGRY 2 WORRIED 3 MISERABLE Standing in a Character s Shoes: Deeper Meaning Through Monologues 30

Elena Monologue 13-year-old Elena is talking to a friend in the hallway at school. ELENA Really? Do you like it? I don t believe you. I bet you re just saying that. Why do you always make fun of me? Why?! 1 ANAngeryoook HOPEFUL 2 INSECURE 3 RESENTFUL Standing in a Character s Shoes: Deeper Meaning Through Monologues 31

Zareen Monologue 13-year-old Zareen is talking to a friend in the hallway at school. ZAREEN Don t worry. Just tell me what s on the test. You won t get in trouble. Hurry, the teacher s coming. Quick! Tell me! Don t you understand? I can t fail! 1 ANAngeryoook CALM 2 ANXIOUS 3 DESPERATE Standing in a Character s Shoes: Deeper Meaning Through Monologues 32

Discovering al Subtext WHO is speaking? Katie WHERE are the characters? In the bedroom of a cabin she is visiting WHAT is happening? Rene has just seen her copying a poem from a book. SILENT PARTNER: To whom is the character speaking? Rene 1 Turnin GUILTY Turning Point 2 FEARFUL Turning Point 3 LOST WHO is speaking? Alan WHERE are the characters? In the drama classroom WHAT is happening? Teacher has just told him he cannot have a crown for their performance of Hamlet. SILENT PARTNER: To whom is the character speaking? drama teacher 1 Turnin BITTER Turning Point 2 ANXIOUS Turning Point 3 REJECTED WHO is speaking? Carlos WHERE are the characters? at school WHAT is happening? Rachel just told him she did not do the work for a school project on which they on partners._ SILENT PARTNER: To whom is the character speaking? Rachel 1 Turnin ANGRY Turning Point 2 CONFUSED Turning Point 3 CONCERNED Standing in a Character s Shoes: Deeper Meaning Through Monologues 33

EMOTIONS LIST Angry Annoyed Anxious Arrogant Ashamed Bitter Bored Calm Confident Conflicted Confused Content Curious Depressed Disgusted Ecstatic Empowered Envious Excited Fearful Guilty Happy Hopeless Impatient Indifferent Inspired Insecure Isolated Jealous Lazy Lonely Lost Miserable Paranoid Pleased Possessive Proud Rejected Resentful Righteous Sad Serene Wistful Worried Adjust for your grade level. This is a great vocabulary building exercise. Ask your students for the opposite of the emotions listed. Standing in a Character s Shoes: Deeper Meaning Through Monologues 34

Katie Monologue* 14-year-old Katie is in a bedroom of a cabin she is visiting. 14-year-old Rene just saw her copy a poem from a book. KATIE: Rene! What are you doing in here? Haven t you heard of knocking? No, don t say anything. Then you ll have to admit you were spying on me. Why wouldn t you spy on me? Who wouldn t want to see a great songwriter at work to know how she comes up with all her wonderful lyrics that everybody loves to learn her secret of how she always wins the school contests. [TP] Wait a minute. I bet you re thinking that I use these poems and say I wrote them myself. Aren t you? Go ahead. Admit it! That s what you re thinking. Isn t it? Isn t it?! [TP] (KATIE starts to cry.) Please don t tell, Rene. How else can I keep winning? I have to win. That s what everybody expects from me. To be first. Always. I have to be perfect. *From Surface, Mary Hall. Short Scenes and Monologues for Middle School Actors. Lyme: New Hampshire: Smith and Kraus, 2000. Standing in a Character s Shoes: Deeper Meaning Through Monologues 35

