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Landscape as Stage, Weather as Dramaturge: Pageantry in the Ecological Age

By Ian McFarlane

Figure1.WoodprintbyIanMcFarlane

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TableofFiguresFigure1.WoodprintbyIanMcFarlane..............................................................................................1Figure2.TheRiverClydePageant.PhotobyRobertVanWaarden.....................................5Figure3.Iinisikimm.PhotobyDavidLane.......................................................................................5Figure4.TheRiverClydePageant.PhotobyRobertVanWaarden..................................15

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Asailismadeoutofearth,aBisonisresurrectedwithlight,treeswalk,thestarsdance,fishfly,andtheskydescendstotheearthsinging.

Theimpossibilityoftheseimagesstemfromactsofcollectivedreaming,fromanenchantmentwiththepossibilityofwhatcouldbe.Theyemergedfromseveralcommunity-leadoutdoorperformancesinthesummerof2017.Theseimagescanbeinterpretedasactsofemplacement,aspoliticalreactions,aseventsofcommunityforming,aswellasactionsthatextendbeyondinterpretation.Iarguethattheyareactsofcorrespondence;theyarewaysofansweringtotheworld.

Iwasabletoexperiencetheseimagesfirst-handonacontinent-wideresearchtripinthesummerof2017.Thisresearchtookmetothreedifferentcommunities,eachexercisingtheirownparticularcreativephilosophies,eachreactingtoaspecificpoliticalclimateandeachembeddedwithinauniquelandscape.Theintentofmyresearchwastoexperiencecommunity-leadprotestartinruralcommunitieswhileutilizingmyworkinpuppetryasadisciplineofemplacement.ThesecommunitiesincludedthebroadercommunityofBreadandPuppetTheaterinGlover,Vermont,thecommunityofNewGlasgow,PEI,andanewlyassembledcommunityofartists,scientists,elders,teachersandstudentsinTreaty7territory,Alberta.

Theactionsthatthesethreecommunitiesengagedinallsharedasimilarform:acollectivegathered,theyconceptualizedandconstructedobjectsusedformaterialperformance,andtheycreatedaperformancestagedinanoutdoorenvironment.ThisformIrefertoaspageantry.

Pageantryisanancientformoftheatre.InWesternculture,itstretchesbacktoRomanmodelsoftheatrethatwerelaterdevelopedbythechurchinMedievalEurope.(Aronson,23)SimilarperformancetraditionsinIndia,suchasRamlila,YorubaspectaclesandfestivalsinNigeriaorMuharramSpectaclesinIslamictraditionscanbetracedbackevenfurther.TheCommoncharacteristicsofa“pageant”includeanoutdoorenvironment,aprocessionalstructure,bothinaudienceandinperformance,theuseofmaterialperformancesuchasmaskandpuppetry,andafocusonagatheringofcommunity,oftentakingtheformofincludinglocalsintheperformance,theblurringofaudienceandperformer,aswellasanembraceoftheamateur.Pageantryhasoftentakentheformofrevolutionarytheatre.Mostnotably,amass“pageant”wasstagedfollowingtheFrenchRevolutionandthedeathofVoltaire,embracedasaformof“thepeople’stheatre”.ThismodelwaslateradaptedintheSovietUniontocelebratetheanniversaryoftheBolshevikRevolution.

BreadandPuppetTheateriswellknownforreinventingtheAmericanPageant.TheinfamousseriesofTheDomesticResurrectionCircusandPageantweremassiveoutdoorspectaclesthatbroughtupwardsof15,000spectatorspershow.Reachingtheirpeakinthe1990’s,thesespectaclesradicallyalteredthetraditionalcommunityHistoryPageantsperformedthroughoutNewEnglandinthepreviouscentury.Theseearlierfolkplayscelebratedsignificanteventsincolonialhistoryandglamourizedsettlerdominationover

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nature.TheDomesticResurrectionCircusandPageant,despitesharingsimilarstructuresintheuseofanoutdoorenvironmentandaprocessionalscenography,wasaradicalresponsetothistradition,oftenusingthepageantasameansofprotesttothecapitalistregime.Thecontentwasrigorouslyresponsivetocurrentevents,oftenaimingnottopersuadebuttoallowtheaudiencetosittogetherwithoutunderstanding.(Bell,18)Thecompanyalsoapproachedtheenvironmentasacollaborator,seekingawaytoanswertotheworldaroundthemasopposedtoconfirmcontroloverit.PeterSchumann,founderofBreadandPuppetTheater,speakstothisinaninterviewwithJohnBell.

“[Y]ouapproachtheenvironment,youthinkofitassomethingthat’sasimportantasyourwords,orasyourotherpersuasions.Whenyouallowittodosomething,itpersuadesbyitself…Thebestthingwecangetoutofapageanthereisthecloudsortheturningofthelight.Therestisveryminimalcomparedtothat.Ifwesucceedingettinganaudiencetobeperceptiveonlytotheseelements,thiswouldbeperfect,wewouldn’thavetodoanything.“(qtd.inBell,5)

SchumanncontinuestocreateanddirectpageantsattheBreadandPuppetfarmin

Glover,Vermont.ItisherethatIbeganmyresearchtrip,helpingthecompanypreparefortheirsummerpageant.Thecontentoftheseperformancescontinuestorespondvigorouslytocurrentevents,specificallytothethenrecentpresidentialelection.Thepageantsalsocontinuetoseeknewwaystocollaboratewiththeforests,creeksandcloudsofNorthernVermont:ahuman-madepineforestthatcontinuestocollapseinonitselfalsohappenstoraisegiantmarionettes,amassofcardboardcloudsmovewithanapproachingstorm,andagrowinggardenofstonefiguresblossominapatchoffield.

