â27 One Minute Monologues for Womenâ is a useful resource for actors looking for the best comedic and dramatic short monologues for women. These monologues are sourced from movies, TV shows, plays, and works by William Shakespeare. Some of the featured monologues come from popular shows such as âSex Education,â âDog Eat Dog,â âTrifles,â âWestworld,â âHow to Get Away with Murder,â and âShameless.â
The 27 monologues offer a diverse range of characters and emotional depth, providing actors with the opportunity to showcase their talent and versatility.
Whether youâve been in acting for a long time or your a newcomer eager to practice your art, this collection is sure to inspire and challenge you.
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MONOLOGUE COLLECTION
The Best 27 One Minute Monologues For Females
1. The Straw (dramatic)
A monologue from the play by Eugene OâNeill
Miss Gilpin (forties â fifties)
She saw that you didnât love her- any more than you did in the days before you left. Oh, I used to watch you then. I sensed what was going on between you.Â
I would have stopped it then out of pity for her, if I could have, if I didnât know that any interference would only make matters worse. And then I thought that it might be only a surface affair- that after you were gone it would end for her.Â
Youâll have to forgive me for speaking to you so boldly on a delicate subject. But, donât you see, itâs for her sake. I love Eileen. We all do. I know how Eileen feels, Mr. Murray.Â
Once- a long time ago- I suffered as she is suffering- from this same mistake. But I had resources to fall back upon that Eileen hasnât got- a family who loved me and understood- friends- so I pulled through.Â
But it spoiled my life for a long time. So I feel that perhaps I have a right to speak for Eileen who has no one else.
2. Heathers (comedic)
A monologue from the screenplay/movie by Daniel Waters
Heather
You were nothing before you met me! You were playing Barbies with Betty Finn! You were a Brownie, you were a Bluebird, you were a Girl Scout Cookie! I got you into a Remington Party!
Whatâs my thanks? Itâs on the hallway carpet. I get paid in puke! (totally in control) Monday morning, youâre history. Iâll tell everyone about tonight. Transfer to Washington. Transfer to Jefferson.
No one at Westerburgâs going to let you play their reindeer games.
3. Ever Young (dramatic)
A monologue from the play by Alice Gerstenberg
Mrs. Payne-Dexter (sixties)
Agnes, you have kept your health living on your estate in Long Island, but you have watched the inevitable drying up of flowers and leaves in autumnÂ
and you have followed what seems to you the inevitable progress of autumn into winterâwell, my hair may be white as snow, but my blood is still red!
The doctors are my worst enemies. They tell me I must not eat this, I must not do that. They tell me I am getting old, that I must rest.
I do not wish to rest, I simply wonât grow old. When one has been a leader, one can not let younger women usurp oneâs position.
I still have it because I will have it, because I will not let it go, but I have to strive harder for it every year,
every year I must grow more imperious, more dominating, more terrorizing to hold supremacy over this new independent generation.Â
There is that little presumptuous May Whigham. She is eighteen and so rude I should like to spank her.
4. The Importance of Being Earnest (comedic)
A monologue from the play by Oscar Wilde
Miss PrismÂ
Lady Bracknell, I admit with shame that I do not know. I only wish I did. The plain facts of the case are these.
On the morning of the day you mention, a day that is for ever branded on my memory, I prepared as usual to take the baby out in its perambulator.
I had also with me a somewhat old, but capacious hand-bag in which I had intended to place the manuscript of a work of fiction that I had written during my few unoccupied hours.
In a moment of mental abstraction, for which I never can forgive myself, I deposited the manuscript in the basinette, and placed the baby in the hand-bag.
5. Enigma (dramatic)
A monologue from the play by Floyd Dell
She (twenties â thirties)
Noâit happened to me. It didnât happen to you. You made up your mind and walked in, with the air of a god on a holiday.
It was I who fellâheadlong, dizzy, blind. I didnât want to love you. It was a force too strong for me. It swept me into your arms.
I prayed against it. I had to give myself to you, even though I knew you hardly cared. I had toâfor my heart was no longer in my own breast.
