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From Facts to Feelings: The Development of Katie Mitchell’s Ecodramaturgy
Contemporary Theatre Review Pub Date : 2020-04-02 , DOI: 10.1080/10486801.2020.1731495
Catherine Love

At the start of 2071 (2014), the second of director Katie Mitchell’s environment-themed lecture shows, climate scientist Chris Rapley warned the audience that he was about to discuss ‘a subject of enormous complexity’. As dramatic themes, climate change and ecological crisis evade capture. They can be thought of as ‘hyperobjects’, a term coined by Timothy Morton to describe phenomena that are ‘massively distributed in time and space relative to humans’. Because ‘one only sees pieces of a hyperobject at any one moment’, comprehending them is ‘intrinsically tricky’. We can directly experience weather, for instance, but climate as an intricate and dispersed system remains inaccessible to individual humans, however well our computersmaymodel it. Climate change, therefore, resists representation; the scope is simply too vast and the set of factors involved too intricate to be easily realised on stage. ‘It won’t be boiled down into something simpler’, Mitchell observed in an interview, ‘and to some extent, theatre needs to boil things down’. This is the dilemma that theatre faces in the Anthropocene – the (as yet unofficial) geological epoch defined by significant human impact on the planet. The solution adopted by much eco-theatre is to incorporate complex environmental issues within the interpersonal dramas with which audiences are more familiar, thus making them graspable. Examples of this kind of drama include Steve Waters’ The Contingency Plan (2009), Mike Bartlett’s Earthquakes in London (2010), and Greenland (2011), collaboratively written by Moira Buffini, Penelope Skinner, Matt Charman, and Jack Thorne. This approach, however, risks reinforcing the anthropocentrism that got us into this mess in the first place, falling back on the habitual human exceptionalism of Western dramatic traditions. The problem may appear intractable, but it demands consideration if theatre is to have any meaningful role to play in facing the environmental challenges of the future. According to the latest 1. Duncan Macmillan and Chris Rapley, 2071, in Duncan Macmillan, Plays One (London: Oberon Books, 2016), 228.

中文翻译:

从事实到感受:凯蒂·米切尔生态剧的发展

2071 年初(2014 年),在导演凯蒂·米切尔 (Katie Mitchell) 的第二场以环境为主题的演讲节目中,气候科学家克里斯·拉普利 (Chris Rapley) 警告观众,他将要讨论“一个极其复杂的主题”。作为戏剧性的主题,气候变化和生态危机逃避捕捉。它们可以被认为是“超对象”,这是蒂莫西·莫顿创造的一个术语,用来描述“相对于人类在时间和空间上大量分布”的现象。因为“一个人在某一时刻只能看到一个超物体的碎片”,理解它们“本质上很棘手”。例如,我们可以直接体验天气,但气候作为一个复杂而分散的系统对于个人来说仍然是无法访问的,无论我们的计算机可以对其进行建模。因此,气候变化抵制代表性;范围太广,涉及的因素太复杂,在舞台上不容易实现。“它不会被归结为更简单的东西”,米切尔在一次采访中观察到,“在某种程度上,剧院需要将事情归结起来”。这就是剧院在人类世——人类对地球的重大影响所定义的(尚未正式的​​)地质时代——面临的困境。许多生态剧采取的解决方案是将复杂的环境问题融入观众更熟悉的人际关系剧中,从而使其易于理解。这种戏剧的例子包括史蒂夫·沃特斯的应急计划(2009 年)、迈克·巴特利特的伦敦地震(2010 年)和格陵兰岛(2011 年),由莫伊拉·布菲尼、佩内洛普·斯金纳、马特·查曼和杰克·索恩合着。然而这种做法,有可能会强化最初让我们陷入困境的人类中心主义,并退回到西方戏剧传统中习惯性的人类例外论。这个问题可能看起来很棘手,但它需要考虑剧院是否要在面对未来的环境挑战方面发挥任何有意义的作用。根据最新的 1. Duncan Macmillan 和 Chris Rapley,2071,在 Duncan Macmillan, Plays One(伦敦:Oberon Books,2016),228。
更新日期:2020-04-02
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