tag:blogger.com,1999:blog-54131700835999020302024-02-21T13:29:19.019+11:00OnomatopoeiaWords - of - Theatre - Theatre - of - WordsOnomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.comBlogger294125tag:blogger.com,1999:blog-5413170083599902030.post-30882596764933391322019-03-03T06:08:00.000+11:002019-03-03T06:14:13.361+11:00ET TU - Tamora and Caesar.<br />
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/302892997" webkitallowfullscreen="" width="640"></iframe><br />
<a href="https://vimeo.com/302892997">Et Tu - Tamora & Caesar</a> from <a href="https://vimeo.com/insouliloquy">In Souliloquy / V&T Productions</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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<span style="font-family: inherit; font-size: 0.875rem; letter-spacing: 0.01rem;">In the latest release of the ET TU series: <i>In an endless battle, two sworn enemies come together and connect over the trauma of their wars.</i></span></div>
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<span style="font-family: inherit;">Julius Caesar - Timothy Hofmeier</span><br />
<span style="font-family: inherit;">Tamora - Sabrina Richmond</span></div>
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<span style="font-family: inherit;">Written by Tilly Lunken</span><br />
<span style="font-family: inherit;">Directed by Victorine Pontillon</span><br />
<span style="font-family: inherit;"><b><i>Et Tu: Tamora and Caesar</i></b> is part of the Et Tu Series by In Soulilouquy</span></div>
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<span style="font-family: inherit;">Music: Anamalie by Kevin MacLeod (incompetech.com) </span><br />
<span style="font-family: inherit;">Licensed under Creative Commons: By Attribution 3.0</span><br />
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Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-46113333419386257582018-12-17T20:11:00.000+11:002018-12-18T00:00:05.411+11:00Coming Soon - On Guard!<div class="separator" style="clear: both; text-align: center;">
COMING SOON! </div>
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Jeannie Dickinson as Stair Monitor Three</div>
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Mary Roubos as Stair Monitor Two </div>
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Francesca Burgoyne as Stair Monitor One</div>
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<span style="font-family: inherit; letter-spacing: 0.01rem;">By Tilly Lunken</span><span style="font-family: inherit; letter-spacing: 0.01rem;">Directed by Victorine Pontillon</span><span style="font-family: inherit; letter-spacing: 0.01rem;">Produced by V&T.</span></div>
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<span style="font-family: inherit;">Filmed on location at Space Clarence Mews.</span></div>
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<span style="font-family: inherit;"><i>On Guard</i> was written for Union House Theatre 24 Hr Play Project in 2010 where it was performed at the Guild Theatre. <i>O</i></span><i style="font-family: inherit; letter-spacing: 0.01rem;">n Guard </i><span style="font-family: inherit; letter-spacing: 0.01rem;">was also performed as part of the Bread and Roses Platform in 2013, directed by Tessa Hart.</span></div>
<br />Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-51902862117074023462018-11-26T00:24:00.000+11:002018-11-26T00:24:18.900+11:00Ophelia In Souliloquy. #Revisited <br />
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<a href="https://vimeo.com/297343249">Ophelia In Souliloquy - Revisited</a> from <a href="https://vimeo.com/insouliloquy">In Souliloquy</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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Part of #InSouliloquyRevisited</div>
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Performed & Choreographed by Katharine Hardman<br style="box-sizing: border-box;" />Written by Tilly Lunken<br style="box-sizing: border-box;" />Directed by Victorine Pontillon<br style="box-sizing: border-box;" />After William Shakespeare’s <i>Hamlet</i>.</div>
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In Souliloquy is devised and produced by V&T<br style="box-sizing: border-box;" />Special Thanks to Caroline Salem & Space Clarence Mews.</div>
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Vocals & Composition by Katharine Hardman</div>
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It's a great gift to be able to collaborate and share your work for others to reinterpret and reinvent. I am so excited for how #Revisited continues. If you are interested in being involved. Get in touch! </div>
Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-8442047690512897732018-11-08T02:41:00.000+11:002018-11-08T02:41:18.396+11:00#InSoulilouquyRevisitedCOME MAKE WORK WITH ME!<br />
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Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-66542709134729058662018-11-06T01:29:00.002+11:002018-11-06T01:33:13.820+11:00ET TU - Bianca and Mariana.<br />
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<a href="https://vimeo.com/269491844">Et Tu - Bianca & Mariana</a> from <a href="https://vimeo.com/insouliloquy">In Souliloquy</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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<i><span style="font-family: inherit;">Is love ever real?</span></i></div>
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<span style="font-family: inherit;">Performed by Kate Sketchley & Sophie MacKenzie</span><br />
<span style="font-family: inherit;">Written by Tilly Lunken</span><br />
<span style="font-family: inherit;">Directed by Victorine Pontillon</span><br />
<span style="font-family: inherit;">N'er To Be His Bride composed by Jackson Pentland</span><br />
<span style="font-family: inherit;">After William Shakespeare’s Othello & Measure for Measure.</span></div>
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<span style="font-family: inherit;">Peppers theme full.mix by Kevin MacLeod (incompetech.com)</span><br />
<span style="font-family: inherit;">Licensed under Creative Commons: By Attribution 3.0</span><br />
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<a href="http://creativecommons.org/licenses/by/3.0/" rel="nofollow noopener noreferrer" style="-webkit-appearance: none; background-color: transparent; border: 0px; box-sizing: border-box; color: #00adef; cursor: pointer; display: inline-block; line-height: inherit; padding: 0px; position: relative; transition: all 0.1s ease-in-out 0s;" target="_blank"><span style="font-family: inherit;">creativecommons.org/licenses/by/3.0/</span></a></div>
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<span style="font-family: inherit;">In Souliloquy is devised and produced by V&T</span><br />
<span style="font-family: inherit;">Bianca & Mariana is part of Et Tu.</span><br />
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Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-70505743361637223702018-11-06T01:16:00.001+11:002018-11-06T01:19:44.886+11:00Hecate In Fall.<br />
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<a href="https://vimeo.com/262392172">Hecate in Fall</a> from <a href="https://vimeo.com/insouliloquy">In Souliloquy</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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<i>Eternity is only an instant.</i></div>
