Climate Lens: Birth of a Post-Nation!

Under ordinary circumstances, we’d probably have resisted the temptation to announce ourselves with such a grandiose sub-title—or at least followed it with a self-deprecating question mark. But these are hardly ordinary times, and we’re “going big”—and exclamatory!—to counter the odious enormity that’s suddenly at the nation’s helm. Trump Nation, however, only intensifies our post-national impulse; its real source, dating from well before the last election, is the fact that the most pressing political issue of our times crosses all national boundaries. The accelerating symptoms of ecological devastation and climate chaos are global, planetary—post-national. CLIMATE LENS sprouted on January 5, 2017, when a group of theatremakers and educators gathered in New York for a retreat on the topic “Theatre and Climate Change.” The seeds of CLIMATE LENS were the various projects these people had been involved in, over the past several years, that engaged with environmental issues in general and climate in particular. These included Chantal Bilodeau, Una Chaudhuri, Elizabeth Doud, Lanxing Fu, Derek Goldman, Julia Levine, Roberta

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We Are the Climate

The task here is to look at theatre and climate change within the context of the current administration. Yep, that administration. The one that is attempting to eliminate climate consciousness from the national narrative by removing the climate page from the White House website, threatening to slash the EPA by one-third, and green-lighting the Keystone Pipeline project in the face of enormous coordinated dissent. Yep, the one that favors entertainment—heck, the one that is entertainment—but is not at all interested in artworks activating complex, nuanced conversation around current issues, and proposed to eradicate the NEA and the NEH completely from the federal budget. Yep, that administration. Well, shall we start the way we often do? Theatre is a storytelling, community-based phenomenon that manages to survive, if not thrive, on next to nothing and is the perfect means to effectively counter the current administration’s “alternative facts” and erasure, especially in these divisive times…blah, blah climate blah f*cking Trump blah Pruitt EPA zzz blah NEA slashed z zzzz Betsy DeVos zz zzz education

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Fish Soup, Mourning, and Hope at the End of the World

What does it mean to make theatre for the Anthropocene? (Leaving aside the question of when the Anthropocene started, or whether there’s a better name for it.) Outside of Republicans in Congress and the current administration, there’s wide consensus that changes in the earth’s climate and many of its chemical processes are now driven primarily by human activity. There’s a growing body of writing about fiction for the Anthropocene: there’s even a catchphrase, “cli-fi,” although it’s possible that “all fiction is Anthropocene fiction now, some of it just hasn’t realized it yet,” to paraphrase a Facebook quip by McKenzie Wark. I’m not sure if the same thing can be said for playwriting and theatremaking. For playwriting, a challenge may be that our traditional, Aristotelian narrative structure doesn’t allow us to deal with the problem. Climate change reveals itself over long time scales, often longer than an individual’s lifespan. Its impact is sometimes dramatic and catastrophic, but often incremental, and it

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Dweepa (The Island): A Play with Beginnings in the Questions of Climate Change

In 2014, the subject of ecological philosophy made its way from a bookshelf to my study table. Having been a student of environmental economics earlier, the various scientific, social, and eco-political debates were not new to me, but despite the urgency of the situation, I had never wanted to make theatre about this subject. It was eco-philosophy that made me wonder about addressing our ecological crisis in the theatre. My enquiry was framed by a simple question: “Why are we causing harm to the planet when we are absolutely certain that it is unfailingly counter-intuitive to rock the boat one is sailing in?” Of course there are some common answers to this question that include words such as development and short–sightedness, but I had never found these answers satisfactory since they suspiciously point more towards the symptoms than the real issue. They lead us to the next question: “Why are we insistent on rocking the boat we are sailing in,

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