The Mickery Theatre: a history

1965年12月，荷兰戏剧制片人兼导演Ritsaert ten Cate上演了约翰尼·斯皮特的《如果没有黑人你必须在距阿姆斯特丹17公里的洛内尔斯卢特的一家农舍里发明他们》，然后在当月晚些时候与尼娜·西蒙的一个晚上……Mickery剧院就这样开始了自己的演出，邀请了包括1966年爱丁堡的TraVerse工作坊和1967年Ellen Stewart与Tom Paine一起演出的Ellen Stewart的La Mama，第一部分和来自美国的带火的面包和木偶。在接下来的25年里，米克里将成为欧洲最重要的制作和上演实验性/另类/新的戏剧的地点，十餐厅是其最有影响力和最受尊敬的倡导者之一。米克里对于演出的上演和帮助一些英国公司和个人的工作合法化尤其重要，这一职能当时得到了英国艺术委员会的承认和接纳。这些剧团包括人民剧团(及其成员，如电影制作人迈克·菲吉斯)和皮普·西蒙斯剧团，这两个剧团都于1969年首次亮相；弗洛霍尔德(1970年，马尔菲公爵夫人安提戈涅)；Low Moan壮观剧团；便携式剧院；联合剧场；同性恋汗水店；7：84；肯·坎贝尔...1973年，调查者与开创性的体育戏剧团体老鼠剧院在米克里演出；1989年，在接近生命结束的时候，米克里在勒沃登的一个冰球体育场参与制作了布里赫·高夫的大型现场特定表演Gododdin。1972年，米克里搬到了阿姆斯特丹市中心罗岑剧院的永久办公场所，那里有一个可容纳250名观众的黑匣子演播室和一个可容纳40名观众的楼上小剧院。在这里，Ten Cate不仅继续接待和呈现巡回演出公司，包括蹲下剧院(匈牙利)和臭名昭著的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·西蒙斯剧团的发展产生了关键影响：德古拉(1974)、安迪·穆西克(1975)、《红死队的面具》(1977)都是在米克里制作和首演的。米克里成为在欧洲展示新的美国戏剧的主要场所/在过去25年里总共有120部作品：从柴金的开放剧院和理查德·福尔曼的作品到马布·明斯(6部作品)；伍斯特集团(11部作品)；剧院X；梅雷迪斯·蒙克；约翰·耶苏伦；平昌；斯伯丁·格雷；彼得·塞拉斯……以及培养随后的欧洲和地区实践：简·法布雷；Jan Lauwers的NeedCompanies…Ten Cate的策展实践赋予了Mickery独特的味道和意义，通过他的审美选择有效地建立了一种运动。戏剧制作人必须适应Ritsaert ten Cate对戏剧、戏剧的演变及其与社会的关系的意义的看法。目标明确，始终如一，坚持不懈。他自己的作品采用了通过Mickery的作品的后戏剧特征；他成为欧洲场地和制片人网络的主要煽动者。此次研究假申请是应阿姆斯特丹的荷兰戏剧研究所的著名邀请，完成对一本合著卷的大量书面贡献，并合作编辑；NTI收藏Mickery档案，包括重要的作品录像以及文件、通信、评论文章等。这将是对Mickery作品的第一次英语主要评估，以及Ten Cate在促进欧洲戏剧史上经常被低估的替代做法方面的作用。这将是一个研究项目的中心组成部分，该项目将在2010年以电影、展览、电台广播和进一步的学术思考为最终结果。这一机会将调查员的学术放在欧洲的背景下，应该会极大地提高他在学科领域的声誉和地位。

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.