b'T3 Journal - Student Writing in Drama, University of Exeter 2020-21 Maddy HolmesBhabha, H. 1990. Introduction: narrating the nation. In: Bhabha, H. ed. NationThe Guardian. Published 7 Nov. [Online]. [Accessed 18 December 2020].Climate Research, Science and Community: and Narration. London: Routledge, 1-8 Available from: https://www.theguardian.com/stage/2020/nov/07/play-British Nationality Act 1948. (C. 56). [Online]. [Accessed 21 Decemberwith-the-format-how-theatre- shows-are-dispensing-with-the-stage A Discussion on Chantal Bilodeaus Sila.2020]. Available from: https://www.legislation.gov.uk/ukpga/Geo6/11- Zarrilli, P. 2013. Introduction: Acting as Psychophysical Phenomenon 12/56/enacted and Process. In: Daboo, J. Loues, R and Zarrilli, P. Acting: PsychophysicalSubmitted for the module Theatre for a Changing ClimatePhenomenon and Process. Hampshire: Palgrave Macmillan, 1-50.Daboo, J. Loukes, R and Zarrilli, P. 2013. Acting: Psychophysical Phenomenon and Process. Hampshire: Palgrave Macmillan. EssayEvans, M. 2019. Performance, Movement, and the Body. London: Red GlobeMaddy HolmesPress.Graver, D. 1997. The Actors Bodies. Text and Performance Quarterly. [17:3]. 221-235.Sila portrays the relationship between the climate scientist[First, utilising] resources of local artists while uniting Hall, S. 2005. Cultural Identity and Diaspora. In: Hier, S. ed. Contemporary Sociological Thought: Themes and Theories. Toronto: Canadianand their engagement with the wider community whenmultiple countries and cultures around a common issue Scholars Press Inc, 443-454. they work together through artistic endeavours. Stephen[] by communicating through personal stories, [this] Hemming, S. 2020. Gershwyn Eustaches Jnr: Sometimes silence isBottoms critique of Sila is that the dramatization ofprovided a forum for public conversation, and helped build more powerful than people clapping. Financial Times. Published 19 Jun.relationships between research scientists, politicians andcommunity. (2016)[Online] [Accessed 21 December 2020]. Available from: https://www. activists means: the lay spectator is largely exempted ft.com/content/5cb28dc4-b156-11ea-a4b6-31f1eedf762efrom personal responsibility in the climate change dramaIn effect, the success of Bilodeaus work rests on the desire Holdsworth, N. 2014. Theatre and National Identity: Re-Imagining Conceptions(2012: 343). This sends a misleading message to audiences,for connectivity and vulnerability to provoke multiple of Nation. Oxon: Routledge. whereby they believe they are exempt from participatingcommunities into engaging with climate theatre and Howard, A. and Corke, S. ed. Small Island: Rehearsal Diaries. [Booklet].and working with others to respond to the climatescience.London: The Royal National Theatre Board. disaster. As such, this reinforces the negative implication Landes, D. 2012. Translators Introduction. In: Merleau-Ponty.of the scientist singlehandedly solving climate changeIn Sila, the relationship between Jean (a climate researcher), Phenomenology of Perception. London: Routledge, xxx-lii. and triumphing as the planets saviour. To counter-argue,and Tulugaq (an Inuit Elder), displays how reinforcing Levy, A and Edmundson, H. 2019. Small Island. London: Nick HernBilodeaus theatre practice has stemmed from researchconnections between scientists and local communities Books. projects tackling climate change as seen through thecan be an effective course of action when tackling climate dependency between her fictional climate scientists andchange. The role of the climate scientist is initially depicted Loukes, R. 2013. Making Movement: The Psychophysical in Embodied Practices. In: Daboo, the Inuit community. She draws effectively upon thesein Sila as egotistical and selfish as Jean objects to working relationships to teach a lesson to her audience about thewith Tulugaq. His resistance towards engaging with the J. Loues, R and Zarrilli, P. Acting: Psychophysical Phenomenon and Process.actions of those in society today. Inuit community is indicated through the capitalisation I Hampshire: Palgrave Macmillan, 194-223.am a SCIENTIST. Not a SOCIAL WORKER (Bilodeau McCuthcheon, J. and Sellers-Young, B. 2013. Embodied Consciousness:Bilodeaus own plays, designed to grow out of scientist- 2015: 34). Yet, it is the Elders invaluable knowledge Performance Technologies. London: Palgrave Macmillan UK.artist collaboration and participate in environmentalof the Arctic environment and the Inuit rituals around McDermott, P. 2007. Physical Theatre and Text. In: Keefe, J. Murray, S.activism through the arts (Balestrini 2017 :75), are a primecommunity that become vital to Jeans research. Bilodeau (eds). Physical Theatres: A Critical Reader. London: Routledge 201-208. example of how collaboration between scientific andalters the trajectory of the scientist in the dialogue of Merleau-Ponty, M. 2012. Phenomenology of Perception. London: Routledge artistic communities can benefit climate change action. Asclimate change. While typically depicted as heroic, Jeans Artistic Director of The Arctic Cycle and driving forcerole is reduced to an ethical witness (Bottoms 2012: 346) National Theatre, 2019. Small Island. Rufus Norris. Dir. Olivier Theatre, London: National Theatre. First Performance: 17 April 2019. [Online].(ibid) of the programme Climate Change Theatre Action,of the Arctic landscape. This highlights how Western [Accessed via Drama Online 21 December 2020]. Bilodeaus career is a successful example of how thesecultures can learn from traditional Inuit practices to Oluo, I. 2019. Confronting racism is not about the needs and feelings of whitetwo elements can participate together. The engagementmaintain stable and habitable ecosystems by prioritising people. The Guardian. Published 28 Mar. [Online]. [Accessed 30with the creative arts initiative has been enormous withcommunity and mobility [which] serves as the dynamic December 2020]. Available from: https://www.theguardian.com/ 100 collaborators in 25 countries (4 of which were Arcticcomponent that keeps the relation between spaces and commentisfree/2019/mar/28/confronting-racism-is-not- about-the-needs-and-feelings-of-white-people nations) host[ing] events ranging from informal readings inpeople alive (Balestrini 2017: 74).classrooms to day-long festivals, from radio programs and Romdenh-Romluc, K. 2011. Merleau-Ponty and Phenomenology of Perception.film adaptations to site-specific performances (Bilodeau,However, Bilodeau also exposes the sombre realities London: Routledge2016). The CCTAs endeavour to support the 2015 Parisof climate research when scientists are faced with Saad, L. 2020. Do the work: an anti-racist reading list. The Guardian.Climate Conference proves how effective artistic forms ofunprecedented natural disasters while aiming to support Published 3 Jun. [Online] [Accessed: 20 December 2020]. Available from: https://www.theguardian.com/books/booksblog/2020/jun/03/ discourse that lead to activism [can be] (Balestrini 2017:under-represented communities. This is evident in the do-the-work-an-anti-racist- reading-list-layla-f-saadTripney, N. 2020.75). Bilodeau states that the motivations behind such anemotional stress Thomas and Raphael (two Coastguards Play with the format: how theatre shows are dispensing with stage.effectual enterprise started by: Marines) go through in their failed efforts to save the 18 19'