Alan Monologue* 12 year old Alan is talking to his drama teacher in their classroom. She has just told him he cannot have a crown for their performance of Hamlet. ALAN: But I m the prince! Hello! Hamlet, Prince of Denmark? I ve got to have a crown. Not a cheesy one, but a real one. Claudius gets a crown and he s a lousy murderer. You gave one to the Player King and Queen and they re fake royalty. I m the real thing! Watch. Suit the action to the words, the words to the action! Wasn t that princely? [TP] OK, I m not always on time to rehearsal. And Horatio and I messed around with the swords, but we were practicing. Really! He wanted to see what it was like to die since he s the only person in the play who doesn t. We were exploring the text like you said! [TP] The thing is see I told my Dad I d be wearing a gold one, with jewels. I had to tell him something to get him to come. He s never come. Now he ll think I m a liar. And we ll fight. What if I make it myself? Please? *From Surface, Mary Hall. Short Scenes and Monologues for Middle School Actors. Lyme: New Hampshire: Smith and Kraus, 2000. Standing in a Character s Shoes: Deeper Meaning Through Monologues 36

Carlos Monologue* 14 year old Carlos is talking to a friend, Rachel, at school. She just told him she did not do the work for a school project on which they on partners. CARLOS: You want us to get a bad grade?! I thought we were partners on this project. Look, I took all these pictures, got them developed, bought the poster board and printed out the map. What were you supposed to do? Just write three little index cards full of facts about the kind of rocks we found. That s all. It s due, tomorrow, Rachel! [TP] What did you do last night anyway? You promised you d work on it when you went to your Dad s. What happened? (Rachel starts to cry.) [TP] Rachel, hey. Hey, don t cry. Didn t you get to see your Dad? You always see him on Thursday. Listen, don t worry about the rock facts. I m all over it. OK? It s OK. * From Surface, Mary Hall. Short Scenes and Monologues for Middle School Actors. Lyme: New Hampshire: Smith and Kraus, 2000. Standing in a Character s Shoes: Deeper Meaning Through Monologues 37

ACTIVITY ONE: Introducing the Monologue Communicating Voice Body Face Standing in a Character s Shoes: Deeper Meaning Through Monologues 38

ACTIVITY THREE: Write a Monologue to Deepen Understanding of a Character in a Poem The Land of Counterpane By Robert Louis Stevenson When I was sick and lay a-bed, I had two pillows at my head, And all my toys beside me lay, To keep me happy all the day. And sometimes for an hour or so I watched my leaden soldiers go, With different uniforms and drills, Among the bed-clothes, through the hills; And sometimes sent my ships in fleets All up and down among the sheets; Or brought my trees and houses out, And planted cities all about. I was the giant great and still That sits upon the pillow-hill, And sees before him, dale and plain, The pleasant land of counterpane. From A Child s Garden of Verses by Robert Louis Stevenson. This poem is in the public domain. Standing in a Character s Shoes: Deeper Meaning Through Monologues 39

Graphic Organizer A: What is the character feeling? EXAMPLE (This poem is in the Public Domain.) First Response: RESENTFUL SAD HAPPY LONELY Character Name Robert (the Boy) WISTFUL Dig Deeper: IMPATIENT EMPOWERED EXCITED FEARFUL JEALOUS Standing in a Character s Shoes: Deeper Meaning Through Monologues 40

Graphic Organizer B EXAMPLE: Text/Poem Based Two-Turning Point Monologue Character Name: Robert Step 1: First Response. Read the Source for. What is the character feeling? Record emotions on Organizer A Step 2: Dig Deeper. 1) Identify the Known. What do we know about the character from the source? The child is sick. He is playing with his toys: soldiers, ships, trees, and little houses. He is imagining that his quilt is the countryside. He thinks of himself as the giant looking over the land. (Robert Louis Stevenson was a sickly child.) 2) Infer the Possible. What can we infer about the character from the source? The child has a vivid imagination. The child creates the hills of his land with his bent legs. The child likes/ needs/ wants to be the giant over the land. The child hides in his imagination because he is frightened. Or maybe he gets strength from his imagination? Now what is the character feeling? Record emotions on Organizer A. Standing in a Character s Shoes: Deeper Meaning Through Monologues 41

