ABBREVIATION
The text interweaves the concept of eco-anxiety with performance arts and how one gives the other a push to enrich both. First, we look for the definitions of this new emotional state, its results and the solutions that have been given so far. Finding the core that unites ecological anxiety with the performing arts, we move on to some definitions of contemporary theatre. Finally, ways of embodying the problem in theatre and vice versa incarnation of theatre in the ecological solution are proposed.
Keywords: Eco-stress, performing art, action, climate change, and theater.
ECO – ANXIETY
Climate change is already recognized as one of the most serious threats to our planet, and while the health attack was well known, its impact on mental health is only now beginning to be made known and definitions and names are emerging, such as solastragia and ecological stress.
Eco-anxiety still needs a lot of research and clarity about what it is. However, in recent years it is increasingly recognized by empirical research, mainly in Western countries. According to most articles, ecological stress affects young children, young people, the elderly, indigenous peoples, people connected to nature (fishermen, farmers, etc.) and especially those already affected by environmental disasters.
A big problem in understanding ecological stress is the lack of a single definition. According to Albrecht Glenn, he coined the term ecological stress for chronic fears of environmental disaster, but it is also mental distress, environmental deterioration, and other times it is used to denote the stress experienced because of the ecological crisis.
Other definitions given are:
Anxiety related to perceptions of climate change, even among people who have not personally experienced direct impacts. Tremor is associated with negative environmental information in general. Clayton (2020).
Various difficult emotions and mental states arise from environmental conditions and knowledge about them. Ecological stress can arise directly from an environmental problem, but most of the time it is an indirect impact. Pihkala (2018).
Severe and debilitating concern about risks that may be insignificant and not associated with the most preventive behavior associated with habitual ecological concern. Gifford & Gifford (2016).
Responding to climate change issues. Searle & Gow (2010).
In general, the term is mainly used for negative emotions caused by the environmental threat to human existence. There are other terms, such as solastalgia, i.e. the distress caused by environmental change.
Ecological distress and environmental distress are linked to mental health and cause physical symptoms. The list of negative physical behaviors due to climate change and environmental uncertainty contains:
- panic attacks
- Irritability
- weakness
- insomnia
- affliction
- depression
- numbness
- weakness
- despair
- Obligations
- disappointment
- anger, fear or uncertainty
To sum up, we can say that ecological stress is negative emotions such as remorse, anger, despair, sadness and pessimism due to the fragile climate balance of the planet. According to the Psychiatric Institute, more and more bad news about the environment causes anxiety and stress. Many times, ecological stress is not recognizable by those who suffer due to ignoring the problem. Of course, where there are problems, there are solutions and from climate change we can move to climate optimism. The Psychiatric Institute and people interview prove that the biggest antidote to ecological stress is action and inclusion in a group trying to fight climate change. Our keyword: Action! It reduces feelings of hopelessness, quick results in psychology, hope, and a new tool for combating ecological stress, theater!
PERFORMING ARTS
The first common thread one can find between ecological anxiety and the performing arts is the absence of a specific term.
With the term performing arts we express a visual arts theater that appeared in the 60s. In essence we are talking about a fusion of arts (visual arts, theater, poetry, dance, video and cinema). The space where they are presented is not a specific space (eg theater) but anywhere. Emphasis is placed on the ephemeral and incomplete, while the artist does not have to be an actor. Performing art is a hybrid art, where attention is paid to the vitality and impact of the spectacle. The definition of PAVIS PATRICE theatre distinguishes five performance trends.
- It is physical art where he uses the artist’s body for exhibition and experimentation.
- Slow and stylized explorations of space and time.
- An autobiographical presentation where the “artist” narrates real events of his life.
- The mythological and ritual presentation.
- The Social commentary.
Another useful term that indirectly connects the environment with performance is Richard Schechner’s: “Theatre is only a node in a continuum that starts from the ritualization of animals, the performance of everyday life… And it goes all the way to playing, dancing… large-scale performances.’
According to LOUIS VAN DEN HENGEL, performing art manifests itself as a manifestation of postmodern sensibility.
This sensitivity could now add ecological anxiety as a theme to the performing arts.
Compared to other arts, performing art gives more space and more freedom of movement. It consists of the four elements: the body, space, time and the public and is considered an ephemeral art. The magic of performance is also the part that is intertwined with the solution to ecological anxiety, namely action. In essence, the artist (performer) performs an action (or many actions) simultaneously, transforming the actual action of the artist into a work of art.
What if artwork was to improve environmental change? Or if the artist is the one who suffers from ecological stress, how can he be helped by using his body and exploring space and time? Finally, if this eco-anxious artist offers an environmental performance, how much will it affect the audience and how quickly will knowledge of the problem caused by the ecological crisis in mental health be disseminated?
It is these questions that guide us to the coexistence of the problem and the solution (ecological stress and action) on stage.
INCARNATION AND TRANSFORMATION
Let’s move to a scene. Let’s imagine some theatrical games that aim to unlock the body. Let’s imagine that through hypocritical theories we learn how to manage certain emotions. Let’s imagine that we are part of a team that moves and discusses and investigates the issue of ecological destruction. Let’s imagine that the environmental crisis is a dystopia while the theatrical stage is the site of a utopia. Let’s imagine that we are presenting a performance with people affected (and not) by ecological stress where through their own personal narratives they create a web of ecological proposals. Suddenly the stage becomes a space of action and community! We don’t have to imagine it! Theatre can become a very powerful tool to combat ecological stress but also a means of disseminating knowledge.
In essence it is the most fun, creative and liberating space to apply the steps of solving each problem:
We recognize the problem. We understand the problem and investigate their solutions. We implement solutions in a safe space (theatrical stage) and share the optimistic view of the situation to create motivation, especially among young people. We have a work of art that crosses the borders of our daily lives. The satisfaction participants get could alleviate symptoms of eco-anxiety and improve their lives. Feelings of hope, empowerment and connection are referred to as solutions to ecological stress and performing art can offer them generously. After all, managing emotions is part of acting.
On the other hand, theatre also stands to gain a lot from such a coupling. Necessity always generates the best ideas. Now theatre needs ecological solutions. Suddenly the artist will have to carefully choose his materials so that they are environmentally friendly. Eco-stress is a phenomenon that could offer artists new material to explore and new artistic creations.
Action plays the central role in the embodiment of ecological anxiety in the performance scene. In both cases (eco anxiety/performance art), the action leads to a body that tries to free itself from negative emotions. In essence, we are talking about encouraging (theatrical or not) actions that promote self-knowledge and well-being. After all, metamorphosis has always been in the cloakroom of the performing arts.
So why not an ecological transformation first of ourselves and then of the theatre itself?
Writer: Marina Zerdali
