With regard to art and the Anthropocene, literary critics have extensively discussed fiction, but theater, in its evanescence, offers a unique opportunity to think through the pressures and challenges of the Anthropocene as well. Very little attention has been paid to the strategies used within contemporary theater to tackle the challenges the Anthropocene poses to the human imagination, even though, or perhaps exactly because, theater seems to face an even bigger challenge than fiction. Unlike printed forms, performance is not only dependent on human language, but also on human bodies that act out, or at least convey, the story, and these performances are themselves fleeting and difficult – indeed, impossible – to preserve for posterity. The few articles that have been published on theater and the Anthropocene focus on climate change plays that have been staged (Johns-Putra), or they overlook the formal challenges inherent in depicting the Anthropocene on stage. In this essay, I use the term “Anthropocene” in the formal geological sense of the word as defined by the Working Group on the Anthropocene (n.p.). Their definition is based on the stratigraphic signals which indicate that the Anthropocene is, will be, and will have been a distinct stratigraphic unit whose distinctiveness derives precisely from its being anthropogenic in nature. The concept of the Anthropocene, literary scholar Jeremy Davies argues, “requires a certain indirectness [because] one must imaginatively transfer oneself to the far future” to see “how readily discernible [environmental change] will be millions of years from now” (66–67). World Without Us (2016), a Flemish theater play by Ontroerend Goed, tries to do just that: it imagines the long-lasting impact of the human presence on the planet. The play World Without Us is loosely based on Alan Weisman‘s speculative nonfiction work TheWorldWithout Us (2007), in which he describes what would happen to the natural and built environment if human life were to be wiped out. The play toured from 2016 to 2018 in Belgium, the Netherlands, Australia, the United Kingdom, and elsewhere. World Without Us explicitly takes the present, the here and now of the theater space where the actor and audience are gathered together, as a starting point for a proleptic remembering of the geological archive. It is a monologue for one actor, who functions as narrator, describing in a factual

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分期地质档案：Ontroerend Goed的世界没有我们和人类世剧院

关于艺术和人类世界，文学评论家广泛讨论了小说，但是戏剧的消逝，也为思考人类世界的压力和挑战提供了独特的机会。尽管或者也许正是因为剧院似乎面临着比小说更大的挑战，但很少有人关注当代剧院用于应对人类世对人类想象力构成的挑战的策略。与印刷形式不同，表演不仅取决于人类的语言，而且还取决于表现或至少传达故事的人体，而这些表演本身就是短暂而又难以保存（实际上是不可能的）以供后代使用。在剧院和人类世上发表的几篇文章都集中在已上演的气候变化剧本上（约翰斯-普特拉），或者他们忽略了在舞台上描绘人类世所固有的形式挑战。在本文中，我在人类学工作组（np）的正式地质意义上使用“人类世”一词。它们的定义是基于表明人类世的，现在和将来将是一个不同的地层单位的地层信号，其独特性正是源于其人为因素。文学学者杰里米·戴维斯（Jeremy Davies）认为，人类世的概念是，“需要某种间接性，因为[必须]想像地将自己转移到遥远的未来“，才能看到“从现在起数百万年后，[环境变化]的可辨别性将变得多么容易”（66-67）。Ontroerend Goed的佛兰德戏剧剧《没有我们的世界》（World Without Us，2016）试图做到这一点：它设想了人类存在对地球的长期影响。戏剧《没有我们的世界》大致基于艾伦·韦斯曼（Alan Weisman）的投机性非小说作品《世界没有我们》（TheWorldWithout Us（2007）），其中他描述了如果要消灭人类生命，自然环境和建筑环境会发生什么。该剧于2016年至2018年在比利时，荷兰，澳大利亚，英国和其他地方巡回演出。《没有我们的世界》明确地将演员和观众聚集在一起的剧院空间的现在，现在和现在，作为对地质档案馆的多情回忆的起点。这是一个演员的独白，他扮演叙事者，用事实描述