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Performed by Jeannie Dickinson<br />
Written by Tilly Lunken<br />
Directed by Victorine Pontillon<br />
After William Shakespeare’s Macbeth.<br />
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In Souliloquy is devised and produced by V&T<br />
Hecate In Souliloquy is a Seasonal Soliloquy.<br />
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Music:<br />
String Impromptu Number 1 by Kevin MacLeod (incompetech.com)<br />
Licensed under Creative Commons: By Attribution 3.0<br />
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Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-3906919071514224962018-02-24T01:09:00.000+11:002018-02-24T01:52:27.326+11:00ET TU - Iachimo and Goneril.<span style="background-color: white;"><br /></span>
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<span style="background-color: white;"><a href="https://vimeo.com/223675552">Et Tu - Iachimo & Goneril.</a> from <a href="https://vimeo.com/insouliloquy">In Souliloquy</a> on <a href="https://vimeo.com/">Vimeo</a>.</span></div>
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<span style="background-color: white; font-family: inherit;">Iachimo - Tom Pepper</span><br />
<span style="background-color: white; font-family: inherit;">Goneril - Jennifer Aries</span><br />
<span style="background-color: white; font-family: inherit;">Written by Tilly Lunken</span><br />
<span style="background-color: white; font-family: inherit;">Directed by Victorine Pontillon</span><br />
<span style="background-color: white;"><span style="font-family: inherit;">After William Shakepeare's </span><i style="font-family: inherit;">King Lear</i><span style="font-family: inherit;"> and </span><i style="font-family: inherit;">Cymbaline</i><span style="font-family: inherit;">.</span></span></div>
<span style="background-color: white; font-family: inherit;"> Licensed under Creative Commons: By Attribution 3.0<br />
<a href="http://creativecommons.org/licenses/by/3.0/" rel="nofollow noopener noreferrer" style="-webkit-appearance: none; border: 0px; box-sizing: border-box; color: #00adef; display: inline-block; line-height: inherit; padding: 0px; position: relative; transition: all 0.1s ease-in-out;" target="_blank">creativecommons.org/licenses/by/3.0/</a></span><br />
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<span style="background-color: white; font-family: inherit;">Music: Kevin MacLeod gymnopedie 3 - Satie (incompetech.com)</span></div>
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<span style="background-color: white;"><span style="font-family: inherit;">Special thanks to the gorgeous Crooked Well pub in Camberwell!</span><span style="font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif;"> </span></span></div>
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<span style="background-color: white;">Writing this dualogue was great fun as the characters are on one level such horrible people and on another so into each other - it's a real exploration of how to connect with people in contexts you might not expect to see them. These two are completely unforgivable, have committed crimes for selfish reasons and yet here they are reaching understanding of who they are - there's no need for pretence and for once they both might have an honest conversation.</span></div>
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<span style="background-color: white;">Together they might just achieve the infamy and or redemption they both crave.</span></div>
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Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-56681199774326368512017-08-22T07:44:00.000+10:002017-08-23T07:04:12.169+10:00ET TU - Sebastian & Petruchio.<span style="font-family: inherit;"><br />
</span> <span style="font-family: inherit;"><iframe allowfullscreen="" frameborder="0" height="300" mozallowfullscreen="" src="https://player.vimeo.com/video/215404470" webkitallowfullscreen="" width="560"></iframe><br />
</span> <span style="font-family: inherit;"><a href="https://vimeo.com/215404470">Et Tu - Sebastian & Petruchio.</a> from <a href="https://vimeo.com/insouliloquy">In Souliloquy</a> on <a href="https://vimeo.com/">Vimeo</a>.</span><br />
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Sebastian - William Sebag-Montefiore<br />Petruchio - George Turner<br /> Directed by Victorine Pontillon<br /> In Souliloquy is devised and produced by V&T<br /> ET TU: Sebastian & Petruchio is part of a cycle of six dualogues.<br /> Licensed under Creative Commons: By Attribution 3.0<br /> <a href="http://creativecommons.org/licenses/by/3.0/">creativecommons.org/licenses/by/3.0/</a><br /><br />Written by Tilly Lunken<br /><br />Music: Porsch Blues Kevin MacLeod (incompetech.com)<br /><br />Special Thanks to Steven M Levy and the Charing Cross Theatre.<br /><br /><div style="text-align: center;">
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<br />Ah this one was a joy to write and also to work with onstage in performance and as a digital piece. It's just super funny - and it totally got to the point where the in jokes were as funny as the actual jokes and we had a little never-ending funny thing happening. These characters were a pleasure to mash together and really fun to write. I hope though that the there is a serious undercurrent that does come through, because after all - we all deserve more.<br /><br />Writing this was a terrifying experience, but also exhilarating as it was the first 'in form' actual scene I wrote that worked. The rhythms of the language are important, sure - but it isn't about story telling or one voice - the structure of the scene is what informs our understanding rather than them just pouring out their souls directly to an audience. It was a massive brain shift to get those two previously, seemingly disparate writing tools to merge into something that worked. All the more rewarding because interaction/change/drama are kind of key ingredients to good theatre - these characters want all that.<br /><br />Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-66953860940506583182017-06-21T23:29:00.001+10:002017-06-21T23:29:40.185+10:00Jessica In Spring.<br />
<iframe allowfullscreen="" frameborder="0" height="300" mozallowfullscreen="" src="https://player.vimeo.com/video/222101693" webkitallowfullscreen="" width="520"></iframe><br />
<a href="https://vimeo.com/222101693">Jessica In Soulilouqy</a> from <a href="https://vimeo.com/insouliloquy">In Souliloquy</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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Our seasonal Souliloquy for Spring 2017 is Jessica (after <i>Merchant of Venice</i>)<br />
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<i>Know your own shadows.</i><br />
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Performed by Diana Kessler<br />
Written by Tilly Lunken<br />
Directed by Victorine Pontillon<br />
After William Shakespeare’s <i>The Merchant of Venice.</i><br />
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<i>In Souliloquy</i> is devised and produced by V&T<br />
<i>Jessica In Souliloquy</i> is a Seasonal Soliloquy.<br />
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Music:<br />
Ever Mindful by Kevin MacLeod (incompetech.com)<br />
Licensed under Creative Commons: By Attribution 3.0<br />
<a href="http://creativecommons.org/licenses/by/3.0/">creativecommons.org/licenses/by/3.0/</a><br />
