Urania Interdisciplinary Academic Journal

Theater of the Anthropocene

2024-09-05T09:31:14+00:00

In an era marked by unprecedented environmental challenges and the recognition of humanity’s profound impact on the planet, the intersection of theater and the Anthropocene emerges as a compelling and urgent subject for exploration. This conference publication, titled Artistic laboratory of socio-ecological homeostasis: Theater of the Anthropocene, seeks to unravel the multifaceted relationship between the performing arts and the epoch defined by human-induced ecological transformations. By considering the interacting possibilities of scholars, theater makers and the audience, this collection aims to illuminate the interconnected role of theater and science in interpreting, responding to, and shaping our understanding of the Anthropocene.

The Theatre of the Anthropocene

2024-09-24T07:43:36+00:00

This article explores the emergence and development of The Theatre of the Anthropocene, a unique artistic platform founded by Dr. Frank M. Raddatz and Prof. Dr. Antje Boetius in 2019. This ecological theatre operates at the intersection of art and science, aiming to depict and engage with the complex realities of the Anthropocene. The Anthropocene, a geological epoch marked by human influence on Earth, necessitates a scientifically informed theatre to convey the intricate interplay between human activities and the planetary ecosystem. The article delves into the theoretical foundations of this theatre, drawing on Bruno Latour’s critique of ecological disasters rooted in deficient epistemic concepts. It contrasts this with Bertolt Brecht’s scientific theatre and emphasizes the need for a transformation in the science stage to address contemporary environmental challenges. The role of feedback loops and the recognition of non-human entities as independent subjects in an Anthropocene aesthetic are central themes. The article also explores the potential of a spectral aesthetic, emphasizing the hybrid nature of the phenomena addressed, and presents the example of the production Lawyers of Nature. Furthermore, it discusses the urgent task of developing an ecological sensibility through art to instigate changes in societal attitudes toward planetary conditions.

On stage

2024-09-24T07:44:15+00:00

This article reflects on Michael Serres’ philosophical insights in Le Contrat Naturel (1990), emphasizing the urgency of redefining humanity’s relationship with the Earth. Serres proposes a symbiotic alliance between the knowledge of natural sciences and prudent judgment, advocating for a profound shift in our interaction with the planet. The article delves into Serres’ conceptualization of the five elements—earth, air, fire, water, and the universe of the living—while scrutinizing the role of sciences in fostering a harmonious coexistence with nature. It also examines Serres’ critique of contemporary philosophy and social sciences, highlighting the unique position of natural sciences in acknowledging the material realities of the world. The interpretation of the two included images draws our attention to the consequences of neglecting the interconnectedness of humanity and nature. The author contends that scientists, as stewards of the Earth, must engage in a transformative process to ensure the sustainability of the planet for future generations.

Inviting the terrestrial on stage in our minds and bodies

2024-09-24T07:44:44+00:00

Grounded in the philosophy of Bruno Latour, this study explores the concept of becoming terrestrial within the context of heightened ecological awareness. The analysis focuses on four distinct theatrical performances (Cracks by choreographer Charlotta Ruth, Devenir forêt by Marina Pirot, Bretagne, Où atterrir by the collective Où atterrir, Paris, and Democracy of Organisms by Club Real) that aim to reshape perspectives by accentuating a profound connection to the Earth, thereby uncovering new possibilities for environmental engagement. Key elements include the sensory experiences involved, the significance of participatory theater, and the exploration of ecological subjects and their interdependence. The study delves into the evolving political culture and co-evolutionary dynamics inherent in these theatrical endeavors.

The Tragedy of Earth

2024-09-24T07:45:20+00:00

This study explores the intersection of climate change and contemporary German-speaking theatre. The paper delves into the challenges posed by climate change and species extinction, emphasizing the need for presenting facts and fostering commitment. Drawing parallels to ancient Greek tragedies, the author examines the dramaturgical potential of political theatre to address the "tragedy of the earth" and instigate essential changes. The study covers various aspects, including the presentation of scientific facts and scenarios, the role of reason and ethics in theatre, the portrayal of Gaia (Earth) on stage, and the call for action in the tradition of Brecht and contemporary theatre. The exploration extends to the use of masks, the evolving nature of postdramatic and post-human theatre, and the challenge of representing nature and Gaia within traditional dramatic forms. The author concludes by discussing the ongoing search for an adequate theatrical form to address the tragedy of climate change and species extinction, emphasizing the role of drama and theatre in helping humanity navigate these challenges.

The Anthropocene and Performing Science

2024-09-24T07:45:50+00:00

This study inquires how theatrality and performativity (drama pedagogy) played an important role in certain research and teaching programs of the Center of Interdisciplinary Research in Bielefeld (Zentrum für interdisziplinäre Forschung / ZIF) and its associated Bielefeld University. It focuses especially on heuristic examples engaging with the challenges of the Anthropocene. By using inside and outside perspectives to the topic, the study investigates the structure of a university seminar on performing science, as well as the intersection, where art and science meet productively in a universitarian framework.

