Katie Mitchell is, by any measure, a prolific director. In the decade 2009–18, she opened 59 productions, of which 21 were operas; 31 were originated outside her native United Kingdom. This achievement is yet more significant because, in many respects, Mitchell’s rise to prominence as one of the United Kingdom’s and Europe’s most highly regarded auteur directors has been achieved against the odds. There was, for most of the twentieth century, little opportunity within the mainstream theatre for female directors to achieve what Mitchell has done since, in 1989, she went more or less directly from obscurity, via a period as an assistant director with Paines Plough, to the Royal Shakespeare Company (RSC), where she made her full professional directorial debut with Thomas Heywood’s A Woman Killed with Kindness (The Other Place, 1991). When, in 1993, Richard Eyre, then the Artistic Director of the National Theatre of Great Britain (NT), met the ‘gifted, bright, young and idealistic’ Mitchell, she reportedly wanted ‘to run a company like ArianeMnouchkine’, whose Théâtre du Soleil had taken up residence in the grounds of a former munitions factory near Paris known as theCartoucherie in 1964, the year that Mitchell was born. Eyre responded with the possibly helpful but certainly somewhat dismissive observation that ‘Ariane took years to establish herself and still works herself to the bone: she directs the plays, runs the theatre, oversees the catering and tears the tickets’. He records that Mitchell’s response was to appear ‘slightly dashed’ and generalises that her ‘generation seem lesswilling to go out into thewilderness and start their own companies’, without reflecting that severe reductions in the economic value of, and access to, state unemployment benefit during the 1980s, for example, were likely to be a more significant cause than generational malaise. Eyre went on, however, to notemore perceptively that ‘we voraciously draw them [directors like Mitchell] into the big companies’. In spite of its analytical shortcomings, Eyre’s observation would be borne out by Mitchell’s subsequent career, in which she has kept one foot firmly planted in the mainstream, and the other frequently lodged outside it. She first directed at the NT in 1994, creating 1. This work was supported by the Standing Conference of University Drama Departments [David Bradby Award for Early Career Research in European Theatre, 2017].

中文翻译：

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凯蒂米切尔的剧院

无论如何，凯蒂·米切尔都是一位多产的导演。在 2009-18 年的十年间，她开办了 59 部作品，其中 21 部是歌剧；31 人起源于她的祖国英国以外。这一成就更为重要，因为在许多方面，米切尔成为英国和欧洲最受推崇的导演之一，是在困难重重的情况下取得的。在 20 世纪的大部分时间里，女性导演在主流剧院中几乎没有机会实现米切尔所做的事情，自从 1989 年，她或多或少直接从默默无闻中走出来，在潘恩斯·普劳（Paines Plough）担任助理导演期间，皇家莎士比亚剧团 (RSC)，在那里她凭借托马斯·海伍德 (Thomas Heywood) 的《被善意杀死的女人》(The Other Place, 1991) 完成了她的职业导演处女作。当 1993 年，时任英国国家剧院 (NT) 艺术总监的理查德·艾尔 (Richard Eyre) 遇到了“天才、聪明、年轻且理想主义”的米切尔，据报道，她想“经营一家像阿丽亚娜·姆努奇金 (ArianeMnouchkine) 那样的公司”，而太阳剧院已接手该公司1964 年，米切尔出生在巴黎附近一家名为“Cartoucherie”的前军火工厂的土地上。艾尔回应了可能有帮助但肯定有些不屑一顾的观察结果，即“阿丽亚娜花了数年时间建立自己的地位，但仍在努力工作：她指导戏剧，经营剧院，监督餐饮并撕票”。他记录了米切尔的反应是显得“有点破旧”，并概括为“她这一代人似乎不太愿意去荒野开办自己的公司”，例如，没有反映出 1980 年代国家失业救济金的经济价值和获得机会的严重减少可能是比代际不适更重要的原因。然而，艾尔继续敏锐地注意到“我们贪婪地将他们（像米切尔这样的董事）拉入大公司”。尽管存在分析上的缺陷，艾尔的观察将得到米切尔随后的职业生涯的证实，她一直将一只脚牢牢地植根于主流，而另一只脚则经常置身于主流之外。她于 1994 年首次执导 NT，创作了 1。这项工作得到了大学戏剧系常务会议的支持 [David Bradby 欧洲戏剧早期职业研究奖，2017]。例如，可能是比代际不适更重要的原因。然而，艾尔继续敏锐地注意到“我们贪婪地将他们（像米切尔这样的董事）拉入大公司”。尽管存在分析上的缺陷，艾尔的观察将得到米切尔随后的职业生涯的证实，她一直将一只脚牢牢地植根于主流，而另一只脚则经常置身于主流之外。她于 1994 年首次执导 NT，创作了 1。这项工作得到了大学戏剧系常务会议的支持 [David Bradby 欧洲戏剧早期职业研究奖，2017]。例如，可能是比代际不适更重要的原因。然而，艾尔继续敏锐地注意到“我们贪婪地将他们（像米切尔这样的董事）拉入大公司”。尽管存在分析上的缺陷，艾尔的观察将得到米切尔随后的职业生涯的证实，她一直将一只脚牢牢地植根于主流，而另一只脚则经常置身于主流之外。她于 1994 年首次执导 NT，创作了 1。这项工作得到了大学戏剧系常务会议的支持 [David Bradby 欧洲戏剧早期职业研究奖，2017]。尽管存在分析上的缺陷，艾尔的观察将得到米切尔随后的职业生涯的证实，她一直将一只脚牢牢地植根于主流，而另一只脚则经常置身于主流之外。她于 1994 年首次执导 NT，创作了 1。这项工作得到了大学戏剧系常务会议的支持 [David Bradby 欧洲戏剧早期职业研究奖，2017]。尽管存在分析上的缺陷，艾尔的观察将得到米切尔随后的职业生涯的证实，她一直将一只脚牢牢地植根于主流，而另一只脚则经常置身于主流之外。她于 1994 年首次执导 NT，创作了 1。这项工作得到了大学戏剧系常务会议的支持 [David Bradby 欧洲戏剧早期职业研究奖，2017]。