{"title":"环境恐怖与白人灭绝","authors":"Nik Wakefield","doi":"10.1017/s1054204324000029","DOIUrl":null,"url":null,"abstract":"A literalist ecological approach to performance studies rematerializes theatre beyond a racist anthropocentricity of metaphorical representation and proposes a path to intersectional environmental justice. Escaped Alone (2016) by Caryl Churchill presents a horrifically accurate report of ecological harm. The Evening (2016) by Richard Maxwell and the New York City Players imagines an extinction of whiteness. Both productions propose new understandings of ecology through reconfiguring the theatrical conditions of representation.","PeriodicalId":517571,"journal":{"name":"TDR: The Drama Review","volume":"2 10","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Environmental Horror and White Extinction\",\"authors\":\"Nik Wakefield\",\"doi\":\"10.1017/s1054204324000029\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"A literalist ecological approach to performance studies rematerializes theatre beyond a racist anthropocentricity of metaphorical representation and proposes a path to intersectional environmental justice. Escaped Alone (2016) by Caryl Churchill presents a horrifically accurate report of ecological harm. The Evening (2016) by Richard Maxwell and the New York City Players imagines an extinction of whiteness. Both productions propose new understandings of ecology through reconfiguring the theatrical conditions of representation.\",\"PeriodicalId\":517571,\"journal\":{\"name\":\"TDR: The Drama Review\",\"volume\":\"2 10\",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2024-06-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"TDR: The Drama Review\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1017/s1054204324000029\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"TDR: The Drama Review","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1017/s1054204324000029","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
A literalist ecological approach to performance studies rematerializes theatre beyond a racist anthropocentricity of metaphorical representation and proposes a path to intersectional environmental justice. Escaped Alone (2016) by Caryl Churchill presents a horrifically accurate report of ecological harm. The Evening (2016) by Richard Maxwell and the New York City Players imagines an extinction of whiteness. Both productions propose new understandings of ecology through reconfiguring the theatrical conditions of representation.
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