Graphic Organizer B (continued) Step 3: Choose and Sequence Best s: What three emotions (from Organizer A) best reveal the character? What sequence would create the most dramatic turning points? 1 Excited Turning Point 2 Jealous Turning Point 3 Wistful Step 4: Imagine the Monologue Who might experience this sequence of emotions? Robert Where might the character be? In his bedroom Who is the silent partner? His Toy Soldier What is happening to the character? He is talking to one of his toy soldiers. Why might he/she feel this way? He needs to express feelings that he cannot express to others. Step 5: Improvise the Monologue. Step 7: Write the Monologue Step 6: Share, Reflect, & Revise 1. You see! I knew you could fall right in line with the other soldiers. That s right. March. March. March. Up to the very top of the hill? How far can you see? Turning Point 2. Much more than I can see. Can you see all the way across the ocean? To lands far away? Why do you get to march and fight and have adventures when I have to stay is bed! Night and day. Turning Point 3. (Turning to look out the window) If only I could just go outside to the park. You could come, too. What s it like out there? How long has it been? Are the leaves falling from the trees? Someday, perhaps Standing in a Character s Shoes: Deeper Meaning Through Monologues 42

ACTIVITY FOUR: Write a Monologue to Deepen Understanding of People and Events in History The First Reading of the Emancipation Proclamation, Painted by F.B. Carpenter; engraved by A.H. Ritchie, c1866. (Library of Congress, Prints and Photographs Division. Reproduction Number: LC-USZ62-2070 DLC) For more information about this painting: http://www.senate.gov/artandhistory/art/artifact/painting_33_00005.htm Standing in a Character s Shoes: Deeper Meaning Through Monologues 43

Graphic Organizer A: What is the character feeling? Example First Response: PROUD CONFIDENT AFRAID LONELY Character Name Lincoln WARY COMMITTED EMPOWERED WEARY HOPEFUL DOUBTFUL Standing in a Character s Shoes: Deeper Meaning Through Monologues 44

Graphic Organizer B EXAMPLE Text/History Based Two-Turning Point Monologue Character Name: Lincoln Step 1: First Response. Read the Source for. What is the character feeling? Record emotions on Organizer A Step 2: Dig Deeper. 1) Identify the Known. What do we know about the character from the source? Lincoln was deeply troubled by the injustices of slavery He was president of a deeply divided country. Lincoln wanted to end the war and reunite his country. Discovered in research: Lincoln had an African-American Butler. 2) Infer the Possible. What can we infer about the character from the source? Lincoln, like any leader under pressure, needed people to confide in. Lincoln found it hard, personally, to juggle political factions. Lincoln may have found people outside of his family and co-workers to reflect with (his butler.) Now what is the character feeling? Record emotions on Organizer A. Standing in a Character s Shoes: Deeper Meaning Through Monologues 45

Graphic Organizer B (continued) Step 3: Choose and Sequence Best s: What three emotions (from Organizer B) best reveal the character? What sequence would create the most dramatic turning points? 1 Confident Turning Point 2 Doubtful Turning Point 3 Confident Step 4: Imagine the Monologue Who might experience this sequence of emotions? Lincoln Where might the character be? Right outside the room where the proclamation is signed. Who is the silent partner? Lincoln s Butler What is happening to the character? He is trying to decide what coat to where for the ceremony. Why might he/she feel this way? He is struggling with the importance/ gravity of the event. The coat becomes a symbol of the struggle. Step 5: Improvise the Monologue. Step 7: Write the Monologue \ 1. I finished it, Saunders. I have issued a military proclamation to end slavery! Now, which coat should I wear? I must appear strong and determined when I sign that paper. What a great day this is, Saunders! Turning Point 2. But my enemies --- those Copperheads! They will try to scare citizens in the north, saying hundreds of freed slaves will take their jobs. But if I don t sign it, the abolitionists will criticize me. I need them to win this war! To restore our dear Union! Step 6: Share, Reflect & Revise Turning Point 3. Most importantly, Saunders, we fight for what is right -- to bring an end to slavery. Just imagine your grandchildren s future, Saunders! So, no grey or blue coat for me, today. You choose another one for me. Standing in a Character s Shoes: Deeper Meaning Through Monologues 46

