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Landscape as Stage, Weather as Dramaturge: Pageantry in the Ecological Age
By Ian McFarlane
Figure1.WoodprintbyIanMcFarlane
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TableofFiguresFigure1.WoodprintbyIanMcFarlane..............................................................................................1Figure2.TheRiverClydePageant.PhotobyRobertVanWaarden.....................................5Figure3.Iinisikimm.PhotobyDavidLane.......................................................................................5Figure4.TheRiverClydePageant.PhotobyRobertVanWaarden..................................15
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Asailismadeoutofearth,aBisonisresurrectedwithlight,treeswalk,thestarsdance,fishfly,andtheskydescendstotheearthsinging.
Theimpossibilityoftheseimagesstemfromactsofcollectivedreaming,fromanenchantmentwiththepossibilityofwhatcouldbe.Theyemergedfromseveralcommunity-leadoutdoorperformancesinthesummerof2017.Theseimagescanbeinterpretedasactsofemplacement,aspoliticalreactions,aseventsofcommunityforming,aswellasactionsthatextendbeyondinterpretation.Iarguethattheyareactsofcorrespondence;theyarewaysofansweringtotheworld.
Iwasabletoexperiencetheseimagesfirst-handonacontinent-wideresearchtripinthesummerof2017.Thisresearchtookmetothreedifferentcommunities,eachexercisingtheirownparticularcreativephilosophies,eachreactingtoaspecificpoliticalclimateandeachembeddedwithinauniquelandscape.Theintentofmyresearchwastoexperiencecommunity-leadprotestartinruralcommunitieswhileutilizingmyworkinpuppetryasadisciplineofemplacement.ThesecommunitiesincludedthebroadercommunityofBreadandPuppetTheaterinGlover,Vermont,thecommunityofNewGlasgow,PEI,andanewlyassembledcommunityofartists,scientists,elders,teachersandstudentsinTreaty7territory,Alberta.
Theactionsthatthesethreecommunitiesengagedinallsharedasimilarform:acollectivegathered,theyconceptualizedandconstructedobjectsusedformaterialperformance,andtheycreatedaperformancestagedinanoutdoorenvironment.ThisformIrefertoaspageantry.
Pageantryisanancientformoftheatre.InWesternculture,itstretchesbacktoRomanmodelsoftheatrethatwerelaterdevelopedbythechurchinMedievalEurope.(Aronson,23)SimilarperformancetraditionsinIndia,suchasRamlila,YorubaspectaclesandfestivalsinNigeriaorMuharramSpectaclesinIslamictraditionscanbetracedbackevenfurther.TheCommoncharacteristicsofa“pageant”includeanoutdoorenvironment,aprocessionalstructure,bothinaudienceandinperformance,theuseofmaterialperformancesuchasmaskandpuppetry,andafocusonagatheringofcommunity,oftentakingtheformofincludinglocalsintheperformance,theblurringofaudienceandperformer,aswellasanembraceoftheamateur.Pageantryhasoftentakentheformofrevolutionarytheatre.Mostnotably,amass“pageant”wasstagedfollowingtheFrenchRevolutionandthedeathofVoltaire,embracedasaformof“thepeople’stheatre”.ThismodelwaslateradaptedintheSovietUniontocelebratetheanniversaryoftheBolshevikRevolution.
BreadandPuppetTheateriswellknownforreinventingtheAmericanPageant.TheinfamousseriesofTheDomesticResurrectionCircusandPageantweremassiveoutdoorspectaclesthatbroughtupwardsof15,000spectatorspershow.Reachingtheirpeakinthe1990’s,thesespectaclesradicallyalteredthetraditionalcommunityHistoryPageantsperformedthroughoutNewEnglandinthepreviouscentury.Theseearlierfolkplayscelebratedsignificanteventsincolonialhistoryandglamourizedsettlerdominationover
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nature.TheDomesticResurrectionCircusandPageant,despitesharingsimilarstructuresintheuseofanoutdoorenvironmentandaprocessionalscenography,wasaradicalresponsetothistradition,oftenusingthepageantasameansofprotesttothecapitalistregime.Thecontentwasrigorouslyresponsivetocurrentevents,oftenaimingnottopersuadebuttoallowtheaudiencetosittogetherwithoutunderstanding.(Bell,18)Thecompanyalsoapproachedtheenvironmentasacollaborator,seekingawaytoanswertotheworldaroundthemasopposedtoconfirmcontroloverit.PeterSchumann,founderofBreadandPuppetTheater,speakstothisinaninterviewwithJohnBell.
“[Y]ouapproachtheenvironment,youthinkofitassomethingthat’sasimportantasyourwords,orasyourotherpersuasions.Whenyouallowittodosomething,itpersuadesbyitself…Thebestthingwecangetoutofapageanthereisthecloudsortheturningofthelight.Therestisveryminimalcomparedtothat.Ifwesucceedingettinganaudiencetobeperceptiveonlytotheseelements,thiswouldbeperfect,wewouldn’thavetodoanything.“(qtd.inBell,5)
SchumanncontinuestocreateanddirectpageantsattheBreadandPuppetfarmin
Glover,Vermont.ItisherethatIbeganmyresearchtrip,helpingthecompanypreparefortheirsummerpageant.Thecontentoftheseperformancescontinuestorespondvigorouslytocurrentevents,specificallytothethenrecentpresidentialelection.Thepageantsalsocontinuetoseeknewwaystocollaboratewiththeforests,creeksandcloudsofNorthernVermont:ahuman-madepineforestthatcontinuestocollapseinonitselfalsohappenstoraisegiantmarionettes,amassofcardboardcloudsmovewithanapproachingstorm,andagrowinggardenofstonefiguresblossominapatchoffield.