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<i>Jessica In Souliloquy</i> was written partly in response to the horrible 'Othering' that has become part of our mainstream political rhetoric around the world. I wanted to write in the voice of someone on the outside that had nominally secured a place within a society and yet could see herself as a more interesting, rounded, full person because of who she was and where she had come from.<br />
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There is defiance in her words - sure it might feel nice to be included and certainly she loves very much her partner but that doesn't mean she wants to deny herself and her history, however dark it might be. It's these shadows that make us interesting as people. Sharing these stories and these voices is so important in representing our diverse communities.<br />
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<i>Merchant of Venice </i>is a complicated example of 'othering' - clearly exploiting stereotypes but also giving a voice and stage to Shylock not previously given to Jewish characters on mainstream stages. This piece explores how Jessica, his daughter reflects on her new convert status and her love of her father.<br />
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In terms of filming and development we had significant location difficulties that push backed filming and the release has bled a little in Summer, however it's just beautiful. Diana is mesmerising as a character seeming both in shadow and bathed in light.Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-45847314334519655742017-02-07T00:32:00.000+11:002017-02-07T00:32:32.220+11:00Don John In Souliloquy.<iframe allowfullscreen="" frameborder="0" height="300" mozallowfullscreen="" src="https://player.vimeo.com/video/178717674" webkitallowfullscreen="" width="520"></iframe><br />
<a href="https://vimeo.com/178717674">Don John In Souliloquy</a> from <a href="https://vimeo.com/insouliloquy">In Souliloquy</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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<span style="background-color: #eeeeee; font-family: inherit;"><i>A villain of little words, speaks.</i></span></div>
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<span style="background-color: #eeeeee; font-family: inherit;">Performed by Jonathan Cobb<br style="box-sizing: border-box;" />Written by Tilly Lunken<br style="box-sizing: border-box;" />Directed by Victorine Pontillon<br style="box-sizing: border-box;" />After William Shakespeare’s <i>Much Ado About Nothing</i>.</span></div>
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<span style="background-color: #eeeeee; font-family: inherit;"><i>In Souliloquy</i> is devised and produced by V&T<br style="box-sizing: border-box;" /><i>Don John In Souliloquy</i> is part of Cycle 4 of this project</span></div>
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<span style="background-color: #eeeeee; font-family: inherit;">Music:</span></div>
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<span style="background-color: #eeeeee; font-family: inherit;">Sneaky Snitch by Kevin MacLeod (incompetech.com) <br style="box-sizing: border-box;" />Licensed under Creative Commons: By Attribution 3.0<br style="box-sizing: border-box;" /><a href="http://creativecommons.org/licenses/by/3.0/" rel="nofollow noopener noreferrer" style="box-sizing: border-box; color: #00adef; cursor: pointer; text-decoration: none;" target="_blank">creativecommons.org/licenses/by/3.0/</a></span></div>
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So Don John is a character I wanted to write but kept putting it off because he just didn't fit into my headspace. But with our fourth cycle I was determined to write him - he doesn't speak much in the play, declaring himself a man of little words but you can just tell he is dying to let fly and deluge of reasons for why he is the way he is.</div>
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Write me a sexy villain - Victorine's instructions - and there we are. Here he is! Absolutely dripping with the bad boy charisma. There's something mesmerising in the tight shot, unequivocal gaze and Jon's great performance that totally makes you feel 'Yeah sure, this guy really knows what he's talking about. Let's smash through the illusion. Boom!' </div>
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This was very satisfying to write, partly because the character has so few lines in <i>Much Ado</i> despite being the main plot driver. Giving him the platform to sound off was a lot of fun. </div>
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<i>Don John</i> is the last of our 2016 Cycles - and it's a lovely bookend with <i>Juliet </i>- both heartbroken in different ways. </div>
Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-30880359319842949332017-02-02T04:16:00.000+11:002017-02-02T04:16:55.405+11:00Marina In Souliloquy.<iframe allowfullscreen="" frameborder="0" height="300" mozallowfullscreen="" src="https://player.vimeo.com/video/178725802" webkitallowfullscreen="" width="520"></iframe><br />
<a href="https://vimeo.com/178725802">Marina In Souliloquy</a> from <a href="https://vimeo.com/insouliloquy">In Souliloquy</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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<span style="background-color: #eeeeee;"><span style="font-family: inherit;"><i>True strength comes from knowing yourself.</i></span></span></div>
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<span style="background-color: #eeeeee;"><span style="font-family: inherit;">Performed by Lydia Lane<br style="box-sizing: border-box;" />Written by Tilly Lunken<br style="box-sizing: border-box;" />Directed by Victorine Pontillon<br style="box-sizing: border-box;" />After William Shakespeare’s Pericles, Prince of Tyre.</span></span></div>
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<span style="background-color: #eeeeee;"><span style="font-family: inherit;">Special thanks to Jennifer Hook.</span></span></div>
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<span style="background-color: #eeeeee;"><span style="font-family: inherit;"><i>In Souliloquy</i> is devised and produced by V&T<br style="box-sizing: border-box;" /><i>Marina in Souliloquy</i> is part of Cycle 4 of this project.</span></span></div>
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<span style="background-color: #eeeeee; font-family: inherit;">Music:</span></div>
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<span style="background-color: #eeeeee;"><span style="font-family: inherit;">Avec Soin by Kevin MacLeod (incompetech.com)<br style="box-sizing: border-box;" />Licensed under Creative Commons: By Attribution 3.0<br style="box-sizing: border-box;" /><span style="color: #17272e;"><span style="box-sizing: border-box; cursor: pointer;">creativecommons.org/licenses/by/3.0/</span></span></span></span></div>
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Marina surprised us both. She was a character from a completely bonkers play neither of us were familiar with, but once we started work - she just shone. Everything that Shakespeare's Soap-addled plot throws in her path she deals with, with strength of character, conviction and a self-determination of her own destiny. Of course the play is named after her father and isn't really about her at all - but she is steadfast, sure and absolutely the person we should all aspire to emulate.<br />
