All dramatic art must live and move. There is always something of a struggle implied, and this must be suggested and represented. The whole interest of dramatic art centres in the effect of one human being upon another. Without dramatic realization of the effect of character upon character, genuine interpretation of a monologue is not possible.
The monologue must never be theatrical or spectacular. If the interpreter exaggerates at the first some situation, however great or important, beyond the bounds of living, moving, natural life, the result becomes mere posing. An attitude that might have been a simple and clear revelation of feeling is altogether exaggerated, and appeals to the eye instead of to the imagination. It is the result, perhaps, of an expert mechanic, but not of dramatic instinct. If there is a locating of everything, literalism is substituted for imaginative suggestiveness. An extravagant earnestness, or loudness, or unnatural stilted methods of emphasis, will entirely prevent the reader's imaginative and dramatic action in identifying himself with the character, or entering into sympathetic relations with the scene. A monologue must always be perfectly true to life, and as simple and natural as every-day movements upon the street.
The interpreter of a monologue must study nature; must train his voice and body to the greatest degree of flexible responsiveness, and become acquainted with the human heart. He must cultivate a sympathetic appreciation of all forms of literature; must understand the subtle influences of one human being over another, and comprehend that only by delicate suggestion of the simplest truth can the imagination and sympathies be awakened. He must have confidence in his fellow-men, and be able, by a simple hint, to awaken men's ideals. In short, faults in rendering monologues must be prevented by genuineness, by developing taste, and awakening the imagination, dramatic instinct, and artistic nature.
When we have once discovered the nature and peculiarities of the monologue, the character of its interpretation, and its uses in dramatic expression, its general importance in art, literature, and education becomes apparent.
In the first place, its value is shown by the fact that it reveals phases of human nature not otherwise expressed in literature, or in any other form of art.