Looking for free dramatic monologues to captivate your audience? Whether you’re an actor preparing for an audition or a drama enthusiast exploring the depths of theatrical expression, our curated list of “22 Dramatic Monologues from Theater and Film” offers a diverse collection of performances that highlight the complexity of human emotions. From classic plays to contemporary films, these free monologues provide a rich tapestry of characters and narratives that will inspire, challenge, and move you.
Character: M’Lynn
Summary: M’Lynn talks about the last moments with her daughter Shelby, expressing her deep sorrow and the strength she found in that painful experience.
Monologue: “No. I couldn’t leave my Shelby. I just sat there and kept pushin’ the way I always have where Shelby was concerned…hoping she’d sit up and argue with me. Finally, we all realized there was no hope. At that point, I panicked. I was afraid that I wouldn’t survive the next few minutes while they turned off the machines. Drum couldn’t take it. He left. Jackson couldn’t take it. He left. But I couldn’t leave. I just sat there, holding Shelby’s hand while the sounds got softer and the beeps got farther apart until all was quiet. There was no noise, no tremble, just peace. I realized as a woman how lucky I was. I was there when this wonderful person drifted into my life and I was there when she drifted out.”
For the full monologue, visit Scribd and WhySanity.
Character: Valerie
Summary: Valerie’s monologue is a poignant recount of her life and love before and during the oppressive regime, emphasizing the importance of preserving one’s integrity.
Monologue: “I know there’s no way I can convince you this is not one of their tricks. But I don’t care. I am me. My name is Valerie. I don’t think I’ll live much longer, and I wanted to tell someone about my life. This is the only autobiography that I will ever write, and God, I’m writing it on toilet paper. I was born in Nottingham in 1985. I don’t remember much of those early years, but I do remember the rain. My grandmother owned a farm in Tottlebrook, and she used to tell me that God was in the rain. I passed my eleven-plus and went to girl’s grammar. It was at school that I met my first girlfriend. Her name was Sarah. It was her wrists; they were beautiful. I thought we would love each other forever. I remember our teacher telling us that it was an adolescent phase that people outgrew. Sarah did. I didn’t. In 2002, I fell in love with a girl named Christina. That year I came out to my parents. I couldn’t have done it without Chris holding my hand. My father wouldn’t look at me; he told me to go and never come back. My mother said nothing. I’d only told them the truth. Was that so selfish? Our integrity sells for so little, but it is all we really have. It is the very last inch of us, but within that inch we are free. An inch, it is small and it is fragile, and it is the only thing in the world worth having. We must never lose it or give it away. We must never let them take it from us. I hope that, whoever you are, you escape this place. I hope that the world turns and that things get better. But what I hope most of all is that you understand what I mean when I tell you that even though I do not know you, and even though I may never meet you, laugh with you, cry with you, or kiss you, I love you. With all my heart, I love you.”
For the full monologue, visit WhySanity and HubPages.
Character: Roberta
Summary: Roberta reveals her traumatic past and emotional struggles, making it a powerful exploration of a deeply troubled character.
Monologue: “And I dreamed about the ocean. It was real blue. And there was the sun, and it was real yellow. And I was out there, right in the middle of the ocean, all by myself, and I could hear the water, just the way it sounds in a conch shell. And I thought, maybe this is what it’s like to be dead. But I was still myself, you know? And then I looked down, and I couldn’t see the bottom of the ocean. It was like a mile down. And I got really scared because I knew I couldn’t swim a mile. So I tried to get back to shore. But it was so far away. And the water got into my nose and my mouth, and it was so cold. And I thought, this is it. This is the end of everything. And then, suddenly, I felt this hand on my back. And I turned around, and there was this man standing on the water, smiling at me. And I knew he was gonna save me.”
For the full monologue, visit WeAreActors.
Character: Mother
Summary: A single mother tells her adult son about his absent father and their heritage.
Monologue Snippet: “Your father was a complicated man, but he loved you in his own way. He left us, yes, but not because he didn’t care. He was running from his own demons, ones that were too strong for him to fight. I see so much of him in you. The good parts. The strength, the passion. But you need to know where you come from, our heritage, our struggles. It’s what makes us who we are. It’s what makes you who you are.”
For the full monologue, you can check out Backstage.
Character: Amy
Summary: Amy, a high schooler, talks about being led on by boys and her broken heart.