The Natural and Supernatural Existence of Rivers before, during, and after the Anthropocene

2024-09-05T09:35:25+00:00

Since ancient times, rivers have accompanied mankind – and also man the rivers. They have become an inexhaustible source of our metaphors: as an ever-changing, yet eternal metaphor of existence, we could list philosophers and poets from Heraclitus to Attila József, who saw rivers as a reality far beyond their purely natural sphere. In their reflections, people recognized not only themselves but also their inescapable embeddedness in this worldly and transcendent web of existence. What has changed over the past decades (or millennia?) to turn rivers into energy and food production tools, a terrain to be tamed, or even an enemy? A situation of constraint due to overpopulation and overproduction? A dislocation of our mentality? Our technological ‘progress’ that is becoming untraceable and indigestible?

Background, History and Practical Implementation of the Art of Beekeeping

2024-07-19T11:32:16+00:00

After all, the relationship between bees and humans is more ancient and deeper than you might think. Is it possible that the development of human civilisation is partly due to bees? What is certain is that the bee, like the dog, was linked to man very early in history, and their cooperation was sometimes wonderful, sometimes disastrous, at least as far as bees were concerned. When man saw bees as partners, our relationship was always prosperous; when man robbed and destroyed them, it was disastrous. This must be a very important lesson for the 21st century. If the bees and the knowledge and care of them die out, then the whole of humanity is doomed, because these bees are responsible for at least two thirds of the pollination of flowers, so if there are no bees, there is no pollination, no harvest. Without bees, humanity will starve first and then die out.

Interview on the statement of the workshop Theater of the Anthropocene at the 10th Theatre Olympics Budapest

2024-09-05T09:34:27+00:00

This interview explores the key themes discussed during the workshop titled Theater of the Anthropocene at the 10th Theatre Olympics in Budapest. Sára Sánta engages in a conversation with Frank Raddatz and Johanna Domokos, shedding light on the purpose behind organizing the conference and the profound implications of the Anthropocene era on both the world and the realm of theatre. The Anthropocene, characterized by global ecological threats resulting from human activities, challenges traditional theatrical narratives, requiring a shift towards a more holistic understanding of humanity’s relationship with the planet. 70 The interview delves into the potential educational role of theatre in fostering environmental awareness and sensitizing individuals to the complexities of our changing world. The speakers emphasize the need for a multidisciplinary approach, involving not only theatre scholars and artists but also scientists, lawyers, and writers in addressing the existential crisis posed by the Anthropocene. Insights from the interview highlight the importance of nurturing a collective responsibility to maintain ecological balance. The speakers also discuss the transformative potential of theatre and the diverse perspectives presented during the conference, leading to the creation of a manifesto that envisions theatre as a platform for envisioning and shaping a harmonious future with the Earth. The interview concludes with reflections on the role of theatre in the future, emphasizing its deep-rooted connection to the planet and the potential for a renewed, holistic theatre that addresses societal and environmental challenges beyond conventional norms.

“I had been cut off from my roots, so I had to find new ones”

2024-09-05T09:34:52+00:00

József Szarvas made his way to acting from the farmlands of the Hungarian Great Plain. He began his career as a bit player in Debrecen and was almost 30 years old when he graduated from the Academy of Theatre and Film Arts. It was on the advice of his former academic mentor, István Horvai, that he signed a contract with the Vígszínház, of which he remained a member for a decade. Afterwards, he worked with the Kaposvár company and in 2002, he joined the National Theatre in Budapest. In the meantime, he had major roles in a host of feature and art films. We talked to the Jászai Mari Prize winner Merited Artist and Distinguished Artist of Hungary, who has also won numerous other professional awards, about rootlessness, about his long sought and eventually found identity. For him, the clear spring to draw from is the Fairy Garden, created from the native fruit trees of the Carpathian Basin, and the Barn Theatre of Őrség, founded by him and his family.

Acting in the Age of Multiple Crises? Acting in the Age of Ecocide? Acting on Stage?

2024-07-10T10:00:05+00:00

If one turns as a writer to the central question of multiple ecological crises, the question of action becomes a key question. Why don’t we act? Who is acting? What is the action? There is a noticeable amount of symbolic politics, but progress is being made in the legal field and the legal system is changing. One of my papers below deals with rivers becoming legal entities, and this is a fundamental challenge to logic. The idea of writing my play The Water (original German title Das Wasser) was created at the request of scientists, and included many conversations with experts in action. What are we doing? Why does this huge braking effect occur, and what does it have to do with generational conflict? There are many questions that need to be answered. The second part of my two articles published below (Dear River, original German title Liebes Wasser) emphasizes that law itself is part of economic logic, even if it is supposed to be above it. At least as applied law.

AnthropoSun Poetry Wanderung

2024-07-10T10:13:49+00:00

They say we live in the Anthropocene. They say humans människor have a huge impact on this planet, on the geology, ecosystems, biodiversity, species extinction and the climate. They say human menneskelig civilisation has caused the present crisis, the increasing number of environmental catastrophes. They say that humans mennirnir have become like hungry locusts, eating everything in sight, and that humanity menneskehet has grown too voracious and too vast and too destructive.