Theatre Design & Technology - Winter 2021 - 24
The Attic, July 30 2018. | Photograph courtesy of Skye Strauss.
small font and notated by hand. Standing
in the center of the attic, I got the impression of a mind always at work, turning over these beloved things again and
again as if reading the runes for inspiration. It was the consistent practice of layering source on source, based as much
on tactility and proximity as symbolism,
creating the exciting juxtapositions of the
real and fantastical that, for me, characterized Mitchell's work.
Scaling Up
Like the places and pieces included in
this article, Mitchell's career as a director and designer grew in scale over time,
from small productions to immersive
performances that filled the horizon
line. In the 1970s and 1980s, he worked
in Theatre in Education, joined the socialist collective Key Perspectives, and
worked at the Theatre Centre (Gardner,
The Boxes of Teeth, Luck, Hate, etc., July 30 2018. | Photograph courtesy of Skye Strauss.
2017). In time, Mitchell and Hill relocated to Cornwall in 1988 and Hill joined
Kneehigh theatre company first. The
company was touring classrooms and village halls or crafting site-specific works
in the open air to cope with the lack of
formal performance venues in Cornwall.
For roughly a decade, Mitchell primarily
directed productions while Hill served as
a performer and designer.
Mitchell also served as artistic director of the company for multiple years,
giving some of Kneehigh's recognizable
names new opportunities--recruiting
Anna Maria Murphy as a writer and giving Emma Rice her first directing project
for the company, spearheading The Itch
in 1999. Mitchell designed many of Rice's
productions for Kneehigh, including
Tristan & Yseult (2003), which proved
to be one of the company's most beloved
productions. Mitchell's longstanding
24 | THEATRE DESIGN & TECHNOLOGY | WINTER 2021
partnership with Rice was based on a
mutual entanglement of roles between
a designer deeply invested in narrative
and a director with a distinctive visual
aesthetic. As a designer, Mitchell's playful, flexible sets and his collection of wellworn, and well-loved objects provided the
company with creative springboards during their devising process.
As Kneehigh's work moved more
firmly indoors at larger urban venues,
Mitchell still felt called to tangle with the
complexity of site-specificity. He began
WildWorks with Hill in 2005 with the aim
of truly getting to know both the physical
space and the surrounding community
while making new work. Over time, the
company has developed distinctive strategies for focusing the audience's attention, subtly moving them from place to
place, and empowering them to explore
and participate in the event (Machon
Theatre Design & Technology - Winter 2021
Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2021
Contents
Theatre Design & Technology - Winter 2021 - Cover1
Theatre Design & Technology - Winter 2021 - Cover2
Theatre Design & Technology - Winter 2021 - 1
Theatre Design & Technology - Winter 2021 - Contents
Theatre Design & Technology - Winter 2021 - 3
Theatre Design & Technology - Winter 2021 - 4
Theatre Design & Technology - Winter 2021 - 5
Theatre Design & Technology - Winter 2021 - 6
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Theatre Design & Technology - Winter 2021 - 24
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Theatre Design & Technology - Winter 2021 - Cover3
Theatre Design & Technology - Winter 2021 - Cover4
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com