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Interview with Katie Mitchell
Contemporary Theatre Review Pub Date : 2020-04-02 , DOI: 10.1080/10486801.2020.1731488 Bryce Lease
Contemporary Theatre Review Pub Date : 2020-04-02 , DOI: 10.1080/10486801.2020.1731488 Bryce Lease
Bryce Lease: An enormous amount of your work takes place in continental Europe, Germany, France, and the Netherlands in particular. How does this compare with working practices in the UK? Katie Mitchell: The country I know the best is Germany, having directed nearly 30 productions there and that’s where I was introduced to the working practices familiar across continental Europe, so that’s the best place to start when it comes to comparisons with the UK. The first difference you notice in Germany is that the director is the lead practitioner, expected to shape a unique vision or concept for how the text is staged, even if that vision departs from the literal meaning of the text, involves radical cuts, re-orders the scenes, changes time, place, plot, or casting. On billboards or posters advertising productions in Germany, the director’s name will be written larger than the writer’s and sometimes larger than the actors’. In the UK, the lead practitioner is the writer and the director’s main job is to build the production around the writer’s scripted intentions and/or spoken wishes. Whenever I ask people in the UK about a production they have seen, they always remember the writer but more often than not struggle to remember the director’s name. Moving between the two cultures initially feels a little schizophrenic – you are challenged for not being radical enough in one country (Germany) and then criticised for being too radical in the other (UK) – but then you begin to navigate your way through the complexity of the contradictory feedback. You might think that the new-found status you get as a director in Germany would fit someone like me like a hand in a glove, but it can also be quite a pressurised environment. You are always expected to produce high concept, formally challenging work with rigorous intellectual underpinnings. This pressure is somewhat mitigated by the remarkable loyalty of the theatres to their freelance directors. When you start directing at a theatre, like the Schaubühne in Berlin or the Hamburg Schauspielhaus, and the first production goes well, it is often the start of a longterm working relationship and you find yourself in secure employment with regular directing slots every season. That’s because each theatre prides itself on its stable of directors and the theatres are very competitive about their directors. In Germany, it would be absolutely impossible to work for two theatres in the same city, like a lot of directors do in London. When you first arrive to rehearse a