It was in your hands, to do what you liked with. You could have thrown it in the dust. It pleased you not to. You put it in your pocket.
But donât you realize what it is to feel that another person has absolute power over you? No, for you have never felt that way.Â
You have never been utterly dependent on another person for happiness. I was utterly dependent on you. It humiliated me, angered me.
I rebelled against it, but it was no use. You see, my dear, I was in love with you. And you were free, and your heart was your own, and nobody could hurt you.
Read the play here|Listen to the play (Audible)
6. Alcott (comedic)
A monologue from the play by Adam Szymkowicz
Violet (thirties)
My nameâs not Violet. My name has never been Violet. I always introduce myself as Elizabeth. Itâs my name. Itâs always been my name.Â
Meredith called me Shrinking Violet once during my freshman year and ever since then, everyone thinks my name is Violet.
My name is not Violet. Itâs been fourteen years. Stop f***ing calling me Violet!
(PRAGUE: Relax, Honey.)
I will not relax. You know, Iâve expended so much energy over the years trying to get you to notice me. All of you.
Why do I care what you think? How is it I think about you when you arenât there? Still. All the time. All of you? Youâre not that special.
You never were. No one cares about you. No one knows who you are. Youâve built this wind tunnel around you that celebrates your cult.Â
Itâs not a real thing. Theater isnât even a real thing. My mother thinks I open curtains during Lion King. And you!
All the things you do are insignificant. You are selfish and you are oblivious and you are all terrible people.
7. To Gillian on Her 37th Birthday (dramatic)
A monologue from the play by Michael Brady
Rachel
This was my motherâs hat, kind of her lucky hat. The last time I saw her, I mean before the accident, she was wearing this hat.
She always wore this hat. This was her bike. Itâs a long story. We used to come out here, first thing when she got back from the summer.
It was like our place to get reacquainted, have a mother daughterâŠâŠShe would tell me all about the orangutans and then sheâd go develop her pictures.
I remember the last time she had given the orangutans our names. Esther was the bossy one. Paul was the one that made faces all the time.
And Rachel was very, very quiet. I had forgotten that. You know sometimes I think about her, and somehow sheâs still alive.
8. AS YOU LIKE IT (comedic)
A monologue from the play by William Shakespeare
ACT 3, SCENE 5
PHEBE (twenties)
I would not be thy executioner:
I fly thee, for I would not injure thee.
Thou tellâst me there is murder in mine eye:
âTis pretty, sure, and very probable,
That eyes, that are the frailâst and softest things,
Who shut their coward gates on atomies,
Should be callâd tyrants, butchers, murderers!
Now I do frown on thee with all my heart;
And if mine eyes can wound, now let them kill thee:
Now counterfeit to swoon; why now fall down;
Or if thou canst not, O, for shame, for shame,
Lie not, to say mine eyes are murderers!
Now show the wound mine eye hath made in thee:
Scratch thee but with a pin, and there remains
Some scar of it; lean but upon a rush,
The cicatrice and capable impressure
Thy palm some moment keeps; but now mine eyes,
Which I have darted at thee, hurt thee not,
Nor, I am sure, there is no force in eyes
That can do hurt.
Read the play here â Folger|No Fear Shakespeare
9. CIGARETTES AND CHOCOLATE (dramatic)
A monologue from the play by Anthony MinghellaÂ
GEMMAÂ
When you stop speaking, itâs like stopping eating. The first day thereâs something thrilling, and new, before the pain begins.
The pain where you want to give up, where you can think of nothing else. Then the second day, you feel wretched, the third delirious, and then suddenly thereâs no appetite, it shrinks,
it shrinks, until the prospect of speaking, the thought of words retching from the mouth, how ugly and gross it seems.Â
Nothing changes. Iâm on the pill, Iâm off the pill, Iâm on the pill, Iâm off the pill. Iâm listening to jazz, swing, jazz, swing, Iâm getting my posters framed.
Iâm telling my womenâs group everything. Iâm protesting. Iâm protesting. Iâve covered my wall with postcards, with posters, with postcards, with posters.
