In her book The Director’s Craft (2009), Katie Mitchell identifies three predominantly technical functions of movement work: to warm up the actors for rehearsal, to prepare the actors’ bodies for specific physical demands of a performance, and to develop the skills needed for choreographed sequences in performance. However, the last two pages of Mitchell’s book – bringing together Stanislavsky’s method of physical actions, American philosopher William James’s 1884 essay on emotion, Antonio Damasio’s 1999 book The Feeling of What Happens, and Mitchell’s own interest in engendering an emotional response in the audience – signal a new direction in her work that only began to be articulated at that point. The cumulative corporeal effect of the actors’ work within Mitchell’s productions is often seen as a core dramaturgical and methodological element of her directorial approach. In an article which predated Mitchell’s book, Kim Solga, for example, analysed the extraordinary effect of Mitchell’s ‘radical naturalism’ through the example of her 2004 National Theatre production of Euripides’ Iphigenia at Aulis. Solga described this approach as ‘a sciencebased method of physical action that foregrounds the visceral experience of affect rather than affect’s mimesis, both for actors and for audiences’. The result of this method, claims Solga, is ‘the distressing, disquieting return of the body that rushes, retches, panics, feels too much and makes us feel too much in the process’. This body is further seen as a double body – ‘the body banished by conventional acting technique’ and ‘the body banished by violence’s carefully constructed performative cover-up’. In other words, what Solga marvels at in her essay is the way in which the actors’ bodies manifest an innovative acting technique which makes it possible to deploy naturalism, not for mimetic, representational purposes the audiences might have come to expect, but as a means of providing a critical affective and affecting commentary on the text itself and the hegemony of patriarchy encoded within it. She illustrates this by focusing in detail on the performance of Hattie Morahan as Iphigenia, but also on the performance of the female chorus in the piece – ‘a clump of awkward bodies press-ganged into an existing set of social and performative conventions’ – an element of the piece that received notably mixed reviews. Solga attributes this critical reaction to a kind of ethical and aesthetic conservatism, blind to the real achievement of the production: ‘What the chorus women produced was not conventional “good” acting at all, but the failure of that convention in the face of the bodily and emotional needs it attempted to over-write’. And ultimately, she sees this ‘eruption of the profane body into the sacred text; of acting 1. Katie Mitchell, The Director’s Craft: A Handbook for the Theatre (London: Routledge, 2009), 95. 2. Kim Solga, ‘Body Doubles, Babel’s Voices: Katie Mitchell’s Iphigenia at Aulis and the Theatre of Sacrifice’, Contemporary Theatre Review 18, no. 2 (2008): 146–60 (150). 3. Ibid., emphasis in original. 4. Ibid., 151. 5. Ibid., 152. Contemporary Theatre Review, 2020 Vol. 30, No. 2, 236–244, https://doi.org/10.1080/10486801.2020.1731489

中文翻译：

---

策展隐形：对Struan Leslie的档案嵌入式采访

凯蒂·米切尔 (Katie Mitchell) 在其著作《导演的手艺》（2009 年）中确定了动作工作的三个主要技术功能：为演员预热以进行排练，为演员的身体准备表演的特定身体需求，以及发展所需的技能。表演中的编排序列。然而，米切尔这本书的最后两页——汇集了斯坦尼斯拉夫斯基的身体动作方法、美国哲学家威廉·詹姆斯 1884 年关于情感的文章、安东尼奥·达马西奥 1999 年的书“发生的事情的感觉”，以及米切尔自己对在观众中产生情感反应的兴趣——在她的作品中标志着一个新的方向，直到那时才开始明确。演员在米切尔作品中的累积肉体效果通常被视为她导演方法的核心戏剧和方法要素。例如，在米切尔的书之前的一篇文章中，金·索尔加通过她 2004 年在奥利斯的欧里庇得斯的《伊菲革涅亚》的国家剧院制作的例子，分析了米切尔的“激进自然主义”的非凡影响。Solga 将这种方法描述为“一种基于科学的身体动作方法，它为演员和观众突出情感的内在体验而不是情感的模仿”。Solga 声称，这种方法的结果是“身体的痛苦、不安的回归，在这个过程中，匆忙、干呕、恐慌、感觉太多，让我们感觉太多”。这个身体进一步被视为双重身体——“被传统表演技术驱逐的身体”和“被暴力精心构建的表演掩盖所驱逐的身体”。换句话说，Solga 在她的文章中惊奇的是演员的身体表现出一种创新的表演技巧的方式，这种技巧可以部署自然主义，而不是为了观众可能会期望的模仿、再现目的，而是作为一个提供对文本本身和其中编码的父权制霸权的批判性情感和影响评论的手段。她通过详细关注 Hattie Morahan 作为 Iphigenia 的表演来说明这一点，但也有关于女性合唱团在作品中的表演——“一堆笨拙的身体挤进了一套现有的社会和表演惯例”——这件作品的一个元素受到了明显的褒贬不一的评价。Solga 将这种批判性反应归因于一种道德和审美保守主义，对制作的真正成就视而不见：“女合唱团制作的根本不是传统的“好”表演，而是该传统在面对它试图覆盖的身体和情感需求”。最终，她看到了“亵渎的身体爆发成神圣的文本；1. Katie Mitchell, The Director's Craft: A Handbook for Theatre (London: Routledge, 2009), 95. 2. Kim Solga, 'Body Doubles, Babel's Voices: Katie Mitchell's Iphigenia at Aulis and the Theatre of Sacrifice', 当代戏剧评论 18，没有。2 (2008): 146–60 (150)。3.同上，强调原文。4. 同上，151。5. 同上，152。当代戏剧评论，2020 年卷。30, No. 2, 236–244, https://doi.org/10.1080/10486801.2020.1731489