TheinfluenceofBreadandPuppetTheaterisimmeasurable.TheDomesticResurrectionCircusandPageantcanbesaidtohavechangedthefaceofmaterialperformanceinNorthAmerica,transformingmaskandpuppetryintopoliticalweaponryandturningpageantryintopublicprotestratherthananaffirmationofsocietalstructure.TheRiverClydePageantinNewGlasgow,PEI,canbeseenasanextensionofthistransformation.Thiswasmysecondresearchdestination.Takingplacealongthebanksofthetidalriverthatrunsthroughthecommunity,theRiverClyde,thepageantbroughtattentiontotheenvironmentalsignificanceandecologicalchallengessurroundingthewaterwaysofPrinceEdwardIsland.Thisannualeventfocusesoncommunitygathering,usinglocaltalent,resources,andmaterialstocreateastorythatisuniquetothepeopleandthepoliticalclimateofNewGlasgow.OrganizedthroughtheatreartistsKerWellsandMeganStewart,TheRiverClydePageantisauniqueeventperformedforandbyacommunityinordertocelebrateandcritiqueitsexistence. MythirdandfinallegofmyjourneybroughtmetoKananaskisCountry,Alberta.SituatedonthetraditionallandoftheStoneyFirstNation,agroupofartists,elders,scientists,teachersandstudentsgatheredaroundasignificantecologicaleventintheCanadianRockies.OrganizedthroughtheCanadianAcademyforMaskandPuppetry,Iiniskimmwasalarge-scaleoutdoorperformancethatcelebratedthe

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Figure2.TheRiverClydePageant.PhotobyRobertVanWaarden

Figure3.Iinisikimm.PhotobyDavidLane

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returnofBisontoBanffNationalPark.Theeventwasaseriesofnighttimeperformanceslocatedinalpinemeadows,onmountainsidesandinrivervalleysthatfeaturedlarge-scalelanternpuppets.Leadinguptotheperformance,thisnewlyformedcommunitycampedtogether,wereguestsatasundance,andhostedcommunityworkshopsinBanffandatCampChiefHector,activelybridgingcommunitiesanddisciplines.

Itismybeliefthattheatre’sstrongestattributeisitsabilitytobringintoembodiedknowledgetheconcernsofitstime;itmanifestsaliving,breathingawarenessofacrisiswithinthehereandnow.Itgoeswithoutsayingthattherearemanyconcernsinourpresentmoment;oneofthemostprominentofthoseconcernsisanecologicalconcern.

In2000,Nobel-winningchemistPaulJ.Crutzenproposedtheterm“Anthropocene”asthenameforourcurrentgeologicalepoch.Itischaracterizedbytheescalatingeffectsofhumanactivityontheglobalenvironment.Althoughanunofficialterm,theproposedshiftoutoftheHoloceneisrecognitionofhumanimpactsuchastheguttingofbiodiversityandsignificantcontributiontoanapproachingclimatecrisis.AsDipeshChakrabartystates,humansnow“wieldageologicalforce”(Chakrabarty,206),puttingourveryexistenceatrisk.

Howthen,doesPageantryrespondtothisecologicalconcern?Howcanwhatappearstobeanaïveandjoyfulhumanactivitypossiblydoanythingbutcontributetothecrisis?Ifitisethicalprinciplethatneedstobetransformedintoethicalbehavior,doesperformanceplayaroleinthistransformation?Toaddressthesequestions,Iturntocontemporarypageantryanditslong-establishedtraditionsofrespondingtoecology.LandscapeasStage

Letuscontemplateatheatrewithoutthetheatre.Itisanoldidea,perhapsevenanobviousone.Indeed,beforetheprosceniumarch,thiswascommonplace.Areflectiononthehistoryofenvironmentalscenographywillrevealthatopen-airorout-of-doorstheatreisindeedtheoriginsofwesternscenography.

Initssimplestdefinition,environmentalscenographyisanystagingthatisnon-frontal.Byfrontalstaging,Iamreferringtoanyexperienceofperformanceinwhichthereisasingleframethatthespectatorremainsoutsideofandisviewedfromastaticposition.Environmentalscenographyisatermappliedtoexperimentaltheatreformsfromtheturnofthe20thcenturyonwardsandhasprimarilybeendefinedbyexaminationsofthetheatricaluseofspace.Itisimportanttonote,perhapsevengoeswithoutsaying,thatnon-frontalandopen-airperformanceshavebeencommonthroughoutthehistoryoftheatreandindeeddominatemanynon-

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Westernperformancetraditions.TheRamlilaspectacleinIndia,forexample,employsmultiplestagesthroughoutacommunityandoftenhassignificantinfluenceoverthetown’sarchitectureandlandscape.Inthissense,thetheatrecanbeconsiderednotasanisolated,controlledlaboratorycontainedwithinpre-existingarchitecture,butanintegralaspectofsocietalstructure,urbanplanningandecology.

