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Tipping Points

Image by facemepls via flikr

“The North Sea flood of 1953 and the associated storm combined to create a major natural disaster which affected the coastlines of the Netherlands and England on the night of 31 January – 1 February 1953. Belgium, Denmark and France were also affected by flooding and storm damage.

A combination of a high spring tide and a severe European windstorm caused a storm tide. In combination with a tidal surge of the North Sea the water level locally exceeded 5.6 metres above mean sea level. The flood and waves overwhelmed sea defences and caused extensive flooding.

Officially, 1,835 people were killed in the Netherlands, mostly in the south-western province of Zeeland. 307 were killed in the United Kingdom, in the counties of Lincolnshire, Norfolk, Suffolk and Essex. 28 were killed in West Flanders, Belgium.”

I went to see Contingency Plan by Steve Waters at the Bush Theatre this weekend. It was a very good play, unfortunately I cannot urge you to go and see this vital piece of theatre because it is completely sold out for the remainder of the run. You can, however, buy both of the plays in one book, here. Do it, read them. Do it now, I’m not even kidding, I’ll wait here, you go to Amazon, look I’ll provide you the link again so you don’t even have to re-read anything, don’t worry, I’ll still be here when you come back, click here.

Right, good. Thank you. I’m going to talk about the plays now, not with any massive spoilers, but in mildly detailed terms.

The play I saw was On The Beach, I read Resilience before the day was out. These plays are really what theatre can do – it was exemplary political theatre, On The Beach puts the human face on the politics that Resilience expounds on in a dramatic and electrifying manner. You care, you think, by the emotional force you are propelled to practical action (I certainly was).

The plays are set in the near future- amid a David Cameron government. On The Beach is essentially a father/son ‘homecoming’ drama. The son is the eminent glaciologist who realises he was groomed by his father to communicate unequivocally and through hard science, the global warming theories that caused the government to laugh him out of academia in the 70s. The mother and father live right on the East Coast, on land they have reclaimed, only a literal stone’s throw from the North Sea. This is the private, the personal face of the narrative(s) – the small picture. Resilience, on the other hand, deals with the political, the public face of the issues, it dramatises the clash between old and new scientific and environment-governmental approaches, setting out a dramatic agenda for the safety of UK citizens against the background of Arctic sea ice melting at a rapidly increasing rate, and following an imagined small scale extreme weather event. This is scary, credible, electrifying stuff.

One of the things about Climate Change is that more than anything, it is the destabilisation that will get you, a climate may work perfectly well for one place, but transplant it to another and watch it fall apart. We all drew the trees of life at school didn’t we? Went out and shook bugs out of trees and counted the different species, walked around counting plants, and watching water boatmen skate across ponds. We know that everything is connected – you disrupt one thing, everything gets out of whack – well right at the top of that tree of life (or the bottom, or all around) is the climate. Change that, and everything else gets seriously disrupted. Destabilisation of the climate means horrible things; on a meteorological level it means flash floods, coastal flooding, droughts, tsunamis, tornadoes and hurricanes, on a human level it means destroyed homes, water shortages, disease, ruined harvests, ever depleting world food stocks, looting, violence, and the destabilisation of power. The Intergovernmental Panel on Climate Change (IPCC), has suggested 150 million environmental refugees would exist by 2050. The IPCC is widely considered to make very reserved estimates. James Lovelock, founder of the modern meta-organism (Gaia) theory of climate science predicts that by 2100, 80% of the world’s population will have been “wiped out“. His is an extreme case, certainly. But as is pointed out in Contingency Plan, in such situations as ours, undue caution is not rewarded.

The storm of ’53 is well remembered where I live in Lincolnshire. It was an extreme weather event, but in Contingency Plan, you see how the destabilisation of our climate combined with a rise in sea level make for a volatile world where these ‘extreme’ weather events are set to become the norm. With frightening credibility a roll call of East Coast towns are given over to the sea, Lincolnshire, Norfolk, Peterborough and Cambridgeshire (where Steve Waters lives in fact) and finally, much of London too (at this point the politicians become genuinely worried).

