Contemporary Theatre Review ‘Katie Mitchell's Theatre’ Volume 30, Issue 2
- Submitting institution
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The Royal Central School of Speech and Drama
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- TCOR4
- Type
- B - Edited book
- DOI
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- Publisher
- Informa UK Limited
- ISBN
- 0000000000
- Open access status
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- Month of publication
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- Year of publication
- 2020
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
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- Criminology
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- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
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- Additional information
- This special issue of ‘Contemporary Theatre Review’, co-edited by Tom Cornford and Caridad Svich, explores the work of leading European theatre director, Katie Mitchell. It includes a 7,561-word introduction, co-written by Cornford and Svich, which offers a detailed account of Mitchell’s career since 1989, contextualised by wider developments in British and European theatre. This is followed by five research articles, interviews with Mitchell and two of her close collaborators, and shorter reflections on her work. Cornford conceived and proposed the issue, winning the 2017 SCUDD David Bradby Award for Early Career Research in European Theatre for his proposal, and was subsequently joined by Svich in the process of commissioning articles and in the editorial shaping of the issue, including offering two rounds of feedback to authors and guiding their responses to anonymous peer reviews. The issue’s research articles focus principally on the last fifteen years of Mitchell’s career, in which she has directed in a wider range of forms and genres and with a stronger signature than her earlier work in mainly canonical text-based theatre allowed. They also particularly engage questions of politics, which have grown in significance for Mitchell during this time. The articles explore numerous aspects of Mitchell’s work, from repeated patterns in her scenography to her depictions of female madness and suicide, her approach to opera-making, her engagement with ecological crisis, and — in Cornford’s 10,894-word contribution — her range of strategies for managing the technologies of the realist stage. Questions of the relationships between directorial output and creative processes are taken up by the issue’s Documents, which focus principally on the development of Mitchell’s practice from her own perspective and the perspectives of those who have worked closely with her. Finally, the issue’s Backpages offer briefer accounts of other aspects of Mitchell’s work by close observers.
- Author contribution statement
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- Non-English
- No
- English abstract
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