No this. Out them. In these. Yes those. No this. Out them. In these. Yes those. The rows. The rows with my friends, my lovers.
What were they about? What did they change? The fact is, the facts are, nothing is changed. Nothing has been done.Â
There is neither rhyme nor reason, just tears, tears, peopleâs pain, peopleâs rage, their aggression. And silence.
10. Sex Education (comedic)
A monologue from the screenplay/tv-show by Laurie Nunn
Jean (thirties â forties)
Sorry if I upset your friend. Sweetheart, Iâve been meaning to talk to you. Youâre pretending to m*sturbate and Iâm wondering why?
The hand cream gave it away. And only pensioners would be into p*rn mags these days. Itâs a little overkill.
You know you can talk to me about anything. No judgment. Are you even m*sturbating at all?Â
Iâll stop analyzing everything you do when you stop creating performative situations that you clearly want me to observe.
Go to your room if thatâs what you feel is best. Weâll talk when youâre ready.
11. ONE SUNDAY AFTERNOON (dramatic)
A monologue from the play by James Hagan
AMY
Written in 1930, this lovely and slightly sentimental play, is about young love in a small Midwestern town.
Amy, a romantic young girl, has a crush on the town bully and sheâs describing it to her friend Virginia.
I donât know. Maybe it was love, I donât know, butâ Well, when I was very young â of course, thatâs a long time ago, you understand.
It was in school. There was this boy. I donât knowâhe never looked at me and I neverâŠVirginia, did you ever have a feeling in your heartâ
Something that you feel is going to happen and it doesnâtâthatâs the way my heart wasâ(she touches her heart)
It wasnât love, I know thatâ(pause) He never even noticed me. I could have been a stick in the mud as far as he was concerned.Â
Virginia, this boy always seemed lonely somehow. Everybody had it in for him, even the teachersâthey called him bullyâbut I know he wasnât.Â
I saw him do a lot of good thingsâwhen the big boys picked on the smaller ones, he helped the little fellows out.
I know he had a lot of good in himâ good, that nobody else could seeâthatâs why my heart longs for him.Â
12. CAT ON A HOT TIN ROOF (comedic)
A monologue from the play by Tennesse Williams
Margaret/Maggie
Yes, itâs too bad because you canât wring their necks if theyâve got no necks to wring! Isnât that right honey?
Yep, theyâre no-neck monsters, all no-neck people are monsters? (children shriek downstairs) Hear them? Hear them screaming?
I donât know where their voice boxes are located since they donât have necks. I tell you I got so nervous at that table tonight,
I thought I would throw back my head and utter a scream you could hear across the Arkansas border anâ parts of Louisiana anâ Tennessee.Â
I said to our charming sister-in-law, Mae, âhoney, couldnât you feed those precious little things at a separate table with an oilcloth cover?
They make such a mess anâ the lace cloth looks so pretty!â She made enormous eyes at me and said,
âOhhh, nooooo! On Big Daddyâs birthday? Why, he would never forgive me!â Well, I want you to know,Â
Big Daddy hadnât been at the table two minutes with those five no-neck monsters slobbering and drooling over their food before he threw down his fork anâ shouted,Â
âFoâ Godâs sake, Gooper, why donât you put them pigs at a trough in thâ kitchen?â- Well, I swear, I simply could have di-ieed!
Think of it, Brick, theyâve got five of them and number six is coming.
13. Trifles (dramatic)
A monologue from the play by Susan Glaspell
Mrs. Hale and Mrs. Peters discuss the Wright household and their lack of making an effort to reach out to Mrs. Wright.
MRS. HALE
But I tell you what I do wish, Mrs Peters. I wish I had come over sometimes when she was here. Iââwish I had.
I couldâve come. I stayed away because it werenât cheerfulâand thatâs why I ought to have come.IâIâve never liked this place.
Maybe because itâs down in a hollow and you donât see the road. I dunno what it is, but itâs a lonesome place and always was.
