Artist Development and Collective Therapy in the Repertory: The Case of After Edward

P. Kirwan
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Abstract

Abstract:This article discusses the exploration of the repertory model in Tom Stuart's 2019 play After Edward, produced at Shakespeare's Globe. Performed in repertory with a production of Edward II, After Edward dramatizes Diana Taylor's sense of repertoire; the embodied skills of the actor and the heterochronic site of the Sam Wanamaker Playhouse allow Stuart as actor and writer to reconcile his lived experience as a gay man with his work as an actor. Based on this case study, this article argues that After Edward enacts a praxis of ensemble as artist development.
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剧目中的艺术家发展与集体治疗——以《爱德华之后》为例
摘要:本文探讨了汤姆·斯图尔特2019年在莎士比亚环球剧院演出的话剧《爱德华之后》的剧目模式。与《爱德华二世》一起在保留剧目中演出,《爱德华之后》将戴安娜·泰勒的保留剧目感戏剧化;演员的具体技巧和萨姆·沃纳梅克剧场的异恋场所使斯图尔特作为演员和作家能够调和他作为同性恋者的生活经历和他作为演员的工作。在此基础上,本文论证了《爱德华之后》作为艺术家发展的一种合奏实践。
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