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Notes
1. Katie Mitchell, The Director’s Craft: A Handbook for the Theatre (London: Routledge, 2009), 170.
2. Ibid., 24.
3. Martin Crimp, and Katie Mitchell, ‘Outstanding Questions’ (unpublished rehearsal notes, 2018), 2–3.
4. Alice Jones, ‘Katie Mitchell: ‘I’d Hate to Hang Around Making Theatre When They’re Tired of It,’ 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 November 19, 2019).
5. See Adam J. Ledger, The Director and Directing: Craft, Process and Aesthetic in Contemporary Theatre (Basingstoke: Palgrave Macmillan, 2019).
6. Mitchell is involved in the MA Theatre Directing at Royal Holloway, University of London.
7. Apart from the 2012 Schauspiel Cologne production of Reise durch die Nacht (Night Train); see Adam J. Ledger, “The Thrill of Doing It Live”: Devising and Performing Katie Mitchell’s International “Live Cinema” Productions,’ in Contemporary Approaches to Adaptation in Theatre, ed. Kara Reilly (Basingstoke: Palgrave Macmillan, 2018), 69–90.
8. Tom Cornford, ‘The English Theatre studios of Michael Chekhov and Michel Saint-Denis, 1935–65’ (unpublished doctoral thesis, University of Warwick, 2012); ‘Acting, skill and artistry’, Shakespeare Studies, 43 (2015), 88–98. See too Jack Belloli, ‘Theatricality and the Construction of ‘Skill’, Performance Research 24, no. 4 (2019), 125–32.
9. Mike Pearson, ‘How Does Theatre Think Through Things?’, in Thinking Through Theatre and Performance, ed. Maaike Bleeker, Adrian Kear, and Joe Kelleher (London: Methuen Drama, 2019), 115–29 (123).
10. ‘Prefigurative politics’ seeks to organise relationships or a movement in a way that ‘prefigures’ the egalitarian outcome or society sought.
11. Pearson, ‘How Does Theatre Think Through Things?’, 123.
12. See Ledger, The Director and Directing, 131.
Additional information
Notes on contributors
Adam J. Ledger
Adam J. Ledger is a Reader in Theatre and Performance at the University of Birmingham, UK. He has published widely on performance practices, including The Director and Directing: Craft, Process and Aesthetic in Contemporary Theatre (Palgrave Macmillan, 2019) and Odin Teatret: Theatre in a New Century (Palgrave Macmillan, 2012). He is joint artistic director of The Bone Ensemble.