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Gareth Somers PERFORMING GAIA: TOWARDS A DEEP ECOCRITICAL POETICS AND POLITICS OF PERFORMANCE GARETH JAMES SOMERS THE THESIS IS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF THE DEGREE OF DOCTOR OF PHILOSOPHY OF THE UNIVERSITY OF PORTSMOUTH September 2011 2 Abstract This thesis develops a deep ecocritical model of performance analysis. It examines historical and social structures. It asks if, in the light of climate change and ecological degradation, new ways of looking at our everyday performances in life and in art might provide clues about how we recalibrate our perspectives and practices in relation to the more-than-human world. It is concerned with critical analysis within non-theatrical and to lesser extent within theatrical performance contexts. It integrates study of representation, embodiment, landscape, materiality and metaphor to investigate relations and homologies [correspondences of position value, structure or function with shared roots] in performance relations between the human and the more-than-human spheres. It identifies developments within ecologically oriented performance practice and braids ecosophic positions to overcome methodological problems caused by dualist epistemologies. It argues that western metaphysics, hermeneutics and technological development contribute to positive feedback wherein we have become increasingly alienated from the more-than-human world. It charts progressive historical estrangement, objectification, enclosure, colonisation, de-materialisation and objectification of the more-than-human world. It does this to illuminate our anti-ecological and ecological performances in life, ‘culture’ and art. 2 | Performing Gaia 3 Contents: List of Sections, Chapters, Tables and Figures PERFORMING GAIA: TOWARDS A DEEP ECOCRITICAL POETICS AND POLITICS OF PERFORMANCE ............................................................................................................................. 1 Abstract ............................................................................................................................................. 2 Declaration ........................................................................................................................................ 8 Word Count: [excluding ancillary data such as footnotes, bibliographies, diagrams and references: as per UOP guidelines]: 77,105 ...................................................................................... 8 Abbreviations: ...................................................................................................................................... 9 Central Question: ............................................................................................................................... 10 Introduction:....................................................................................................................................... 10 Principal Scholarly Advances: ............................................................................................................. 11 Structure: ....................................................................................................................................... 11 SECTION ONE: CONCEPTS AND METHODOLOGIES ........................................................... 13 Chapter One: Key Concepts............................................................................................................... 13 1. Ecology, Performance, ‘Nature’, ‘Culture’ and Landscape .......................................................... 13 1.1. a. Performance and Ecology ............................................................................................. 13 1.1. b. Reflexivity .......................................................................................................................... 14 1.1. c. From Explanation to Navigation ......................................................................................... 15 Table 1: Key Terms: Ecology .......................................................................................................... 15 Table 2: Key Terms: Performance .................................................................................................. 16 1.2. ‘Nature’ and ‘Culture’ ................................................................................................................ 17 1.3. Dramaturgy of Landscape........................................................................................................... 18 1.3. a. Landscape’s Material Scenography .................................................................................... 18 1.3. b. Landscape’s Immaterial Scenography ................................................................................ 19 1.3. c. Landscaping and Dramatising ............................................................................................. 19 1.3. d. The Human Face of Landscape ........................................................................................... 20 1.3. e. Performative landscape ....................................................................................................... 21 1.3. f. Metaphor, Materiality and Landscape ................................................................................. 22 Table 3: Links between metaphor and materiality within landscape ............................................ 22 1.2. Deep Ecology and Sacred Ecology ............................................................................................. 23 1.2. a. A Deeper Shade of Green ................................................................................................... 24 1.2. b. Intrinsic Value .................................................................................................................... 24 1.2. c. Sacred Ecology ................................................................................................................... 25 1.2. d. The Deep Ecology Platform: .............................................................................................. 27 Table 4: The Deep Ecology Platform .............................................................................................. 27 1.3. Gaia Theory ................................................................................................................................ 27 1.4. Ecology of Mind, the Three Ecologies and the Two Traditions. ................................................. 28 1.4. a. Bateson ................................................................................................................................ 28 1.4. b. Guatarri ............................................................................................................................... 31 1.4. c. Worster ................................................................................................................................ 32 Table 5: Traditions ......................................................................................................................... 33 Chapter Two: From Ecocriticism to Deep Ecocritiscism ............................................................... 34 2.1. Ecocriticism ............................................................................................................................ 34 3 | Performing Gaia 4 2.1. a. Ecodramaturgy .................................................................................................................... 34 2.1. b. Deep Ecocriticism ............................................................................................................... 35 2.2. Dualism ................................................................................................................................... 35 2.2. a. The Word, Promise and Unveiling ...................................................................................... 37 2.3. Dualism, Ecology and Performance ........................................................................................... 38 2.3. a. Double Binds ...................................................................................................................... 38 2.3. b. Flow .................................................................................................................................... 39 2.3. c. Dualist Terminology and Dead Beatles .............................................................................. 39 2.4. Towards a Deep Ecocritical Episteme from Meaning to Significance ........................................ 41 Table 7: Deep Eco-criticism ............................................................................................................ 41 Table 8: Deep Ecocriticism Key Terms ........................................................................................... 42 2.4.1. Conclusion ............................................................................................................................... 43 Chapter Three: Ontology of Affordance and Praxis Tradition. .................................................... 44 3.1. Affordance ................................................................................................................................... 44 3.1. a. Affordance, and the Multimodality of Landscape............................................................... 44 3.1. b. Hegemony, Affordance and Landscape .............................................................................. 46 3.1. c. Metaphysics,
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