Artist Development and Collective Therapy in the Repertory: The Case of After Edward
Keywords:repertory, Marlowe, Shakespeare's Globe, performance, ensemble
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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