ABSTRACT

Katie Mitchell: Beautiful Illogical Acts offers the first comprehensive study of Britain’s most internationally recognised, influential, and controversial theatre director. It examines Mitchell’s innovations in fourth-wall realism, opera, and Live Cinema across major British and European institutions, bringing three decades of practice vividly to life.

Informed by first-hand rehearsal observations and in-depth conversations with the director and her collaborators, Fowler investigates the intense and immersive qualities of Mitchell’s distinctive theatrical realism and challenges mainstream narratives about realism as a defunct or inherently conservative genre. He explores Mitchell’s theatre—and its often polarised reception—to question familiar assumptions governing contemporary performance criticism, including common binaries that pit realism against radical experimentation, auteurs against texts, feminists against Naturalism, and Britain against Europe. By examining a career trajectory that intersects with huge cultural change, Fowler places Mitchell at the centre of urgent contemporary debates about cultural transformation and its genuinely inclusive potential.

This is an essential book for those interested in Katie Mitchell, British theatre, directing, the transformative power of realism and feminism in contemporary theatre practice, and challenges to hierarchical distributions of power inside the mainstream.

chapter |19 pages

Introduction

part I|110 pages

Staging classics in the British mainstream (1989–2011)

section |108 pages

Foundations I

chapter 1|31 pages

Out of place

Mitchell and early modern drama

chapter 2|29 pages

Flesh and blood

Mitchell, Chekhov, and immersive realism

chapter 3|30 pages

Come and see

Mitchell, Euripides, and ethical witnessing

part II|37 pages

The pivot to Live Cinema (2006–2008)

section |35 pages

Foundations II

chapter 4|25 pages

Moments of being

Live Cinema and the novel

part III|79 pages

Adventures in Europe and avowing feminism (2008–2018)

section |77 pages

Foundations III

chapter 5|29 pages

Watch me vanish

Mitchell’s alternative feminist (German) canon

chapter 6|30 pages

Birch and Crimp

Mitchell’s collaborations with living writers

chapter |6 pages

Conclusion