Publication Cover
Sound Studies
An Interdisciplinary Journal
Volume 9, 2023 - Issue 1
520
Views
0
CrossRef citations to date
0
Altmetric
Articles

Listening to a Pinter double bill: Mitchell’s direction of Mountain Language and Ashes to Ashes at the Royal Court Theatre

Pages 42-63 | Received 21 Aug 2022, Accepted 10 Nov 2022, Published online: 20 Feb 2023

References

  • Angel-Perez, Elisabeth. 2009. “Ashes to Ashes, Pinter’s Dibbuks.” In Viva Pinter: Harold Pinter’s Spirit of Resistance, edited by Brigitte Gauthier, 139–160. Oxford: Peter Lang.
  • Aragay, Mireia. 2009. ”Pinter, Politics and Postmodernism (2).” In The Cambridge Companion to Harold Pinter, edited by Peter Raby, 2nd ed., 283–296. Cambridge: Cambridge University Press.
  • Ashes to Ashes. 2001. By Harold Pinter. Directed by Katie Mitchell, with sound design by Gareth Fry. Royal Court Theatre Downstairs. Recorded July 2, 2001. CD-R. 1cdr0021029 BD2. British Library.
  • Bijsterveld, Karin. 2013. “Introduction.“ In Soundscapes of the Urban Past: Staged Sound as Mediated Cultural Heritage, edited by Karin Bijsterveld, 11–28. Bielefeld: Transcript.
  • Billington, Michael. 1996. “Arts: Poet of Darkness—Michael Billington Is Mesmerised by Harold Pinter’s New Play, Ashes to Ashes / The Triumph.” Review of Ashes to Ashes, by Harold Pinter, directed by the author, Royal Court Theatre Upstairs at Ambassadors Theatre. Guardian, September 21, 1996. Gale General OneFile.
  • Billington, Michael. 2000. “Space Invaders.” Reviews of Celebration and The Room, by Harold Pinter, directed by the author, Almeida Theatre. Guardian, March 24, 2000. https://www.theguardian.com/stage/2000/mar/24/theatre.artsfeatures.
  • Billington, Michael. 2001. “Harold Pinter Double Bill: Katie Mitchell Assaults the Ears at the Court.” Reviews of Mountain Language and Ashes to Ashes, by Harold Pinter, directed by Katie Mitchell, Royal Court Theatre Downstairs. Guardian, June 28, 2001. https://www.theguardian.com/stage/2001/jun/28/theatre.artsfeatures1.
  • Billington, Michael. 2006a. “Krapp’s Last Tape.” Review of Krapp’s Last Tape, by Samuel Beckett, directed by Ian Rickson, Royal Court Theatre Upstairs. Guardian, October 16, 2006. https://www.theguardian.com/stage/2006/oct/16/theatre.beckettat100.
  • Billington, Michael. 2006b. “The Seagull.” Review of The Seagull, by Anton Chekhov, directed by Katie Mitchell, National Theatre, London. Guardian, June 28, 2006. https://www.theguardian.com/stage/2006/jun/28/theatre1.
  • Billington, Michael. 2007. Harold Pinter. Rev. ed. London: Faber.
  • Bloom, Gina. 2007. Voice in Motion: Staging Gender, Shaping Sound in Early Modern England. Philadelphia: University of Pennsylvania Press.
  • Brown, Ross. 2010. Sound: A Reader in Theatre Practice. Basingstoke: Palgrave Macmillan.
  • Cole, George. 2019. Betrayed: The Story of Harold Pinter’s Betrayal. Peterborough: Agharta Publishing.
  • Fowler, Benjamin, ed. 2019. The Theatre of Katie Mitchell. London: Routledge.
  • Fowler, Benjamin. 2020. Katie Mitchell: Beautiful Illogical Acts. London: Routledge.
  • Franzen, Ricarda. 2016. “In and Out of ‘Earsight’—Listening to Historical Theatre Sound Recordings.” Theatre and Performance Design 2: 312–325. doi:10.1080/23322551.2016.1231397.
  • Fry, Gareth. 2019. Sound Design for the Stage. Marlborough: Crowood.
  • Hall, Peter. 2009. ”Directing the Plays of Harold Pinter.” In The Cambridge Companion to Harold Pinter, edited by Peter Raby, 2nd ed., 160–169. Cambridge: Cambridge University Press.
  • Higgins, Charlotte. 2016. “Katie Mitchell, British Theatre’s Queen in Exile.” Guardian, January 14, 2016. https://www.theguardian.com/stage/2016/jan/14/british-theatre-queen-exile-katie-mitchell.
  • Home-Cook, George. 2015. Theatre and Aural Attention: Stretching Ourselves. Basingstoke: Palgrave Macmillan.
  • JP. 2002. “Pinter Sketches 1.” Reviews of five sketches by Harold Pinter, directed by Gari Jones, National Theatre, London. Sunday Times, February 17, 2002, 16.
  • Kendrick, Lynne. 2017. Theatre Aurality. London: Palgrave Macmillan.
