Marijn de Langen is currently a PhD student in the Department of Theatre Studies at Utrecht University. Her research is supported by the Lectoraat for Art Theory and Research at the Amsterdam School of the Arts. She received her Diploma in Theatre Studies from the University of Amsterdam in 2001. Since 2002 she has been teaching Theatre History and Theory in the Mime Department at the Amsterdam School of the Arts. Her teaching led directly to her PhD project ‘Mapping Mime,’ which developed out of her growing understanding of, and fascination with, the historical origins of the Dutch Mime discourse.
She has been Guest Lecturer at the University of Amsterdam since 2004 and also works regularly as a dramaturg. She has been working with director Gienke Deuten since 2006, and began collaborating with actress Danielle van de Ven and Flemish director Sam Boogaerts in 2007. Marijn occasionally teaches in the BA and MA program of Theatre Studies in Utrecht.
Marijn’s PhD project Mapping Mime focuses on an avant garde, little-researched field in the Dutch post-World War II theater landscape. There are striking contrasts and connections between Dutch Mime and what is defined in the international context as ‘Mime’. The question arises: what exactly is Dutch Mime? What kind of theatrical (and other) thinking can be inferred from its practices? Inspired by the work of Etienne Decroux (1898-1991), since the 1960’s Dutch Mime has developed as a subversive stream undermining the poetics of text-based theatre and situating the body-in-space as the explicit center of a performance’s focus. Visual arts and performance art have been major influences on its development.
The subject of this research is the recent Dutch mime landscape and its connection to its genealogy. Marijn aims to contextualize, historically, five key issues in recent Mime discourse. These all connect in different ways to the notion of Presence, and include the Decrouxian notion of ‘Zero’, and the concepts of ‘Here-and-Now’ and ‘Landscape’. Theoretical texts that will be cited include and consider Lehmann’s discussion of the Postdramatic, Barthes’ writings on Neutrality, and Foucault’s notion of the Archeology of Knowledge. Developments in modern visual art and sculpture also provide sources of reference.
Project: Die Kunst der Fuga
Die Kunst der Fuga is a documentary film project about the life and work of Dutch Mime Will Spoor, one of the most prominent and influential theater artists in the Mime tradition. Since 2007, this project has involved intensive research on Spoor’s work as part of a collaboration with filmmaker Adri Schrover.
Project: Living Archives
Living Archives is a collaboration with the Dutch Theatre Institute (TIN) focused on maintaining the accessibility of TIN’s archives related to Dutch Mime theater artists. Since 2005, an inventory (consisting of paperwork and moving images) has been created out of existing archive materials in TIN’s collection. New resources have since been donated to the Institute requiring integration into its inventory. The goal of this project is to create a living archive, a library of essential sources that is simultaneously evolving and accessible.
(2010) HET IS – IT IS (negen ontmoetingen tussen theatermakers) Edited by Marijn de Langen
(2009) “We call it Mime.” In: Go West, Oldenburgisches Staatstheater, Hotel Dramatik, Theater der Zeit.
(2005) “Mime: de ontwikkeling van een unieke Nederlandse theatervorm.” In: Theater Topics 1: Multicultureel drama? Amsterdam: Amsterdam University Press, 127-129.
(2001) “Geräuschmacher, Klangkünstler und Musikarchitecten: das komponierte theater im Experiment.” In: Theater der Zeit, 9, 32-33.