Monologue Snippet: “I thought he loved me. I really did. But it was all a game to him, a cruel joke. I let myself believe in his words, his promises. And now here I am, broken, with nothing but memories of his lies. It hurts so much, more than I thought possible. How could someone be so heartless? How could I be so naive? I don’t know if I’ll ever trust again.”
For the full monologue, refer to dramatic literature anthologies or online script libraries.
Character: Hannah
Summary: Hannah tells her boyfriend that she is immortal, revealing a deep personal secret.
Monologue Snippet: “There’s something I need to tell you. Something I’ve never told anyone. I’m immortal. I’ve lived for centuries, seen the rise and fall of empires, watched loved ones come and go. It’s a lonely existence, one that’s hard to explain. I thought I could be normal with you, but I can’t hide it anymore. You deserve to know the truth about who I am, about what I am. I love you, but this is my burden to bear, not yours.”
For the full monologue, refer to dramatic literature anthologies or online script libraries.
Character: Carolyn
Summary: Carolyn reflects on her life when Bobby returns.
Monologue Snippet:
“Bobby, you know, when you left, I thought it was the end for me. I couldn’t see beyond the heartbreak. But then I found strength in places I never knew existed. I built a life, a home, something stable. And now you’re back, stirring all these old feelings, making me question everything again. But I’m not that same girl you left behind. I’ve grown, I’ve changed. I promised myself I’d never go back to that place of dependency and fear. You have to understand that the woman standing before you now is not the same one you walked away from.”
For the full monologue, please refer to online libraries
Character: Drew
Summary: Drew explains why she won’t forgive her father at his funeral.
Monologue Snippet:
“Why should I forgive him? He was never there. Not when I needed him. Not when Mom needed him. His promises were as empty as his seat at my graduation, as hollow as his words when he said he loved us. And now, you want me to stand here and pretend that he was some kind of hero? No, I won’t do it. He doesn’t deserve it. He doesn’t deserve my forgiveness, and he doesn’t deserve my tears. He was nothing but a stranger to me, a ghost haunting the corners of my life.”
For the full monologue, visit Not My Shoes and Stage Plays.
Character: Catherine
Summary: Catherine plots her revenge on all the men who have wronged her.
Monologue Snippet:
“You think you know my story, don’t you? The pretty little princess waiting to be saved. But let me tell you something, that tale is a lie. They twisted my life into some kind of fairy tale, but there was nothing magical about it. I was used, betrayed, and left to fend for myself. But I’m not the naive girl they thought I was. I’ve learned, I’ve grown stronger. And now, it’s my turn to rewrite the story. To take control. To make them pay for every lie, every deceit. They won’t see me coming, but they’ll remember my name. Catherine, the one who took her revenge.”
For the full monologue, visit Stage Plays and Scribd.
Character: Nina
Summary: Nina returns to Sorin’s estate, having been abandoned by Trigorin once her allure and innocence faded. Upon encountering her former lover, Treplev, she succumbs to emotional breakdown.
Monologue: Why do you say that you have kissed the ground I walked on? You should kill me rather. I am so tired. If I could only rest—rest. I am a sea-gull—no—no, I am an actress. He is there too. Ah, well—no matter. He does not believe in the theatre; he used to laugh at my dreams, so that little by little I became down-hearted and ceased to believe in it too. Then came all the cares of love, the continual anxiety about my little one, so that I soon grew trivial and spiritless, and played my parts without meaning. I never knew what to do with my hands, and I could not walk properly or control my voice. You cannot imagine the state of mind of one who knows as he goes through a play how terribly badly he is acting. I am a sea-gull—no—no, that is not what I meant to say. Do you remember how you shot a seagull once? A man chanced to pass that way and destroyed it out of idleness. That is an idea for a short story, but it is not what I meant to say.
(She passes her hand across her forehead)
What was I saying? Oh, yes, the stage. I have changed now. Now I am a real actress. I act with joy, with exaltation, I am intoxicated by it, and feel that I am superb. I have been walking and walking, and thinking and thinking, ever since I have been here, and I feel the strength of my spirit growing in me every day. I know now, I understand at last, Constantine, that for us, whether we write or act, it is not the honour and glory of which I have dreamt that is important, it is the strength to endure. One must know how to bear one’s cross, and one must have faith. I believe, and so do not suffer so much, and when I think of my calling I do not fear life.