TheinfluenceofBreadandPuppetTheaterisimmeasurable.TheDomesticResurrectionCircusandPageantcanbesaidtohavechangedthefaceofmaterialperformanceinNorthAmerica,transformingmaskandpuppetryintopoliticalweaponryandturningpageantryintopublicprotestratherthananaffirmationofsocietalstructure.TheRiverClydePageantinNewGlasgow,PEI,canbeseenasanextensionofthistransformation.Thiswasmysecondresearchdestination.Takingplacealongthebanksofthetidalriverthatrunsthroughthecommunity,theRiverClyde,thepageantbroughtattentiontotheenvironmentalsignificanceandecologicalchallengessurroundingthewaterwaysofPrinceEdwardIsland.Thisannualeventfocusesoncommunitygathering,usinglocaltalent,resources,andmaterialstocreateastorythatisuniquetothepeopleandthepoliticalclimateofNewGlasgow.OrganizedthroughtheatreartistsKerWellsandMeganStewart,TheRiverClydePageantisauniqueeventperformedforandbyacommunityinordertocelebrateandcritiqueitsexistence. MythirdandfinallegofmyjourneybroughtmetoKananaskisCountry,Alberta.SituatedonthetraditionallandoftheStoneyFirstNation,agroupofartists,elders,scientists,teachersandstudentsgatheredaroundasignificantecologicaleventintheCanadianRockies.OrganizedthroughtheCanadianAcademyforMaskandPuppetry,Iiniskimmwasalarge-scaleoutdoorperformancethatcelebratedthe
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Figure2.TheRiverClydePageant.PhotobyRobertVanWaarden
Figure3.Iinisikimm.PhotobyDavidLane
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returnofBisontoBanffNationalPark.Theeventwasaseriesofnighttimeperformanceslocatedinalpinemeadows,onmountainsidesandinrivervalleysthatfeaturedlarge-scalelanternpuppets.Leadinguptotheperformance,thisnewlyformedcommunitycampedtogether,wereguestsatasundance,andhostedcommunityworkshopsinBanffandatCampChiefHector,activelybridgingcommunitiesanddisciplines.
Itismybeliefthattheatre’sstrongestattributeisitsabilitytobringintoembodiedknowledgetheconcernsofitstime;itmanifestsaliving,breathingawarenessofacrisiswithinthehereandnow.Itgoeswithoutsayingthattherearemanyconcernsinourpresentmoment;oneofthemostprominentofthoseconcernsisanecologicalconcern.
In2000,Nobel-winningchemistPaulJ.Crutzenproposedtheterm“Anthropocene”asthenameforourcurrentgeologicalepoch.Itischaracterizedbytheescalatingeffectsofhumanactivityontheglobalenvironment.Althoughanunofficialterm,theproposedshiftoutoftheHoloceneisrecognitionofhumanimpactsuchastheguttingofbiodiversityandsignificantcontributiontoanapproachingclimatecrisis.AsDipeshChakrabartystates,humansnow“wieldageologicalforce”(Chakrabarty,206),puttingourveryexistenceatrisk.
Howthen,doesPageantryrespondtothisecologicalconcern?Howcanwhatappearstobeanaïveandjoyfulhumanactivitypossiblydoanythingbutcontributetothecrisis?Ifitisethicalprinciplethatneedstobetransformedintoethicalbehavior,doesperformanceplayaroleinthistransformation?Toaddressthesequestions,Iturntocontemporarypageantryanditslong-establishedtraditionsofrespondingtoecology.LandscapeasStage
Letuscontemplateatheatrewithoutthetheatre.Itisanoldidea,perhapsevenanobviousone.Indeed,beforetheprosceniumarch,thiswascommonplace.Areflectiononthehistoryofenvironmentalscenographywillrevealthatopen-airorout-of-doorstheatreisindeedtheoriginsofwesternscenography.
Initssimplestdefinition,environmentalscenographyisanystagingthatisnon-frontal.Byfrontalstaging,Iamreferringtoanyexperienceofperformanceinwhichthereisasingleframethatthespectatorremainsoutsideofandisviewedfromastaticposition.Environmentalscenographyisatermappliedtoexperimentaltheatreformsfromtheturnofthe20thcenturyonwardsandhasprimarilybeendefinedbyexaminationsofthetheatricaluseofspace.Itisimportanttonote,perhapsevengoeswithoutsaying,thatnon-frontalandopen-airperformanceshavebeencommonthroughoutthehistoryoftheatreandindeeddominatemanynon-
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Westernperformancetraditions.TheRamlilaspectacleinIndia,forexample,employsmultiplestagesthroughoutacommunityandoftenhassignificantinfluenceoverthetown’sarchitectureandlandscape.Inthissense,thetheatrecanbeconsiderednotasanisolated,controlledlaboratorycontainedwithinpre-existingarchitecture,butanintegralaspectofsocietalstructure,urbanplanningandecology.
