Five Truths (2011) by Katie Mitchell is a multi-screen installation that shows five interpretations of Ophelia in Hamlet 4.5 (the scene of Ophelia’s madness) and 4.7 (Gertrude’s report of her death), according to the distinctive styles of five of the greatest names in twentieth-century theatre and performance: Constantin Stanislavski, Antonin Artaud, Bertolt Brecht, Jerzy Grotowski and Peter Brook. This paper provides a feminist reading of Mitchell’s work; after an overview of how Shakespeare’s Ophelia and her reception intertwine with the woman question, this paper offers an analysis that highlights how Mitchell participates in Ophelia’s afterlife through Five Truths. The work is then examined, with a focus on how the production context and choices relate and interact with the intricate and complex afterlife of Ophelia, considering, in particular, Sir John Everett Millais’ famous painting (1851–1852) and Elaine Showalter’s seminal essay ‘Representing Ophelia: Women, Madness and the Responsibilities of Feminist Criticism’ (1985).
"Five Truths: Katie Mitchell’s Screened Ophelias"
Montironi, Maria Elisa
2025
Abstract
Five Truths (2011) by Katie Mitchell is a multi-screen installation that shows five interpretations of Ophelia in Hamlet 4.5 (the scene of Ophelia’s madness) and 4.7 (Gertrude’s report of her death), according to the distinctive styles of five of the greatest names in twentieth-century theatre and performance: Constantin Stanislavski, Antonin Artaud, Bertolt Brecht, Jerzy Grotowski and Peter Brook. This paper provides a feminist reading of Mitchell’s work; after an overview of how Shakespeare’s Ophelia and her reception intertwine with the woman question, this paper offers an analysis that highlights how Mitchell participates in Ophelia’s afterlife through Five Truths. The work is then examined, with a focus on how the production context and choices relate and interact with the intricate and complex afterlife of Ophelia, considering, in particular, Sir John Everett Millais’ famous painting (1851–1852) and Elaine Showalter’s seminal essay ‘Representing Ophelia: Women, Madness and the Responsibilities of Feminist Criticism’ (1985).I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