Outdoorperformancehasoftenbeenemployedthroughouthistoryoutofnecessity.InMedievalEurope,suitableindoorpublicspacewasascarcecommodity.Publicreligiousperformancesoccurredsporadicallyandemployedfoundenvironments,oftentransformingtheentiretownintoaperformancespace.Withoutanypreexistingpresentationspace,performancespaceneededtobecarvedoutthroughtheactionoftheparticipants.Mumming,referredtobyfolkloristsas“visitations”(Aronson,18),involvedmembersofthecommunitywanderingfromhousetohouse,thustreatingtheentiretownasaunifiedperformancespace.InGermany,atraditionknownas“TheBavarianWildMen”treatednotonlythetown,butalsothesurroundingwoodsasanunrestrictedperformanceenvironment.OnSt.NicholasEve,maskedperformersskioutofthewoodsandstirupvariousformsofmischiefinthevillages.Spectatorswatchtheperformance(ordonotwatchtheperformance)fromtheshelteroftheirhomes.RichardSoutherndescribesthisformoftheatreashaving“noparticularplaceofperformance;nostage;noscenery;noplayhouse;andnorehearsal.Herethereisnoteven–andthisisperhapsthemostnoticeablelackofall–anyassembledaudienceassuch”.(qtd.inAronson,18)Itbecomesclearthatthetheatre,theprosceniumarchandthesingularstageframearerecentadvancementsinthedisciplineoftheatre.Forexample,thefirsttrueproscenium,theTeatroFarnese,wasconstructedin1618.

Despitetheselong-standingperformancetraditionsthatexistoutsideofthearchitectureofthetheatre,environmentalscenographyhasoftenbeencharacterizedbyarevoltagainsttheprosceniumarch.FuturistssuchasFilippoMarinettiandDadaistperformancessuchasZurich’sCabaretVoltairewereamongthefirstleadersoftheserevolts.Theseperformancesreliedonfoundspaceandtechniquesin“Tactilism”(Aronson,35)inordertopenetratetheaudienceandbreaktheperformer/spectatordichotomy.Oncepopularized,theserevoltsweretranslatedtothetheatrearchitectureitself,resultingingrandtechnicaladvancementssuchasWalterGropius’sTotaltheater,aproposedstagethatutilizedtworevolvingturntables,oneofwhichtheaudiencewasseatedon.TheTotaltheaterproposalalsoincludedprojectionscreensthatsurroundedtheaudience,andvariousmechanismsthatwouldinfusethespacewithspecificscents.Thedesiredresultwastocompletelyimmersetheaudienceintheperformance.Althoughtheprosceniumarchwasdisassembled,consumedandspatoutagain,theintentoftheperformanceremainedthesame:toframeacontainedperformance

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spaceandcontroltheelementswithinitinordertoaffectand/ormanipulatethehumanspectators.

In1952,JohnCagestagedthefirst“happening”atBlackMountainCollege,aneventthatcouldbesaidtohaveradicallyalteredthewaywethinkofwhattheatrecouldbe,pointingtosomethingoutsideofthecontainedlaboratory.Cagedefinedtheatreas“somethingwhichengagesboththeeyeandtheear.”Inhisview,“Theatretakesplaceallthetimewhereveroneis,andartsimplyfacilitatespersuadingone[that]thisisthecase.”(qtd.inAronson,159)ThissameprincipleisevidentinCage’smusicalcompositionswhere“thereisnosuchthingasabsolutesilence.”(Aronson,159)Inotherwords,theexternalworldisalwaysperforming;artsimplybringsourattentiontotheperformingoftheworld.

Whatelseisperforming?Howcantheatrebringthistotheforefrontofourconsciousness?

ItiscuriousthatGrahamHarmon,acentralthinkerinthedevelopmentofobjectorientedontologyandspeculativerealism,usesarathertheatricalterm,thetheatron,whenarticulatinghowmatterinteractswithothermatter.Harmondefinesthetheatronasthespacethatisopenedupduringtheencounterofobjects.(Florencio,203)(Here,Harmonreferstoobjects,orperformingbodies,asanythingfromamammaltoathoughttoaunicorn.)AccordingtoHarmon,withinthetheatron,bodiesneverwitnesseachotherinfullbut,instead,“areonlyabletoencounterthecontingentmediatingrolestheyperformtooneanother.”Forhim,the“realobject”istheobjectthatneverrevealsitself,thatwithdrawsfromrelations,whereasthe“sensualobject”isthatwhichispresentedwithinanencounter.(Florencio,206)Thisencounteris,inmanyways,aperformance.

JoaoFlorencio,ahistorian,lecturerandthinkerwhoseworkinperformancetheorycontemplatestheongoingecologicalcrisis,referencesHarmon’stheatroninhisarticle,EncounteringWorlds:Performingin/asPhilosophyintheEcologicalAge.Here,Florencioseesthetheatronasanopportunitytoencounterobjectsasstrangers,andtorealizethatbodiesarealwaysmorethanwhattheyrevealortherolestheyperform.ToencounteranobjectasastrangeristoembraceBrecht’sactofVerfremdung,otherwiseknownasestrangement.Thisactforegroundsthetheatronand,indoingso,highlightsthe“inaccessiblecoreofabodyandpoint(s)initsdirectionasifpointingtowardsitsownhorizon.”(Florencio,206)

Thisnotionofperformanceopensupaspectrumbeyondthedichotomyofnatureandculture.Harmon’stheatronis,asJoàoFlorénciodescribesit,“there-embraceoftheecosystemicnatureofthereal.”(Florencio,210)Inreferencetoperformancetheory,Harmon’stheorycanbereadasare-discovery,asthehistoryofenvironmentalscenographyreveals,oftheopeningupofperformancetheorytospacesbeyondthetheatre.