Outdoorperformancehasoftenbeenemployedthroughouthistoryoutofnecessity.InMedievalEurope,suitableindoorpublicspacewasascarcecommodity.Publicreligiousperformancesoccurredsporadicallyandemployedfoundenvironments,oftentransformingtheentiretownintoaperformancespace.Withoutanypreexistingpresentationspace,performancespaceneededtobecarvedoutthroughtheactionoftheparticipants.Mumming,referredtobyfolkloristsas“visitations”(Aronson,18),involvedmembersofthecommunitywanderingfromhousetohouse,thustreatingtheentiretownasaunifiedperformancespace.InGermany,atraditionknownas“TheBavarianWildMen”treatednotonlythetown,butalsothesurroundingwoodsasanunrestrictedperformanceenvironment.OnSt.NicholasEve,maskedperformersskioutofthewoodsandstirupvariousformsofmischiefinthevillages.Spectatorswatchtheperformance(ordonotwatchtheperformance)fromtheshelteroftheirhomes.RichardSoutherndescribesthisformoftheatreashaving“noparticularplaceofperformance;nostage;noscenery;noplayhouse;andnorehearsal.Herethereisnoteven–andthisisperhapsthemostnoticeablelackofall–anyassembledaudienceassuch”.(qtd.inAronson,18)Itbecomesclearthatthetheatre,theprosceniumarchandthesingularstageframearerecentadvancementsinthedisciplineoftheatre.Forexample,thefirsttrueproscenium,theTeatroFarnese,wasconstructedin1618.
Despitetheselong-standingperformancetraditionsthatexistoutsideofthearchitectureofthetheatre,environmentalscenographyhasoftenbeencharacterizedbyarevoltagainsttheprosceniumarch.FuturistssuchasFilippoMarinettiandDadaistperformancessuchasZurich’sCabaretVoltairewereamongthefirstleadersoftheserevolts.Theseperformancesreliedonfoundspaceandtechniquesin“Tactilism”(Aronson,35)inordertopenetratetheaudienceandbreaktheperformer/spectatordichotomy.Oncepopularized,theserevoltsweretranslatedtothetheatrearchitectureitself,resultingingrandtechnicaladvancementssuchasWalterGropius’sTotaltheater,aproposedstagethatutilizedtworevolvingturntables,oneofwhichtheaudiencewasseatedon.TheTotaltheaterproposalalsoincludedprojectionscreensthatsurroundedtheaudience,andvariousmechanismsthatwouldinfusethespacewithspecificscents.Thedesiredresultwastocompletelyimmersetheaudienceintheperformance.Althoughtheprosceniumarchwasdisassembled,consumedandspatoutagain,theintentoftheperformanceremainedthesame:toframeacontainedperformance
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spaceandcontroltheelementswithinitinordertoaffectand/ormanipulatethehumanspectators.
In1952,JohnCagestagedthefirst“happening”atBlackMountainCollege,aneventthatcouldbesaidtohaveradicallyalteredthewaywethinkofwhattheatrecouldbe,pointingtosomethingoutsideofthecontainedlaboratory.Cagedefinedtheatreas“somethingwhichengagesboththeeyeandtheear.”Inhisview,“Theatretakesplaceallthetimewhereveroneis,andartsimplyfacilitatespersuadingone[that]thisisthecase.”(qtd.inAronson,159)ThissameprincipleisevidentinCage’smusicalcompositionswhere“thereisnosuchthingasabsolutesilence.”(Aronson,159)Inotherwords,theexternalworldisalwaysperforming;artsimplybringsourattentiontotheperformingoftheworld.
Whatelseisperforming?Howcantheatrebringthistotheforefrontofourconsciousness?
ItiscuriousthatGrahamHarmon,acentralthinkerinthedevelopmentofobjectorientedontologyandspeculativerealism,usesarathertheatricalterm,thetheatron,whenarticulatinghowmatterinteractswithothermatter.Harmondefinesthetheatronasthespacethatisopenedupduringtheencounterofobjects.(Florencio,203)(Here,Harmonreferstoobjects,orperformingbodies,asanythingfromamammaltoathoughttoaunicorn.)AccordingtoHarmon,withinthetheatron,bodiesneverwitnesseachotherinfullbut,instead,“areonlyabletoencounterthecontingentmediatingrolestheyperformtooneanother.”Forhim,the“realobject”istheobjectthatneverrevealsitself,thatwithdrawsfromrelations,whereasthe“sensualobject”isthatwhichispresentedwithinanencounter.(Florencio,206)Thisencounteris,inmanyways,aperformance.