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What is also wonderful is how much of a feminist she is. How she survives everything using her skills and even through her grief she finds life and love.<br />
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Lydia's performance is also lovely, it's brimming with warmth and glows with inner strength. This one makes me cry, but it also makes me want to seize control of who I am and what I make and hug the world.<br />
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For we are all more than any simple destiny. xxxOnomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-56086405791997097212017-01-25T22:41:00.000+11:002017-01-25T22:43:05.903+11:00Lady Macduff In Souliloquy.<iframe allowfullscreen="" frameborder="0" height="300" mozallowfullscreen="" src="https://player.vimeo.com/video/178719892" webkitallowfullscreen="" width="520"></iframe><br />
<a href="https://vimeo.com/178719892">Lady Macduff In Souliloquy</a> from <a href="https://vimeo.com/insouliloquy">In Souliloquy</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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<span style="background-color: #eeeeee;"><span style="font-family: inherit;"><i>A mother's attempt to record the silence.</i></span></span></div>
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<span style="background-color: #eeeeee;"><span style="font-family: inherit;">Performed by Tracey Pickup<br style="box-sizing: border-box;" />Written by Tilly Lunken<br style="box-sizing: border-box;" />Directed by Victorine Pontillon<br style="box-sizing: border-box;" />After William Shakespeare’s Macbeth.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhki_ZnnHC8pBXGb4enI3j7iGsRuaTLWtVQSSTASZaJPStH5zmB_OjxiYXwPnC6kxM11rgIDaGDwRyetuI03HTnQI2q0o5KK4uuSnNrBz2No0D8fRE9oLivcUEeerSogr04AdKqa0HwxuyS/s1600/macduff3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhki_ZnnHC8pBXGb4enI3j7iGsRuaTLWtVQSSTASZaJPStH5zmB_OjxiYXwPnC6kxM11rgIDaGDwRyetuI03HTnQI2q0o5KK4uuSnNrBz2No0D8fRE9oLivcUEeerSogr04AdKqa0HwxuyS/s320/macduff3.jpg" width="320" /></a></div>
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<span style="background-color: #eeeeee; font-family: inherit;">Lady Macduff In Souliloquy is part of Cycle 4 of this project.</span></div>
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<span style="background-color: #eeeeee;"><span style="font-family: inherit;">Music:<br style="box-sizing: border-box;" />Virtutes Instrumenti by Kevin MacLeod (incompetech.com) <br style="box-sizing: border-box;" />Licensed under Creative Commons: By Attribution 3.0<br style="box-sizing: border-box;" /><a href="http://creativecommons.org/licenses/by/3.0/" rel="nofollow noopener noreferrer" style="box-sizing: border-box; color: #17272e; cursor: pointer; text-decoration: none;" target="_blank">creativecommons.org/licenses/by/3.0/</a></span></span></div>
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<span style="background-color: #eeeeee;">Lady Macduff is a woman I always felt was denied a voice, a role, an acknowledged death - in the play her role and her children's role is to die in order to illustrate how Macbeth has become a monster. Plot is what kills her, plot that demonstrates the descent of a man - there's no consideration that the people who are murdered are people. </span></div>
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<span style="background-color: #eeeeee;">I don't much like the play <i>Macbeth</i> - the main character is far too infuriating - but so many elements are interesting: the swirling darkness - the otherness of the women - there is much to explore beyond the plot. </span></div>
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<span style="background-color: #eeeeee;">Here we catch and record Lady Macduff's pain and loss on camera. Tracey brought such a lot to this shoot and you really travel with her through her confession. </span></div>
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<span style="background-color: #eeeeee;">Our Lady Macduff is a ghost. Haunted. We hope in turn she haunts the play. </span></div>
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Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-74479293402733607892017-01-23T22:14:00.000+11:002017-01-23T22:15:13.754+11:00Doll Tearsheet In Souliloquy.<iframe allowfullscreen="" frameborder="0" height="300" mozallowfullscreen="" src="https://player.vimeo.com/video/178727516" webkitallowfullscreen="" width="520"></iframe><br />
<a href="https://vimeo.com/178727516">Doll Tearsheet In Souliloquy</a> from <a href="https://vimeo.com/insouliloquy">In Souliloquy</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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<span style="font-family: inherit;"><i style="background-color: #eeeeee;">Time to give something back to she who is forever open.</i></span></div>
<div style="box-sizing: border-box; color: #4e5a5e; margin-top: 0.625rem;">
<span style="background-color: #eeeeee; font-family: inherit;">Doll Tearsheet In Souliloquy,</span></div>
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<span style="background-color: #eeeeee; font-family: inherit;">Performed by Annie Price<br style="box-sizing: border-box;" />Written by Tilly Lunken<br style="box-sizing: border-box;" />Directed by Victorine Pontillon<br style="box-sizing: border-box;" />After William Shakespeare’s Henry IV.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieypAb2RklnQgIJ65bRSSUw4i0KDq6G1mSxu9X23lvWNkh5P13x-db86N4hwT54knCRXD1_xE9UDaoKAyaouNjGDu9cTcK2cA2aquNbq_4D_whiBlDrq-Mh18dnayWHMcrme7f2VTpWf9l/s1600/doll2.jpg" imageanchor="1" style="background-color: #eeeeee; margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieypAb2RklnQgIJ65bRSSUw4i0KDq6G1mSxu9X23lvWNkh5P13x-db86N4hwT54knCRXD1_xE9UDaoKAyaouNjGDu9cTcK2cA2aquNbq_4D_whiBlDrq-Mh18dnayWHMcrme7f2VTpWf9l/s320/doll2.jpg" width="320" /></a></div>
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<span style="background-color: #eeeeee; font-family: inherit;">In Souliloquy is devised and produced by V&T</span></div>
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<span style="background-color: #eeeeee; font-family: inherit;">insouliloquy.wordpress.com<br style="box-sizing: border-box;" />@insouliloquy</span></div>
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<span style="background-color: #eeeeee; font-family: inherit;">Music:</span></div>
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<span style="background-color: #eeeeee; font-family: inherit;">Danse Morialta by Kevin MacLeod (incompetech.com) <br style="box-sizing: border-box;" />Licensed under Creative Commons: By Attribution 3.0<br style="box-sizing: border-box;" /><a href="http://creativecommons.org/licenses/by/3.0/" rel="nofollow noopener noreferrer" style="box-sizing: border-box; color: #17272e; cursor: pointer; text-decoration: none;" target="_blank">creativecommons.org/licenses/by/3.0/</a></span></div>
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<span style="background-color: #eeeeee;">With Doll we wanted to create a rounded character for the whore trope. Out of all the characters in Shakespeare's plays she is the only one who self-identifies as a sex-worker. Everyone else is either wrapped up in ridiculous innuendo or branded as such by other people. There is something very appealing in her unapologetic nature and her determination to enjoy her lot - however awful that actually is.</span></div>