Flooding, in the East – the majority of it low lying, much of it reclaimed – is a possibility we’re all to aware of. I lived somewhere called Bardney for a few years, when I moved there the local kids lost no time in telling me that it used to be a island (hence the -ney root of the place name). The smallest amount of rain and the fields and ditches didn’t hesitate to remind you too. Flat farmland, ditches and dykes. All across Lincolnshire there’s marsh land and flat, low ground, the wide open skies and flat boggy beaches of South Holland claimed one of my wellington boots as a child. But the earth is very rich, and the way the sky leans back allows your mind to really breathe.

According to the calculations of this website the village where I grew up will be completely submerged with a sea level rise of 1-2m. Brigg, the family home in Yorkshire, will be erased at 3m. This could take 500 years, it could take 50. But it’s a very strange thought – that you might never be able to return to your childhood landscape – that you might never again be able to breathe in the skies and trees and birds that taste, smell and sound like home.

These are all of the thoughts that have occurred to me since seeing and reading Steve’s plays. I’m not saying they’re all reasoned, it’s an emotional response too. What I’m trying to describe is how it has just set me off, just started me tipping over from advocate to activist. I slept very ill last night, and spent the most of today seriously thinking about my lifestyle, on the one hand I don’t drive, I bike, bus and train places, have lived and (for the next three years at least) will live within walking and biking distance of my place of work. I recycle, buy locally produced food where possible, lack of money has meant I’ve rarely been able to afford meat, I use re-usable bags, use Ecover cleaning products, I turn lights off, wash at low tempertaures, I write to my MPs about environmental policy and in my 24 years, I have been on an aeroplane 4 times, something which I don’t intend to do again. But I want more, I want to know more, I want to do something. I am a firm believer in action, I will never sit on my laurels if I am unhappy with something, I will change it. I find it very hard to understand when people who are unhappy, who have the choice, don’t try and make things better. But having said that, on a personal level I don’t know what else I can do. I read today about unplugging chargers, and I’ll do that, but in my normal set up (in my own space) I always turned everything off at the wall when I wasn’t in the room anyway (out of stupid fire-hazard paranoia, but still). And how much of that is a waste of time? I’ve been reading today about what a scam ‘off-setting’ carbon is (link, link, link), what else is a waste of time?

Well all of it is, I suppose, if it’s just me – if I never tried to convince anyone else, if I didn’t make my political will known – if we don’t get massive unpopular decisions made both in government, and worldwide at the Copenhagen Climate Conference in December. And yes they will curb our lifestyles, and yes it will mean sacrifices on all fronts, but ultimately this one of those brave, unimaginable, momentous changes that has to be driven forward – like the issue of the Magna Carta, the abolition of slavery, the introduction of the welfare state.

Only this time we have so much more to lose, so much.

I feel like I am living amid a world of tipping points- in many parts of my life and politic- in feminism, in party politics, in the economy and in the environment, maybe that’s how all young [to some degree]-empowered people feel. I also feel like I am at a tipping point within myself. I think I want to be one of the people who gives policy a little push, along with a billion other little pushes, to make a leap in the right direction. I think the way that I do that is join campaigns, petitions, marches and pressure groups. I’m ready to be radical. I think the time demands it.

This is what the play made me feel, and this is how I’m choosing to react to it. You should read it, I’d like to know what you think.

Further reading/action:
How you can make a difference
Climate Change, a guide for the perplexed
How 6 activists changed government policy
Friends of the Earth

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Science Fiction Theatre, New Politics?

Yep, apologies again, I do have a very good excuse that was the worst migraine I’ve ever had, with proper visual disturbances and everything, and then (just recovered in time) I went to Manchester, and had a really brilliant weekend of just what I needed: friends, rock music, drink, video games and laughter. I feel almost happy! Plus only 12 MORE DAYS in Wolverhampton! YAY! So yes, that’s the reason for the gap in posts. But fear not loyal reader, this one will hopefully make up for it, for it is a rambling MONSTER.

OK, so while also doing shorter updates about what I’m up to and where I’m going with things, I did mention maybe doing more editorial-style blog entry every now and then. A bit of a chunkier look into my ideas on… things. Not sure what things exactly, but I suppose that it will probably be either theatre/arts or politics/feminism, these being the main forces that drive me. So yes, here’s a tentative first stab at one of these!