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Suchagesture,initswillingnesstothinktheparallelsbetweenwhatgoesoninsidethetheatreandwhattakesplaceinwidersocialsettings,canbesaidtohavebeenthefirstattemptatunderstandingperformancefromanecologicalviewpoint,agesturethattriedtolookattheplaceofperformancewithintheproverbial“biggerpicture.”(Florencio,210)

Treatingthelandscapeasastage,orrather,puttingtheatreinrelationshipto

anecology,bringsintotheframethis“biggerpicture”.Thisrelationshipwasclearlyembodiedinasignificantmomentinthe

performanceofIinisikimm.Theperformanceapproachedthenightskyasitsstage,usingdarknessandcelestialmatterasacollaborator.Leadinguptothismoment,theaudiencehasjustseenaherdofBisonslaughteredinanopenalpinemeadow,theirlanternsbeingextinguishedonebyone.Thereisastillness.ElderLeRoyLittleBearbeginstoshakearattleandsingsatraditionalsongofmourning.Anassemblageof“star”lanternsemergesinthedistance,dancingintheopenspaces.Inaflash,thestarlanternshaltinanimagethatmirrorstheconstellationofthebigdipperinthenightskydirectlybehindthem.Thechoreographyofthestarlanternsthusansweredtothelandscapeofthenightsky,makingtheirdanceaduetbetweenmaterialperformanceandtheexternalworld,callingintofocusalargerecology.

InTheRiverClydePageant,theprocessionofthepageantisshapedbythehuman-madestructuresofNewGlasgowthatnestleuptothebanksoftheriver:agarden,abridge,awell,andarestaurant.ThepageantendswithacommunityfeastamongstthereedsoftheRiverClydeasthesunsets.Thisprocessionbringsattentiontoimportantpiecesofthecommunity’sinfrastructure,yetremainssolelyhuman-focusedinitscollaborationwithlandscape.Theriver,thereedsandthesunsetremainasbackdropstothishumancelebration.Canascenographyoflandscapeservemorethanthis?Aretherecollaborationswithearth,skyandwaterthatweareavoidinginordertogivehumanconcernsthestage?TheRoleofthePuppet

Whenconsideringperformanceinrelationtoecology,Ibelievethatwemustconsideraworldbeyondhumanprivilegeandmastery.Iamnotaloneinthisdesire.Here,IamreferringtothecontemporarythoughtoftheSpeculativeRealists,theschoolofObject-OrientedOntology(initiallydevelopedbyGrahamHarmanandexpandedthroughthinkerssuchasTimothyMorton),theNewMaterialists,thePost-Humanists,thePosthumanFeministssuchasDonnaHaraway,thetheoriesof“vitalism”ofJaneBennettandthe“agentialrealism”ofKarenBarad.Thelong

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establisheddichotomyofnatureandculturehascollapsed.A“flattenedontology”(Florêncio,196)isprovingtobethegroundsforecologicaldialogue.

Whatdoespageantrycontributetothisdialogueofa“flattenedontology”?Amajorelementofpageantryismaterialperformance,namelythe

disciplinesofmaskandpuppetry.InthepageantsofBreadandPuppetTheatre,TheRiverClydePageantandIiniskimm,puppetsarethecentralplayersinwhichthemajorityoftheactionrevolvesaround.Mostofthepuppetsintheseperformancesareexceptionallylargeinscale.InIinisikimm,thespectacleclimaxestoacircledancearoundagiantlanternintheshapeofaBison.InTheRiverClydePageant,thecentralfigureisatoweringfacethatfloatsdowntheriverbyboat,asilentwitnessoftheaudience’sprocessionalongtheriverbank.InseveraloftheBreadandPuppetTheatrePageants,theMotherEarthPuppethasbecomeareoccurringfigureofresurrectionandforgiveness,whoseheadstandsatthirtyfeetandwhosebodysheltersanorchestra.Herarms,whichstretchoveradistanceoffiftyyards,areabletoembracetheentireperformingensemble,oftenreachingnumbersofoveronehundred.

Howcanhumanmanipulationofobjects,theperforming-ofobjects,beconsideredgroundsforaflattenedontology?Puppetry,orinstance,canbeinterpreted(isalmostalwaysinterpreted)asinherentlyanthropocentric,builtexclusivelyupontechniquesofanthropomorphismandhumandominationoverthematerialworld.Theveryactofanimationisdefinedasgivinga“soul”(animus)tootherwiseinanimatematerial.Thiswouldassumethatthehumanisasuperiorbeing,giftedwiththepowerofattributingvibrancytocertainmatterandignoringthematterthatdoesnotservethetheatricalintention.Inotherwords,itisthehumanthatdecideswhatisanimateandwhatisinanimate.Thisappearstobeanepistemologyofdomination.Canthispracticeevenexistoutsideofastagethatclearlydividesculturefromecology?Itseemsthatthepuppetcanonlyeverbeshapedinthelikenessofthehuman;itisalwaysareflectionofthehumanform,thehumanmind,ormoreoftenthannot,humanfears.

Itisthisaspectofthepuppet,theabilitytobringourinnermostfearsintomaterialformthatprovidesuswithastimulatingcontradiction.

KennethGrossdescribesthepuppetasuncanny.Thisstrangefamiliarnessevokesmuchinahumanobserverandgivesusthesensethat“wearebothmoreandlessthanwholes,thatwegivebirthtothingsalientoourselves.”(p.35)Morethanthat,apuppet“picksoutourmadness,orwhatwefearisourmadness.”(p.2)Itishere,intherealmoftheuncannythattheecology/culturedichotomybeginstoblur.

