Hello and welcome back to Monologue Monday. This week’s monologue is perhaps the most unique monologue featured on the site so far.
It is simply, yet strongly, the word “no” repeated. This is an incredibly powerful monologue that forces the actor to, well, act. It isn’t merely saying “no” with different tones. The writer/performer Palesa Molefe runs the gamut of human emotions as she expresses various iterations of the word “no.”
As a produced monologist myself, Molefe has achieved with one word anything greater than I have (I know it’s not a competition). Let’s take a look:
Many people in life find it hard to say no. Palesa Molefe isn’t one of those people.
Specifically, women have been conditioned to not say “no.” This monologue attempts to shatter that mold.
On the flip side of things, there are people who say “no” to everything, but they tend to exist in Jim Carrey movies.
As for the performance aspect, I asked actor, dancer, director and intimacy choreographer Nicole Perry for her take on this monologue:
This monologue is great for actors working on developing emotional nuance or range. Similar to the Meisner game that requires partners to repeat, the monologue is simply the word “no”. Memorization made easy!
This monologue is a great showcase of “it’s not what you say, it’s how you say it”! Each repetition is different. She covers great emotional range throughout the performance, and a variety of commitment levels and/or intentions. From adamant denial to a meek admittance, from scoffing to delight.
Because the words are easy to remember, this could also be a great monologue to work on movement. As a movement analyst, I’m interested in when our movement supports what we are saying, and when our movement belies our true intentions. This would be a great piece to play with not just saying “no” with a variety of emotions and intentions, but also adding a layer of movement that either supports or denies what you are saying! What characters/situations come up for you as you experience this?
I love that this monologue allows us to say “no”. Frankly, in 2019, it’s a skill we need to practice. As actors, we are conditioned to say “yes”. But, as the Broadway Intimacy Director Claire Warden likes to say “No is a full sentence”. If, as a performer or an acting student, you are put in a position that is unsafe, triggering, or questionable, you have the right to ask questions, or to just say “no”. The difficulty in this is that the power dynamic of actor/director, particularly if it’s student actor/adult director, makes us very fearful of the consequences of saying “no”. So, practice saying “no”. I hope you always get to train and work in situations that honor your agency and personhood, and allow you have and hold your boundaries. But, in case you don’t, know how to say “no”.
Ms Molefe was kind enough to give us her introduction:
My name is Palesa Molefe a 20-year-old self-taught actor and scriptwriter from Botswana. I have always had a love for the arts, specifically film and stage performance, however my acting career truly began after the short film ‘Lacuna’ which I wrote, produced and featured was amongst the official selection in the Botswana National Film Festival 2018. I’ve gained recognition for my creative and unorthodox style of storytelling. Currently I am working under my mentor Mr. Tefo Paya – an internationally recognized performer and director from Botswana, to help develop and sculpt my career.
Beyond introductions, Ms Molefe went out of her way to answer some questions for us.
Where did the idea come from to write/perform this monologue?
– I wanted to give light to the abuse women in Botswana go through. For reasons only known to us, most of us stay silent after having gone through such a traumatic experience. This piece to validate every woman’s ‘NO’, whether she’s saying it drunk or nervously laughing because she might be afraid. Her no is valid and she’s worth being listened to and taken seriously.
How did your prepare/rehearse this monologue?
– I did not rehearse this monologue because I know that women who have gone through this weren’t given the luxury. The day I decided to shoot the monologue, I grabbed my camera, set it up in my room, gave myself time to find my center and remembered all the stories I had heard prior to that moment. I then allowed myself to feel every emotion that needed to be felt in each moment as I started to record.
What has the response been?
– I come from a very conservative country, so it was a bit of a culture shock. The delivery of the message was different from what a lot of people had seen but overall viewers were warm and appreciative of the message.
Have you done much other writing, dramatic or otherwise?
– I continue to write to this day. I have plans for these scripts, whether it’s to share them on stage, film or just to keep them to myself. I recently returned from a tour around Botswana called ‘Madi Majwana’, it focused on using theatre as a tool to educate people from all walks of life on financial literacy. Right now I am focused on being a good student and learning from the ones who came before me in the creative industry.
What was the hardest thing about this monologue?
– Being honest. Being honest about how I truly felt in telling the story of many women.
What are your influences?
– What I feel, hear, think and see every day plays a big part in what influences me. If I was to move to a different country, my story and my truth would be different from the one I have now. I would experience life differently, I would hear different stories, I’d think differently because new environment adjustments and I’d see different scenery, different people, different ways of life.
What advice do you have for other performers/writers who want to use their voice for activism?
– Only you can tell your story best. When you’re convicted to write a script or perform a piece, do it in a way you know only you can. That means trusting in your capabilities, trusting in your own voice, in your own truth and owning it. You have to admit that it’s kind of hard to write a story about the life of a 50-year old man in Africa whilst you’re a 25-year old young man from America because well that’s not your story, it’s not your truth.
What do you have coming up next? How can we find out more about you?
– Currently I am working on a script for another short Film. It’s still in its early stages but it will be out and up on my YouTube channel before this year comes to an end.
Email – firstname.lastname@example.org.
YouTube channel – Palesa Molefe
(is where my content can viewed, including Lacuna the short film.)
Facebook Page – Palesa Molefe
Ms Molefe is truly one of the most impressive theatre people I’ve interacted with. Please subscribe, follow or contact her. Folks like Ms Molefe are the future of theatre.
Thanks for reading!