play in a city like Cologne or Hamburg you expect it to be like working in Coventry or Salisbury with less resources than London, but you are very quickly pulled up short by the budgets, rehearsal facilities, the quality of the actors, and the radical programming in these cities – a far cry from the impoverished regional reality in the UK. Many of these regional theatres are better equipped and financed than the National Theatre in London. You realise that the Germans invest in theatre equally across the country in a genuinely de-centralised spread of subsidy – and this means that each city has the same high standard of theatre work. Furthermore, all these regional theatres have a resident acting company, allowing you to work regularly with the same actors over several Contemporary Theatre Review, 2020 Vol. 30, No. 2, 253–259, https://doi.org/10.1080/10486801.2020.1731488
中文翻译:
采访凯蒂·米切尔
Bryce Lease:您的大量作品发生在欧洲大陆,尤其是德国、法国和荷兰。这与英国的工作实践相比如何?凯蒂·米切尔:我最了解的国家是德国,在那里导演了近 30 部作品,在那里我接触到了欧洲大陆熟悉的工作方式,所以在与英国进行比较时,这是最好的起点。您在德国注意到的第一个区别是,导演是主要从业者,期望为文本的上演方式塑造独特的愿景或概念,即使该愿景与文本的字面含义背离,涉及激进的剪辑,重新对场景进行排序,更改时间、地点、情节或演员表。在德国制作的广告牌或海报上,导演的名字会写得比作家的名字大,有时比演员的名字大。在英国,主要从业者是作家,而导演的主要工作是围绕作家的剧本意图和/或口头愿望构建作品。每当我向英国人询问他们看过的作品时,他们总是记得作者,但往往很难记住导演的名字。在两种文化之间切换最初感觉有点精神分裂——你在一个国家(德国)受到挑战不够激进,然后在另一个国家(英国)因过于激进而受到批评——但随后你开始在复杂的环境中导航矛盾的反馈。你可能会认为你在德国获得的新导演地位会适合像我这样的人,就像手套里的手一样,但它也可能是一个压力很大的环境。你总是被期望以严谨的智力基础产生高概念、正式具有挑战性的工作。剧院对其自由导演的非凡忠诚度在一定程度上减轻了这种压力。当您开始在剧院(例如柏林的 Schaubühne 或汉堡 Schauspielhaus)进行导演并且第一部制作进展顺利时,这通常是长期工作关系的开始,您会发现自己在每个季节都有固定的导演职位的稳定工作。那是因为每个剧院都以其稳定的导演而自豪,而且剧院对导演的竞争非常激烈。在德国,绝对不可能像伦敦的许多导演那样在同一个城市为两个剧院工作。当你第一次到像科隆或汉堡这样的城市排练戏剧时,你希望它像在考文垂或索尔兹伯里工作,资源比伦敦少,但很快你就被预算、排练设施、质量这些城市的演员和激进的规划——与英国贫困的地区现实相去甚远。许多这些地区剧院的设备和资金比伦敦的国家剧院更好。您会意识到,德国人在全国范围内平等地投资于剧院,这是一种真正分散的补贴——这意味着每个城市都有相同的高标准剧院工作。此外,所有这些地区剧院都有一个常驻表演公司,让您可以定期与同一位演员合作,参与《当代戏剧评论》2020 年卷。30,
更新日期:2020-04-02
中文翻译:
采访凯蒂·米切尔
Bryce Lease:您的大量作品发生在欧洲大陆,尤其是德国、法国和荷兰。这与英国的工作实践相比如何?凯蒂·米切尔:我最了解的国家是德国,在那里导演了近 30 部作品,在那里我接触到了欧洲大陆熟悉的工作方式,所以在与英国进行比较时,这是最好的起点。您在德国注意到的第一个区别是,导演是主要从业者,期望为文本的上演方式塑造独特的愿景或概念,即使该愿景与文本的字面含义背离,涉及激进的剪辑,重新对场景进行排序,更改时间、地点、情节或演员表。在德国制作的广告牌或海报上,导演的名字会写得比作家的名字大,有时比演员的名字大。在英国,主要从业者是作家,而导演的主要工作是围绕作家的剧本意图和/或口头愿望构建作品。每当我向英国人询问他们看过的作品时,他们总是记得作者,但往往很难记住导演的名字。在两种文化之间切换最初感觉有点精神分裂——你在一个国家(德国)受到挑战不够激进,然后在另一个国家(英国)因过于激进而受到批评——但随后你开始在复杂的环境中导航矛盾的反馈。你可能会认为你在德国获得的新导演地位会适合像我这样的人,就像手套里的手一样,但它也可能是一个压力很大的环境。你总是被期望以严谨的智力基础产生高概念、正式具有挑战性的工作。剧院对其自由导演的非凡忠诚度在一定程度上减轻了这种压力。当您开始在剧院(例如柏林的 Schaubühne 或汉堡 Schauspielhaus)进行导演并且第一部制作进展顺利时,这通常是长期工作关系的开始,您会发现自己在每个季节都有固定的导演职位的稳定工作。那是因为每个剧院都以其稳定的导演而自豪,而且剧院对导演的竞争非常激烈。在德国,绝对不可能像伦敦的许多导演那样在同一个城市为两个剧院工作。当你第一次到像科隆或汉堡这样的城市排练戏剧时,你希望它像在考文垂或索尔兹伯里工作,资源比伦敦少,但很快你就被预算、排练设施、质量这些城市的演员和激进的规划——与英国贫困的地区现实相去甚远。许多这些地区剧院的设备和资金比伦敦的国家剧院更好。您会意识到,德国人在全国范围内平等地投资于剧院,这是一种真正分散的补贴——这意味着每个城市都有相同的高标准剧院工作。此外,所有这些地区剧院都有一个常驻表演公司,让您可以定期与同一位演员合作,参与《当代戏剧评论》2020 年卷。30,