A couple of great articles about Katie Mitchell
Katie Mitchell is a personal hero of mine, a trailblazing auteur director who is also, *gasp!*, a woman.
I often wonder why we have such fantastic male auteur directors and so few female auteurs. I have a lot of theories about it, some of them are too personal to go into here on this blog on this day. That's because I have been known to deconstruct a classic in my time, but I haven't done it often, or often professionally. And so when I wonder this about the world, I also wonder this about myself.
Lately, a couple of fabulous articles have come out about Katie Mitchell and her work. I must be honest here, I haven't seen her work, and it's certainly controversial. But here's what inspires me about her: first off, if you read her amazing book THE DIRECTOR'S CRAFT, then you know that she isn't just making up ideas and placing them on her productions, she is doing some serious and deep text analysis to get to her conclusions. The attention to detail in every step of her process is pain-staking. Secondly, she's not striving to be liked, to entertain, to be accepted. She's striving to make great art. Third, she's really becoming a vocal feminist and asking really exciting questions about the male point of view that saturates our theater.
Here are some articles:
The Pool
The Guardian: the long read
Enjoy.
I often wonder why we have such fantastic male auteur directors and so few female auteurs. I have a lot of theories about it, some of them are too personal to go into here on this blog on this day. That's because I have been known to deconstruct a classic in my time, but I haven't done it often, or often professionally. And so when I wonder this about the world, I also wonder this about myself.
Lately, a couple of fabulous articles have come out about Katie Mitchell and her work. I must be honest here, I haven't seen her work, and it's certainly controversial. But here's what inspires me about her: first off, if you read her amazing book THE DIRECTOR'S CRAFT, then you know that she isn't just making up ideas and placing them on her productions, she is doing some serious and deep text analysis to get to her conclusions. The attention to detail in every step of her process is pain-staking. Secondly, she's not striving to be liked, to entertain, to be accepted. She's striving to make great art. Third, she's really becoming a vocal feminist and asking really exciting questions about the male point of view that saturates our theater.
Here are some articles:
The Pool
The Guardian: the long read
Enjoy.
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