I wish I had come over to see Minnie Foster sometimes. I can see nowâ Not having children makes less workâ
but it makes a quiet house, and Wright out to work all day, and no company when he did come in. Did you know John Wright, Mrs Peters?
he didnât drink, and kept his word as well as most, I guess, and paid his debts. But he was a hard man, Mrs Peters.Â
Just to pass the time of day with himâLike a raw wind that gets to the bone. I should think she would âa wanted a bird.
But what do you suppose went with it?
14. The Taming Of The Shrew (comedic)
A monologue from the play by William Shakespeare
Act 3, Scene 2
KATHARINA (twenties â thirties)
No shame but mine: I must, forsooth, be forced
To give my hand opposed against my heart
Unto a mad-brain rudesby full of spleen;
Who wooâd in haste and means to wed at leisure.
I told you, I, he was a frantic fool,
Hiding his bitter jests in blunt behavior:
And, to be noted for a merry man,
Heâll woo a thousand, âpoint the day of marriage,
Make feasts, invite friends, and proclaim the banns;
Yet never means to wed where he hath wooâd.
Now must the world point at poor Katharina,
And say, âLo, there is mad Petruchioâs wife,
If it would please him come and marry her!
Read the play here â Folger|No Fear Shakespeare
15. For All Time (dramatic)
A monologue from the play by Rita Wellman
Madame Le Bargyâs son, Maurice has died. Every member of the household and friends are devastated by the death. In this scene,Â
Nannete, a servant/nurse of the household who has always loved Maurice, meets Diana.
Nanette finds out Dianeâs romantic relationship with Maurice and says that she would have found a way to break up the affair.Â
Diane calls her a terrible old woman.
NANETTE (thirties to forties)
Am I terrible? I had to fight my way when I was your ageâbecause I was not pretty. I had the choice of being a free drudge or some manâs slave.
So I chose to toil alone. In order to get along alone I had to stifle every drop of humanity in my being.
I had to bind up my human instincts as they bind up the breasts of mothers who flow too bounteously with life-blood long after their babes have need of it.Â
I had to become sharp and bitter because sweetness and softness get crushed under in the battle to live. I learned to fight and I forgot to feel.Â
Then, when I was used up and hard I met Madame le Bargy and she took me into her house because I had one valuable thing left.
I had learned that it is wiser to be honest. I was there when Maurice was born.
16. Dog Eat Dog (dramatic)
A monologue from the play by Mary Gallagher
Edith
I understand. If it comes right down to it, Iâm going to save myself, and Fred. And that time is coming fast.
Fredâs creditors took everything but the bathroom fixtures. Weâve got a twelve-room house without a stick of furniture.
We live in two rooms and we sleep in sleeping bags. And winterâs coming, and thereâs not a hope in hell of buying fuel! Iâm scared.
But more than that, Iâm mad! And by God, I am going to make it through this goddamn mess! And I can do it, too!
I wasnât always loaded. I was broke, for years. Iâm good at being broke. And Iâll save Fred, too, if he just stays out from underfoot.
But I canât save anybody else, and Iâm not fool enough to try! (Pause. Marina, discouraged, prepares to go as Fred enters with fishing gear) I am a realist!
The whole premise of this neighborhood is that we all have money, so weâll never have to ask each other for a goddamn thing!
Now suddenly everyone needs everything, and the doors are closed! And theyâll stay that way! Just donât break your hearts over it, thatâs all!Â
17. Girlboss (comedic)
A monologue from the screenplay/tv show by Kay Cannon (based on the autobiographical book by Sophia Amoruso)
Sophia (early â mid twenties)
Adulthood is where dreams go to die. Grow up, get a job, become a drone, thatâs it. Then itâs over. Society just wants to put everyone in a box. Well guess what society?Â
There is no box. Cos I mean, if I thought the rest of my life would be spent as a mindless cog in a machine, I swear Iâd just get a tattoo across my face that says:Â âReally man?â
Just need to figure out a way of growing up without becoming a boring adult. You probably think Iâm some spoiled brat whoâs never had it hard cause I didnât have to walk a mile to school.Â
But hereâs the thing, I tried college for a year. Total bust. Everything you wanna learn, you could just look up online.
