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

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.