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<span style="background-color: #eeeeee;">Another interesting point is that she is a character that disappears and gets hospitalised/dies off stage - unimportant to the plot machinations of the next Henry play, she just disappears. Obviously there are theatrical considerations but it ties in nicely with how women in her profession are treated.</span></div>
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<span style="background-color: #eeeeee;">Here she is incarcerated and appealing for help, not judgement. She's inviting you into her world and her experience as well as her body. Don't be fooled by the corset, jewellery and sepia tones, she's weaving a misty world but underneath that there is a cold reality. Her prime has passed. </span></div>
Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-81725167940116423092017-01-20T05:53:00.000+11:002017-01-20T05:55:10.043+11:00Cassandra In Souliloquy.<iframe allowfullscreen="" frameborder="0" height="300" mozallowfullscreen="" src="https://player.vimeo.com/video/178714429" webkitallowfullscreen="" width="520"></iframe><br />
<a href="https://vimeo.com/178714429">Cassandra In Souliloquy</a> from <a href="https://vimeo.com/insouliloquy">In Souliloquy</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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<em style="box-sizing: inherit;"><span style="background-color: #eeeeee; font-family: inherit;">Comfort can be found in nightmares.</span></em><br />
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<span style="background-color: #eeeeee; font-family: inherit;">Performed by Julia Harari</span><br />
<span style="background-color: #eeeeee; font-family: inherit;">Written by Tilly Lunken</span><br />
<span style="background-color: #eeeeee; font-family: inherit;">Directed by Victorine Pontillon</span><br />
<span style="background-color: #eeeeee; font-family: inherit;">After William Shakespeare’s </span><em style="box-sizing: inherit; font-family: inherit;">Troilus and Cressida</em><span style="background-color: #eeeeee; font-family: inherit;">.</span><br />
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<em style="box-sizing: inherit; font-family: inherit;">Cassandra In Souliloquy</em><span style="background-color: #eeeeee; font-family: inherit;"> is part of Cycle 4 of this project</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRaYiq4Wxfoii6TiNwMr4rM2CaWNpyaL5TpSJXCDuvfb5mvmT7H4yMqybGlSfE-vyUF4lIp8bd1MLpPocNakNAv-L3A-m9_Fs8M8QJz5vytNLSUCCApeWR96_gmdQ02chappyQN-SEYz_f/s1600/cass3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRaYiq4Wxfoii6TiNwMr4rM2CaWNpyaL5TpSJXCDuvfb5mvmT7H4yMqybGlSfE-vyUF4lIp8bd1MLpPocNakNAv-L3A-m9_Fs8M8QJz5vytNLSUCCApeWR96_gmdQ02chappyQN-SEYz_f/s320/cass3.jpg" width="320" /></a></div>
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<span style="background-color: #eeeeee;">We wanted to play with the idea that Cassandra reaches the point where the only comfort she gets from her 'gift' is the point where she can no longer see the future and she knows she dies. How pushed into a void does someone need to go to reach that desperate point? It's an interesting question. Out of all of the ones we have made so far, this is pretty confessional - so Victorine's idea of the writing works in quite nicely.</span><br />
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<span style="background-color: #eeeeee;">I think though, both of us would also love to see it live with Cassandra going full breakdown. She's such an interesting character - how rubbish she get's 5 lines and nothing else in <i>Troilus and Cressida.</i></span></div>
Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-54644563726518900262016-12-21T20:24:00.000+11:002016-12-21T20:25:38.309+11:00Orlando In Souliloquy.<iframe allowfullscreen="" frameborder="0" height="300" mozallowfullscreen="" src="https://player.vimeo.com/video/178722572" webkitallowfullscreen="" width="520"></iframe><br />
<a href="https://vimeo.com/178722572">Orlando In Souliloquy</a> from <a href="https://vimeo.com/insouliloquy">In Souliloquy</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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<span style="background-color: white;"><span style="background-color: #eeeeee; font-family: inherit;">Performed by Kaiden Du Bois</span></span></div>
<span style="background-color: white;"><span style="background-color: #eeeeee; font-family: inherit;">Written by Victorine Pontillon<br />Directed by Victorine Pontillon<br />After William Shakespeare’s Troilus and Cressida.<br />Orlando In Souliloquy is part of Cycle 4 of this project</span></span><br />
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<span style="background-color: white;"><span style="background-color: #eeeeee; font-family: inherit;">Special thanks to Jennifer Hook and Tilly Lunken.</span></span></div>
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<span style="background-color: white;"><span style="background-color: #eeeeee; font-family: inherit;">In Souliloquy is devised and produced by V&T</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju7kuAdI19-BNyRbGZqgsZQmhNeQgAmro4LbYu66wqR6U2lx7UBz7BfdcsMyEeuV7j6N13AuFfIq5J2i4aZUoTMfCln-ygrsewOCR2rKpXDlQw92p5y0w9fwKWqXtYpjHSLdRspau8q2n3/s1600/orlando3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju7kuAdI19-BNyRbGZqgsZQmhNeQgAmro4LbYu66wqR6U2lx7UBz7BfdcsMyEeuV7j6N13AuFfIq5J2i4aZUoTMfCln-ygrsewOCR2rKpXDlQw92p5y0w9fwKWqXtYpjHSLdRspau8q2n3/s320/orlando3.jpg" width="320" /></a></div>
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Victorine's Orlando is lovely and it is deceptively simple in both construction and flow. Kaiden's performance is lively and he infuses the character with such a charisma you can't help but want his continued happiness. </div>
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We had a fantastic amount of fun on this shoot - it was also the first to star the amazing wallpaper that Google photos insists on declaring Hawaii. So, surfer dude indeed, this Orlando is an intrepid adventurer in more ways that one! </div>
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Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-61235341813144338062016-11-14T10:04:00.000+11:002016-11-14T10:04:21.987+11:00Titania In Souliloquy.<iframe allowfullscreen="" frameborder="0" height="320" mozallowfullscreen="" src="https://player.vimeo.com/video/172901426" webkitallowfullscreen="" width="520"></iframe><br />
<a href="https://vimeo.com/172901426">Titania In Souliloquy</a> from <a href="https://vimeo.com/insouliloquy">In Souliloquy</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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Titania In Souliloquy by Tilly Lunken (After William Shakespeare's <i>Midsummer Night's Dream</i>)<br />
Directed by Victorine Pontillon<br />
Performed by Eliza Power.<br />
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The reconciliation of Titania in the play with her husband with Oberon is quite unsatisfactory. It sort of runs on the assumption that they return to how they were before and that is that. There is no resolution to their dance, it finishes with he wins and she's back on his wavelength. </div>
