New 2017 In Souliloquy Trailer!

Why hello there – we have a gorgeous new trailer pulled together by Victorine to celebrate both our body of work (go on check out our portfolio) and in anticipation of what is to come.

It features familiar faces from our talented collaborators – especially the wonderful voice of Lydia Lane as Marina. An edited down version of her monologue voices over the footage of our work.

As always all directed by Victorine and written by Tilly (Orlando and Margaret of Anjou written by Victorine).

In development at the moment

  • The rest of our ET TU series
  • Summer Seasonal Souliloquy
  • Autumn Seasonal Soulilouuy
  • Mechanicals’ Macbeth!

 

Please enjoy this reminder and stay tuned for more new work soon!

Four Cycles Down!

For the past few months I’ve been re-releasing our Souliloquies on my personal blog with some notes on the writing, performance, process etc. It’s nice to take the time to not only share a bit more of the process but also think back and reflect on the intensity of production and how far we came across the four cycles.

Today I shared Don John our final souliloquy from the 4 2016 Cycles – it feels appropriate to mark the occasion with a reflective blog because it is pretty momentous. We produced 24 original new pieces of writing in 6 months! From the idea right through the writing, casting, direction, filming, editing, release and all the associated social media and admin – that is a lot of work. It’s quite satisfying as a writer!

You can check out the blog about Don John here  – and click on through for other insights about the other characters across our 4 cycles – they’re all there!

Interestingly, Don John was a character I had expressed an interest in writing way back in Cycle 1 but he kept getting bumped down our spreadsheet. He doesn’t say much and the productions I had seen pitted him as a very panto villain but we were determined to do him at some point and this was last chance saloon.

Boy does he kick down those doors and hold you up!

Thanks to everyone who has watched our 2016 Cycles – here’s another chance to dive in and sample a few more – discover new sides to loved characters or find out about someone you didn’t know existed.

Tilly x

 

In Souliloquy – 2016 by Numbers!

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When people ask us about 2016 and what we achieved it’s often quite overwhelming to communicate the scale of In Souliloquy and the amount of work we actually did across the year. This started as a little project and has evolved into anything but that – although at it’s core it remains essentially what we set out to do. To celebrate Shakespeare, his work and to reclaim the voices of characters lost in the plays and time since.

We’ve grown too, as producers and artists. Our vision has opened up and we are very excited to bring new creations to you in 2017.

Thank you to everyone who has collaborated with us this year, your time, talent and work has been essential to the ongoing success of this project. Thank you to those who voted on that terrible website, supported by viewing our videos and put up with us talking Shakespeare all the time. We are pretty chuffed with your support and confident we can reward it by continuing to make good art (hat tip Neil Gaiman) this new year.

Big love and a whole lot of gratitude,

Tilly and Victorine xx
(V&T)

 

Happy Halloween from the In Souliloquy Team!

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Happy Halloween/ All Hallows/ Whatever pagan ritual you might be celebrating this evening. Here we share our production meeting funtimes and also a little selection of some creepy characters for you to indulge your inner scaredy cat!

“A dark tale of blood in the night” indeed!

Lady Macbeth

Lady Macbeth In Souliloquy from In Souliloquy on Vimeo.

Richard III

Richard III In Souliloquy from In Souliloquy on Vimeo.

Lady Macduff

Lady Macduff In Souliloquy from In Souliloquy on Vimeo.

Yorick

Yorick In Souliloquy from In Souliloquy on Vimeo.

Abhorsen

Abhorsen In Souliloquy from In Souliloquy on Vimeo.

Cassandra

Cassandra In Souliloquy from In Souliloquy on Vimeo.

Enjoy your fear responsibly dearest audience!

In Souliloquy Blooper Reel Cycle 2-4!

In Souliloquy Bloopers – Cycle 2-4 from In Souliloquy on Vimeo.

We are delighted to share a little of the behind the scenes work (fun) that has gone into this project! Please come and share a laugh at the various antics edited together for your viewing pleasure from our resident wonder Victorine.

 

 

Please vote for Lady Macduff In Souliloquy for #ShakespeareLives!

We are excited to announce that Lady Macduff In Souliloquy – from Cycle 4 of this project has been nominated for the #ShakespeareLives Competition. Please vote for us!

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If you have already voted for us and you return to the website, barring any glitches it should be rather easy for you because a) you are potentially still logged in or b) you already have an account so click on login and get going. DO NOT try and login through any pop ups, instead click on the login button on the menu and follow that pathway through – then find video and vote.

