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Notes
1. Duncan Macmillan and Chris Rapley, 2071, in Duncan Macmillan, Plays One (London: Oberon Books, 2016), 228.
2. Timothy Morton, Hyperobjects: Philosophy and Ecology After the End of the World (Minneapolis: University of Minnesota Press, 2013), 1.
3. Morton, Hyperobjects, 4.
4. Katie Mitchell quoted in Matt Trueman, ‘Katie Mitchell and Duncan Macmillan on 2071ʹ, The Stage, November 6, 2014.
5. Carl Lavery and Clare Finburgh have persuasively discussed the anthropocentrism of mainstream Western drama, arguing that ‘in its dominant forms, the history of theatre has been coterminous with the history of human subjectivity’. See Carl Lavery and Clare Finburgh eds., Rethinking the Theatre of the Absurd: Ecology, the Environment and the Greening of the Modern Stage (London: Bloomsbury Methuen Drama, 2015), 6.
6. Intergovernmental Panel on Climate Change, 2018: Global Warming of 1.5°C. An IPCC Special Report on the impacts of global warming of 1.5°C above pre-industrial levels and related global greenhouse gas emission pathways, in the context of strengthening the global response to the threat of climate change, sustainable development, and efforts to eradicate poverty, Masson-Delmotte, et al. (eds.) https://www.ipcc.ch/sr15/(accessed January 9, 2019).
7. Wendy Arons and Theresa J. May, eds., Readings in Performance and Ecology (Basingstoke: Palgrave Macmillan, 2012), 4.
8. Timothy Clark, Ecocriticism on the Edge: The Anthropocene as a Threshold Concept (London: Bloomsbury, 2015), 40.
9. Clark, Ecocriticism on the Edge, 108.
10. Arons and May, Readings in Performance and Ecology, 6.
11. Katie Mitchell quoted in Stephanie Merritt, ‘Climate change play 2071 aims to make drama dramatic’, Guardian, November 5, 2014, https://www.theguardian.com/stage/2014/nov/05/climate-change-theatre-2071-katie-mitchell-duncan-macmillan (accessed February 25, 2019).
12. See, for example, Fiona Mountford, ‘Review: Ten Billion, Evening Standard’, Theatre Record, 32 (2012), 812; Andrjez Lukowski, ‘Review: Ten Billion, Time Out London’, Theatre Record, 32 (2012), 813; and Sarah Hemming, Review: Ten Billion, Financial Times’, Theatre Record, 32 (2012), 813.
13. Katie Mitchell, Unpublished interview with author, October 17, 2012.
14. Katie Mitchell, The Director’s Craft: A Handbook for the Theatre (London: Routledge, 2009), 227.
15. Clark, Ecocriticism on the Edge, 66.
16. Una Chaudhuri has similarly observed naturalism’s exclusion of the more-than-human. See Una Chaudhuri, ‘“There Must Be a Lot of Fish in That Lake”: Toward an Ecological Theater’, Theater, 25, no. 1 (1994): 23–31 (24).
17. Matt Trueman, ‘Review: Ten Billion, Royal Court’, August 1, 2012, http://matttrueman.co.uk/2012/08/review-ten-billion-royal-court.html (accessed February 25, 2019).
18. Macmillan quoted in Merritt, ‘Climate change play 2071ʹ.
19. Macmillan and Rapley, 2071, 257–8.
20. Saffron O’Neill and Sophie Nicholson-Cole, ‘“Fear Won’t Do It”: Promoting Positive Engagement with Climate Change Through Visual and Iconic Representations’, Science Communication, 30, no. 3 (2009): 355–79 (363).
21. Andrew Haydon, ‘Ten Billion – Royal Court’, July 27, 2012, https://postcardsgods.blogspot.com/2012/07/ten-billion-royal-court.html (accessed February 25, 2019).
22. O’Neill and Nicholson-Cole, ‘Fear Won’t Do It’, 369–70.
23. Andrew J. Hoffman, How Culture Shapes the Climate Change Debate (Stanford: Stanford University Press, 2015), 58.
24. Mitchell, unpublished interview with author.
25. Mitchell quoted in Trueman, ‘Katie Mitchell and Duncan Macmillan’.
26. Much of this research is summarised in Hoffman’s book. Similarly, from an ecocriticism background, Ursula Kluwick has observed that ‘discursive reach and power do not seem related to [climate change messaging’s] (in)effectiveness in influencing behavioural patterns and choices’. Ursula Kluwick, ‘Talking about Climate Change: The Ecological Crisis and Narrative Form’, in The Oxford Handbook of Ecocriticism, ed. Greg Garrard (Oxford: Oxford University Press, 2014), 504.
27. Hoffman, How Culture Shapes, 5.
28. Morton, Hyperobjects, 4. See also Clark, Ecocriticism on the Edge.
29. In addition to the performers, there were four other cyclists in the auditorium producing the energy required for the show.
30. Duncan Macmillan, Lungs, in Plays One (London: Oberon Books, 2016), 170.
31. Samuel Beckett, Happy Days (London: Faber and Faber, 2010), 24.
32. Beckett, Happy Days, 30.
33. Joe Kelleher, ‘Recycling Beckett’, in Rethinking the Theatre of the Absurd: Ecology, the Environment and the Greening of the Modern Stage, ed. Carl Lavery and Clare Finburgh (London: Bloomsbury Methuen Drama, 2015), 138.
34. Carl Lavery, ‘Introduction: performance and ecology – what can theatre do?’, Green Letters, 20, no. 3 (2016): 229–36 (233).
35. Kate Soper, What Is Nature? (Oxford: Blackwell, 1995), 13.
36. Richard Kerridge, ‘Ecocritical Approaches to Literary Form and Genre: Urgency, Depth, Provisionality, Temporality’, in The Oxford Handbook of Ecocriticism, ed. Greg Garrard (Oxford: Oxford University Press, 2014), 361–76 (370).
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Catherine Love
Catherine Love is a researcher, teacher and arts journalist. Her research interests include the relationship between text and performance, contemporary theatre-making practices, and theatrical responses to the Anthropocene. She has published journal articles in Contemporary Theatre Review and Theatre Notebook and is the author of a volume on Tim Crouch’s An Oak Tree. She also writes regularly for publications including the Guardian and Exeunt and lectures in Drama at the University of Manchester.