#ShakespeareLives Nominations – vote for us please!

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We have had five of our Souliloquies nominated for the British Council’s #ShakespeareLives Shakespeare Shorts Competition! Once nominated these videos are voted on by a team of judges and the general public – we would love you to register and vote for us*

You get one vote (four categories) per video – so please do vote for all our 5 nominated ones:

This is a a great platform for our project and we have already had a nice little bump in views for the featured videos but we need more votes (lots of lovely round 10s) to raise our average scores and get us shortlisted as winners.

Getting nominated and being a part of this competition is really exciting for us and a wonderful acknowledgement of these great performances.

Thank you!
Tilly and Victorine x

 

*It’s a little annoying to register using an email address as it apparently won’t work unless your password is exactly 8 characters total and has a capital letter, a number and another character (#$£%!). This feature is not explicitly stated on the website and it will just block you and say there is an error with the password. We suggest choosing a six letter word – capitalising the first letter and putting the symbol and number after ie. Juliet#5 – otherwise logging in through social media is apparently easier.

 

 

 

 

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Cycle 3 Character Recap!

Today marks the day we start our casting announcements for Cycle 4 – but before we move onto that. Here is a mini recap of who we heard from in Cycle 3.

 

kate

Katherina In Souliloquy.

tybalt

Tybalt In Souliloquy.

cleo

Cleopatra In Souliloquy.

abhorsen

Abhorsen In Souliloquy.

ophelia

Ophelia In Souliloquy.

titania

Titania In Souliloquy.

We hope you’ve enjoyed this varied collection of voices as much as we have!

Why Ophelia?

One of my good friends loves art in the way I do – she becomes emotionally attached to it and it informs her own creative process and writing. One such piece is Ophelia – Millais. She loves it. We had dinner last week with two other friends and I had such a violent reaction to her raptures it led to an interesting discussion. She and one other emphasising how beautiful it is with the other side of the table not disputing the beauty but saying it’s also really, really horrible.

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I just can’t bear this fetishising of death. Ophelia is not a lost love-lorn princess asleep in a river – she is a person who made the choice, the final choice to kill herself in a horrible way. Her death is not about flowers floating in dark water, it’s about sinking away from the light. It is such classical male gaze – to take a decision made by a girl and strip it of any meaning beyond aesthetics. I actually didn’t realised how angry about this until a) I wrote Ophelia and b) how surprised everyone was to my visceral disgust at seeing a postcard.

Ophelia In Souliloquy deals with this directly. She is at once accepting and embracing the she has chosen and also quietly furious at how it has been memorialised.

She doesn’t care if we do not understand why, but there is a why far beyond the absence we get in the play and the famous images of her death that litter our art history. In truth the images of her lying back forever half submerged make her skin crawl. Ophelia is honest, she does not care for beauty.

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As you watch this performance, watch the lovely and talented Lilian Schiffer work her way through the shifts in the text as she rises above her grave. At some key moments her eyes focus on you watching and she won’t let you look away. Don’t paint over her pain, she says – I am far more than written. Listen to what I am saying and hear my grief, my anger, my despair and finally my salvation.

I think as artists we have responsibilities to engage with what has come before. There is no doubt that Hamlet is an incredible piece of writing and that Millais’ Ophelia is an exquisite rendering of a pre-Raphelite aesthetic – but think on this. The girl whose death is reduced to how it effects another and is only remembered as beauty? The female voice is so often removed or silenced from history. Ophelia is so much more than that. We are all more than that.

Ophelia In Souliloquy from In Souliloquy on Vimeo.

Perhaps one of the most important gifts we have as writers is that we can give others a voice. Think of how much richer our understanding can become by listening.

Behind the Scenes Cycle 3!

A little selection of the work behind the scenes of shooting Cycle 3 and how fun at times it can be. Thanks again to everyone involved!

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Titania In Souliloquy.

Titania In Souliloquy from In Souliloquy on Vimeo.

Queen of more than she ever imagined.

Performed by Eliza Power
Written by Tilly Lunken
Directed by Victorine Pontillon
After William Shakespeare’s Midsummer Night’s Dream.

Special thanks to Steven M. Levy & Charing Cross Theatre.

In Souliloquy is devised and produced by V&T.
Titania In Souliloquy is part of Cycle 3 of this project

Music:
Blue Feather by Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 3.0
creativecommons.org/licenses/by/3.0/

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Ophelia In Souliloquy.

Ophelia In Souliloquy from In Souliloquy on Vimeo.

She chose her own end. Don’t forget that.

Performed by Lilian Schiffer
Written by Tilly Lunken
Directed by Victorine Pontillon
After William Shakespeare’s Hamlet.

Special thanks to Steven M. Levy and the Charing Cross Theatre.

In Souliloquy is devised and produced by V&T.
Ophelia In Souliloquy is part of Cycle 3 of this project.

Music:
Duet Musette by Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 3.0
creativecommons.org/licenses/by/3.0/

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Abhorsen In Souliloquy.

Abhorsen In Souliloquy from In Souliloquy on Vimeo.

In the quiet before dawn, speaks the man who brings death.

Performed by Richard Listor
Written by Tilly Lunken
Directed by Victorine Pontillon
After William Shakespeare’s Measure for Measure.

Special thanks to Tony Lunken.

In Souliloquy is devised and produced by V&T
Abhorsen In Souliloquy is part of Cycle 3 of this project

Music:
Pale Rider
Licensed under Creative Commons: By Attribution 3.0
http://creativecommons.org/licenses/by/3.0/

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