JoaoFlorencio,ahistorian,lecturerandthinkerwhoseworkinperformancetheorycontemplatestheongoingecologicalcrisis,referencesHarmon’stheatroninhisarticle,EncounteringWorlds:Performingin/asPhilosophyintheEcologicalAge.Here,Florencioseesthetheatronasanopportunitytoencounterobjectsasstrangers,andtorealizethatbodiesarealwaysmorethanwhattheyrevealortherolestheyperform.ToencounteranobjectasastrangeristoembraceBrecht’sactofVerfremdung,otherwiseknownasestrangement.Thisactforegroundsthetheatronand,indoingso,highlightsthe“inaccessiblecoreofabodyandpoint(s)initsdirectionasifpointingtowardsitsownhorizon.”(Florencio,206)
Thisnotionofperformanceopensupaspectrumbeyondthedichotomyofnatureandculture.Harmon’stheatronis,asJoàoFlorénciodescribesit,“there-embraceoftheecosystemicnatureofthereal.”(Florencio,210)Inreferencetoperformancetheory,Harmon’stheorycanbereadasare-discovery,asthehistoryofenvironmentalscenographyreveals,oftheopeningupofperformancetheorytospacesbeyondthetheatre.
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Suchagesture,initswillingnesstothinktheparallelsbetweenwhatgoesoninsidethetheatreandwhattakesplaceinwidersocialsettings,canbesaidtohavebeenthefirstattemptatunderstandingperformancefromanecologicalviewpoint,agesturethattriedtolookattheplaceofperformancewithintheproverbial“biggerpicture.”(Florencio,210)
Treatingthelandscapeasastage,orrather,puttingtheatreinrelationshipto
anecology,bringsintotheframethis“biggerpicture”.Thisrelationshipwasclearlyembodiedinasignificantmomentinthe
performanceofIinisikimm.Theperformanceapproachedthenightskyasitsstage,usingdarknessandcelestialmatterasacollaborator.Leadinguptothismoment,theaudiencehasjustseenaherdofBisonslaughteredinanopenalpinemeadow,theirlanternsbeingextinguishedonebyone.Thereisastillness.ElderLeRoyLittleBearbeginstoshakearattleandsingsatraditionalsongofmourning.Anassemblageof“star”lanternsemergesinthedistance,dancingintheopenspaces.Inaflash,thestarlanternshaltinanimagethatmirrorstheconstellationofthebigdipperinthenightskydirectlybehindthem.Thechoreographyofthestarlanternsthusansweredtothelandscapeofthenightsky,makingtheirdanceaduetbetweenmaterialperformanceandtheexternalworld,callingintofocusalargerecology.
InTheRiverClydePageant,theprocessionofthepageantisshapedbythehuman-madestructuresofNewGlasgowthatnestleuptothebanksoftheriver:agarden,abridge,awell,andarestaurant.ThepageantendswithacommunityfeastamongstthereedsoftheRiverClydeasthesunsets.Thisprocessionbringsattentiontoimportantpiecesofthecommunity’sinfrastructure,yetremainssolelyhuman-focusedinitscollaborationwithlandscape.Theriver,thereedsandthesunsetremainasbackdropstothishumancelebration.Canascenographyoflandscapeservemorethanthis?Aretherecollaborationswithearth,skyandwaterthatweareavoidinginordertogivehumanconcernsthestage?TheRoleofthePuppet
Whenconsideringperformanceinrelationtoecology,Ibelievethatwemustconsideraworldbeyondhumanprivilegeandmastery.Iamnotaloneinthisdesire.Here,IamreferringtothecontemporarythoughtoftheSpeculativeRealists,theschoolofObject-OrientedOntology(initiallydevelopedbyGrahamHarmanandexpandedthroughthinkerssuchasTimothyMorton),theNewMaterialists,thePost-Humanists,thePosthumanFeministssuchasDonnaHaraway,thetheoriesof“vitalism”ofJaneBennettandthe“agentialrealism”ofKarenBarad.Thelong
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establisheddichotomyofnatureandculturehascollapsed.A“flattenedontology”(Florêncio,196)isprovingtobethegroundsforecologicaldialogue.
Whatdoespageantrycontributetothisdialogueofa“flattenedontology”?Amajorelementofpageantryismaterialperformance,namelythe
disciplinesofmaskandpuppetry.InthepageantsofBreadandPuppetTheatre,TheRiverClydePageantandIiniskimm,puppetsarethecentralplayersinwhichthemajorityoftheactionrevolvesaround.Mostofthepuppetsintheseperformancesareexceptionallylargeinscale.InIinisikimm,thespectacleclimaxestoacircledancearoundagiantlanternintheshapeofaBison.InTheRiverClydePageant,thecentralfigureisatoweringfacethatfloatsdowntheriverbyboat,asilentwitnessoftheaudience’sprocessionalongtheriverbank.InseveraloftheBreadandPuppetTheatrePageants,theMotherEarthPuppethasbecomeareoccurringfigureofresurrectionandforgiveness,whoseheadstandsatthirtyfeetandwhosebodysheltersanorchestra.Herarms,whichstretchoveradistanceoffiftyyards,areabletoembracetheentireperformingensemble,oftenreachingnumbersofoveronehundred.