Discovering al Subtext WHO is speaking? WHERE are the characters? WHAT is happening? SILENT PARTNER: To whom is the character speaking? Turning Point Turning Point 1 Turnin 2 3 WHO is speaking? WHERE are the characters? WHAT is happening? SILENT PARTNER: To whom is the character speaking? Turning Point Turning Point 1 Turnin 2 3 WHO is speaking? WHERE are the characters? WHAT is happening? SILENT PARTNER: To whom is the character speaking? Turning Point Turning Point 1 Turnin 2 3 Standing in a Character s Shoes: Deeper Meaning Through Monologues 47

Graphic Organizer A: What is the character feeling? First Response: Character Name Dig Deeper: Standing in a Character s Shoes: Deeper Meaning Through Monologues 48

Graphic Organizer B Text/History Based Two-Turning Point Monologue Character Name: Step 1: First Response. Read the Source for. What is the character feeling? Record emotions on Organizer A. Step 2: Dig Deeper. 1) Identify the Known. What do we know about the character from the source? 2) Infer the Possible. What can we infer about the character from the source? Now what is the character feeling? Record emotions on Organizer A. Standing in a Character s Shoes: Deeper Meaning Through Monologues 49

Standards of Learning Addressed in the Workshop Using the 7 th grade standards as a reference Virginia Grade 7 Standards English: Oral Language 7.2 The student will identify the relationship between a speaker s verbal and nonverbal messages. a) Use verbal communication skills, such as word choice, pitch, feeling, tone, and voice. b) Use nonverbal communication skills, such as eye contact, posture, and gestures. c) Compare/contrast a speaker s verbal and nonverbal messages. English: Reading 7.5 The student will read and demonstrate comprehension of a variety of fiction, narrative nonfiction, and poetry. a) Describe setting, character development, plot structure, theme, and conflict. e) Draw conclusions based on explicit and implied information. f) Make inferences based on explicit and implied information. United States History: 1877 to the Present USII.1 The student will demonstrate skills for historical and geographical analysis, including the ability to a) analyze and interpret primary and secondary source documents to increase understanding of events and life in United States history from 1877 to the present; b) make connections between past and present; c) sequence events in United States history from 1877 to the present; d) interpret ideas and events from different historical perspectives; e) evaluate and debate issues orally and in writing; h) interpret patriotic slogans and excerpts from notable speeches and documents. Standing in a Character s Shoes: Deeper Meaning Through Monologues 51

DC Public Schools Grade 7 Standards Reading/English Language Arts: Oral Presentation 7.LD-O.6. Present critiques of literary works, films, or dramatic productions using various techniques for effective presentations and matching the message with voice modulation, inflection, tempo, enunciation, and expression. Reading/English Language Arts: Fiction 7.LT-F.6. Describe a character based on the thoughts, words, and actions of the character, the narrator s description, and what other characters say and do. 7.LT-F.7. Analyze the ways characters change or interact with others over time and give supporting evidence from the text. Maryland Grade 7 Standards Reading/English Language Arts: Literary Indicator 3: Analyze elements of narrative texts to facilitate understanding and interpretation Objective d: Analyze characterization Objective g: Analyze internal and/or external conflicts that motivate characters and those that advance the plot Reading/English Language Arts: Listening Indicator 1: Apply and demonstrate listening skills appropriately in a variety of settings and for a variety of purposes Objective a: Use criteria to evaluate oral presentations such as purpose, delivery techniques, content, visual aids, body language, and facial expressions Reading/English Language Arts: Writing Indicator 2: Compose oral, written, and visual presentations that express personal ideas, inform, and persuade Objective e: Use writing-to-learn strategies such as reflective and metacognitive writing to set goals, make discoveries, and make connections among learned ideas Social Studies: Skills and Processes Topic F: Analyze Social Studies Information Indicator 1: Interpret information from primary and secondary sources Indicator 2: Evaluate information from a variety of sources Indicator 3: Synthesize information from a variety of sources Standing in a Character s Shoes: Deeper Meaning Through Monologues 52

