Sounding the Arctic in Chantal Bilodeau’s Climate Change Plays
Quebec-born playwright Chantal Bilodeau has been responding to the challenges of dramatizing anthropogenic climate change by developing an eight-part Arctic Cycle, each play of which is set in one of the nations that claims Arctic territory. Sila (2014) immerses audiences into a complex network of h...
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ftkbcopenhojs:oai:ojs.tidsskrift.dk:article/120408 2023-05-15T14:36:27+02:00 Sounding the Arctic in Chantal Bilodeau’s Climate Change Plays Balestrini, Nassim W. 2020-05-31 application/pdf https://tidsskrift.dk/nts/article/view/120408 eng eng Föreningen Nordiska Teaterforskare / Association of Nordic Theatre Scholars https://tidsskrift.dk/nts/article/view/120408/168168 https://tidsskrift.dk/nts/article/view/120408 Nordic Theatre Studies; Vol. 32 No. 1 (2020): Theatre and the Anthropocene; 66-81 Nordic Theatre Studies; Årg. 32 Nr. 1 (2020): Theatre and the Anthropocene; 66-81 2002-3898 0904-6380 Climate change Soundscape Sonic cultures Arctic Inuit Canada Norway Interdependence Relationality Theory and practice info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion 2020 ftkbcopenhojs 2021-04-21T22:45:30Z Quebec-born playwright Chantal Bilodeau has been responding to the challenges of dramatizing anthropogenic climate change by developing an eight-part Arctic Cycle, each play of which is set in one of the nations that claims Arctic territory. Sila (2014) immerses audiences into a complex network of humans, animals, and mythical beings crisscrossing the Canadian Arctic. These movements circle around the Inuit concept of sila, which is the life-giving force of breath and voice. Thus, the sonic world of Sila focuses on voices speaking words, on performance poetry, and on the sounds of breath and wind. Bilodeau’ s second Arctic Cycle play, Forward (2016), addresses the long-term impact of Fridtjof Nansen’s polar exploration of the 1890s on Norway’s economy and society. In terms of sound, Forward features multiple musical performances rangingfrom traditional songs to European opera arias and Lieder to contemporary Norwegian electro-pop. The sonic features of both plays stress interdependence across time, space, as well as (non-)human, earthly, and metaphysical realms. Sila and Forward address climate change in a non-universalizing manner which promotes a heterarchical (rather than hierarchical) aesthetic fit for a growing awareness of planetary relationality. Article in Journal/Newspaper Arctic Climate change inuit Tidsskrift.dk (The Royal Library, Denmark) Arctic Canada Norway Fridtjof ENVELOPE(-56.717,-56.717,-63.567,-63.567) Sila ENVELOPE(13.133,13.133,66.320,66.320) |
institution |
Open Polar |
collection |
Tidsskrift.dk (The Royal Library, Denmark) |
op_collection_id |
ftkbcopenhojs |
language |
English |
topic |
Climate change Soundscape Sonic cultures Arctic Inuit Canada Norway Interdependence Relationality Theory and practice |
spellingShingle |
Climate change Soundscape Sonic cultures Arctic Inuit Canada Norway Interdependence Relationality Theory and practice Balestrini, Nassim W. Sounding the Arctic in Chantal Bilodeau’s Climate Change Plays |
topic_facet |
Climate change Soundscape Sonic cultures Arctic Inuit Canada Norway Interdependence Relationality Theory and practice |
description |
Quebec-born playwright Chantal Bilodeau has been responding to the challenges of dramatizing anthropogenic climate change by developing an eight-part Arctic Cycle, each play of which is set in one of the nations that claims Arctic territory. Sila (2014) immerses audiences into a complex network of humans, animals, and mythical beings crisscrossing the Canadian Arctic. These movements circle around the Inuit concept of sila, which is the life-giving force of breath and voice. Thus, the sonic world of Sila focuses on voices speaking words, on performance poetry, and on the sounds of breath and wind. Bilodeau’ s second Arctic Cycle play, Forward (2016), addresses the long-term impact of Fridtjof Nansen’s polar exploration of the 1890s on Norway’s economy and society. In terms of sound, Forward features multiple musical performances rangingfrom traditional songs to European opera arias and Lieder to contemporary Norwegian electro-pop. The sonic features of both plays stress interdependence across time, space, as well as (non-)human, earthly, and metaphysical realms. Sila and Forward address climate change in a non-universalizing manner which promotes a heterarchical (rather than hierarchical) aesthetic fit for a growing awareness of planetary relationality. |
format |
Article in Journal/Newspaper |
author |
Balestrini, Nassim W. |
author_facet |
Balestrini, Nassim W. |
author_sort |
Balestrini, Nassim W. |
title |
Sounding the Arctic in Chantal Bilodeau’s Climate Change Plays |
title_short |
Sounding the Arctic in Chantal Bilodeau’s Climate Change Plays |
title_full |
Sounding the Arctic in Chantal Bilodeau’s Climate Change Plays |
title_fullStr |
Sounding the Arctic in Chantal Bilodeau’s Climate Change Plays |
title_full_unstemmed |
Sounding the Arctic in Chantal Bilodeau’s Climate Change Plays |
title_sort |
sounding the arctic in chantal bilodeau’s climate change plays |
publisher |
Föreningen Nordiska Teaterforskare / Association of Nordic Theatre Scholars |
publishDate |
2020 |
url |
https://tidsskrift.dk/nts/article/view/120408 |
long_lat |
ENVELOPE(-56.717,-56.717,-63.567,-63.567) ENVELOPE(13.133,13.133,66.320,66.320) |
geographic |
Arctic Canada Norway Fridtjof Sila |
geographic_facet |
Arctic Canada Norway Fridtjof Sila |
genre |
Arctic Climate change inuit |
genre_facet |
Arctic Climate change inuit |
op_source |
Nordic Theatre Studies; Vol. 32 No. 1 (2020): Theatre and the Anthropocene; 66-81 Nordic Theatre Studies; Årg. 32 Nr. 1 (2020): Theatre and the Anthropocene; 66-81 2002-3898 0904-6380 |
op_relation |
https://tidsskrift.dk/nts/article/view/120408/168168 https://tidsskrift.dk/nts/article/view/120408 |
_version_ |
1766309070897152000 |