Monologue: “Pop! I’m a dime a dozen, and so are you! … I am not a leader of men, Willy, and neither are you. You were never anything but a hard-working drummer who landed in the ash can like all the rest of them! I’m one dollar an hour, Willy! I tried seven states and couldn’t raise it. A buck an hour! Do you gather my meaning? I’m not bringing home any prizes anymore, and you’re going to stop waiting for me to bring them home! … I’m nothing! I’m nothing, Pop. Can’t you understand that? There’s no spite in it anymore. I’m just what I am, that’s all.”
For the full monologue, you can refer to the following page:
Character: Ben
Summary: Ben admits his role in a friend’s death due to an overdose, showcasing his guilt and the strain in his relationship with his mother.
Monologue Snippet: “Mom, I can’t live with this guilt anymore. Every time I close my eyes, I see his face. I was the one who gave him the drugs. I thought it was just for fun, but it turned out to be lethal. I’m so sorry, Mom. I need you to understand that I’m not the same person anymore. I can’t keep pretending that everything is okay when it’s not. Please, forgive me.”
Character: William
Summary: William’s monologue explores his moral dilemma of protecting his brother versus telling the truth to the police.
Monologue Snippet: “Jeff, you don’t understand. If I tell the truth, my brother goes to jail. But if I lie, I become a part of this corrupt system. How do I choose between my family and my integrity? It’s tearing me apart inside. Every night I lie awake, wondering if I’m doing the right thing. How can you protect someone you love without losing yourself in the process?”
For the full monologue, refer to Lobby Hero by Kenneth Lonergan .
Character: Eric
Summary: Eric reflects on his father’s dedication to his work, which he never understood, revealing a complicated father-son relationship.
Monologue Snippet: “My father sold shoes. In a Buster Brown store on Sheepshead Bay Road. He wasn’t a partner, he was an employee. For thirty-nine years. He gave his life to that store. It wasn’t even his to profit from, yet he still gave everything to that goddamn store. I could never understand what was so attractive about that place, why he chose to spend so much of his days there and not at home. I remember watching him closely in the morning, trying to uncover the mystery of manhood, the rituals of work.”
Character: Ben
Summary: Ben recalls the shame and embarrassment he felt towards his father during a baseball game in his youth.
Monologue Snippet: “He rushed out the door and down to the school-yard, the first game he had ever come to, and my mother put his supper in the oven, for later … I hadn’t reminded my father of the game. I was afraid he’d show up and embarrass me. Twelve years old and ashamed of my old man. Ashamed of his dialect, his dirty overalls, his bruised fingers with the fingernails lined with dirt, his teeth yellow as old ivory. Most of all, his lunch pail, that symbol of the working man.”
For the full monologue, additional context can be found in dramatic literature anthologies or libraries.
Character: Joe
Summary: Joe expresses his deep sense of failure and seeks understanding from his loved one.
Monologue Snippet: “Ah babe, I’m not doing so good. I just feel so … I wish I could tell you that I got the strength. But, you know I would be bullshitting. You always had a way of seeing through me. I know. Like that time, I came home. You put me on that stupid Weight Watcher’s Diet. Small portions, no fast food. I was still the same waist size since high school. So I came home. You knew I had a Whataburger. But I said, ‘No babe, I had a salad and one of those meals.'”
For the full monologue, refer to dramatic literature anthologies or online script libraries.
Character: Veteran Cop
Summary: A seasoned cop educates his rookie partner, leading to a significant revelation.
Monologue Snippet: “I’m John. A veteran cop who doesn’t believe in being soft on rookies. I’ve seen it all. The crimes, the victims, the broken system. You, kid, you think you know what you’re getting into, but you don’t. There’s a darkness in this job that you won’t find in the academy textbooks. Every call we take, every arrest we make, it changes you. You start questioning your morals, your sense of justice. But here’s the thing, kid, if you can hold onto that small part of yourself that believes in doing right, you’ll survive. Barely, but you’ll survive.”
For the full monologue, you can refer to Reddit.
Character: Tom Merritt
Summary: Tom recounts the events leading to his murder from beyond the grave.
Monologue Snippet: “I was the happiest soul that ever lived, until one day, my wife’s lover took my life. I stood there, unaware, and then I felt the cold steel. It was quick, but in that moment, I thought of everything I loved and lost. From the grave, I now see how my death was just another story in the long line of tales that make up Spoon River. My end, a sad song amidst the chorus of the town’s stories, forever echoing in the silence of the cemetery.”
For the full monologue, refer to Project Gutenberg and Full Text Archive.
