Katie Mitchell’s Theatre

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Notes

1. This work was supported by the Standing Conference of University Drama Departments [David Bradby Award for Early Career Research in European Theatre, 2017].

2. Mitchell had previously directed for her own company, Classics on a Shoestring (see List of Productions in this issue, 284–92) and a single performance of Alexander Galin’s Stars in the Morning Sky (RSC at the Almeida Theatre, 1989).

3. Richard Eyre, National Service: Diary of a Decade (London: Bloomsbury, 2004), 231.

4. Ibid.

5. Ibid.

6. Ibid., 254-5.

7. Nicholas Hytner, Balancing Acts: Behind the Scenes at the National Theatre (London: Jonathan Cape, 2017), 45.

8. Ibid., 296.

9. Ibid., 291.

10. This was Moira Buffini’s Welcome to Thebes (NT, 2010).

11. Emma Cole, ‘The Method Behind the Madness: Katie Mitchell, Stanislavski, and the Classics’, Classical Receptions Journal 7, no. 3 (December 2015): 400-21 (403).

12. Peter Boenisch, ‘Towards a Theatre of Encounter and Experience: Reflexive Dramaturgies and Classic Texts’, Contemporary Theatre Review 20, no. 2 (2010): 162-72 (166).

13. Dan Rebellato, ‘Katie Mitchell: Learning from Europe’, in Contemporary European Theatre Directors, ed. Maria Delgado and Dan Rebellato (Abingdon: Routledge, 2010), 317-38 (323-4).

14. Quoted in Rebellato, ‘Katie Mitchell: Learning from Europe’, 326.

15. David Hesmondhalgh, Melissa Nisbett, Kate Oakley & David Lee, ‘Were New Labour’s Cultural Policies Neo-Liberal?’, International Journal of Cultural Policy 21, no. 1 (2015): 97-114 (100).

16. Alice Jones, ‘Katie Mitchell: I’d Hate to Hang Around making Theatre When They’re Tired of It’, The Independent, April 17, 2008, https://www.independent.co.uk/arts-entertainment/theatre-dance/features/katie-mitchell-id-hate-to-hang-around-making-theatre-when-theyre-tired-of-it-810224.html (accessed February 7, 2020).

17. Royal Holloway Drama, ‘Katie Mitchell on Theatre Directing’, Interview with Bryce Lease at Royal Holloway University of London, April 28, 2017, YouTube-Video, May 3 2017 https://www.youtube.com/watch?v=U6KYWNh62Xo&t=229s (accessed November 14, 2019), 00:17:57.

18. Tom Cornford, ‘Willful Distraction: Katie Mitchell, Auteurism and the Canon’, in The Theatre of Katie Mitchell ed. Benjamin Fowler (Abingdon: Routledge, 2019), 72-92.

19. Almeida Theatre, ‘On Chekhov: Katie Mitchell and Robert Icke in Conversation, 17 March 2016ʹ, YouTube-Video, June 9 2016, https://www.youtube.com/watch?v=FaeAgWMYu8w&t=2736s (accessed February 3, 2020), 00:15:14.

20. Matt Trueman, ‘Katie Mitchell: ‘I was Uncomfortable Coming Back to Work in the UK’, The Stage, February 26, 2016.

21. Royal Holloway Drama, ‘Katie Mitchell on Theatre Directing’, 00:32:26.

22. Lisa Peck, ‘Katie Mitchell: Feminist Director as Pedagogue’, Stanislavski Studies: Practice, Legacy and Contemporary Theater 5, no. 2 (2017): 233-46.

23. Elin Diamond, Unmaking Mimesis: Essays on Feminism and Theatre (Abingdon: Routledge, 1997), 51.

24. Boenisch, ‘Towards a Theatre of Encounter’, 166.

25. Michael Billington, ‘Don’t Let Auteurs take over in the Theatre’, Guardian Theatre Blog, April 14, 2009, https://www.theguardian.com/stage/theatreblog/2009/apr/14/auteur-theatre (accessed November 3, 2019).

26. For a fuller consideration of the charge of auteurism as it has been levelled against Mitchell, see Rebellato, ‘Katie Mitchell: Learning from Europe’, 317-20; and Cornford, ‘Willful distraction’, 75-8.

27. Dan Rebellato, 1956 And All That: The Making of Modern British Drama (Abingdon: Routledge, 1999), 143.

28. Kate Kellaway, ‘Emma Rice: “I don’t know how I got to be so controversial”’, The Observer, July 1, 2018.

29. Rebellato, ‘Katie Mitchell: Learning from Europe’, 319.

30. Alex Mermikides, ‘Brilliant theatre-making at the National: Devising, collective creation and the director’s brand’, Studies in Theatre and Performance 33, no. 2 (2013): 153-67 (164).

31. Ibid., 153.

32. Drama, ‘Katie Mitchell on Theatre Directing’, 00:19:57.

33. Quoted in O Zahr, ‘Zauberland’, The New Yorker, October 18 2019, www.newyorker.com/goings-on-about-town/classical-music/zauberland (accessed January 28, 2020).

34. See Mitchell’s Interview with Bryce Lease in this issue, 266–72 (268).

35. See Jack Halberstam, Trans* (Oakland: University of California Press, 2018).

36. Benjamin Fowler, ed., The Theatre of Katie Mitchell (Abingdon: Routledge, 2019).

37. Sarah Gorman, Gerry Harris, and Jen Harvie, eds., ‘Special Issue on Feminisms’, Contemporary Theatre Review 28, no. 3 (2018).

Additional information

Funding

This work was supported by the Standing Conference of University Drama Departments [David Bradby Award for Early Career Research in European Theatre, 2017].