  • Lee, Erin, and Tom Cornford. 2020. “List of Katie Mitchell’s Productions 1989-2019.” Contemporary Theatre Review 30: 269–277. doi:10.1080/10486801.2020.1731491.
  • Lysaker, John T. 2019. Brian Eno’s Ambient 1: Music for Airports. New York: Oxford University Press.
  • Macaulay, Alastair. 2001. “Expansive Roles on an Intimate Scale.” Reviews of Mountain Language and Ashes to Ashes, by Harold Pinter, directed by Katie Mitchell, Royal Court Theatre Downstairs. Financial Times, June 29, 2001. Financial Times Historical Archive.
  • Marcus, Frank. 1969. “Pinter: The Pauses That Refresh.” Reviews of Silence and Landscape, by Harold Pinter, directed by Peter Hall, Royal Shakespeare Company at Aldwych Theatre. New York Times, July 13, 1969. ProQuest Historical Newspapers.
  • Milne, Drew. 2009. ”Pinter’s Sexual Politics.” In The Cambridge Companion to Harold Pinter, edited by Peter Raby, 2nd ed., 233–248. Cambridge: Cambridge University Press.
  • Mitchell, Katie. 2005. Interview by Ian Smith. In Pinter in the Theatre, edited by Ian Smith, 191–198. London: Nick Hern Books.
  • Mitchell, Katie. 2009. The Director’s Craft: A Handbook for the Theatre. London: Routledge.
  • Morley, Sheridan. 1996. “Disturbing Hour.” Review of Ashes to Ashes, by Harold Pinter, directed by the author, Royal Court Theatre Upstairs at Ambassadors Theatre. Spectator, September 28, 1996. ProQuest One Literature.
  • Morris, Adalaide. 1997. “Introduction: Sound States.” In Sound States: Innovative Poetics and Acoustical Technologies, edited by Adalaide Morris, 1–14. Chapel Hill: University of North Carolina Press.
  • Mountain Language. 2001. By Harold Pinter. Directed by Katie Mitchell, with sound design by Gareth Fry. Royal Court Theatre Downstairs. Recorded July 2, 2001. CD-R. 1cdr0021029 BD1. British Library.
  • Oltermann, Philip. 2014. “Katie Mitchell, British Theatre’s True Auteur, on Being Embraced by Europe.” Guardian, July 9, 2014. https://www.theguardian.com/stage/2014/jul/09/katie-mitchell-british-theatre-true-auteur.
  • Pinter, Harold. 1991. A Slight Ache. In Plays One, 151–184. London: Faber.
  • Pinter, Harold. 1996. The Lover. In Plays Two, 147–184. London: Faber.
  • Pinter, Harold. 1997a. Landscape. In Plays Three, 165–188. London: Faber.
  • Pinter, Harold. 1997b. Silence. In Plays Three, 189–209. London: Faber.
  • Pinter, Harold. 2005a. Ashes to Ashes. In Plays Four, 389–433. 2nd exp. ed. London: Faber.
  • Pinter, Harold. 2005b. Celebration. In Plays Four, 435–508. 2nd exp. ed. London: Faber.
  • Pinter, Harold. 2005c. Mountain Language. In Plays Four, 249–267. 2nd exp. ed. London: Faber.
  • Pinter, Harold. 2007. “Art, Truth & Politics: The Nobel Lecture.” Lecture, December 7, 2005. In Harold Pinter, by Michael Billington, rev. ed., 431–442. London: Faber.
  • Pye, Patricia. 2017. Sound and Modernity in the Literature of London, 1880-1918. London: Palgrave Macmillan.
  • Roberts, Philip. 1999. The Royal Court Theatre and the Modern Stage. Cambridge: Cambridge University Press.
  • Spencer, Charles. 2001. “An Interminable Slog through Pinter’s Politics.” Reviews of Mountain Language and Ashes to Ashes, by Harold Pinter, directed by Katie Mitchell, Royal Court Theatre Downstairs. Daily Telegraph, June 28, 2001. Telegraph Historical Archive, 1855-2016.
  • Taylor-Batty, Mark. 2014. The Theatre of Harold Pinter. London: Bloomsbury.
  • Voigts, Eckart. 2021. “‘Too Much of a Modern?’: Pinter’s Jewishness.” In Harold Pinter: Stages, Networks, Collaborations, edited by Basil Chiasson and Catriona Fallow, 71–87. London: Methuen.
  • Waters, Steve. 2021. “‘An Insistence in My Mind’: Pinter’s Writing Ethic.” In Harold Pinter: Stages, Networks, Collaborations, edited by Basil Chiasson and Catriona Fallow, 107–120. London: Methuen.
  • Webster, John. 1997. The Duchess of Malfi. In Six Renaissance Tragedies, edited by Colin Gibson, 243–347. Basingstoke: Palgrave Macmillan.
  • Worthen, W. B. 2005. Print and the Poetics of Modern Drama. Cambridge: Cambridge University Press.