Character: Sean
Monologue: “Thought about what you said to me the other day, about my painting. Stayed up half the night thinking about it. Then something occurred to me and I fell into a deep, peaceful sleep and haven’t thought about you since. You know what occurred to me? You’re just a kid. You don’t have the faintest idea what you’re talking about. You’ve never been out of Boston.”
Sean :So if I asked you about art, you’d probably give me the skinny on every art book ever written. Michelangelo, you know a lot about him. Life’s work, political aspirations, him and the pope, sexual orientations, the whole works, right? But I’ll bet you can’t tell me what it smells like in the Sistine Chapel. You’ve never actually stood there and looked up at that beautiful ceiling; seen that. If I ask you about women, you’d probably give me a syllabus about your personal favorites. You may have even been laid a few times. But you can’t tell me what it feels like to wake up next to a woman and feel truly happy. You’re a tough kid. And I’d ask you about war, you’d probably throw Shakespeare at me, right, “once more unto the breach dear friends.” But you’ve never been near one. You’ve never held your best friend’s head in your lap, watch him gasp his last breath looking to you for help. I’d ask you about love, you’d probably quote me a sonnet. But you’ve never looked at a woman and been totally vulnerable. Known someone that could level you with her eyes, feeling like God put an angel on earth just for you. Who could rescue you from the depths of hell. And you wouldn’t know what it’s like to be her angel, to have that love for her, be there forever, through anything, through cancer. And you wouldn’t know about sleeping sitting up in the hospital room for two months, holding her hand, because the doctors could see in your eyes, that the terms “visiting hours” don’t apply to you. You don’t know about real loss, ’cause it only occurs when you’ve loved something more than you love yourself. And I doubt you’ve ever dared to love anybody that much. And look at you… I don’t see an intelligent, confident man… I see a cocky, scared shitless kid. But you’re a genius Will. No one denies that. No one could possibly understand the depths of you. But you presume to know everything about me because you saw a painting of mine, and you ripped my fucking life apart. You’re an orphan right?
Sean : You think I know the first thing about how hard your life has been, how you feel, who you are, because I read Oliver Twist? Does that encapsulate you? Personally… I don’t give a shit about all that, because you know what, I can’t learn anything from you, I can’t read in some fuckin’ book. Unless you want to talk about you, who you are. Then I’m fascinated. I’m in. But you don’t want to do that do you sport? You’re terrified of what you might say. Your move, chief.
Character: Lt. Col. Frank Slade
Summary: Slade has Charlie accompany him to New York City, intending to savor one last weekend before ending his own life. Throughout their time together, Charlie forms a bond with Slade and ultimately prevents him from committing suicide. Slade then decides to return to the prep school with Charlie to attend the disciplinary committee meeting. George has made a deal to name the three students involved in the prank but plans to claim he didn’t see them clearly due to not wearing his contact lenses, implying only Charlie truly saw the culprits. Charlie refuses to reveal their identities, prompting the headmaster to prepare to recommend Charlie’s expulsion. At this moment, an outraged Slade delivers the following speech:
Monologue Snippet:
“I have seen boys like these, younger than these, their arms torn out, their legs ripped off. But there is nothing like the sight of an amputated spirit. There is no prosthetic for that. You think you’re merely sending this splendid foot soldier back home to Oregon with his tail between his legs, but I say you are executing his soul! And why? Because he’s not a Baird man. Baird men. You hurt this boy, you’re going to be Baird bums, the lot of you. And Harry, Jimmy, Trent, wherever you are out there, FUCK YOU TOO!”
For the full monologue, you can refer to the sources below:
Character: Treplev
Summary: Treplev’s relationship with his mother, a renowned actress, is intricate; they meet sporadically each year since he reached adulthood. Aspiring to be a playwright, Treplev strongly criticizes contemporary theatrical norms. The monologue in question is directed at his uncle, Sorin, beginning with him methodically plucking petals off a flower.
Monologue: She loves me, she loves me not; she loves me, she loves me not; she loves me, she loves me not. You see? My mother doesn’t love me. Of course not! She wants to live, to love, to wear bright dresses, and here I am, twenty-five years old, a constant reminder that she is no longer young. When I’m not there, she’s only thirty-two, but when I am, she’s forty-three – and for that, she hates me. Besides, she knows I don’t accept the theatre. She loves the theatre, she thinks she is serving humanity and the sacred cause of art, while in my opinion, the theatre of today is hidebound and conventional. When the curtain goes up, and, in a room with three walls and artificial light, those great geniuses, those priests of holy art, show me how people eat, drink, love, walk about, and wear their jackets; when from those banal scenes and phrases they try to fish out a moral – some little moral that is easily grasped and suitable for domestic use; when, in a thousand variations, I am served the same thing over and over and over again – then I flee, as Maupassant fled from the Eiffel Tower, which made his brain reel with vulgarity.
