Climate Emergency

Devika Ranjan talks about the ways in which migration can influence performance structures, what she has identified as “migratory dramaturgy.”

Adi Eshman discusses Exquisite Corpse Company’s immersive play Water, Water, Everywhere..., which took place on New York Harbor’s Governors Island.

Caroline Reck, artistic director of Glass Half Full Theatre in Austin, Texas, talks about how her company uses clown and object theatre to engage people in the battle against climate change.

Playwright and professor Theresa May talks about creating a show about the planet, Sky Woman, and the Youth Climate Movement, and how collaborating with students enhanced the development process.

Evalyn Parry, artistic director of Toronto’s Buddies in Bad Times, talks about attending a historic summit that kicked of a two-year initiative called Climate Change: Reimagining the Footprint of Canadian Theatre.

Zoë Svendsen discusses working with fellow theatremakers to build and present imagined realities of London and Oslo in post-capitalist and post-fossil-fuel cultures.

Playwright Gab Reisman discusses writing a play about climate change and moving toward a model of collective accountability and civic action.

Ben Barson and Gizelxanath Rodriguez, part of the Afro Yaqui Music Collective, talk about artivism—what it means, what it can look like—in relation to building a jazz opera with various communities around the world.

Karen Malpede argues that significant theatrical engagement with the climate crisis cannot occur in the United States without governmental intervention, and looks at the Federal Theatre Project as a model.

Within the context of the new emergency climate change deadline of 2030, Vijay Mathew encourages the nonprofit arts sector to completely divest from fossil fuels by no longer using air travel for conferences, shows, or any other programming while offering models and solutions to help our thinking about transitioning to a post-carbon arts future.

Alice Stevenson shares some of the most successful initiatives of the Broadway Green Alliance, an organization that leads the charge when it comes to advocating for more sustainable practices in theatre.

Carolyn Reeves looks at multiple barriers to climate change engagement and addresses how the performing arts—and especially theatre—can help overcome them.

Erin B. Mee examines how using the Sanskrit aesthetic theory of rasa—rather than the aesthetic theory of catharsis—is a necessary step when it comes to creating sustainable theatre.

Lucy Latham talks about the work London-based organization Julie’s Bicycle is doing in encouraging the creative community to act on climate change and environmental sustainability.

Chantal Bilodeau examines data from the Climate Change Theatre Action initiative, which she runs, to better understand how racial and gender bias plays out in the theatre world.