To the memory of Alison Hodge How do you become a theatre director? You need a strong desire and sense of drive from the beginning, so tough is it. Routes into academia today are also hard but at least much more predictable. Although then I had no desire to be an academic, in September 1989 I began my PhD at Goldsmiths College on contemporary Polish theatre, an interest of mine from my days as an undergraduate. My focus wasGardzienice Theatre Association, a company from the tiny eponymous village in the countryside outside Lublin in south-eastern Poland. My research involved me joining them as a performer/deviser and participant in all their activities, documented in my PhD and subsequent book Gardzienice: Polish Theatre in Transition. The back cover has two testimonials: one by Richard Schechner, the other by Katie Mitchell, then Associate Director of the Royal Shakespeare Company and Director of The Other Place. Katie wrote: ‘As a director, I have been inspired byGardzienice andwelcome this illuminating account of their work. I am sure this book will inspire many others.’ In Gabriella Giannachi andMary Luckhurst’s On Directing, Katie described Gardzienice’s work as having had a ‘phenomenal impact on me’. She was not the only one. I joined Gardzienice at a time when they were building on a very well-established international reputation by further cementing links with UK artists and scholars. This included the young Alison Hodge and Emma Rice. The Centre for Performance Research had invited Gardzienice to tour the UK in 1988. I first saw them as part of this tour at Dartington College. My girlfriend, an Oxford graduate in English, mentioned that someone she knew from university was interested in learning more about Polish theatre. I met Katie and so began our friendship and our working relationship. We collaborated on nine productions on which I worked as movement director, in London and Stratford-upon-Avon but also, exceptionally, in Poland on an intercultural project which I led, and as part of which we

中文翻译：

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与凯蒂·米切尔 (Katie Mitchell) 一起逛波兰剧院：个人反思

纪念艾莉森·霍奇 你是如何成为一名戏剧导演的？从一开始你就需要强烈的欲望和动力，这太难了。今天进入学术界的道路也很艰难，但至少更容易预测。虽然那时我并不想成为一名学者，但 1989 年 9 月，我开始在金史密斯学院攻读当代波兰戏剧博士学位，这是我本科时代的兴趣所在。我的重点是 Gardzienice 剧院协会，这是一家来自波兰东南部卢布林郊外同名小村庄的公司。我的研究涉及我作为表演者/设计者和他们所有活动的参与者加入他们，记录在我的博士和随后的书 Gardzienice：转型中的波兰剧院。封底有两份推荐书：一份由 Richard Schechner 撰写，另一份由 Katie Mitchell 撰写，然后是皇家莎士比亚剧团的副董事和 The Other Place 的董事。Katie 写道：“作为一名导演，我受到了 Gardzienice 的启发，并欢迎这种对他们作品的启发性描述。我相信这本书会激励许多其他人。在 Gabriella Giannachi 和 Mary Luckhurst 的 On Directing 中，Katie 将 Gardzienice 的作品描述为“对我产生了非凡的影响”。她不是唯一一个。我加入 Gardzienice 时，他们正通过进一步巩固与英国艺术家和学者的联系，在国际声誉上建立良好的声誉。这包括年轻的艾莉森霍奇和艾玛赖斯。表演研究中心于 1988 年邀请 Gardzienice 访问英国。我第一次看到他们是在达丁顿学院的这次旅行中的一部分。我的女朋友，牛津大学英语专业的毕业生，提到她在大学认识的某个人有兴趣了解更多关于波兰戏剧的知识。我遇到了凯蒂，因此开始了我们的友谊和工作关系。我们合作了九部作品，我在伦敦和埃文河畔斯特拉特福担任运动总监，但在波兰，我领导的跨文化项目也是例外，作为其中的一部分，我们