b'T3 Journal - Student Writing in Drama, University of Exeter 2020-21 Sally Johnsonscientists from death on board the Polaria. The enormityThe political significance of tucker greens of the fifteen-foot waves and snow falling sideways (Bilodeau 2015: 75) confirms the risks taken withinformal innovation in random. the scientific community to understand climate change further. The impact of the accident as a huge ecologicalSubmitted for the module Playwriting.disaster exacerbates how trivial humanity is compared to the greater forces of the natural world. Yet, this does notEssaylessen climate scientists responsibility to protect eachSally Johnsonother. Thomas supports this notion with the words when youre someones lifeline you dont get to quit (ibid: 81). There is similarly a responsibility for scientists to protect minority communities from political exploitation torandom by debbie tucker green follows the lives of Sister,marginalised voices can be heard, in a form inspired counteract the belief that the worlds economic survivalBrother, Father and Mother, exploring their experiencesby black English culture. Consequently, the positive is more important than the well-being of a small Arcticof grief and loss in their family. The play, set in London,recognition of the form by critics is necessary in displacing nation (ibid: 63). Bilodeaus Sila investigates the role oftakes place over one day and exposes the false portrayal ofand regenerating the expectations of English drama by the scientist in supporting micro-communities and marksminorities by the media when Brother is stabbed. tuckerencouraging white audiences to engage with a new form of the importance of theatre and science engaging multiplegreen illustrates the characters using as her startingtheatre.cultures on a large scale in order to bring awareness to, andpoint the speech patterns of black Londoners, [] tropes prevent, climate change disaster. drawn from black poetry and hip hop, to generate aMoreover, the portrayal of marginalised groups in the strikingly original dramatic poetry (Reid 2018: 391). Thismedia is what leads to their misrepresentation and lack of application of form provides an intimacy often overlookedrepresentation on stage. In one passage, tucker green writes within black characters on the Western stage as the styleof reporters loitering in the place where Brother died. Balestrini, N. (2017) Climate Change Theater and Cultural Mobilityoriginated in black culture. As I will show, the form isThe reporters ask a hard-lookin hoodie (tucker green in the Arctic: Chantal Bilodeaus Sila (2014), Journal of Contemporarynotable in displacing anticipations of Western theatre and2008: 74) how he would solve the problem of knife crime, Drama in English, 1(1) pp.70-85.divulging the dishonest practices of the media. the words denoting an intimidating and shadowy figure Bilodeau, C. (2015) Sila. Vancouver: Talonbooks. beneath a hood. However, this image, regularly represented Bilodeau, C. (2016) Arctic in Context, Climate Change Theatre Action.Naturalism dominates the western stage, other formsin the news, is overturned when tucker green describes the [Online] http://worldpolicy.org/2016/02/10/climate-change-theater- being alienated as it is the doxa experience so peculiarmans eyes as wet raw/ With weepin (tucker green 2008: action/ to the English stage which accounts for its particular74). Using poetry, specifically poetry from a black womans Bottoms, S. (2012) Climate change science on the London stage, Wileyinability to recognize other forms of performance asperspective, tucker green reveals the sincere feelings of Interdisciplinary Reviews: Climate Change, 3(4) pp.339-348. https://doi. valid or equal in importance (Godiwala 2006: 35).the man in the hoodie. The mans words have not been org/10.1002/wcc.173Consequently, theatre forms that do not fit expectedtwisted by the reporters, nor has his reaction been entirely notions of English theatre are diminished and condem- omitted from the story. As Godiwala (2016) explains, ned, tucker green having been: repeatedly criticised, forcritics have noted, [History] inevitably manoeuvres a example, for her use of heightened demotic poetry, whichstrategic presentation of certain views and a repression of a number of high-profile theatre critics have objected toothers (Godiwala 2016: 36) just as the reporters repress on the grounds that it is either difficult to understand forthe hoodies views in random. This is established when white audiences or distracting in that it is inherently un- tucker green writes they dont show that bit tho (tucker dramatic (Reid 2018: 397). green 2008: 74), the reporters only wanting a good, urban story (tucker green 2008: 74) that suits the White audiences finding the form difficult to understandestablished imperial hegemony. Furthermore, the play was is not a compelling argument for why tucker greenswritten a year after Tony Blair urged black communities to work should not be on stage. Rather, it imposes the doxatake responsibility for diverting young people away from experience (Godiwala 2006: 35) of theatre that denies thethis type of violence (Barling 2007: np). Similarly, the representation of marginalised groups and individuals.reporters in random ask members of Sisters community for Therefore, tucker greens use of poetry works politically tosolutions to prevent and stop the stabbings (tucker green destabilize the political position of the English language2008: 74), placing responsibility on those most affected by and English drama in England, thereby decentring thethe death. This denies the black community space to grieve imperial hegemony underlying English culture (Godiwalaas they are now in the public eye, being tasked with finding 2006: 36). As a result, random provides a space wherea solution. Therefore, random is politically significant 20 21'