Character: Angel
Summary: Angel, a young Puerto Rican man, is incarcerated at Riker’s Island prison awaiting trial for the murder of a cult religious leader. In this scene, he converses with his court-appointed attorney.
Monologue:
ANGEL: . . . We usta, me and Joey, we usta sneak out our house on Sun-
day nights, jump the turnstiles. And we would hop down onto the
subway tracks, walk through the tunnels, lookin’ for shit, makin’ ad-
ventures, playin’ like we was G.I. Joes . . . Pick up a empty can a
Hawaiian Punch or some ol’ beer bottle for fake walkie-talkies . . .
and we’d have our snow-boots on so we could be astronauts. And we
would pretend we were the last two survivors on earth and that we
came from the future . . . stupid . . . the future . . . like in that Planet
of the Apes movie with the two guys? Only we had no weapons, juss
chocolate milk . . . And we’d get so lost in our games and our dis-
coveries and our made-up stories . . . so many stories: lookin’ for ghosts,
lookin’ for apes, lookin’ for fortunes, runnin’ from rats, talkin’ bout
girls, talkin’ bout Thelma from “Good Times,” talkin’ bout daydreams,
talkin’ ’bout Bruce Lee versus Evil Knievel, talkin’ in words that was-
n’t even words, . . . and . . . and it would always surprise us when we
saw the Lights . . . even though we could feel the train coming, but
it was the Lights . . . The closer those Lights came, rumble of the tracks,
sound a the conductor’s horn blarin’ at us. We’d get so excited we’d
freeze — two seconds of freezin’ cold . . . hypnotized . . . holdin’ hands,
waitin’, waitin’, then: Bang . . . We’d jump off the rails, hug the wall,
climb back up the platform, start runnin’, runnin’, tearin’ ass clear
across town back to Riverside or Cherry Park . . . One time . . . one
particular time, when we was holdin’ hands right before we jumped
off the rails, somethin’ happened, and we couldn’t let go, couldn’t un-
tangle ourself from each other, and we were inside that Light, and we
both saw skeletons and radiation, and we was paralyzed in a way that
I juss can’t explain, till somethin’ blew us apart, juss blew us, and we
landed safe . . . We didn’t move for a long time . . . We was cryin’
and Joey ripped his brother’s coat . . . We wasn’t speakin’ till we got
to our block and Joey said that it was The Light that ripped us apart
and saved our lives . . . Joey said, “Jesus hopped the A train to see us
safe to bed” . . .
Monologues are solo performances given by a character in a play or a film, where they express their thoughts, emotions, and experiences. A dramatic monologue specifically involves a character revealing intense feelings or deep revelations, usually in a serious or emotional manner.
Using free dramatic monologues for auditions can showcase your acting skills and ability to convey emotions effectively. Choose a monologue that resonates with you and fits the character you are auditioning for. Practice delivering the monologue with authenticity and emotion to make a strong impression on the casting team.
You can find a variety of free monologues online, including monologues for women and dramatic monologues for men. Websites dedicated to theater resources, script databases, and acting forums often offer a selection of monologues categorized by gender and genre.
To perform a dramatic monologue effectively, immerse yourself in the character's emotions and motivations. Understand the context of the monologue and the character's journey. Practice vocal variations, body language, and emotional depth to engage the audience and make the monologue impactful.
Yes, there are certain phrases or lines that are often found in dramatic monologues, such as: "I’m still young," "You’re older," "Don’t make," "Know what it’s like," "I’m ready to talk," and "I’m not trying." These lines convey intense emotions and help build the dramatic tension in the performance.
To connect with the audience during a dramatic monologue, focus on sincere and authentic delivery. Maintain eye contact, vary your tone to reflect emotions, and use pauses to emphasize key moments. Allow yourself to be vulnerable and let the audience empathize with the character's experience.
Dive into these dramatic monologues for men and women and discover the essence of storytelling that transcends the stage and screen. Each piece not only showcases the actor’s talent but also brings to life the intricate layers of the characters they portray. Explore, practice, and perfect these monologues to enhance your performance skills and leave a lasting impression on your audience.