Thepuppetexistsincloserelationshipwithdeath.Itdoesnotseemtorespecttheboundariesoflifeanddeath,andmoreoftenthannotresistsdeathateveryturn.ThisrelationshipwithdeathcanbeseeninChineseshadowtheatre,

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wheretheshadowscreenisreferredtoasthe“screenofdeath”.ThisrelationshipwithdeathcanalsobefoundintraditionsindigenoustoJavaandJapanwherepuppetsareconstructedtoprovidehomesforthesoulsofthedead,aswellasintheBritishfolktraditionof“TheCuttingWren”,whereabirdcorpseisdressedinlaceandhailedasaking.This‘leapoffaith”thatpuppeteersmaketurnsnotinwardstowardthelivingbody,butoutward,totheexternalworld.(Bellp.1)

Isdeaththenaffiliatedwiththeworldofinertmatter?Isthiswhatwewouldrefertoastheinanimate?Isitnotthisperceptionoftheexternalworldas“dead”thathasencouragedhumanstotreatnon-humanmatterassomethingtobeharvestedorconquered?

ItisherethatIturntopoetry.Whenconsideringpoetry,IamguidedbythewordsofGastonBachelardwhoconsidersthe“poeticact”asaformof“directontology”.Hereheisconcernedwiththeonsetoftheimageandarguesthatthereaderperceivesitnotasanobjectorrepresentationbutasitsownreality.ForBachelard,thepoeticimage“becomesourown”throughthereadingofitandinturnit“becomesourbeing.” Thegroweroftrees,thegardener,themanborntofarming, Whosehandsreachintothegroundandsprout, Tohimthesoilisadivinedrug.Heentersintodeath Yearly,andcomesbackrejoicing,Hehasseenthelightliedown Inthedungheap,andriseagaininthecorn. Histhoughtpassesalongtherowendslikeamole. Whatmiraculousseedhasheswallowed Thattheunendingsentenceofhisloveflowsoutofhismouth Likeavineclinginginthesunlight,andlikewater Descendinginthedark?(Berry,3)

Here,thepoetWendellBerry“entersintodeath”onanannualbasis.Hisrelationshipwithdeathappearsnotasaninteractionwiththeinertandtheinanimate,butratherthevibrantandtheanimate,whichgivescauseforrejoicing.Throughthispoeticact,onecantouchthepossibilityofdeathbeingmorethanalackoflife.Deathisavibrancythatrisesinthecorn.Deathisafacethatpeersoutfrombeyondtheshadowscreen,causingtheboundariesbetweenworldstotremorlikecurtains.Muchlikethemanborntofarming,theanimacydiscoveredthroughtheinteractionswithapuppetisanactofenteringintodeath.KennethGrossdescribesthisactasfollows:

“[It]remind(s)usthatwedonotyetknowwhatitmeanstobeinanimate,thatwedonotknowfullythedifferentkindsofdeaththat

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humansown,ortheshapesofthelivesthatcanbelivedbyinanimatethings.”(Gross,p.47)

Inthisway,thepuppetcanbesaidtobe“anambassadororpilgrimtohuman

beingsfromtheworldofthings.”(Gross,33)Ithastheabilitytocallattentionto,notonlyourinevitablereturntonon-humanmatter,buthowweareinfactcomposedofthenon-human.

Thisrelationshipwithdeathisalsoarelationshipwiththegrotesque.ForWolfgangKayser,“thegrotesqueworldis–andisnot–ourownworld.”(Kayser,37)Thegrotesquehereservesasthefaceofdisorder,overthrowingnaturalordersandbringingthenon-rationaltothespotlight.MikhailBakhtinseesthegrotesqueas,notonlyantiauthoritarian,but“lifeasawhole”(Bakhtin,50).Thisisindeedasourceofgreatmetaphysicalliberation.“(I)nthesystemofgrotesqueimagerydeathandrenewalareinseparableinlifeasawhole,andlifeasawholecaninspirefearleastofall.”Bakhtin’sconceptofthe“grotesquebody”,sharesthisliberation.“Contrarytomoderncanons,thegrotesquebodyisnotseparatedfromtherestoftheworld.Itisnotaclosed,completedunit;itisunfinished,outgrowsitself,transgressesitsownlimits.”(Bakhtin,26)Here,Bakhtinisstressingthepartsofthebodythatareopentotheoutsideworld,orrather,“thepartsthroughwhichtheworldentersthebodyoremergesfromit,orthroughwhichthebodyitselfgoesouttomeettheworld.”(Bakhtin,26)Thiswouldinclude“theopenmouth,thegenitalorgans,thebreasts,thephallus,thepotbelly,thenose.”Forthepuppet,abodythatdoesnotsharethesame“aperturesandconvexities”ofahumanbody,yetcanliveoutexcessiveviolenceanddismemberment,thisunfinishednessiswhatKennethGrossreferstoasthepuppet’s“fragmentation”.

Thelifeofpuppetsdoesnotjustsurvivedestruction;itfeedsonit…thedomainofpuppetsisitself,atitsmostanimated,aworldofdestroyedthings.Thepuppetalwaysexistsintheshadowofitsowndestruction,beingathingmadetobedestroyed…Itis“asumofdestructions”(asPicassosaidofhispaintings)Thepuppetbelongstoafamilyofthingspartial,fragmented,andbroken…partsenactingawhole,transformingoursenseofthewhole.Thepoetryofthepuppetisapoetryofinadequacy.(Gross,95)

Theoftenclumsyorridiculousactofmanipulatingobjectsisawayofwrestlingwiththis“lifeasawhole,”offacingthecomplexitiesofdeath,thenon-humanandtheincomprehensible.Itisawayofoutgrowingoneself.