I know how to open champagne with a sword.
18. HOW TO GET AWAY WITH MURDER (dramatic)
A monologue from the screenplay/tv-show by Peter Nowalk, Michael Russo, Abby Ajayi, and Erika Green Swafford.
After having a sexual relationship with her patient, Chad Manning, at Middleton Hospital, Jolene was accused of raping him.Â
She, therefore, sought out an attorney and arrived at Annalise Keatingâs Law Office for her assistance.
She tells the team her story before court.
JOLENE (S1, E13)
I would turn my bedroom into an ICU, and make my little brothers pretend to be trauma victims. The idea of helping people just always made me feel better about myself.
Which is why this is so hard. I mean doctors can kill a patient and keep their jobs but for a nurse? We donât get off so easy.
And I get it! Why people would think I did this. Iâm not the prettiest girl in the room. But this will ruin me.
Iâll be forced onto some sexual predator registry. But I didnât do what that man says, I promise you. I didnât rape him.
19. The Tempest (comedic)
A monologue from the play by William Shakespeare
Act 1, Scene 2
Miranda (twenties â thirties)
If by your art, my dearest father, you have
Put the wild waters in this roar, allay them.
The sky, it seems, would pour down stinking pitch,
But that the sea, mounting to the welkinâs cheek,
Dashes the fire out. O, I have suffered
With those that I saw suffer: a brave vessel,
Who had, no doubt, some noble creature in her,
Dashâd all to pieces. O, the cry did knock
Against my very heart. Poor souls, they perishâd.
Had I been any god of power, I would
Have sunk the sea within the earth or ere
It should the good ship so have swallowâd and
The fraughting souls within her.
Read the play here â Folger|No Fear Shakespeare
20. Westworld (dramatic)
A monologue from the screenplay/tv-show by Jonathan Nolan & Lisa Joy
Season 1, Episode 10
Dolores: (twenties â thirties)Â
Iâm not crying for myself. Iâm crying for you. They say great beasts once roamed the world. As big as the mountains.
Yet all thatâs left of them is bones in amber. Time undoes even the mightiest of creatures. Just look at what itâs done to you.
One day you will perish. You will lie with the rest of your kind in the dirt â your dreams forgotten. Your horrors effaced.
Your bones will turn to sand â and upon that sand â a new god will walk. One that will never die. Because this world doesnât belong to you.Â
Or the people who came before. It belongs to someone who is yet to comeâŠ
21. The Crucible (dramatic)
A monologue from the play by Arthur Miller
Abigail is trying to coax the man she had an affair with to stop rejecting her
ABIGAIL (seventeen)
Why, you taught me goodness, therefore you are good. It were a fire you walked me through, and all my ignorance was burned away.
It were a fire, John, we lay in fire. And from that night no woman dare call me wicked any more but I knew my answer.
I used to weep for my sins when the wind lifted up my skirts;Â and blushed for shame because some old Rebecca called me loose.
And then you burned my ignorance away. As bare as some December tree I saw them allâwalking like saints to church, running to feed the sick, and hypocrites in their hearts!
And God gave me strength to call them liars, and God made men to listen to me, and by God I will scrub the world clean for the love of God.Â
Oh John, I will make you such a wife when the world is white again! You will be amazed to see me every day, a light of heaven in your house, aâŠ..Why are you cold?!
22. A Matter of Husbands (comedic)
A monologue from the play by Ferenc Molnar
Famous Actress (thirties â forties)
My dear, if you knew how often we actresses meet this sort of thing! It is perfectly clear that your husband has been playing a little comedy to make you jealous, to revive your interest in him.Â
It happens to every actress who is moderately pretty and successful. It is one of the oldest expedients in the world, and we actresses are such conspicuous targets for it!Â
There is scarcely a man connected with the theater who doesnât make use of us in that way some time or anotherâ
authors, composers, scene designers, lawyers, orchestra leaders, even the managers themselves.Â
To regain a wife or sweetheartâs affections all they need to do is invent a love affair with one of us. The wife is always so ready to believe it.