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Our Titania is transformed by her experience. There is no doubt that she would be altered by such intense feelings. I was really interested in exploring how this might change someone and what happened next. How would a reconciliation happen and more importantly how would Titania herself reclaim herself after losing control. </div>
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Again a first draft of this one dived nose first into despair, the cold and flatline depression and tail chased in that void for too long. Victorine (Director Extraordinaire) reminded me of how playful Titania is in the play and of how much the petty argument between the King and Queen is based on a disconnect between eternal lovers. This resulted in a really satisfying tone shift in the redraft and a absolutely gorgeous performance by Eliza. She's every inch a Queen. </div>
<br />Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-86707558689144287632016-11-12T06:57:00.000+11:002016-11-12T06:57:51.002+11:00Ophelia In Souliloquy.<br />
<iframe allowfullscreen="" frameborder="0" height="320" mozallowfullscreen="" src="https://player.vimeo.com/video/175098656" webkitallowfullscreen="" width="520"></iframe><br />
<a href="https://vimeo.com/175098656">Ophelia In Souliloquy</a> from <a href="https://vimeo.com/insouliloquy">In Souliloquy</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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<i>She chose her own end. Don't forget that.</i></div>
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<i><b>Ophelia In Souliloquy</b></i> by Tilly Lunken (After William Shakespeare's <i>Hamlet</i>)<br />
Directed by Victorine Pontillon<br />
Performed by Lilian Schiffer.<br />
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In the play Ophelia is there to illustrate Hamlet's decaying character. She's little more than an object in both his and the audience eyes. There is no worth to her words, no consideration in her despair - she is reduced to a cut flower.<br />
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Our Ophelia is everything else in a person behind such a perception. There is no room for psuedo-romantic illusions with our Ophelia. She's shot starkly, with no artifice and Lilian performs her with a directness that peirces through any remaining preconceptions.<br />
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This piece has been exceptionally well received, partly because she engages as much with her representation post <i>Hamlet</i> and how complacent we have become with that. Be clear, she challenges. Meet this gaze with your assumptions. 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.<br />
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You can read more details and thoughts about writing <i>Ophelia In Souliloquy</i> in this post <a href="https://insouliloquy.wordpress.com/2016/08/06/why-ophelia/" target="_blank">Why Ophelia</a> I wrote on our In Souliloquy website.Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-83455109775324342642016-11-08T00:02:00.000+11:002016-11-08T00:18:13.810+11:00Abhorsen In Souliloquy.<iframe allowfullscreen="" frameborder="0" height="320" mozallowfullscreen="" src="https://player.vimeo.com/video/175511710" webkitallowfullscreen="" width="520"></iframe><br />
<a href="https://vimeo.com/175511710">Abhorsen In Souliloquy</a> from <a href="https://vimeo.com/insouliloquy">In Souliloquy</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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<b>Abhorsen In Souliloquy </b>by Tilly Lunken after William Shakespeare's <i>Measure for Measure</i>.<br />
Directed by Victorine Pontillon<br />
Performed by Richard Listor<br />
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Abhorsen in the play has a very important job but isn't taken seriously by either his employers or the people seeking to involve him in a plot. The idea of an executioner is an interesting one and the characters do discuss the mystery of his role but he is unsuccessful and convincing them to not make a mockery of his station and position.<br />
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Our Abhorsen is full of the feeling that one might need to carry out such employment. He is forced to see himself as justice even as he sees the fear in other people's eyes. It's also interesting that he seems himself very much as the sword arm of the state (who sanctions his murders) and beholden to a higher power than that. Make know mistake this man has a higher master, Death and that is ultimately the only ending we all answer to.<br />
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This is a quiet, creeping one. He doesn't let you forget who he is or what he does.Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-26013370131732811772016-11-05T12:39:00.000+11:002016-11-05T12:39:29.730+11:00Cleopatra In Souliloquy.<iframe allowfullscreen="" frameborder="0" height="320" mozallowfullscreen="" src="https://player.vimeo.com/video/175114857" webkitallowfullscreen="" width="520"></iframe><br />
<a href="https://vimeo.com/175114857">Cleopatra In Souliloquy</a> from <a href="https://vimeo.com/insouliloquy">In Souliloquy</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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Cleopatra In Souliloquy by Tilly Lunken<br />
Directed by Victorine Pontillon and performed by Neil Gordon.<br />
This piece is part of Cycle 3 of this project.<br />
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Cleopatra in the play is reduced to a "strumpet" - even in her death she has little power of how and why she might make a decision like that. She is fetishised and positioned as an exotic other who seduces the civilised Mark Antony with her wiles. Although their love is celebrated it is anything but pure - and is would never end happily.</div>
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Our Cleopatra is written as a Queen. She is that more than she is a woman and the writing is quite post-colonial in it's context of Empire and what it would mean for her personally and her kingdom if she had surrendered herself to the Romans. I was interested in exploring remembrance and history of her country and people as part of her role as divine ruler. </div>
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We both wanted to work with Neil, performing in drag and we decided a Queen would be a fun thing to explore. I think writing the piece for them was a lovely thing and really played into lines like "lined eyes" and "I am no woman. I am Queen." It's knowing and works with a female performer, but why not play with it a little? Theatre involves artifice, so does make up, so does character - Cleopatra here - is built up and layered before you into a stunning vision.<br />
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This one is visually stunning. It's like a painting, it's mesmerising to watch the application of makeup. The performance is as much about what you see as what you hear.Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-71773043999871456942016-11-03T03:56:00.000+11:002016-11-03T04:03:51.489+11:00Tybalt In Souliloquy.<br />
<iframe allowfullscreen="" frameborder="0" height="300" mozallowfullscreen="" src="https://player.vimeo.com/video/172385073" webkitallowfullscreen="" width="520"></iframe><br />
<a href="https://vimeo.com/172385073">Tybalt In Souliloquy</a> from <a href="https://vimeo.com/insouliloquy">In Souliloquy</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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<i>Tybalt In Souliloquy </i>by Tilly Lunken<br />