If you have not voted yet and would like to: Here is a link directly to the registration page: https://films.shakespearelives.org/registration/ – because it is a glitchy website it works better to register first and then watch and vote. You can also find this page by clicking the login button on the main menu, scrolling down and clicking on register a new account.

To register using an email address it 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.

If you are logging in using social media and have verified your account, you should login in via the login button and page NOT THROUGH clicking on the video vote now and subsequent pop up. This feature just doesn’t work at all.

We have done very well on this platform and would very much love to continue with that so please do vote for Lady Macduff, show her some love as she doesn’t get much in Macbeth. As mentioned in previous posts… this is such great exposure 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 please) to raise our average scores and get us shortlisted as winners. Public voting is always a difficult thing and the best way we can actually ensure we do well on this platform is for loads of people we know to give us a bit of love.

Here is the direct link to the video: https://films.shakespearelives.org/nominees/51/lady-macduff-in-souliloquy 

 

Thank you!
Tilly, Victorine and Tracey x

 

 

A Little on Feminist Writing and Representation for In Souliloquy.

I recently submitted a play to an organisation that strongly recommended the writer adding in a #DiversityPledge to the script – explicitly encouraging producers to think of a diverse and representative cast. It’s an interesting idea to get the writer engaged in this and it got me thinking again about our responsibilities as artists to reflect the world and challenge perceived norms of representation.

In Souliloquy is at the heart about re-representation. It is about the selective voices we get to hear in a text, it is about giving forgotten characters a stage and it is about entering a dialogue with classic Shakespearean texts and deepening our understanding of them. Our tagline:

A question, a consequence, a soul seeking an audience.

Is an unrelenting promise. These are voices that have something to say and they are going to say it, however confronting it might become.

Much of this engagement is explicitly feminist -the majority of the characters we have produced so far are women, for the majority of the female characters in Shakespeare’s play have little agency or have time and presence when it suits the plot and are then discarded. Characters such as Lady Macbeth (one of the most feared and reviled women) and Ophelia (the most fetishized) are so much a part of our collective culture but are silent in response. They both die offstage, their deaths only registering in brief reactions of their male love interests.

Undersung or misrepresented are the two words we chose to help shape the project early on and they have guided us through curating the characters we have chosen. It is not surprising that most are women.

Characters such as Viola and Marina are rarely taken seriously – are dismissed as silly women in silly situations. But at their core both of these women are incredibly strong, take initiative and control of their life and situation and it is them that drive the action of the plot of their plays. These pieces give them a chance to express this, a platform to share directly with an audience.

Those with a traditional happily ever after are too given chance speak beyond that. Our Titania surprises both herself and her husband and Miranda dreams of the sea. These are complicated people, who exist beyond their titles and roles in society.

Our work also addresses the graphic violence towards women in a very different way to the source texts – where it is often used as little more than a plot device (Emilia’s murder in Othello) or as a way to illustrate a man’s character development (Lady Macduff and her family’s murder in Macbeth). Lavinia of course is so brutally treated – there are no words – but to not listen is far worse.

Our other characters (female and otherwise) fall into similar patterns of reclaiming their words (Cassandra), their position in society (Doll Tearsheet), their death (Cleopatra)…

…their love (Helena) and (Katherina) and their humanity (Margaret of Anjou).

And then of course, there is Juliet – our first released video from all the way back in Cycle 1 – unpacking the meaning of her final choice.

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There is so much there in all of these words and experiences and characters – we felt the need to share these. I felt the need to write them. Because at the end of it all what is a Souliloquy? It is a testimony that we are forced to listen to.

Our Lavinia speaks of a truth that we shall one day listen.  This blog is about the truths of women in Shakespeare’s works (we have a fair few blokes given new voices and truths too) and how they might address an audience directly as so many of them are denied. The female voice and experienced is so often viewed and distorted through a male pen, lens and direction we hoped to do something a little different.

Across our four cycles of In Souliloquy we have 16 new monologues written for female characters – classical characters redefined, re-imagined – angry, wistful, playful, heartbroken, strident and defiant they exist. They address their words to you, without waiting for permission or for another to speak. This is quite an unusual feat and we feel a pretty successful realisation of how we wanted to represent these characters.

However, we had an interesting experience as a team recently that made me feel the need to justify this project in terms of feminist representation and contemporary relevance. Sometimes I think people can be a little dismissive about revisiting and engaging with classical texts. Anyway, I started this post irritated at having to explain ourselves again but I don’t feel that anymore – writing this and revisiting the performances, words, direction and our production – I know.

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Although there is always room for better, more diverse representation and we will strive for that in our developing project – In Souliloquy is proudly feminist – every step of the way.

#DiversityPledge