SCIENCE FICTION THEATRE

Yep, I’m on about that again. The reason I want to talk about my ideas for Science Fiction, or ‘Speculative’ Fiction on stage (aside from the fact it has formed the main body of my playwriting so far) is the very intriguing and quizzical reactions I have had to my writing so far. I should preface this with saying that by no means am I a fully-fledged playwright – I am still ’emerging’ (‘young’ playwright is no longer PC –ageist, you see) and will hopefully always be learning – as thus I’m sure some of the reactions to my writing may be to just that – the actual writing, and not the choice of genre, but some of it definitely isn’t, some of it is a direct recoil from ‘genre'(in the pejorative sense).

I will discuss these reactions a little later, but first I want to try and explain the use do I think porting these genres to the stage will have, why I think they are exciting, important and useful.

In my mind this kind of theatre has the potential to form a new kind of political theatre. I’ll begin with a quote from the (sadly, recently late) great Augusto Boal

Theatre is a weapon. A very efficient weapon […] for this reason the ruling classes try to take hold of theatre and utilise it as a tool for domination […] but the theatre can also be a weapon of the liberation. For that, it is necessary to change appropriate theatrical forms. Change is imperative.

p. ix, Boal, Augusto. Theatre of the Oppressed (New Edition). London: Pluto Press, 2000.

Politics and the majority of theatre, in my opinion, have at their hearts the same driving force. A belief in the individual and collective voice. A belief that experience informs belief which in application can produce change for the better. Change is the aim of political theatre (what theatre doesn’t pertain to either a personal or public politic is another question entirely). To initiate change in ideas and ideals, as Boal suggests, theatrical forms must always be in flux, they cannot stagnate because it is at that point you begin to accept, rather than question. I do not mean change from week to week, but I’m talking in terms of movements. Has theatre really had a movement since In-Yer-Face 90s theatre? I think theatre must continually be re-appropriated for new worlds and generations because theatre has the power to open our eyes, for us to see our many selves- it has a power beyond all other art forms; because of story.

When we are young we tell stories through play, it’s how we learn, how we explore our world, our roles within it, but somehow people seem to think that eventually, they become too grown up for stories. That is why we miss the new coercive narratives, the stories and roles that rest within the covers of magazines, flicker on our screens and are emblazoned on the side of buildings. These stories bombard us every day, and tell us who and how we should be. We need new stories, stories to challenge and rival these. We need to key into something that has more truth, more life; this is why I believe in stories played out in the theatre.

When you watch theatre, when you believe in it, you invest in it a part of your life; you credit it with a small but important part of yourself. A play is built of a hundred little volunteered hours, it is a rift in the space time continuum, a coming together of a hundred hours into one. This is why theatre can make you gasp; make the breath catch in your lungs for the life that you see onstage, because it is, in a small and immense way, a part of you. For some, theatre is a first taste of a collective experience.

Has theatre really had a movement since In-Yer-Face 90s theatre? My experience of theatre is unfortunately one severely limited by funds, and founded on a university course which rarely looked at post 2000 work, so call me on it if you have a better answer, but I think the time is ripe for a new theatre, a theatre that draws in a new generation bereft by context. There are adults now who have not known a world without the internet, for whom political extremes have been replaced by apparently middle ground hogging-expense abusing-privately educated white men that known as much about us as we about them. This is not my opinion, but it is the opinion of many of my contemporaries, most of whom have never voted. Apathy, to me, seems to be the aim of a lazy, right wing media who would find things a lot easier if they could just produce lifestyle magazines. I understand why in all of the difficult suffering and wars, injustices which don’t fit into an easy ‘good or bad’ conflict people just want to shut themselves off to it. I understand this because I know how much each horrible piece of pain that the media and the internet delivers me, hurts. It hurts because I am only one person. It hurts because one person can change everything; it hurts because I don’t have the space to help everyone. So you disconnect. History is everywhere for this generation, constantly in the making. But the wars happen elsewhere, we see things on our screens, and for all of it, the horror is never really a part of our lives. I believe that we need a way of helping people see again, and to do that we must make people feel uneasy, unsafe, wobbly. It is not history, but the future that we need now, in order that this generation might see themselves here, and nowhere else, here with the ability to participate. I believe in the future. I believe that new theatrical forms are sorely needed for the continuing relevancy and power of theatre.