Howcanhumanmanipulationofobjects,theperforming-ofobjects,beconsideredgroundsforaflattenedontology?Puppetry,orinstance,canbeinterpreted(isalmostalwaysinterpreted)asinherentlyanthropocentric,builtexclusivelyupontechniquesofanthropomorphismandhumandominationoverthematerialworld.Theveryactofanimationisdefinedasgivinga“soul”(animus)tootherwiseinanimatematerial.Thiswouldassumethatthehumanisasuperiorbeing,giftedwiththepowerofattributingvibrancytocertainmatterandignoringthematterthatdoesnotservethetheatricalintention.Inotherwords,itisthehumanthatdecideswhatisanimateandwhatisinanimate.Thisappearstobeanepistemologyofdomination.Canthispracticeevenexistoutsideofastagethatclearlydividesculturefromecology?Itseemsthatthepuppetcanonlyeverbeshapedinthelikenessofthehuman;itisalwaysareflectionofthehumanform,thehumanmind,ormoreoftenthannot,humanfears.
Itisthisaspectofthepuppet,theabilitytobringourinnermostfearsintomaterialformthatprovidesuswithastimulatingcontradiction.
KennethGrossdescribesthepuppetasuncanny.Thisstrangefamiliarnessevokesmuchinahumanobserverandgivesusthesensethat“wearebothmoreandlessthanwholes,thatwegivebirthtothingsalientoourselves.”(p.35)Morethanthat,apuppet“picksoutourmadness,orwhatwefearisourmadness.”(p.2)Itishere,intherealmoftheuncannythattheecology/culturedichotomybeginstoblur.
Thepuppetexistsincloserelationshipwithdeath.Itdoesnotseemtorespecttheboundariesoflifeanddeath,andmoreoftenthannotresistsdeathateveryturn.ThisrelationshipwithdeathcanbeseeninChineseshadowtheatre,
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wheretheshadowscreenisreferredtoasthe“screenofdeath”.ThisrelationshipwithdeathcanalsobefoundintraditionsindigenoustoJavaandJapanwherepuppetsareconstructedtoprovidehomesforthesoulsofthedead,aswellasintheBritishfolktraditionof“TheCuttingWren”,whereabirdcorpseisdressedinlaceandhailedasaking.This‘leapoffaith”thatpuppeteersmaketurnsnotinwardstowardthelivingbody,butoutward,totheexternalworld.(Bellp.1)
Isdeaththenaffiliatedwiththeworldofinertmatter?Isthiswhatwewouldrefertoastheinanimate?Isitnotthisperceptionoftheexternalworldas“dead”thathasencouragedhumanstotreatnon-humanmatterassomethingtobeharvestedorconquered?
ItisherethatIturntopoetry.Whenconsideringpoetry,IamguidedbythewordsofGastonBachelardwhoconsidersthe“poeticact”asaformof“directontology”.Hereheisconcernedwiththeonsetoftheimageandarguesthatthereaderperceivesitnotasanobjectorrepresentationbutasitsownreality.ForBachelard,thepoeticimage“becomesourown”throughthereadingofitandinturnit“becomesourbeing.” Thegroweroftrees,thegardener,themanborntofarming, Whosehandsreachintothegroundandsprout, Tohimthesoilisadivinedrug.Heentersintodeath Yearly,andcomesbackrejoicing,Hehasseenthelightliedown Inthedungheap,andriseagaininthecorn. Histhoughtpassesalongtherowendslikeamole. Whatmiraculousseedhasheswallowed Thattheunendingsentenceofhisloveflowsoutofhismouth Likeavineclinginginthesunlight,andlikewater Descendinginthedark?(Berry,3)
Here,thepoetWendellBerry“entersintodeath”onanannualbasis.Hisrelationshipwithdeathappearsnotasaninteractionwiththeinertandtheinanimate,butratherthevibrantandtheanimate,whichgivescauseforrejoicing.Throughthispoeticact,onecantouchthepossibilityofdeathbeingmorethanalackoflife.Deathisavibrancythatrisesinthecorn.Deathisafacethatpeersoutfrombeyondtheshadowscreen,causingtheboundariesbetweenworldstotremorlikecurtains.Muchlikethemanborntofarming,theanimacydiscoveredthroughtheinteractionswithapuppetisanactofenteringintodeath.KennethGrossdescribesthisactasfollows:
“[It]remind(s)usthatwedonotyetknowwhatitmeanstobeinanimate,thatwedonotknowfullythedifferentkindsofdeaththat
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humansown,ortheshapesofthelivesthatcanbelivedbyinanimatethings.”(Gross,p.47)
Inthisway,thepuppetcanbesaidtobe“anambassadororpilgrimtohuman
beingsfromtheworldofthings.”(Gross,33)Ithastheabilitytocallattentionto,notonlyourinevitablereturntonon-humanmatter,buthowweareinfactcomposedofthenon-human.
