‘If You Want to Be Green Hold Your Breath’: Climate Change in British Theatre

With a rich mix of theatrical material to bring to the table, the climate-change debate playing out in the public domain would seem well adapted to the stage, and has often been presented in docu-dramatic form, as in Al Gore's well-known film An Inconvenient Truth . But until relatively recentl...

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Published in:New Theatre Quarterly
Main Author: Hudson, Julie
Format: Article in Journal/Newspaper
Language:English
Published: Cambridge University Press (CUP) 2012
Subjects:
Online Access:http://dx.doi.org/10.1017/s0266464x12000449
https://www.cambridge.org/core/services/aop-cambridge-core/content/view/S0266464X12000449
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spelling crcambridgeupr:10.1017/s0266464x12000449 2024-03-03T08:45:03+00:00 ‘If You Want to Be Green Hold Your Breath’: Climate Change in British Theatre Hudson, Julie 2012 http://dx.doi.org/10.1017/s0266464x12000449 https://www.cambridge.org/core/services/aop-cambridge-core/content/view/S0266464X12000449 en eng Cambridge University Press (CUP) https://www.cambridge.org/core/terms New Theatre Quarterly volume 28, issue 3, page 260-271 ISSN 0266-464X 1474-0613 Visual Arts and Performing Arts journal-article 2012 crcambridgeupr https://doi.org/10.1017/s0266464x12000449 2024-02-08T08:31:31Z With a rich mix of theatrical material to bring to the table, the climate-change debate playing out in the public domain would seem well adapted to the stage, and has often been presented in docu-dramatic form, as in Al Gore's well-known film An Inconvenient Truth . But until relatively recently climate change and the science relating to it have been conspicuous by their absence from the stage. Early movers on the climate-change theatre scene included Caryl Churchill's 2006 climate-change libretto for the London Proms, We Turned on the Light , and John Godber's 2007 play Crown Prince . Since then, interest has steadily increased. In 2009 came Steve Waters's double bill The Contingency Plan (On the Beach and Resilience) . This was quickly followed by Earthquakes in London by Mike Bartlett in 2010, and by three further plays in the spring of 2011: Greenland , the collaborative work of Moira Buffini, Matt Charman, Penelope Skinner, and Jack Thorne; The Heretic by Richard Bean; and Wastwater by Simon Stephens. In this article Julie Hudson focuses on three of these works to explore how the plays engage with the debate through the medium of climate-change science. As her article suggests, these British climate-change plays make an important and occasionally subversive contribution to the long-running discourse on the relationship between science, the ecosystem, and human beings. In performance, they succeed in turning a subject that has been overplayed for effect in the public domain into compelling theatre. Julie Hudson is currently a visiting fellow at the Smith School of Enterprise and the Environment, Oxford University. Article in Journal/Newspaper Greenland Cambridge University Press Greenland Hudson Thorne ENVELOPE(-60.700,-60.700,-62.933,-62.933) New Theatre Quarterly 28 3 260 271
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collection Cambridge University Press
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language English
topic Visual Arts and Performing Arts
spellingShingle Visual Arts and Performing Arts
Hudson, Julie
‘If You Want to Be Green Hold Your Breath’: Climate Change in British Theatre
topic_facet Visual Arts and Performing Arts
description With a rich mix of theatrical material to bring to the table, the climate-change debate playing out in the public domain would seem well adapted to the stage, and has often been presented in docu-dramatic form, as in Al Gore's well-known film An Inconvenient Truth . But until relatively recently climate change and the science relating to it have been conspicuous by their absence from the stage. Early movers on the climate-change theatre scene included Caryl Churchill's 2006 climate-change libretto for the London Proms, We Turned on the Light , and John Godber's 2007 play Crown Prince . Since then, interest has steadily increased. In 2009 came Steve Waters's double bill The Contingency Plan (On the Beach and Resilience) . This was quickly followed by Earthquakes in London by Mike Bartlett in 2010, and by three further plays in the spring of 2011: Greenland , the collaborative work of Moira Buffini, Matt Charman, Penelope Skinner, and Jack Thorne; The Heretic by Richard Bean; and Wastwater by Simon Stephens. In this article Julie Hudson focuses on three of these works to explore how the plays engage with the debate through the medium of climate-change science. As her article suggests, these British climate-change plays make an important and occasionally subversive contribution to the long-running discourse on the relationship between science, the ecosystem, and human beings. In performance, they succeed in turning a subject that has been overplayed for effect in the public domain into compelling theatre. Julie Hudson is currently a visiting fellow at the Smith School of Enterprise and the Environment, Oxford University.
format Article in Journal/Newspaper
author Hudson, Julie
author_facet Hudson, Julie
author_sort Hudson, Julie
title ‘If You Want to Be Green Hold Your Breath’: Climate Change in British Theatre
title_short ‘If You Want to Be Green Hold Your Breath’: Climate Change in British Theatre
title_full ‘If You Want to Be Green Hold Your Breath’: Climate Change in British Theatre
title_fullStr ‘If You Want to Be Green Hold Your Breath’: Climate Change in British Theatre
title_full_unstemmed ‘If You Want to Be Green Hold Your Breath’: Climate Change in British Theatre
title_sort ‘if you want to be green hold your breath’: climate change in british theatre
publisher Cambridge University Press (CUP)
publishDate 2012
url http://dx.doi.org/10.1017/s0266464x12000449
https://www.cambridge.org/core/services/aop-cambridge-core/content/view/S0266464X12000449
long_lat ENVELOPE(-60.700,-60.700,-62.933,-62.933)
geographic Greenland
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genre Greenland
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op_source New Theatre Quarterly
volume 28, issue 3, page 260-271
ISSN 0266-464X 1474-0613
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op_doi https://doi.org/10.1017/s0266464x12000449
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