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All
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right. What are you going to do?
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A monologue from This Is Our Youth by
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Kenneth Hanigan.
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But I do smoke pot with you.
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All of you.
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my pot all the time. Hundreds and
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hundreds of dollars worth. So, I
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shouldn't make any money off you.
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You [ __ ] guys gripe at me all the
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time. And I'm providing you guys with
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such a crucial service. Plus, I'm
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developing my valuable entrepreneurial
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skills for my future. Plus, I'm
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providing you with precious memories of
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your youth for when you're [ __ ] old.
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I'm half the basis of your personality.
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All you do is imitate me. I've turned
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you on the honeymooners. Frank Zapper,
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Ernest Lubich, boxer short sushi. I'm a
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oneman youth culture for you pathetic
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[ __ ]
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You're going to remember your youth as a
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Greystone haze followed by a series of
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beatings from your dad and like my
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jokes.
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God damn. Do you know how much pot I've
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thrown out the window in the middle of
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the night for you guys when you're
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running around the streets like junkies
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looking for half a joint in order for
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you to go to sleep? And then you [ __ ]
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at the fact that I turn a prophet.
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You should be thanking God day you met
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me. You [ __ ] hero worship me little
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[ __ ]
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Thank you very much.
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Some of you were having memories,
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weren't you? Uh, a couple of really good
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things. A, you immediately took the
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space by and I I think it's it is in the
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dialogue all of you, isn't that?
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Yeah.
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Yeah. So, but because in this space
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you owned that part. I would say this,
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you uh you mumble a little bit.
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I think it's the accent when I change
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it.
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[ __ ] You mumble a little bit. Uh my
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only point is don't blame the accent. Um
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people with all sorts of accents can be
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heard brilliantly. So it's about
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articulation. It's about not racing
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through something. If you know, for
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example, um crucial service, I'm
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providing you with a crucial service,
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but if you go crucial service, we it
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doesn't quite land. Yes,
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those kind of lines are very important.
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I also think there's a a wonderful thing
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you can do in that list of things that
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you have you have introduced to them.
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Yes.
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Each of those is [ __ ] brilliant on
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its own.
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So carve those out and and allow them to
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increase I think. Okay.
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You allow them to be there was this and
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there was this and then there was that
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and then then that was that and then
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there was that. You know there's a
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there's a kind of uh in the frustration
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and anger that he's feeling. I think you
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can allow the com comic part of that to
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to own that a little bit more. Um um and
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just tell us
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what's the circumstance? What's what's
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happened that's caused this outburst?
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Well, they're trying to get money
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together. Um save up money. Uh they've
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lost money and they're trying to like
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save money uh to get it together. Like
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they're selling like their own like toys
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and everything like that in order to
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gain the money that they've lost. And
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then he's like he always like kind of
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gripes like with the character Dennis
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and he always gripes on war and he's
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always like demeaning towards him and
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then he's just like made a comment and
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then I've just like lost my [ __ ] at this
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particular point.
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And so is this something
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this is also very important and also I
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just wanted to mention is back to you
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for a second stakes.
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We only I think care as an audience
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about a character and about a situation
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when the stakes are really high.
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A and by that I mean like life or death.
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Like when the stakes are high and we
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feel that it's really like the most
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[ __ ] important thing
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then we actually care. So I would just
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say your stakes can be higher and I
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think your stakes can be higher.
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Okay. This can this it sometimes
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particularly when we we do a pieces that
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have humor to them or they're quote
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unquote comedic slightly more than maybe
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we'd call dramatic. Although what we
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always hope to be able to do is to
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create performances that don't fall into
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one-word categories. So you can walk out
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of a play and say it wasn't just
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dramatic. It wasn't just comic. It's it
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hits so many levels and layers that it's
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beyond that. You always want to try to
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achieve that in what you do. So, I just
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would say that the stakes,
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make them higher. Make this is the
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[ __ ] most important [ __ ] thing
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you've ever [ __ ] said.
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Okay,
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we don't hope kids buy this stuff,
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right?
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Okay,
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try that again.
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But I do smoke pot with you. All of you.
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my pot all the time. Hundreds and
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hundreds of dollars worth. So why
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shouldn't I make any money off you?
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You [ __ ] guys gripe at me all the
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time. And I'm providing you schmucks
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with such a crucial service.
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Plus, I'm providing you with precious
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memories of your youth for when you're
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[ __ ] old.
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All you do is imitate me.
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I turned you on the honeymooners. Frank
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Zappa, Ernest Lubich, boxer shorts,
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sushi,
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one man culture for you pathetic
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[ __ ]
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You're going to remember your youth as a
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Greystone haze followed by a series of
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beatings of your dad and like my jokes.
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God damn. Do you know how much pot I've
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thrown out the window in the middle of
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the night for you guys when you're
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running around the streets like junkies
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looking for half a joint so you can go
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to sleep? And you [ __ ] at the fact that
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I turn a prophet should be thanking God
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the day you met me. You [ __ ] here
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worshiping me little [ __ ]
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I don't know why I ended up.
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Nice. Thank you very much.
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very often sometimes we just have to be
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reminded
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just step on the gas 5% 10%. Have that
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energy just be like that. And then other
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times it's important to also pull back
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and say maybe I'm rushing through this
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thing. Maybe I'm not hitting the word
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that
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tells the audience what this character
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is experience. Maybe I'm not carving
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that out. Maybe I'm racing through it.
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Maybe I need to just pop that word
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because it's all a series of
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us learning how to carve out stuff so
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that the idea
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the author has written that's worth
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sending
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can be sent. And it's about picking out
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those words that we
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choose and the rest we throw away.
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We can't emphasize everything. We have
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to choose what to emphasize.12880
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