In our continuing Season Three deep dive into soliloquy, we have come at last to "madness" in soliloquy.  We'll be taking a look at King Lear from Lear, Lady M from Macbeth, and Ophelia from Hamlet.  

CONTENT WARNING: This episode does discuss disassociation, and historically misguided views of "madness" and "hysteria."  There is also mention of suicide as it pertains to the plots of Shakespeare's plays.

What happens when we look at these soliloquies through the eyes of the actors?  How do what we'll call "disassociative" soliloquies function in a play?  What makes them different from the cut or drift soliloquies we see in Macbeth?  And how can we do better in our own contemporary writing?

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You've heard about Peter Oswald's plays...now hear from the man who directed those new verse plays at the Globe!  That's right, Colin and Emily sit down to chat with none other than the Artistic Director of the Shaw Theatre, Tim Carroll.  (And a note from Colin: definitely listen to the end of the episode to hear one of the most heartening pieces of advice for every theatre artist and person we've yet committed to audio.)

In this interview, we'll chat about the Barton/Hall Royal Shakespeare Center approach to text, the experience of directing and collaborating on new verse (such as Peter Oswald's The Golden Ass starring Mark Rylance at Shakespeare's Globe Theatre), and so much more.

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Season Three we're studying soliloquy!  This week we look at the villain soliloquies.  Or the, "this is what I've done, am doing, will do" soliloquies.  Or the, "I've already got a plan and am letting you in on it" soliloquies.

How can you differentiate your villains (or go-getters)?  How can you keep a character's personality in tact when they're giving exposition?  We look at some Shakespearean characters to see how the Bard failed, and eventually succeeded.  Take a walk with us as we compare Richard III (Richard III), Iago (Othello), Edmund (King Lear), Don John (Much Ado About Nothing) and Petruchio (The Taming of the Shrew).

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Season Three, we're talking about Soliloquy. Last time, we saw Hamlet's "Classic Soliloquy" - where a character pours their heart out on stage.  This time, we're rolling through Macbeth's soliloquies...which aren't quite what they seem.  Learn four new ways to write soliloquy by listening to Macbeth.  Including:

2) Drift Soliloquies - Where the speaker "drifts away" from speaking to someone to not caring if they're overheard

3) Apostrophe Soliloquies - Where the speaker conjures a person, scene, or object (dagger, anyone?) to "speak to" in soliloquy

4) Villain Soliloquies - Where the speaker turns to the audience...and reveals their dastardly plan!  Exposition, baby!

But how do you write them?  Give a listen to find out.

Show Notes and Texts: https://www.hamlettohamilton.com/

Verse Types: https://www.hamlettohamilton.com/what-is-verse.html

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Season Three is taking a deep dive into soliloquy.  And where better to begin by strolling through Hamlet's Seven Soliloquies.  How does "To be" measure up?  Should Shakespeare have used a different type of verse? Should soliloquies be performed to yourself or to the audience? How great is the TV show Sling and Arrows?  All this and more as we look at that role and peasant slave, Hamlet, Prince of Denmark.

Show Notes and Texts: https://www.hamlettohamilton.com/

Verse Types: https://www.hamlettohamilton.com/what-is-verse.html

Support: http://www.patreon.com/hamlettohamilton

We know that poetry isn't the same as verse...but have you realized that prose isn't the same as paragraph form?  Even more exciting: we've identified four different types of verse, all of which perform differently on the stage!  It's a doozy of an episode, but enjoy this deep dive into what verse drama can do.

Show Notes and Texts: https://www.hamlettohamilton.com/

Verse Types: https://www.hamlettohamilton.com/what-is-verse.html

Support: http://www.patreon.com/hamlettohamilton

The patrons have voted, and in Season Three we will be exploring how to write and perform soliloquies!  In today's episode, we begin by defining what a soliloquy is, how it's different from a speech, a monologue, and address...and whether Hamlet ought To Be Or Not To Be alone on stage.

Show Notes and Texts: https://www.hamlettohamilton.com/

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Full episodes of Unhinged Rants are available monthly to our Patrons over at http://www.patreon.com/hamlettohamilton

This month's Unhinged Rant: in honor of kicking off Season Three on soliloquy, Emily takes her own "Bad Quarto" to task - laughing at her baby playwright missteps, and explaining how her actors helped make everything All Better.  (Well, more better.  Betterer.)

Basically: I was writing speeches that were clever, but weren't appropriate for the moment.  I mean, if you're being stalked by a Beast, are you going to suddenly stop and say: "Hmmm, let me give a little TED Talk on the nature of vanity?"

You may know our guest Peter Oswald from his translation of Schiller's Mary Stuart, but we're here to chat with him, in this latest installment of our "Bar(d) Talk" series, about his time as the first new verse dramatist at Shakespeare's Globe, writing for no less than Mark Rylance.  But Oswald's verse career didn't stop there: he's been finishing Schiller's unfinished verse plays, as well as writing more original pieces of his own.  Here he talks about the highs and lows of being one of the first authors to kick off our current 21st Century Renaissance of contemporary verse drama.

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Season Three is kicking off with an Unhinged Rant, laughing for about 30 seconds straight, about Lord Byron and his absolute horro that someone might criticize his plays.  (Which they did.)  Strap in for a wildly biased, barely scholarly, totally unhinged  rant from Emily C. A. Snyder.  Hide the kids, and get out your popcorn.

The first two Unhinged Rants will be available for all listeners from  your favorite podcatchers.  To access all the Unhinged Rants, become a  patron on Patreon: http://www.patreon.com/hamlettohamilton