Theatre must constantly be in flux, we must find new forms, new ways of playing with stories because we can undo the pain of the modern world, we can begin to learn again. Theatre is not a reflection of life, but rather a reflection of what it could be- it is the art of possibility.

Theatre must reflect new worlds.

And this is where I believe science/speculative fiction theatre can come in.

There are a few examples of this happening in theatre, they are growing, I saw Zero by Theatre Absolute half a year ago – set in an anonymous future where series of internment camps criss-cross the world, Far Away by Caryl Churchill, if you ask me, is a spectacular, breathtaking piece of dystopian fiction, and Steve Water’s Contingency Plan double bill about a climate change is set in the near future, and currently getting rave reviews at The Bush. I really believe that where we are now, in the late ‘noughties’, on a wave that is beginning to swell, moving towards a tipping point – I feel this in the new wave of feminism, I feel it in the new questions being raised about the sustainability of the particular form of capitalism we have heretofore subscribed, I feel that it must happen in politics, and I feel that it is happening to stories now too. People in a world of web 2.0 and constant connectivity, laugh, love and communicate in entirely new ways. Is theatre currently fitted out to portray these new ways of being? To work with new ideas of identity and gender, or to harness the wonderfully widespread and democratising power of technology? I believe that all these big new question marks are making the world shift, and that theatre is also beginning to find its current skin too restrictive.

In my work I portray possible futures, in Being Someone Else I try to look at love, loss, and identity in the gaming world, in the radio play Bird Woman I loosely borrow from a 70s feminist fable to touch upon the feeling of being a young girl, and in Eismas I imagine a world where a single child policy has been enforced throughout Europe. I use these elements of SF, Spec-fic and fantasy with political intent- particularly in my most recent piece Eismas, I have used SF as a kind of distancing device – a cerebral as opposed to emotional distance – in order that an audience can relax, think ‘oh but this isn’t about me, it’s just a story’ but then I also hope that they would care about the central characters that they follow the journey of the piece and see how we could get there- and because they felt the pain of the world, see that they want for us not to be there, see this world in the light of what it might become. See that we have a chance, now, to change it.

This is not a new idea. From Victorian ghost stories (A Christmas Carol!) to feminist and socialist science fiction, to fairy stories, all of these have aimed to mould people’s feelings in the same way. Is it coercive? I suppose it is. But no more, I think, than any piece of storytelling.

So, back to why I am talking about why I write within the bounds of SF. I have had some very interesting experiences over the past year so, of a very odd resistance to SF on stage. Both of the external moderators on the masters I did at Birmingham commented that they did not like SF on my reader reports. One said that should and would not colour his report on my piece, the other accused the play of ‘wanting to be a Hollywood film’ and called me ‘a writer with very little experience of, or perhaps interest in, the material realities of making theatre’. Likewise at the recent workshopped reading of Eismas the question was asked: ‘wouldn’t this be better as a film?’ This produced a reasonably heated discussion, in which my director expressed the following (heavily paraphrased) sentiment: ‘this is not about the genre, this is about the content. Theatre, to me, is about people and politics: having something to say. This is not a play set in a big special effect driven world, this is a play about two people, and their relationship.’ Eismas shows the public sphere through the pain it exerts on the private. If you ask me, that is the stuff for theatre. This discussion was made doubly strange by the fact that two of the other plays were historical ones, one of which made allusions to vampirism, and the other was about psychics in Edwardian times! But I suppose that was exactly the reaction that I need isn’t it? The other half of the room really connected with the political content of the piece, and it’s that unease, that unease which is key to my political intent.

My mum (as ever) puts it succinctly when she says ‘it’s just snobbery, people forget, don’t they, that all stories are fiction’ all of the universes are invented, why not play with that? Why not use that edge to try and provoke the feeling that the future is invented. We decide what we want it to be.

Change is imperative. Theatrical forms must always be in flux. Theatre has the power to open our eyes, for us to see our many selves, to see ourselves anew. Let’s write about the future. Let’s talk about now. Let’s learn about being human again. Let’s participate.

Thanks for reading.