Thisrelationshipwithdeathisalsoarelationshipwiththegrotesque.ForWolfgangKayser,“thegrotesqueworldis–andisnot–ourownworld.”(Kayser,37)Thegrotesquehereservesasthefaceofdisorder,overthrowingnaturalordersandbringingthenon-rationaltothespotlight.MikhailBakhtinseesthegrotesqueas,notonlyantiauthoritarian,but“lifeasawhole”(Bakhtin,50).Thisisindeedasourceofgreatmetaphysicalliberation.“(I)nthesystemofgrotesqueimagerydeathandrenewalareinseparableinlifeasawhole,andlifeasawholecaninspirefearleastofall.”Bakhtin’sconceptofthe“grotesquebody”,sharesthisliberation.“Contrarytomoderncanons,thegrotesquebodyisnotseparatedfromtherestoftheworld.Itisnotaclosed,completedunit;itisunfinished,outgrowsitself,transgressesitsownlimits.”(Bakhtin,26)Here,Bakhtinisstressingthepartsofthebodythatareopentotheoutsideworld,orrather,“thepartsthroughwhichtheworldentersthebodyoremergesfromit,orthroughwhichthebodyitselfgoesouttomeettheworld.”(Bakhtin,26)Thiswouldinclude“theopenmouth,thegenitalorgans,thebreasts,thephallus,thepotbelly,thenose.”Forthepuppet,abodythatdoesnotsharethesame“aperturesandconvexities”ofahumanbody,yetcanliveoutexcessiveviolenceanddismemberment,thisunfinishednessiswhatKennethGrossreferstoasthepuppet’s“fragmentation”.
Thelifeofpuppetsdoesnotjustsurvivedestruction;itfeedsonit…thedomainofpuppetsisitself,atitsmostanimated,aworldofdestroyedthings.Thepuppetalwaysexistsintheshadowofitsowndestruction,beingathingmadetobedestroyed…Itis“asumofdestructions”(asPicassosaidofhispaintings)Thepuppetbelongstoafamilyofthingspartial,fragmented,andbroken…partsenactingawhole,transformingoursenseofthewhole.Thepoetryofthepuppetisapoetryofinadequacy.(Gross,95)
Theoftenclumsyorridiculousactofmanipulatingobjectsisawayofwrestlingwiththis“lifeasawhole,”offacingthecomplexitiesofdeath,thenon-humanandtheincomprehensible.Itisawayofoutgrowingoneself.
Imagesofdeathareprominentinthesecontemporarypageants.InTheRiverClydePageant,aschoolofdeadfishemergesfromabloomofjellyfish,smiling
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ghoulishly.InIinisikim,aherdofbisonisslaughteredfromadistance,eachlanternbeingextinguishedbyasinglegunshot.IntheOvertakelessnesPageantattheBreadandPuppetfarm,dismemberedbodypartsarechurnedtothesoundofagiantrattle,followedbystillnessandasongofmourning.Thesefacesofdeathstarebackatusfromthemud,fromtheriversandforests,likemessengersfromthebeyond,callingtoourmortalityandthefesteringecologiesthatareourbodies.WeatherasDramaturge
Perhapsthegreatestadversaryofoutdoorperformanceistheweather.Therearecountlessparadesorproductionsof“ShakespeareinthePark”thathavebeencancelledduetounfortunateweatherconditions.OntheclosingnightofTheRiverClydePageant,forinstance,somemajorpuppetryelementswerelostduetoasuddendownpourthatsaturatedthedelicatepapiermachéstructures.Itisnowonderthattheenclosedspaceofthetheatrehasbecomethecommonsofperformance,whereconditionsarepredictableandeveryone’ssafetyandcomfortareaccountedfor.
Itispreciselythisdynamic,violentanddiscomfortingcharacteroftheweatherthatdemandsthattheoften-complacentdisciplineoftheatrebemovedout-of-doors.
“Itiscoldtoday.”“Doyouthinkitwillrain?”“Nicedaytoday.”Thetopicofweatherisonourlipsatalmosteveryturnineverydaylife.Despiteourbesteffortstoshutitoutortoreplaceitcompletelywithartificiallight,humidifiersorair-conditioning,weatherdemandsourattentioneverydayofourlives.Thetheatreisnotexemptfromthis.Toshutouttheweatheristoshutouttheworld.
Letuscontemplatethephrase,“Itiscoldtoday.”Oftenusedtoinitiateaconversation,ortosimplyavoidalengthyinteraction,thissimplephraserevealsmuchaboutthepenetratingnatureofweather.ForTetsuroWatsuji,coldnessisnotsomuchaphysicalsensationbuttheveryqualitythatdefineshumanempathy.JinBaekspeakstoWatsuji’sconceptofclimate:
“[C]limateisbynaturetheagencyofcollectivesharing.Climateisthecontextthroughwhichself-enclosedindividualismisovercomeinfavourofanempathythatcultivatescollective,culturalmeasures.”(Baek,p.382)
Bystating“Iamcold”,Iamstatingafactofourmutualrelation.Iam
callingintofocustheveryessenceofourcomposition.Iftheactoftheatreistowitnesssomethingcollectively,thentreatingtheweatherasacreative
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companion,curatorordramaturgeistocollaboratewiththeveryessenceofempathy.
