Original subtitles

All

right. What are you going to do?

A monologue from This Is Our Youth by

Kenneth Hanigan.

But I do smoke pot with you.

All of you.

my pot all the time. Hundreds and

hundreds of dollars worth. So, I

shouldn't make any money off you.

You [ __ ] guys gripe at me all the

time. And I'm providing you guys with

such a crucial service. Plus, I'm

developing my valuable entrepreneurial

skills for my future. Plus, I'm

providing you with precious memories of

your youth for when you're [ __ ] old.

I'm half the basis of your personality.

All you do is imitate me. I've turned

you on the honeymooners. Frank Zapper,

Ernest Lubich, boxer short sushi. I'm a

oneman youth culture for you pathetic

[ __ ]

You're going to remember your youth as a

Greystone haze followed by a series of

beatings from your dad and like my

jokes.

God damn. Do you know how much pot I've

thrown out the window in the middle of

the night for you guys when you're

running around the streets like junkies

looking for half a joint in order for

you to go to sleep? And then you [ __ ]

at the fact that I turn a prophet.

You should be thanking God day you met

me. You [ __ ] hero worship me little

[ __ ]

Thank you very much.

Some of you were having memories,

weren't you? Uh, a couple of really good

things. A, you immediately took the

space by and I I think it's it is in the

dialogue all of you, isn't that?

Yeah.

Yeah. So, but because in this space

you owned that part. I would say this,

you uh you mumble a little bit.

I think it's the accent when I change

it.

[ __ ] You mumble a little bit. Uh my

only point is don't blame the accent. Um

people with all sorts of accents can be

heard brilliantly. So it's about

articulation. It's about not racing

through something. If you know, for

example, um crucial service, I'm

providing you with a crucial service,

but if you go crucial service, we it

doesn't quite land. Yes,

those kind of lines are very important.

I also think there's a a wonderful thing

you can do in that list of things that

you have you have introduced to them.

Yes.

Each of those is [ __ ] brilliant on

its own.

So carve those out and and allow them to

increase I think. Okay.

You allow them to be there was this and

there was this and then there was that

and then then that was that and then

there was that. You know there's a

there's a kind of uh in the frustration

and anger that he's feeling. I think you

can allow the com comic part of that to

to own that a little bit more. Um um and

just tell us

what's the circumstance? What's what's

happened that's caused this outburst?

Well, they're trying to get money

together. Um save up money. Uh they've

lost money and they're trying to like

save money uh to get it together. Like

they're selling like their own like toys

and everything like that in order to

gain the money that they've lost. And

then he's like he always like kind of

gripes like with the character Dennis

and he always gripes on war and he's

always like demeaning towards him and

then he's just like made a comment and

then I've just like lost my [ __ ] at this

particular point.

And so is this something

this is also very important and also I

just wanted to mention is back to you

for a second stakes.

We only I think care as an audience

about a character and about a situation

when the stakes are really high.

A and by that I mean like life or death.

Like when the stakes are high and we

feel that it's really like the most

[ __ ] important thing

then we actually care. So I would just

say your stakes can be higher and I

think your stakes can be higher.

Okay. This can this it sometimes

particularly when we we do a pieces that

have humor to them or they're quote

unquote comedic slightly more than maybe

we'd call dramatic. Although what we

always hope to be able to do is to

create performances that don't fall into

one-word categories. So you can walk out

of a play and say it wasn't just

dramatic. It wasn't just comic. It's it

hits so many levels and layers that it's

beyond that. You always want to try to

achieve that in what you do. So, I just

would say that the stakes,

make them higher. Make this is the

[ __ ] most important [ __ ] thing

you've ever [ __ ] said.

Okay,

we don't hope kids buy this stuff,

right?

Okay,

try that again.

But I do smoke pot with you. All of you.

my pot all the time. Hundreds and

hundreds of dollars worth. So why

shouldn't I make any money off you?

You [ __ ] guys gripe at me all the

time. And I'm providing you schmucks

with such a crucial service.

Plus, I'm providing you with precious

memories of your youth for when you're

[ __ ] old.

All you do is imitate me.

I turned you on the honeymooners. Frank

Zappa, Ernest Lubich, boxer shorts,

sushi,

one man culture for you pathetic

[ __ ]

You're going to remember your youth as a

Greystone haze followed by a series of

beatings of your dad and like my jokes.

God damn. Do you know how much pot I've

thrown out the window in the middle of

the night for you guys when you're

running around the streets like junkies

looking for half a joint so you can go

to sleep? And you [ __ ] at the fact that

I turn a prophet should be thanking God

the day you met me. You [ __ ] here

worshiping me little [ __ ]

I don't know why I ended up.

Nice. Thank you very much.

very often sometimes we just have to be

reminded

just step on the gas 5% 10%. Have that

energy just be like that. And then other

times it's important to also pull back

and say maybe I'm rushing through this

thing. Maybe I'm not hitting the word

that

tells the audience what this character

is experience. Maybe I'm not carving

that out. Maybe I'm racing through it.

Maybe I need to just pop that word

because it's all a series of

us learning how to carve out stuff so

that the idea

the author has written that's worth

sending

can be sent. And it's about picking out

those words that we

choose and the rest we throw away.

We can't emphasize everything. We have

to choose what to emphasize.