Most monologues in the world of theater are directed from one character on stage to another, or to multiple characters, or sometimes to someone or something that is not even there (which makes it an apostrophe). An Audience Monologue is when a character delivers a speech to the audience. This does not require Breaking the Fourth Wall; the audience does not need to be referred to as an audience, and the character does not need to recognize his or her fictional nature. Rather, the effect is that the audience is drawn into the play as a (frequently ambiguous) separate entity in the plot. Sometimes the audience is meant to be a crowd assembled at the scene being portrayed; sometimes the audience is supposed to be a projection of the character's own consciousness, making the monologue reflect a
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| - Most monologues in the world of theater are directed from one character on stage to another, or to multiple characters, or sometimes to someone or something that is not even there (which makes it an apostrophe). An Audience Monologue is when a character delivers a speech to the audience. This does not require Breaking the Fourth Wall; the audience does not need to be referred to as an audience, and the character does not need to recognize his or her fictional nature. Rather, the effect is that the audience is drawn into the play as a (frequently ambiguous) separate entity in the plot. Sometimes the audience is meant to be a crowd assembled at the scene being portrayed; sometimes the audience is supposed to be a projection of the character's own consciousness, making the monologue reflect a
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| - Most monologues in the world of theater are directed from one character on stage to another, or to multiple characters, or sometimes to someone or something that is not even there (which makes it an apostrophe). An Audience Monologue is when a character delivers a speech to the audience. This does not require Breaking the Fourth Wall; the audience does not need to be referred to as an audience, and the character does not need to recognize his or her fictional nature. Rather, the effect is that the audience is drawn into the play as a (frequently ambiguous) separate entity in the plot. Sometimes the audience is meant to be a crowd assembled at the scene being portrayed; sometimes the audience is supposed to be a projection of the character's own consciousness, making the monologue reflect an interior thought process. Often referred to as a soliloquy, although soliloquies are not necessarily directed to the audience. Lady Macbeth's famous "Come thick night" soliloquy is directed first to her absent husband, and then to the "spirits that tend on mortal thoughts". Note that, when the Fourth Wall is left otherwise intact, an Audience Monologue technically is talking to someone who is not there, at least In-Universe. Musical theater often uses songs for this effect, which means the Audience Monologue proper is more frequently used in non-musical plays. It is also a staple of Narrators throughout theatrical history. Examples of Audience Monologue include:
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