List of Suggested Resources Beers, Kylene. When Kids Can t Read: What Teachers Can Do. Portsmouth, New Hampshire: Heinemann, 2003. Some excellent strategies that involve imagination and making connections. Christensen, Linda. Reading, Writing, and Rising Up: Teaching About Social Justice and the Power of the Written Word. Milwaukee, Wisconsin: Rethinking Schools, Ltd. 2000. A personal favorite. Hart, Anne. Writing 45-Minute One-Act Plays, Skits, Monologues, & Animation Scripts for Drama Workshops: Adapting Current Events, Social Issues, Life Stories, News & Histories. Lincoln, NE: Universe, Inc., 2005. A very practical guide that can help you build on the workshop activities to create full scripts. Johnson, Maureen Brady Namely ME: A Monologue Book Based on the Meaning of Names. Lyme, New Hampshire: Smith and Kraus, 2009. A fun collection that can inspire other bases for monologue writing. Miller, Carole and Juliana Sexton, Into the Story: Language in Action Through Drama. Portsmouth, New Hampshire: Heinemann Drama, 2004. Lesson plans for finding deeper meaning through scene work and improvisation in short stories. Silverberg, Larry. The Seven Simple Truths of Acting for the Teen Actor. Lyme, New Hampshire: Smith and Kraus, 2007. A very appealing book for young actors that builds on their self-knowledge and imagination. Surface, Mary Hall. Short Scenes and Monologues for Middle School Actors. Lyme: New Hampshire: Smith and Kraus, 2000. My two books were written after speaking to a national conference of middle school teachers who were desperate for monologues that would work well for their grade levels. It was the development of the material for this first book and the creation of monologues with clear turning points and strong subtext that gave birth to this workshop., More Short Scenes and Monologues for Middle School Students. Lyme: New Hampshire: Smith and Kraus, 2007. By popular demand Standing in a Character s Shoes: Deeper Meaning Through Monologues 53

Meet the Presenter MARY HALL SURFACE Mary Hall Surface is an internationally recognized, award-winning playwright and director who specializes in theater for youth and family audiences. Her plays have been produced at major professional theaters, museums and universities throughout the United States, Europe, Japan, Taiwan and Canada, including fifteen productions with the Kennedy Center s Theater for Young Audiences and the National Symphony Orchestra. She has been nominated for 9 Helen Hayes Awards (Washington, DC s professional theater awards), receiving the 2002 Award of Outstanding Direction of a musical, and has published 12 plays, four cast albums and 2 books of scenes and monologues for middle school actors. For over 20 years, Ms. Surface has brought her enthusiasm for the power of the playwriting pen into classrooms throughout the United States, to national arts education conferences, and to teachers nationwide. Mary Hall s workshops include A Playful Approach to Writing, which uses tools from drama to teach story structure and development and Standing in a Character s Shoes: Deeper Meaning Through Monologues. Mary Hall is the co-founder and curriculum developer for SchoolSculptures, an artist residency program in which sculptor Kevin Reese collaborates with communities across the US to create permanent pieces of moving public art. Mary Hall has served as an on-site evaluator for the National Endowment for the Arts, an advisor to American Theatre Magazine and on the artistic commission for ASSITEJ (The International Association of Theatre for Children and Youth). MHSurface@aol.com Standing in a Character s Shoes: Deeper Meaning Through Monologues 54