ABSTRACT This article discusses Katie Mitchell’s Events technique. I locate the technique within the Stanislavskian tradition and identify the ways in which it differs from the approach of other practitioners, analysing the advantages and disadvantages of Mitchell’s approach. Katie Mitchell’s significance as a pedagogue of directors and actors in addition to her role as one of Britain’s leading theatre directors is established. Different approaches to identifying and naming Events from practitioners such as Mike Alfreds, Tatiana Olear, Bella Merlin, Elen Bowman, Sam Kogan and Stanislavski himself are considered. I argue for an approach that allows different characters to have Events at different times and that involves giving Events subjective names. I then discuss some practical approaches that I have developed in my professional and pedagogical practice to applying Events in the rehearsal room and the university classroom.

中文翻译：

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在专业和教学环境中理解和使用凯蒂米切尔的事件技术的方法

摘要 本文讨论了 Katie Mitchell 的事件技术。我在 Stanislavskian 传统中定位该技术，并确定它与其他从业者的方法不同的方式，分析 Mitchell 方法的优点和缺点。除了作为英国主要戏剧导演之一的角色之外，凯蒂·米切尔作为导演和演员的教育者的重要性已经确立。考虑了从实践者（例如 Mike Alfreds、Tatiana Olear、Bella Merlin、Elen Bowman、Sam Kogan 和 Stanislavski 本人）识别和命名事件的不同方法。我主张一种方法，允许不同的角色在不同的时间拥有事件，并且涉及给事件主观的名称。