Imagesofdeathareprominentinthesecontemporarypageants.InTheRiverClydePageant,aschoolofdeadfishemergesfromabloomofjellyfish,smiling

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ghoulishly.InIinisikim,aherdofbisonisslaughteredfromadistance,eachlanternbeingextinguishedbyasinglegunshot.IntheOvertakelessnesPageantattheBreadandPuppetfarm,dismemberedbodypartsarechurnedtothesoundofagiantrattle,followedbystillnessandasongofmourning.Thesefacesofdeathstarebackatusfromthemud,fromtheriversandforests,likemessengersfromthebeyond,callingtoourmortalityandthefesteringecologiesthatareourbodies.WeatherasDramaturge

Perhapsthegreatestadversaryofoutdoorperformanceistheweather.Therearecountlessparadesorproductionsof“ShakespeareinthePark”thathavebeencancelledduetounfortunateweatherconditions.OntheclosingnightofTheRiverClydePageant,forinstance,somemajorpuppetryelementswerelostduetoasuddendownpourthatsaturatedthedelicatepapiermachéstructures.Itisnowonderthattheenclosedspaceofthetheatrehasbecomethecommonsofperformance,whereconditionsarepredictableandeveryone’ssafetyandcomfortareaccountedfor.

Itispreciselythisdynamic,violentanddiscomfortingcharacteroftheweatherthatdemandsthattheoften-complacentdisciplineoftheatrebemovedout-of-doors.

“Itiscoldtoday.”“Doyouthinkitwillrain?”“Nicedaytoday.”Thetopicofweatherisonourlipsatalmosteveryturnineverydaylife.Despiteourbesteffortstoshutitoutortoreplaceitcompletelywithartificiallight,humidifiersorair-conditioning,weatherdemandsourattentioneverydayofourlives.Thetheatreisnotexemptfromthis.Toshutouttheweatheristoshutouttheworld.

Letuscontemplatethephrase,“Itiscoldtoday.”Oftenusedtoinitiateaconversation,ortosimplyavoidalengthyinteraction,thissimplephraserevealsmuchaboutthepenetratingnatureofweather.ForTetsuroWatsuji,coldnessisnotsomuchaphysicalsensationbuttheveryqualitythatdefineshumanempathy.JinBaekspeakstoWatsuji’sconceptofclimate:

“[C]limateisbynaturetheagencyofcollectivesharing.Climateisthecontextthroughwhichself-enclosedindividualismisovercomeinfavourofanempathythatcultivatescollective,culturalmeasures.”(Baek,p.382)

Bystating“Iamcold”,Iamstatingafactofourmutualrelation.Iam

callingintofocustheveryessenceofourcomposition.Iftheactoftheatreistowitnesssomethingcollectively,thentreatingtheweatherasacreative

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companion,curatorordramaturgeistocollaboratewiththeveryessenceofempathy.

TimIngolddescribestheweatheras“notsomuchwhatweperceiveaswhatweperceivein.”(Ingold,p.131)AccordingtoIngold,theairaroundushasbeenlargelyoverlookedinArt,Architecture,AnthropologyandArcheology.The‘materialworld’isseenasbeingcomprisedofonlylandscapeandartefects.(Ingold,132)Theair,incontrast,isnotanentityofanykind,butsimplyamedium.ForIngold,“[T]hemediumisnotsomuchaninteractantastheveryconditionofinteraction.Itisonlybecauseoftheirsuspensioninthecurrentsofthemediumthatthingscaninteract.”(Ingold,132)

Ingoldcallsforththeimageofflyingakite.Thekite,thekite-flyerandtheairareengagedinanintimatedanceinwhichthereisnoclearleader.Here,eachplayerisactingupon,andinturnacteduponbytheotherplayers.Theveryactofflightisacollaborativeeffort.Withinthisimage,Ingolddescribesagencyasanillusion,builtuponafalsepretense.Humanandnon-humanalikeareinstead“possessedbyaction”,entwinedwithina“danceofanimacy.”(Ingold,101)

Thekitebearsastrikingresemblancetoapuppet.Here,thereisahumanplayer,(Thekite-flyerorthepuppeteer)engagingwithanotherperformingbody,anon-humanplayer,(akiteorapuppet)withasensitivitytoitsanimacy.Themaindifference,itseems,isthepresenceoftheairanditsengagementwiththisinteraction.Whatroledoestheweatherhavewithpuppetry?Whatarethepossibilitiesofanimacywhenapuppetdancesnotonlywithitshumancounterpart,butwiththemedium?PerhapsthereissomethingherethatthepuppeteercanlearnfromtheKite-flyer.Intheflightofakite,thekite,airandflyerappearnotsomuchtointeract,buttocorrespond.InIngold’swords,“tocorrespondwiththeworld…isnottodescribeitortorepresentitbuttoanswertoit.”(Ingold,101)

TherearemomentsinthepageantsofBreadandPuppetTheater,TheRiverClydePageantandIinisikimmthatglimmerwiththisanswering:lanternsdancewiththestars,amassivefacemoveswiththewind,afieldofcardboardcumulouscloudsdescendsasastormgathersinthedistance.Theweathermakesforastunningperformer,yetithasthepotentialtoplaystilladeeperrole:thatofthedramaturge.

