In the art of interpreting the monologue, which is a different art from the writing of one, all must be as much like nature as possible. Yet this likeness is secured, not by imitation or by reproducing external experiences, but by sympathetic identification and imaginative realization.
Every art has a technique. The modulations of the voice and the actions of the body must be directly studied, or there can be no naturalness. Meaningless movements and modulations lead to mannerisms. The reader must know the value of every action of voice or body, and so master them that he can bring them all into a kind of subconscious unity for the expression of the living realization of a thought or situation.
The interpreter must use no artificial methods, but must study the fundamental principles of the expressive modulations of voice and body and supplement these by a sympathetic observation of nature.
The questions to be settled by the reader have been shown by the analysis of the structure of the monologue. He must first consider the character which he is to impersonate, and his conception of it must be definite and clear as that of any actor in a play. In one sense, conception of character is more important in the monologue than in the play, on account of the fact that the speaker stands alone, and the monologue is only one end of a conversation. In a play the actor is always associated with others; has some peculiarity of dress; has freedom of movement, and his character is shown by others. He is only one of many persons in a moving scene, and often fills a subordinate place. But in the monologue, the interpreter is never subordinate, and has few accessories, or none. He must not only reveal the character that is speaking, but also indicate the character of the supposed listener. He must suggest by simple sounds and movements, not by make-up or artificial properties. Thus the interpretation of a monologue is more difficult than that of a play. The actor has long periods of listening when another is speaking, so that he has better opportunities to show the impression produced upon him by each idea. The interpreter of a monologue must often show that he, too, is listening, and express the impression received from another.