TimIngolddescribestheweatheras“notsomuchwhatweperceiveaswhatweperceivein.”(Ingold,p.131)AccordingtoIngold,theairaroundushasbeenlargelyoverlookedinArt,Architecture,AnthropologyandArcheology.The‘materialworld’isseenasbeingcomprisedofonlylandscapeandartefects.(Ingold,132)Theair,incontrast,isnotanentityofanykind,butsimplyamedium.ForIngold,“[T]hemediumisnotsomuchaninteractantastheveryconditionofinteraction.Itisonlybecauseoftheirsuspensioninthecurrentsofthemediumthatthingscaninteract.”(Ingold,132)
Ingoldcallsforththeimageofflyingakite.Thekite,thekite-flyerandtheairareengagedinanintimatedanceinwhichthereisnoclearleader.Here,eachplayerisactingupon,andinturnacteduponbytheotherplayers.Theveryactofflightisacollaborativeeffort.Withinthisimage,Ingolddescribesagencyasanillusion,builtuponafalsepretense.Humanandnon-humanalikeareinstead“possessedbyaction”,entwinedwithina“danceofanimacy.”(Ingold,101)
Thekitebearsastrikingresemblancetoapuppet.Here,thereisahumanplayer,(Thekite-flyerorthepuppeteer)engagingwithanotherperformingbody,anon-humanplayer,(akiteorapuppet)withasensitivitytoitsanimacy.Themaindifference,itseems,isthepresenceoftheairanditsengagementwiththisinteraction.Whatroledoestheweatherhavewithpuppetry?Whatarethepossibilitiesofanimacywhenapuppetdancesnotonlywithitshumancounterpart,butwiththemedium?PerhapsthereissomethingherethatthepuppeteercanlearnfromtheKite-flyer.Intheflightofakite,thekite,airandflyerappearnotsomuchtointeract,buttocorrespond.InIngold’swords,“tocorrespondwiththeworld…isnottodescribeitortorepresentitbuttoanswertoit.”(Ingold,101)
TherearemomentsinthepageantsofBreadandPuppetTheater,TheRiverClydePageantandIinisikimmthatglimmerwiththisanswering:lanternsdancewiththestars,amassivefacemoveswiththewind,afieldofcardboardcumulouscloudsdescendsasastormgathersinthedistance.Theweathermakesforastunningperformer,yetithasthepotentialtoplaystilladeeperrole:thatofthedramaturge.
DuringmytimeinNewGlasgow,PEI,Ireflectedontheprocessofmakingthelargepuppetsfortheevent:
Iambuildingasailoutofearth.ThesunhasreachedaclimaxandIpausetoremovealayerofclothing,drinksomewaterandlookatthesky.Thereisathintraceofcloudonthehorizon.Ithoversabovetheoceanlikeathincurtainofsilk,notsofaraway.IfIwereameteorologistImightbeabletoputanametothisformationof
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whispingstratus,undulatingasifsomeonewerebatingitwithalargefan.Itresemblesrollinghills,oroceanwaves,ortheshapeofsoundwaves.Despitemylackofunderstandingofclouds,Icanfeelashiftinpressure,anapproachingchange;Icansensetherain.
Ireturntotheearth.Thedirtisredsandstone,animpossiblebrightredcolourthatissodistincttothisparticularlocation.OntopofagreatmoundofthisredearthIhavepiledonbucketsofgreyclay,araretreasurethatmyteamofartists,farmers,teachers,carpentersandcookswereabletofindupstream.Wehauledittothissiteoverthecourseofthreedays,onecanoeloadatatime.Theclayisfreshandsmooth,anotherimpossibilitymadepossiblefromthisplace,thispieceofearth.
Thisearthhasbeenshapedbymanyhands.Itresemblesafacethatisovertwelvefeettallandsevenfeetwide.Itprotrudesfromthehillside,asifrelaxinginabath.Ontopofthisshape,layersandlayersofstarchandpulphavebeensmoothedout,creatingarichbrownskinonitssurface.Ifthesunholdsitsplaceintheskyforafewmorehoursandtheapproachingrainismerciful,thisskincanberemovedandtransformedintoasail.Thesail,constructedusingapapiermachétechnique,isshapedbysunlight,
byhumidity,andbythetextureoftheearth,whichhasalsoundergoneseveral
Figure4.TheRiverClydePageant.PhotobyRobertVanWaarden
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transformationsthroughthemovementsofthesky.Themaker,inrelationtotheshiftingcurrentsofclouds,discoverstheinteractionofmaterialsandhisimaginationthroughthemedium:theweather.Inthestuffyworkshopsandstudiospaceswheretheatreseemscomfortableandatease,themakertakestheirclimateforgranted.Evenwithintheseenvironments,wherethemakerbelievestheyareshelteredfromunwantedinfluence,therearecomplexweatherpatternsthatconditionourinteractionsandthatpatientlyinformourworkasthemostdiligentandgenerouscollaboratorsmight,despiteourbesteffortstoignorethem.Conclusion
WhenIspeakofecology,itisimportanttonotewhatecologyIspeakto.InhisessayTheClimateofHistory:FourTheses,DipeshChakrabartyargues
thatclimatechangehascausedthedichotomiesofnaturalhistoryandhumanhistory,thefundamentalassumptionofWesternthought,tocollapse.Heclaimsthat“(h)umansnowwieldageologicalforce,”(Chakraharty,206)thusputtinghumansinrelationtogeologicaltime.“ThegeologicnowoftheAnthropocenehasbecomeentangledwiththenowofhumanhistory.”(Chakraharty,2012)
Incontrast,JimMooreargues,“theissueisnottheAnthropocene,buttheCapitalocene.”(Moore,287)
(C)apitalismunfoldsinandthroughtheoikeios,thecreative,generative,andmulti-layeredrelationofspeciesandenvironment.Humans,likeallspecies,areatonceproducersandproductsofourenvironments.Humans,andalsothecivilizationsweco-producewiththerestofnature.WefindthespirittheoikeioswhenWallersteinspeaksof“ecologicalexhaustion”asaworld-historicalmovementencompassinghumannaturesalongsidesoilsandforests.Thehealthofbodiesandenvironmentsareindeeddialecticallybound.(Moore,287)
ForMoore,Capitalismisan“environment-makingprocess”;itisa“world-system”.(Moore,287)
ForbothMooreandChakraharty,ecologycannotbeconsideredexternaltous.Changeisco-producedbetween“nature”and“civilization”,orrather,betweentheenvironment-makingactantsofbothhumansandnon-humansalike.