Usually we donât know a thing about it. But even when it is brought to our notice we donât mind so much.
At least we have the consolation of knowing that we are the means of making many a marriage happy which might otherwise have ended in the divorce court.
23. Private Lives (dramatic)
A monologue from the play by Noel Coward
Amanda Prynne
I donât expect you to understand, and Iâm not going to try to excuse myself in any way. Elyot was the first love affair of my life, and in spite of all the suffering he caused me before,Â
there must have been a little spark left smouldering, which burst into flame when I came face to face with him again.
I completely lost grip of myself and behaved like a fool, for which I shall pay all right, you neednât worry about that.
But perhaps one day, when all this is dead and done with, you and I might meet and be friends. Thatâs something to hope for, anyhow. Good-bye Victor, dear.
24. Measure For Measure (comedic)
A monologue from the play by William Shakespeare
Act 2, Scene 2
Isabella (twenties)
Could great men thunder
As Jove himself does, Jove would neâer be quiet,
For every pelting, petty officer
Would use his heaven for thunder;
Nothing but thunder! Merciful Heaven,
Thou rather with thy sharp and sulphurous bolt
Splitâst the unwedgeable and gnarled oak
Than the soft myrtle: but man, proud man,
Drest in a little brief authority,
Most ignorant of what heâs most assured,
His glassy essence, like an angry ape,
Plays such fantastic tricks before high heaven
As make the angels weep; who, with our spleens,
Would all themselves laugh mortal.
25. Shameless (dramatic)
A monologue from the screenplay/tv-show by John Wells
Season 1, Episode 9
Fiona (twenties)
You donât get to abandon your kids and then just show up one day and take your pick of the litter. This is about you.
Itâs about what you didnât do. Itâs about what I did. And you know what? I did a great f***ing job! Debbie is class president, sheâs on the debate team going to nationals!
Liam is top of his class, he set the curve. Ian just got promoted to ROTC and he tested out of English and Carl blew something up at the science fair.
And you know what? They did it all. No thanks to you, because you werenât there! You were my mum too. (Beat)
You know what, youâre right. You are their mum. So Iâm done. Iâm done with the schools, with the bills, with the appointments.
Youâre here now. Iâm done. Theyâre all yours now, Mum. Good luck.
26. Where You Canât Follow (comedic)
A monologue from the play by Adam Szymkowicz
Josette (late twenties â mid thirties)
Do you? Look, you are here how long? A week at least? After a week with me, you will want to marry me.
I need you to know now, I cannot marry you. I am a better lover than a wife. I am giving you a gift, can you understand?
The gift of my love. But it is all I can give. Now you say âokayâ but later you will try to get me to marry you.
I would suggest you not try this. It would be the end of us. When a man asks me to marry him I have to say goodbye.Â
I am serious. Marriage is a death to me. Do you want me to die? Then when you feel yourself want to ask for marriage with me, you must think twice.
You understand? You make jokes but it is not funny. I have to beat off my suitors with a tree.
27. American Horror Story (dramatic)
A monologue from the screenplay/tv-show by Ryan Murphy
Season 1, Episode 8
VIVIEN
Itâs my own fault. I read labels on everything and then when it really counted, I just didnât. I just followed directions blindly.
My doctor gave me a prescription last week for a drug for nausea, and I just checked it on the internet and it says that it can cause fevers,
and seizures and, umm, vision changes. Itâs the only explanation for all the crazy stuff thatâs been happening.Â
My doctor never even told me about the side effects. My mind is playing tricks on me, Moira. Iâm literally seeing things.
And everybody thinks Iâm crazy. I know Ben does, I know it. and Iâve been too embarrassed to call Luke. I had no idea.
Conclusion
In conclusion, this serves as a comprehensive resource providing a diverse range of monologues. Whether you are looking for dramatic, comedic, or inspirational monologues, this blog has got you covered. So, look no further as everything actors need to showcase their talent is right here at your fingertips in this curated collection of one-minute monologues for women.
Check out our monologue archive below for more monologues.
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