E-Book, Englisch, 128 Seiten
ISBN: 978-0-571-31858-2
Verlag: Faber & Faber
Format: EPUB
Kopierschutz: 6 - ePub Watermark
Peter Gill was born in 1939 in Cardiff and started his professional career as an actor. A director as well as a writer, he has directed over a hundred productions in the UK, Europe and North America. At the Royal Court Theatre in the sixties, he was responsible for introducing D. H. Lawrence's plays to the theatre. The founding director of Riverside Studios and the National Theatre Studio, Peter Gill lives in London. His plays include The Sleepers Den (Royal Court, London, 1965), A Provincial Life (Royal Court, 1966), Over Gardens Out (Royal Court, 1968), Small Change (Royal Court, 1976), Kick for Touch (National Theatre, London, 1983), Cardiff East (National Theatre, 1997), Certain Young Men (Almeida Theatre, London, 1999), The York Realist (English Touring Theatre, 2001), Original Sin (Sheffield Crucible, 2002), Another Door Closed (Theatre Royal, Bath, 2009), A Provincial Life (National Theatre of Wales, Sherman Cymru, Cardiff, 2011), Versailles (Donmar Warehouse, London, 2014) and As Good a Time as Any (Print Room at the Coronet, 2015).
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Weitere Infos & Material
ONE
London. An artist’s studio. Prominent, a woman’s evening dress on a stand. Unaffected but sumptuous. Near it on an easel, the unfinished portrait of a young man. Leopold Southerndown talking to Eugene Black. Southerndown (handing the artist a pair of women’s evening gloves) And these perhaps. Black Yes. Southerndown No jewels, I think. Black No. Southerndown Flowers? Perhaps not. Here’s the photograph I said I would bring you. Black Perhaps something at the neck. Southerndown No. My fiancée is essentially unaffected. Simple. No, unspoiled. Her father … I don’t want too many sittings. That’s why you have these to work from. I shall bring her to meet you next week. (looking at the portrait) And this? Black My next sitter. Due now. Southerndown Adventurous pose. Black Do you know him? Southerndown Know him? Black Dr Goulderie. Southerndown Dr Goulderie is my physician. Black This is his … protégé … Do you know him? Southerndown No. Black There he is now. Southerndown (giving him the photograph) Take this. Enter Dr Goulderie and Angel. Goulderie Late. Come. Southerndown! Southerndown Good day. Angel You’re here. Southerndown I’m arranging for my fiancée’s portrait to be painted. Angel Is she coming to town at last? Is she going to be allowed into society? Shall we meet her? Or are you going to keep her to yourself? Black Do you know her? Angel No one’s seen her. Her father … (pointing to Southerndown) She’s changed his life. Black Are you ready? Goulderie Yes. Come. Let us begin. Is there heat? Angel Must I change? Black If you would. Angel, laughing, goes behind a screen. Goulderie (looking at the picture) You’ve worked it up since last we were here. What do you think? Southerndown The flesh. You’ll treat the dress like that? Goulderie Are you using your box tonight at the opera? Southerndown What are they giving? Goulderie The new Tristan. Southerndown I don’t think. Goulderie Go. Wagner is better than injections of chloral hydrate. I’ll change your prescription. Where’s Boy. Boy. Southerndown Why do you call him Boy? I called him Beauty. Angel enters, naked except for a long piece of cloth falling over his shoulder like a towel and a chaplet of coloured flowers in his hair. Southerndown Let me help. They help to arrange the pose for the painting. Goulderie (at the painting, to the artist) Look at him and then at this. Less refined, more savage. Like some wretched academician with French brush strokes. Less taste. Less delicacy. I’m a physician. I look at what there is. I don’t want anything frankly immodest. I want to show it. If I had wanted something piquant I would have arranged it. Paint him as if he was on a plate. Meat or fruit. Paint what is there. Not this. This is coy, this refinement. This is your refinement. Look, do you see refinement? What do