DuringmytimeinNewGlasgow,PEI,Ireflectedontheprocessofmakingthelargepuppetsfortheevent:

Iambuildingasailoutofearth.ThesunhasreachedaclimaxandIpausetoremovealayerofclothing,drinksomewaterandlookatthesky.Thereisathintraceofcloudonthehorizon.Ithoversabovetheoceanlikeathincurtainofsilk,notsofaraway.IfIwereameteorologistImightbeabletoputanametothisformationof

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whispingstratus,undulatingasifsomeonewerebatingitwithalargefan.Itresemblesrollinghills,oroceanwaves,ortheshapeofsoundwaves.Despitemylackofunderstandingofclouds,Icanfeelashiftinpressure,anapproachingchange;Icansensetherain.

Ireturntotheearth.Thedirtisredsandstone,animpossiblebrightredcolourthatissodistincttothisparticularlocation.OntopofagreatmoundofthisredearthIhavepiledonbucketsofgreyclay,araretreasurethatmyteamofartists,farmers,teachers,carpentersandcookswereabletofindupstream.Wehauledittothissiteoverthecourseofthreedays,onecanoeloadatatime.Theclayisfreshandsmooth,anotherimpossibilitymadepossiblefromthisplace,thispieceofearth.

Thisearthhasbeenshapedbymanyhands.Itresemblesafacethatisovertwelvefeettallandsevenfeetwide.Itprotrudesfromthehillside,asifrelaxinginabath.Ontopofthisshape,layersandlayersofstarchandpulphavebeensmoothedout,creatingarichbrownskinonitssurface.Ifthesunholdsitsplaceintheskyforafewmorehoursandtheapproachingrainismerciful,thisskincanberemovedandtransformedintoasail.Thesail,constructedusingapapiermachétechnique,isshapedbysunlight,

byhumidity,andbythetextureoftheearth,whichhasalsoundergoneseveral

Figure4.TheRiverClydePageant.PhotobyRobertVanWaarden

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transformationsthroughthemovementsofthesky.Themaker,inrelationtotheshiftingcurrentsofclouds,discoverstheinteractionofmaterialsandhisimaginationthroughthemedium:theweather.Inthestuffyworkshopsandstudiospaceswheretheatreseemscomfortableandatease,themakertakestheirclimateforgranted.Evenwithintheseenvironments,wherethemakerbelievestheyareshelteredfromunwantedinfluence,therearecomplexweatherpatternsthatconditionourinteractionsandthatpatientlyinformourworkasthemostdiligentandgenerouscollaboratorsmight,despiteourbesteffortstoignorethem.Conclusion

WhenIspeakofecology,itisimportanttonotewhatecologyIspeakto.InhisessayTheClimateofHistory:FourTheses,DipeshChakrabartyargues

thatclimatechangehascausedthedichotomiesofnaturalhistoryandhumanhistory,thefundamentalassumptionofWesternthought,tocollapse.Heclaimsthat“(h)umansnowwieldageologicalforce,”(Chakraharty,206)thusputtinghumansinrelationtogeologicaltime.“ThegeologicnowoftheAnthropocenehasbecomeentangledwiththenowofhumanhistory.”(Chakraharty,2012)

Incontrast,JimMooreargues,“theissueisnottheAnthropocene,buttheCapitalocene.”(Moore,287)

(C)apitalismunfoldsinandthroughtheoikeios,thecreative,generative,andmulti-layeredrelationofspeciesandenvironment.Humans,likeallspecies,areatonceproducersandproductsofourenvironments.Humans,andalsothecivilizationsweco-producewiththerestofnature.WefindthespirittheoikeioswhenWallersteinspeaksof“ecologicalexhaustion”asaworld-historicalmovementencompassinghumannaturesalongsidesoilsandforests.Thehealthofbodiesandenvironmentsareindeeddialecticallybound.(Moore,287)

ForMoore,Capitalismisan“environment-makingprocess”;itisa“world-system”.(Moore,287)

ForbothMooreandChakraharty,ecologycannotbeconsideredexternaltous.Changeisco-producedbetween“nature”and“civilization”,orrather,betweentheenvironment-makingactantsofbothhumansandnon-humansalike.

Unlikethepoeticimagesofkite-flyingillustratedbyTimIngold,MakhailBahktinseesthisco-producingnotasadance,butasastruggle.ThisreferstowhatBakhtincalls“cosmicterror”:therealitythatthenon-humanistoovastandincomprehensibleforhumanstobeinequalexchangewith.Ifhumansareinaconstantstateoffindingstability,ecologyisthatwhichisever-changingand

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challengingthatstability.Bahktinseesthisstruggleasawayofre-examiningourrelationshipwiththeworld.The“smallexperience”,thestableworldoffamilyandisolatedlife,closeshumansofffromtheworldrenderingtheminactiveandsusceptibletotheconsequencesofchange.Here,everythingisclosed,unresponsive,controlled,andpredictable.Incontrast,withinthe“greatexperience”,thatofthecosmosandtheincomprehensible,“everythingisalive,everythingspeaks”.(qtd.inLast,68) ForBakhtin,thisopeninguptothe“greatexperience”isawayofempoweringtheindividualwithintheinevitabilityofchange.Itisawayofcombatinginstrumentalizationandstagnation.Forhim,thekeytoconfrontingthisliesinthehumanbody;sensoryengagementishowonecan“destroytheofficialpictureofevents.”(p.74)Thebodyisa“siteofdisruption,error,aberrationandsurprise.”(Last,71) Inheressay,NegotiatingtheInhuman:Bakhtin,MaterialityandtheInstrumentalizationofClimateChange,AngelaLastappliesBakhtin’sconceptof“cosmicterror”toourexperienceandnavigationofclimatechange.SheraisesasalientpointaboutBakhtin’snotionofsensoryengagement:“climatechangeseemstorequirenotonly‘rationalproof’but‘sensoryconfirmation’.(Last,75)Inthefaceofecologicalcollapse,sensoryengagement,specificallyBakhtin’sencouragementtore-familarizeourselveswith“thealiennessoftheworld”(Last,71)couldserveasourstrongestdefenseagainstinstrumentalizastion,silenceandstagnation.