Unlikethepoeticimagesofkite-flyingillustratedbyTimIngold,MakhailBahktinseesthisco-producingnotasadance,butasastruggle.ThisreferstowhatBakhtincalls“cosmicterror”:therealitythatthenon-humanistoovastandincomprehensibleforhumanstobeinequalexchangewith.Ifhumansareinaconstantstateoffindingstability,ecologyisthatwhichisever-changingand
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challengingthatstability.Bahktinseesthisstruggleasawayofre-examiningourrelationshipwiththeworld.The“smallexperience”,thestableworldoffamilyandisolatedlife,closeshumansofffromtheworldrenderingtheminactiveandsusceptibletotheconsequencesofchange.Here,everythingisclosed,unresponsive,controlled,andpredictable.Incontrast,withinthe“greatexperience”,thatofthecosmosandtheincomprehensible,“everythingisalive,everythingspeaks”.(qtd.inLast,68) ForBakhtin,thisopeninguptothe“greatexperience”isawayofempoweringtheindividualwithintheinevitabilityofchange.Itisawayofcombatinginstrumentalizationandstagnation.Forhim,thekeytoconfrontingthisliesinthehumanbody;sensoryengagementishowonecan“destroytheofficialpictureofevents.”(p.74)Thebodyisa“siteofdisruption,error,aberrationandsurprise.”(Last,71) Inheressay,NegotiatingtheInhuman:Bakhtin,MaterialityandtheInstrumentalizationofClimateChange,AngelaLastappliesBakhtin’sconceptof“cosmicterror”toourexperienceandnavigationofclimatechange.SheraisesasalientpointaboutBakhtin’snotionofsensoryengagement:“climatechangeseemstorequirenotonly‘rationalproof’but‘sensoryconfirmation’.(Last,75)Inthefaceofecologicalcollapse,sensoryengagement,specificallyBakhtin’sencouragementtore-familarizeourselveswith“thealiennessoftheworld”(Last,71)couldserveasourstrongestdefenseagainstinstrumentalizastion,silenceandstagnation.
Bakhtin’svisioncouldbetakenasanencouragementtoengagewiththepotentialofcatastropheandfindawayofmakingsenseofitforoneself–against‘theofficialpictureofevents”–asanalternativetobeingheldcaptivebyone’sfear.(Last,71)
InherprefaceforherbookVibrantMatter,JaneBennettstates“ifasetof
moralprinciplesisactuallytobelivedout,therightmoodorlandscapeofaffecthastobeinplace”(Bennett,xii)HeresheisechoingRomanticthinkerssuchasJean-JacquesRousseauandNeitzche.Shebelievesthatenchantmentwiththeeverydayworldmightmotivatethismove.“Whatseemstobeneededisacertainwillingnesstoappearnaïveorfoolish,toaffirmwhatAdornocalledhis“clownishtraits.””(Bennett,xiii)ShequotesJodiDean,whostates,“Ifallwecandoisevaluate,critique,ordemystifythepresent,thenwhatisitthatwearehopingtoaccomplish?”(qtd.inBennett,xv)
Enchantmentisnaïve,butperhapsnaivetycanbeconsideredasameansofgettingoverourpessimismanddismissiverationality.Ithasthepotentialtobeoneofourgreatesttoolsintheapproachofecologicalcollapse.Naivetyisanabandonmentoftherational.Naivetyisanembraceofthesensualandthe
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experienced.Naivetymakesroomforsensoryengagement.IfanyofwhatIhavesaidleadinguptothisparagraphhasappearednaïveorfoolish,itismotivatedbyBennett’squestioningofdemystificationandfueledbyBakhtin’sencouragementtore-familiarizemyselfwith“thealiennessoftheworld”.Myuseofpoeticsisgroundedinthenaivetyandridiculousnessofpuppetry,yettakesseriouslythetransformativepotentialofwhatBachelardcallsa“directontology”.Thepoeticisthatwhichescapesus. Pageantrybasksinthisnaivety.Itis,afterall,aspectacle.Myaimhereisnottofulfillthesimpletaskofpointingtowardshowthatspectaclehasbeencapitalized,butratherthegreatertaskofpointinginthedirectionofitshorizon.Pageantry’spotentialliesinitsdirectcollaborationwiththis“cosmicterror”,correspondingwiththatwhichisincomprehensibleandunpredictable.Thiswillhelpusengagewithsomethingbeyondourselves.
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