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Notes
1. Katie Mitchell, The Director’s Craft: A Handbook for the Theatre (London: Routledge, 2009), 95.
2. Kim Solga, ‘Body Doubles, Babel’s Voices: Katie Mitchell’s Iphigenia at Aulis and the Theatre of Sacrifice’, Contemporary Theatre Review 18, no. 2 (2008): 146–60 (150).
3. Ibid., emphasis in original.
4. Ibid., 151.
5. Ibid., 152.
6. Ibid., 154.
7. Ibid., 159.
8. Mitchell, The Director’s Craft, 96.
9. Jon Holliday, ‘Katya Kabanová, Stage Newspaper, May 31, 2001.
10. Michael Billington, ‘Women of Troy’, Guardian, November 27, 2007 https://www.theguardian.com/stage/2007/nov/29/theatre.euripides (accessed 15 November 2019).
11. Struan Leslie, ‘Gesamtkunstwerk: Modern Moves and the Ancient Chorus’, in The Ancient Dancer in the Modern World: Responses to Greek and Modern Dance, ed. Fiona Macintosh (Oxford: Oxford University Press, 2012), 411-9.
12. In ethical terms, it is worth noting that Leslie has also read and amended sections of the interview before publication.
13. Hughes’s adaptation of the trilogy is in two parts: The Home Guard which is an adaptation of Agamemnon and The Daughters of Darkness which is an adaptation of the second two parts of Aeschylus’s trilogy.
14. Mitchell’s 1994 production of Henry VI at the Royal Shakespeare Company also referenced this conflict. See Sara Soncini, ‘Shakespeare in Sarajevo: Theatrical and Cinematic Encounters with the Balkan War’, Critical Survey 30, no. 1 (2018): 26–44.
15. Before the NT production of Iphigenia at Aulis (2004), Mitchell and Leslie collaborated on an earlier version, using the same translation by Don Taylor, at the Abbey Theatre in Dublin in 2001. The two productions had some cast members in common, including Kate Duchêne as Clytemnestra.