Bakhtin’svisioncouldbetakenasanencouragementtoengagewiththepotentialofcatastropheandfindawayofmakingsenseofitforoneself–against‘theofficialpictureofevents”–asanalternativetobeingheldcaptivebyone’sfear.(Last,71)

InherprefaceforherbookVibrantMatter,JaneBennettstates“ifasetof

moralprinciplesisactuallytobelivedout,therightmoodorlandscapeofaffecthastobeinplace”(Bennett,xii)HeresheisechoingRomanticthinkerssuchasJean-JacquesRousseauandNeitzche.Shebelievesthatenchantmentwiththeeverydayworldmightmotivatethismove.“Whatseemstobeneededisacertainwillingnesstoappearnaïveorfoolish,toaffirmwhatAdornocalledhis“clownishtraits.””(Bennett,xiii)ShequotesJodiDean,whostates,“Ifallwecandoisevaluate,critique,ordemystifythepresent,thenwhatisitthatwearehopingtoaccomplish?”(qtd.inBennett,xv)

Enchantmentisnaïve,butperhapsnaivetycanbeconsideredasameansofgettingoverourpessimismanddismissiverationality.Ithasthepotentialtobeoneofourgreatesttoolsintheapproachofecologicalcollapse.Naivetyisanabandonmentoftherational.Naivetyisanembraceofthesensualandthe

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experienced.Naivetymakesroomforsensoryengagement.IfanyofwhatIhavesaidleadinguptothisparagraphhasappearednaïveorfoolish,itismotivatedbyBennett’squestioningofdemystificationandfueledbyBakhtin’sencouragementtore-familiarizemyselfwith“thealiennessoftheworld”.Myuseofpoeticsisgroundedinthenaivetyandridiculousnessofpuppetry,yettakesseriouslythetransformativepotentialofwhatBachelardcallsa“directontology”.Thepoeticisthatwhichescapesus. Pageantrybasksinthisnaivety.Itis,afterall,aspectacle.Myaimhereisnottofulfillthesimpletaskofpointingtowardshowthatspectaclehasbeencapitalized,butratherthegreatertaskofpointinginthedirectionofitshorizon.Pageantry’spotentialliesinitsdirectcollaborationwiththis“cosmicterror”,correspondingwiththatwhichisincomprehensibleandunpredictable.Thiswillhelpusengagewithsomethingbeyondourselves.

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Bachelard,Gaston.ThePoeticsofSpace.Trans.MariaJolas.BeaconPress,1969.

Baek,Jin.“Climate,SustainabilityandtheSpaceofEthics:TetsuroWatsuji’sCulturalClimatologyandResidentialArchitecture.”ArchitecturalTheoryReview,vol.15,no.3,2010,pp.<377-395>

Bakhtin,M.M.RabelaisandHisWorld.Trans.HélèneIswolsky.IndianaUniversityPress,1984.

Bell,John.DeathandPerformingObjects.PForm41,1996.

Bell,John.LandscapeandDesire:BreadandPuppetPageantsinthe1990’s.BreadandPuppetPress,Glover,VT,1997.

Bennett,Jane.VibrantMatter:APoliticalEcologyofThings.DukeUniversityPress,2010.

Berry,Wendell.TheMadFarmerPoems.Counterpoint,2008.

Chakrabarty,Dipesh.“TheClimateofHistory:FourTheses.”CriticalInquiry,vol.35,no.2,Winter2009,pp.<197-222>

Dean,Jodi.Publicity’sSecret:HowTechnocultureCapitalizesonDemocracy.Ithaca:CornellUniversityPress,2002.

Florêncio,Joāo.“EncounteringWorlds:PerformingIn/AsPhilosophyintheEcologicalAge.”PerformancePhilosophy,vol.1,2015,pp.<195-213>

Gross,Kenneth.Puppet:AnEssayonUncannyLife.TheUniversityofChicagoPress,2011.

Ingold,Tim.“FootprintsThroughtheWeather-World:Walking,Breathing,Knowing.”RoyalAnthropologicalInstitute,vol.16,no.S1,May2010,pp.<S122-S139>

Ingold,Tim.Making:Anthropology.Archaeology,ArtandArchitecture.Routledge,2013.

Last,Angela.“NegotiatingtheInhuman:Bakhtin,MaterialityandtheInstrumentalizationofClimateChange.“Theory,Culture&Society,vol.30,no.2,March1,2013,pp.<60-83>

Moore,Jim.“TheEndofCheapNatureor:HowILearnedtoStopWorryingabout‘the’EnvironmentandLovetheCrisisofCapitalism”StructuresoftheWorldPoliticalEconomyandtheFutureofGlobalConflictandCooperation,editedbyChristianSuter,ChristopherChase-Dunn,ZürichLit,2014,pp.<285-314>