Oecologies

Courtney M. M. Morgan (Lewis-Clark State College)

In May 2024, the Oecologies virtual event, “Performance, Place, and Pedagogy,” brought together scholars and practitioners from various fields to discuss the intersection of environmental activism, pedagogy, and performance. The presentations explored how environmental concerns shape both creative practices and educational approaches, highlighting the interconnectedness of art, place, and ecological responsibility. Peter Remien, co-director of Oecologies, opened the roundtable with an acknowledgment of Indigenous lands, specifically those of the Nimiipuu (Nez Perce) people, and welcomed five presenters whose talks would delve into eco-theatre and environmental pedagogy.

Randall Martin – “Cymbeline in the Anthropocene”

Randall Martin, Professor Emeritus at the University of New Brunswick, opened the event by discussing his ongoing international project, Cymbeline in the Anthropocene. This initiative focuses on the environmental reinterpretation of Shakespeare’s play Cymbeline, aiming to combine performance with eco-activism. Martin highlighted how site-specific productions offer unique opportunities to foster ecological awareness by bringing the audience into direct contact with nature. He explained that this work is designed not just to perform Shakespeare, but to “lead and inspire the worldwide development of eco-Shakespeare in performance.”

The project connects theatre-makers, researchers, and playwrights, creating a collaborative network that promotes environmental sustainability. Martin emphasized that one of the project’s goals is to inspire local communities by engaging them in the “artistic and environmental creativity” of the performances. By performing Cymbeline in natural settings, such as forests or outdoor urban spaces, the productions reflect the fragility of our ecosystems and serve as a call to action for local audiences.

Martin stated, “We aim to mobilize environmental activism through theatre, making the audience participants in the conversation about our changing environment.” The performances, he said, do not simply happen in a space; they use the space, making the environment an integral part of the storytelling.

Gretchen Minton – “Ecological Adaptations of Shakespeare”

Gretchen Minton, a Professor of English at Montana State University, followed with a discussion on her adaptation of Twelfth Night, titled Salt Waves Fresh, which was performed in Sydney, Australia in 2023. This site-specific production reimagined Shakespeare’s play within the context of climate change and rising sea levels, exploring how ecological crises affect human relationships and community dynamics. Minton’s adaptation is part of a broader movement to rethink classical theatre as a medium for addressing pressing environmental issues.

As dramaturg for Montana Shakespeare in the Parks and co-founder of Montana InSite Theatre, Minton emphasized the role of outdoor performances in creating a direct connection between audience members and their surroundings. “The land and the sea are not just backdrops,” she explained, “They are characters in their own right, shaping the narrative and reminding us of the delicate balance we must maintain with the natural world.” Her work brings the audience into a conversation with the environment, asking them to consider the long-term consequences of their actions on the planet.

In Salt Waves Fresh, Minton’s adaptation drew attention to themes of displacement and ecological collapse. She pointed out how these performances challenge audiences to think about the impacts of environmental degradation, making Shakespeare’s work relevant to modern discussions about climate change and human responsibility.

Jo Bloom and Charles Mayer – “Eco-Theatre with Come You Spirits Theatre Troupe”

Jo Bloom and Charles Mayer, co-founders of the Come You Spirits Theatre Troupe, gave a joint presentation on their work in eco-theatre. The troupe, founded in 2022, focuses on producing adaptations of Shakespeare that emphasize sustainability and environmental themes. Bloom and Mayer have taken their productions worldwide, using minimal sets and eco-friendly practices to highlight the importance of reducing waste in the theatre industry.

Bloom, an experienced actress and director, spoke about how Macbeth and A Midsummer Night’s Dream were transformed into stories about ecological balance and respect for nature. “We want the audience to feel the urgency of our environmental situation,” Bloom said. “The magic and chaos in these plays reflect the instability of our own natural world.” The troupe often performs in outdoor venues, which enhances the connection between the performance and the environment. Bloom highlighted the ways they adapt each play to the specific landscape of the performance location, incorporating natural elements into the staging.

Charles Mayer added, “Our goal is to create theatre that not only entertains but inspires people to think about their relationship with the earth. Every decision we make, from costumes to props, is designed to minimize our carbon footprint while maximizing our storytelling impact.” Their theatre work emphasizes that sustainability is not just a theme, but a practical approach to their productions.

Madi Williams – “Taniwha of Aotearoa New Zealand”

Madi Williams, a Senior Lecturer in Māori and Indigenous Studies at the University of Canterbury, delivered a powerful presentation on taniwha—guardian spirits in Māori tradition. Williams opened her talk with a traditional pepeha, introducing her tribal connections and stating, “Our ancestors teach us how to live in harmony with our environment through the stories of the taniwha.” She explained that taniwha are not just mythical beings but are deeply connected to environmental guardianship, serving as a reminder of the Māori’s sacred relationship with nature.

Williams focused on several taniwha traditions from the top of New Zealand’s South Island, including Kaikaiāwaro, a guardian who guides travelers and safeguards resources. She explained how the taniwha acts as both a spiritual and practical figure, guiding the Māori in their use of natural resources and ensuring they protect the land. “These beings teach us not only about the land we live on but how we should care for it,” she stated, emphasizing that taniwha stories contain important ecological knowledge about the environment.

In her talk, Williams also pointed out how taniwha traditions are invoked in contemporary environmental protests, especially when advocating against the destruction of natural habitats by industrial projects. She highlighted the case of Ngāti Kuia’s opposition to salmon farms in the Pelorus Sound, where the taniwha Kaikaiāwaro was called upon to resist environmental degradation. “These are not just ancient tales,” Williams said. “They are living traditions that continue to shape how we interact with the natural world.”

Tying It All Together

The presentations at the virtual Oecologies event illustrated the deep, intrinsic connection between performance, place, and environmental activism. Randall Martin’s eco-Shakespeare project calls for theatre to be a vehicle for environmental awareness, while Gretchen Minton’s adaptations of Shakespearean plays ground their narratives in current ecological concerns. Bloom and Mayer’s work with Come You Spirits showcases how theatre can be both environmentally sustainable and impactful, while Madi Williams’ focus on Indigenous traditions reminds us that protecting the earth is not a new concept, but a deeply rooted cultural responsibility.

In their own ways, each presenter emphasized the role of art and tradition in addressing the environmental crises we face. Whether through Shakespeare, eco-theatre, or Indigenous storytelling, these performances bring audiences into direct contact with nature, challenging them to rethink their relationship with the earth and take action. The Oecologies event underscored that, across cultures and disciplines, the fight for ecological preservation is not just a political or scientific endeavor—it is also an artistic and spiritual one.