you think you see? Turn, Boy. That’s it. Southerndown Let me help. Goulderie I must go. Arthur (offstage) Papa. Southerndown Arthur. Arthur Papa. Arthur Southerndown enters carrying a sheaf of lilies. Dr Goulderie. Goulderie Hello. Arthur Where shall I put these? Southerndown Why are you here? Arthur I want you to come to my rehearsal, Papa. (to Angel) Will you come? Dressed like that, you could be in the show. Here, you have these. (giving Angel the lilies) Angel What is it? Arthur Something entirely new. Something absolutely new. It’s an event. Total theatre. Not a word in it. Tumblers, fire-eaters, a great woman with a snake. Music, singing. It’s divine. Dancers on tightropes. Tigers and Chinese dragons. It’s a show. A show. An opera for all. (to Angel) You’d be divine. Dr Goulderie? Goulderie No. Arthur Papa? Southerndown Not this afternoon, Arthur. Angel Keep us seats for Friday, Arthur. Arthur Seats. There aren’t any seats. You mill about. Southerndown Come then, Arthur. Doctor? Goulderie Oh yes. I’ll come with you. (to Angel) I’ll come for you presently. Angel No, no. I’ll send out. Take a hansom. Goulderie No, I’ll send the carriage. No, I’ll come myself. Angel Don’t do that. Goulderie Yes. Angel No, darling. Goulderie Yes, my dear. Angel No. Please. Goulderie Well. Well. All right. You’ll call a cab? Angel Of course. Southerndown, Arthur and Goulderie go. Black These commissions. This painting with another man’s hands. These opinions. Put something up and they know what it should be. Prescriptions and judgements and interference. These intolerable opinions. How can you live with him? Angel Sh. (Listens.) No. Black Would you like to rest? Angel No. Go on working. He’ll be back. I know he will. I don’t know why he left me alone with you. Black No threat. I’m a servant. Angel What if he comes back? I’m afraid he’ll come back. Black We’re doing nothing. Why are you afraid of him? Angel Sh. There’s someone at the door. Black It’s my servant, sweeping the stairs. Be still. I’m painting your hip … There … Yes … Yes … Angel He’ll be back, I know. What shall we do? Black What do you want to do? Angel I don’t know. I don’t know what to do. I don’t know how to choose. I’m not used to choice. Black For you and me, the sky is like lead in a coffin. Or else it breaks up into sunlight and lets in the smell of dead orange blossom which no one has worn. Angel Why has he left me here? He never leaves me alone. He locks me in. Black Does he? Angel But without a key. Black But he must see his patients. He can’t be there all the time. Angel The servants watch me. I can’t leave the house. Black Why do you put up with it? Angel Because I have to. Paint me in this. (He puts on the evening dress.) Black No, you mustn’t. Angel Why not? Paint me in this. How do I look in her dress? Paint me in her dress. His fiancée’s dress. The doctor would like me in this. At home he likes me to dress up. Black What do you mean? Angel Paint me. Black Tell me. What do you mean? Angel Slave trousers. Hussar’s uniform. Midshipman. You know. Pierrot, faun, drummer boy. He sits and watches or plays the piano. After dinner. Sometimes Southerndown is there. Sometimes one of the others. Black Why don’t you leave? Angel Why don’t you give up painting to commission? Black I’m tired. This light. I can’t go on like this. The colours are dancing in my eyes. Please. Angel We mustn’t. He’ll ruin you. Black I don’t care. Angel Don’t. Black Come here. Angel I mean it. Don’t. Black Yes. Angel Don’t. (laughing) Don’t. Don’t. Black What do you want? Shall I take my belt to you? Is that what you want? Angel You’ll have to catch me first. Black Come here then. Angel You never will. Black Won’t I? Angel No, you never will. Try it. Black Come here. Chase. He doesn’t catch him. Angel I told you. (as if talking to a cat) Come on then. Puss. Puss. Come on. Black catches him. Angel disarms him and he falls on to the floor. Angel climbs a ladder. I’m climbing into the sun. Black How did I fall? Angel I can see all the cities in the world. Black ...
