Kinship and Community in Climate-Change Theatre: Ecodramaturgy in Practice

T. May
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Abstract

Abstract Ecodramaturgy, a critical framework that interrogates the implicit ecological values in any play or production, is explained here and then used to demonstrate the central tenets of climate theatre, including theatre’s potential for decolonisation, interspecies understanding, and community engagement. Burning Vision (2002) by Marie Clements employs a ceremonial performance form to unearth the hidden history of uranium mining on Dene lands as it argues for environmental justice and the authority of Indigenous oral traditions. Sila (2014) by Chantal Bilodeau foregrounds the interdependence of culture and community across species. Finally, Salmon Is Everything (2006) by Theresa J. May amplifies the voices of Indigenous communities most affected by ecological loss. Taken together, these plays and their productions underscore the potential for theatre-making to function as a democratising force in the Anthropocene.
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气候变化戏剧中的亲缘关系与社区:生态戏剧的实践
生态戏剧学是一个重要的框架,它质疑任何戏剧或生产中隐含的生态价值,在这里进行解释,然后用于展示气候戏剧的核心原则,包括戏剧在非殖民化、物种间理解和社区参与方面的潜力。玛丽·克莱门茨(Marie Clements)的《燃烧的视野》(Burning Vision, 2002)以一种仪式表演的形式,揭示了Dene土地上铀矿开采的隐藏历史,为环境正义和土著口头传统的权威辩护。Chantal Bilodeau的《Sila》(2014)强调了物种间文化和群落的相互依存关系。最后,特蕾莎·j·梅的《鲑鱼就是一切》(2006)放大了受生态损失影响最大的土著社区的声音。总而言之,这些戏剧及其作品强调了戏剧创作作为人类世民主化力量的潜力。
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CiteScore
0.80
自引率
40.00%
发文量
20
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