The Mickery Theatre: a history

米克利剧院：一段历史

• 批准号: AH/G00594X/1
• 负责人: Michael Pearson
• 金额: $ 4.27万
• 依托单位: Aberystwyth University
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2009
• 资助国家: 英国
• 起止时间: 2009 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FG00594X%2F1
• 关键词: Mickery; Theatre; history

In December 1965 Dutch theatre producer and director Ritsaert ten Cate staged Johnny Speight's If There Weren't Any Blacks You'd Have to Invent Them in a farmhouse in Loenersloot, 17 kilometres outside Amsterdam, then later that month An Evening with Nina Simone... Thus began the Mickery Theatre / producing its own performances, inviting guests that in 1966 included the Traverse Workshop from Edinburgh and in 1967 Ellen Stewart's La Mama with Tom Paine, Part One and Bread and Puppets with Fire from the USA. Over the next twenty-five years Mickery would become the most important location in Europe for the production and staging of experimental/alternative/ 'new' theatre, and ten Cate one of its most influential and revered advocates.Mickery was particularly important for staging the performances, and helping legitimise the work of, a number of British companies and individuals, a function acknowledged and accommodated by the Arts Council of Great Britain at that time. These included The People Show (and its members such as film-maker Mike Figgis) and the Pip Simmons Group, both of which appeared for the first time in 1969; Freehold (Antigone, Duchess of Malfi 1970); Low Moan Spectacular; Portable Theatre; Joint Stock; Gay Sweatshop; 7:84; Ken Campbell...In 1973, the Investigator appeared with seminal physical theatre group RAT Theatre at the Mickery; in 1989, close to the end of its life, Mickery co-produced Brith Gof's large-scale site-specific performance Gododdin in an ice-hockey stadium in Lleuwarden. In 1972 Mickery moved to permanent premises in the Rozen Theatre in central Amsterdam, a venue that included a 'black box' studio for 250 spectators and a small upstairs theatre for 40. Here ten Cate not only continued to received and present touring companies including performances by Squat Theatre (Hungary) and the notorious Tenjo Sajiki (Japan) but also to play and increasing role in their production. He was a key influence in the development of the Pip Simmons Group: Dracula (1974), An Die Musik (1975), The Masque of the Red Death (1977) were all produced and premiered in Mickery.Mickery became the principal venue for presenting new American theatre in Europe / 120 productions in all over 25 years: from the work of Chaikin's Open Theatre and Richard Foreman to Mabou Mines (6 productions); the Wooster Group (11 productions); Theatre X; Meredith Monk; John Jesurun; Ping Chong; Spalding Gray; Peter Sellars...And for nurturing the European and regional practices that ensued: Jan Fabre; Jan Lauwers's Needcompany...ten Cate's curatorial practice gave Mickery its specific flavour and meaning, effectively establishing a movement through his aesthetic choices. Theatre makers had to adapt to the way in which Ritsaert ten Cate thought about theatre, its evolution and its significance in relation to society. Purposeful, consistent and persevering... His own productions adopted the post-dramatic characteristics of the work that passed through Mickery; and he became a major instigator of European networks of venues and producers.This application for research leave is to complete a substantial written contribution to, and to collaborate in the editing of, a co-authored volume at the prestigious invitation of the Netherlands Theatre Institute in Amsterdam; NTI houses the Mickery archive including important video recordings of productions as well as documentation, correspondence, critical articles etc. This will be the first major assessment in English of the work of Mickery and the role of ten Cate in fostering alternative practices frequently under-regarded in histories of European theatre. It will be the central component of a research project that will culminate in 2010 with a film, exhibition, radio broadcasts and further academic reflection. This opportunity places the investigator's scholarship within a European context and should greatly enhance his reputation and standing in the disciplinary field.

1965年12月，荷兰戏剧制片人兼导演Ritsaert ten Cate在离阿姆斯特丹17公里的Loenersloot的一个农舍里上演了Johnny Speight的If There Weren 't Any Blacks You'd Have to Invent Them，然后在那个月晚些时候与Nina Simone的一个晚上。因此，Mickery剧院/制作自己的表演，邀请客人，在1966年包括从爱丁堡的特拉弗斯工作室和1967年艾伦斯图尔特的La Mama与汤姆潘恩，第一部分和面包和木偶与火从美国。在接下来的25年里，米克利成为欧洲最重要的实验/另类/“新”戏剧的制作和上演地，凯特也是其最有影响力和最受尊敬的倡导者之一。米克利在上演表演和帮助一些英国公司和个人的工作合法化方面发挥了特别重要的作用，这是当时英国艺术理事会承认并接纳的一项职能。其中包括The People Show（及其成员，如电影制片人Mike Figgis）和Pip Simmons Group，两者都在1969年首次出现; Freehold（Antigone，Malfi公爵夫人1970）; Low Moan Spectacular;便携式剧院;股份; Gay Sweatshop; 7：84; Ken坎贝尔. 1973年，调查员与开创性的物理戏剧团体RAT剧院一起出现在Mickery;在1989年，接近其生命的尽头，Mickery在Lleuwarden的冰球体育场共同制作了Brith Gof的大型现场特定表演Gododdin。1972年，Mickery搬到了阿姆斯特丹市中心的Rozen剧院的永久场地，该场地包括一个可容纳250名观众的“黑匣子”工作室和一个可容纳40名观众的小型楼上剧院。在这里，ten Cate不仅继续接待和演出巡回演出公司，包括Squat Theatre（匈牙利）和臭名昭着的Tenjo Sajiki（日本）的演出，而且还在他们的制作中发挥越来越大的作用。他对皮普·西蒙斯集团的发展产生了重要影响：《德古拉》（1974）、《音乐之死》（1975）、《红死病的面具》（1977）都是在米克利制作和首演的。米克利成为在欧洲展示新美国戏剧的主要场所/25年来共制作了120部作品：从蔡金的开放剧院和理查德福尔曼的工作，以马布矿山（6个产品）;伍斯特集团（11个产品）;剧院X;梅雷迪思蒙克;约翰Jesurun;平冲;斯伯丁灰色;彼得塞拉斯.并培养了欧洲和区域的做法，随后：扬法布尔;扬劳沃斯的Needcompany.滕·凯特的策展实践赋予了米克里独特的风格和意义，通过他的美学选择有效地建立了一场运动。戏剧制作人必须适应里萨特·十·卡特对戏剧、戏剧的演变及其对社会的意义的思考方式。有目的，始终如一，坚持不懈...他自己的作品采用了通过Mickery的作品的后戏剧性特征;他成为欧洲场地和制作人网络的主要煽动者。这份研究休假申请是为了完成一份重要的书面贡献，并应阿姆斯特丹荷兰戏剧学院的邀请合作编辑一本合著的书; NTI收藏了Mickery档案，包括制作的重要视频记录以及文件、信件、评论文章等。这将是对Mickery的作品以及十位Cate在促进替代实践方面所发挥的作用的首次英文重大评估，这些实践在欧洲戏剧史上经常被忽视。这将是一个研究项目的核心组成部分，该项目将在2010年以电影、展览、广播和进一步的学术思考达到高潮。这个机会将研究者的奖学金放在欧洲的背景下，并应大大提高他的声誉和地位在学科领域。