Performed by Owen Clark and directed by Victorine Pontillon<br />
After William Shakespeare's <i>Romeo and Juliet</i>. Part of Cycle 3 of <i>In Souliloquy.</i><br />
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<i><br /></i>Tybalt in the play is an aggressive young man, quick to sword and loyalty. His death at the hands of Romeo is often brushed aside with a 'oh it moves along the plot' brush or he's just expected to end violently because of him being a firebrand.<br />
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Our Tybalt is not interested in romanticising his death. He's very direct about him not being deserving of his death - fast living doesn't mean he needed to die young. One of the key things I was interested exploring is the waste of potential of a life lost to violence at such a young age and the soul of that person realising that too late. It's a really moving piece and Owen really brings out the feeling of loss that Tybalt has as well as his ineffectual anger at only ever to be remembered as a hotheaded young villain quick to fight.<br />
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I hope he speaks to those caught up in situations where escaping them might mean live a little less fast but they have a life.<br />
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<br />Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-28022775451606978442016-10-31T22:35:00.001+11:002016-10-31T22:35:57.980+11:00Katherina In Souliloquy.<iframe allowfullscreen="" frameborder="0" height="300" mozallowfullscreen="" src="https://player.vimeo.com/video/172908374" webkitallowfullscreen="" width="520"></iframe><br />
<a href="https://vimeo.com/172908374">Katherina In Souliloquy</a> from <a href="https://vimeo.com/insouliloquy">In Souliloquy</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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This Kate knows well the value of her kisses.<br />
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Katherina In Souliloquy by Tilly Lunken<br />
After William Shakespeare's <i>Taming of the Shrew</i><br />
Directed by Victorine Pontillon and performed by Annie Mackenzie.<br />
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Katherina in the play is full of great dramatic juxtaposition, but her choices are taken away from her - possibly the only active choice she makes is to marry Petruchio. Certainly, she is tricked and coerced into it but she willingly agrees to the match. She is then resoundingly abused into a submissive wife, an echo of what her husband wants her to be. I is as if there is no choice here or in her speech at the end.<br />
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Our Kate takes control back of that final speech, in that it is her decision to submit and fall into the 'simple wife' role because she knows the man she married won't actually like that and soon enough she can become her true rebel self.<br />
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Katherina was an interesting one to write because her first incarnation was very angry at Petruchio, defiant and understandably cross about her treatment in the play. It took a director (Victorine) to point at the undercurrent of love in the play and use that as motivation for Kate. I think this gives her depths not seen before, her anger is there yes - but this is about more than that. It's about her wants and needs and her future. <br />
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Annie captures a quiet strength, we see her love shine - but there is going to be no compromise on her part if her husband doesn't change.<br />
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Incidentally this was especially a fun one to write because of the excellent production at The Globe (programmed by Emma Rice). The performances of the two leads in that were so good and really reinforced how right the redrafted version of our Katherine was.Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-79379638055761240492016-10-31T04:47:00.000+11:002016-10-31T04:48:26.724+11:00Emilia In Souliloquy.<br />
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<iframe allowfullscreen="" frameborder="0" height="320" mozallowfullscreen="" src="https://player.vimeo.com/video/168760056" webkitallowfullscreen="" width="520"></iframe><br />
<a href="https://vimeo.com/168760056">Emilia In Souliloquy</a> from <a href="https://vimeo.com/insouliloquy">In Souliloquy</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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<i style="text-align: center;"><span style="background: white;">Emilia can't ever forget and she will never forgive.</span></i><br />
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By Tilly Lunken<o:p></o:p></div>
<span style="font-family: "times new roman";">After William Shakespeare’s </span><i style="font-family: "times new roman";">Othello</i><br />
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<i>Emilia In Souliloquy </i>was directed by Victorine Pontillon for Cycle Two of <i>In Souliloquy. </i>It was performed by Shannon Howes. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJcFjwidU-gxDiDpL3P7UQRfmFIWQWEUPB2wxk5xL5C9HsDdB_YkokckQns8uXUQzndCt5F6eWFGgmEb2C0E1iRR3_BmzUaB3ag7EdsnbdW90DYM0NbLpKW4VA8m1kcfN_29Eb9S2TFPnx/s1600/emilia4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJcFjwidU-gxDiDpL3P7UQRfmFIWQWEUPB2wxk5xL5C9HsDdB_YkokckQns8uXUQzndCt5F6eWFGgmEb2C0E1iRR3_BmzUaB3ag7EdsnbdW90DYM0NbLpKW4VA8m1kcfN_29Eb9S2TFPnx/s320/emilia4.jpg" width="320" /></a></div>
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Emilia in the play has loud voice but it goes unheard and is often dismissed. She ends up being murdered by her husband Iago to silence her and stop her revealing his plots. Our Emilia is defiant in death and full of anger at what happened to her and her friend at the hands of the people they trusted to love and to hold.</div>
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She is such a force and we stand with her and her rage at injustice, only for then to pull back and watch as she admits her ultimate regret that leaves her stranded from heaven. Her faith betrayed her yes, but it is her very own self that she blames the most.<br />
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It's a vulnerable (and tightly balanced) performance. She might be there in black and white but the morality of her situation is anything but. </div>
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<i>In Souliloquy</i> is co-devised and produced by Tilly Lunken and Victorine Pontillon. <o:p></o:p></div>
Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-9094247562352038342016-08-23T06:54:00.000+10:002016-08-23T06:55:13.554+10:00Viola In Souliloquy.<iframe allowfullscreen="" frameborder="0" height="300" mozallowfullscreen="" src="https://player.vimeo.com/video/168756784" webkitallowfullscreen="" width="520"></iframe><br />
<a href="https://vimeo.com/168756784">Viola In Souliloquy</a> from <a href="https://vimeo.com/insouliloquy">In Souliloquy</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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<i><span style="background-color: #eeeeee;">She found her song playing not who she was.</span><o:p></o:p></i></div>
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<b><a href="https://insouliloquy.wordpress.com/portfolio/viola/" target="_blank">Viola In Souliloquy</a></b><br />
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By Tilly Lunken<o:p></o:p></div>
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Directed by Victorine Pontillon </div>
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Performed by Peyvand Sadeghian</div>
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After William Shakespeare’s <i>Twelfth Night<o:p></o:p></i></div>
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<i>In Souliloquy</i> is co-devised and produced by Tilly Lunken and Victorine Pontillon. <o:p></o:p></div>
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@insouliloquy<o:p></o:p></div>
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<a href="http://insouliloquy.wordpress.com/">http://insouliloquy.wordpress.com</a> <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoe9c7yCY-O6HnYAoIlXuhJ2becvmnG9AASyk97Ip6ELBx4w8fxsXBlqZmMIe5YS0PhGbdxZRimGqaMzVvEHZRheSpOaabkWwC7kKCCynY-G9Lalg4wQNOZIZwvAdMI35wgJg0rOTqO3gd/s1600/ViolaPic1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoe9c7yCY-O6HnYAoIlXuhJ2becvmnG9AASyk97Ip6ELBx4w8fxsXBlqZmMIe5YS0PhGbdxZRimGqaMzVvEHZRheSpOaabkWwC7kKCCynY-G9Lalg4wQNOZIZwvAdMI35wgJg0rOTqO3gd/s320/ViolaPic1.JPG" width="320" /></a></div>
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Viola in the play has incredible agency as a character, but only when she is dressed up as a boy – she sets the entire plot in motion with her decision to disguise herself and make her own future. The confusion that this causes is tidied up neatly at the conclusion of the play.<br />
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Our Viola is a little wistful for the freedom she had and she well knows that her husband may not have loved her at all if they had not met as they did and she became his closest confident. </div>
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I found this character quite hard to write, she didn't want to be captured - but I think eventually we got the balance between her living her 'happily ever after'and still being wistful for another life she had a taste for. I think the Peyvand's performance is beautiful - it's considered and reflective and gazing out into the window she just glows with character. It's very moving. <o:p></o:p></div>
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<iframe frameborder="no" height="450" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/268105670&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%"></iframe>Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-85236088976609803512016-08-15T01:54:00.000+10:002016-08-15T01:54:09.207+10:00Richard III In Souliloquy.<br />
<iframe allowfullscreen="" frameborder="0" height="300" mozallowfullscreen="" src="https://player.vimeo.com/video/167758066" webkitallowfullscreen="" width="520"></iframe><br />
<a href="https://vimeo.com/167758066">Richard III In Souliloquy</a> from <a href="https://vimeo.com/insouliloquy">In Souliloquy</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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<b>Richard III In Souliloquy</b></div>
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By Tilly Lunken<o:p></o:p></div>
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Directed by Victorine Pontillon</div>
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After William Shakespeare’s <i>Richard III</i><o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiJ7-gNcr_dNMqRz3dIypvq5f2Wy6c4J7IcEfeve77QMkYVCe938T-A4aQqv9jIu0cYhyeQhZ36hk8gV_BbQa1bAHCFYCm7isO9yOvhY9xafrM1S3PiVGycaHyEMClG4ZoVdyXHpb1g_qt/s1600/richard2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiJ7-gNcr_dNMqRz3dIypvq5f2Wy6c4J7IcEfeve77QMkYVCe938T-A4aQqv9jIu0cYhyeQhZ36hk8gV_BbQa1bAHCFYCm7isO9yOvhY9xafrM1S3PiVGycaHyEMClG4ZoVdyXHpb1g_qt/s320/richard2.jpg" width="320" /></a></div>
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The Richard of the play is a proper villain, who revels in his evil and is cowardly in his ultimate demise. <o:p></o:p></div>
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Our Richard III places himself into a history acknowledging why he was written this way and whilst admitting he did terrible things, he deserves the due respect accorded to the rest of his family (in spite of their great sins). <o:p></o:p></div>
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Richard as a character of course comes with immense mythology - there have been many books, theories and discussions around his place in history and literature. Our addition to this includes a great performance that captures the true cost to a person's legacy of villainy - that is then exaggerated and transcribed for the stage and history. </div>
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<iframe frameborder="no" height="450" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/266755255&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%"></iframe><br />
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Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0tag:blogger.com,1999:blog-5413170083599902030.post-11094387144308882812016-08-14T03:06:00.001+10:002016-08-14T03:06:44.591+10:00Miranda In Souliloquy.<div style="text-align: center;">
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<iframe allowfullscreen="" frameborder="0" height="300" mozallowfullscreen="" src="https://player.vimeo.com/video/166816522" webkitallowfullscreen="" width="520"></iframe><br />
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<a href="https://vimeo.com/166816522">Miranda In Souliloquy</a> from <a href="https://vimeo.com/insouliloquy">In Souliloquy</a> on <a href="https://vimeo.com/">Vimeo</a>.</div>
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<b><a href="https://insouliloquy.wordpress.com/portfolio/miranda/" target="_blank">Miranda In Souliloquy</a>.</b><br />
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By Tilly Lunken<o:p></o:p></div>
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Directed by Victorine Pontillon</div>
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Performed by Tessa Hart</div>
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After William Shakespeare’s <i>The Tempest</i><o:p></o:p></div>
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<i>A Princess who is an island.</i></div>
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In the play Miranda marries for love in a match that reunites her family and leaves behind her life and the magic of the island. She is swept up in love and plot and given no time to reflect on any choices she makes. </div>
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Our Miranda is content in her heart but her mind is used to freedom and not being bound by the strict social conventions of being a Princess at Court. Her story falls into what happens in the 'happily ever after' genre - because what does that mean?<o:p></o:p></div>
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Working with Tessa was great, we both love the lyrical quality of her voice and how her eyes shines - she is Miranda and she really captures the lightness in tone of the character as well as taking on the seriousness of feeling trapped by her society and happiness.</div>
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Onomatopoeiahttp://www.blogger.com/profile/05308239288261673937noreply@blogger.com0