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This paper reports on a collaboration between advocacy organisation, Sweltering Cities, artists and researchers who developed a multi-site research project that provided South West Sydney residents an opportunity to engage in drama and poetry workshops that gave voice to their lived experience of rising surface temperatures, as well as their desire for environmental protection and climate action. The research featured in this paper contributes to previous research that finds aesthetic modes of engagement to be powerful with regard to ecological awareness, capable of being a positive motivator of small shifts in thinking which are a precursor to climate action. [ABSTRACT FROM AUTHOR]

This paper presents the provocation that 'unmediatised liveness', or experiences not filtered through digital technology, is vital to performances that promote recovery, resistance, and survival among young people in response to the climate crisis. Our provocation draws from interviews conducted with youth theatre and performance practitioners in Australia whose work addresses the climate crisis holistically across disaster preparedness, first response, disaster recovery, and climate activism. We argue that while mediatised interactions remain a critical element of contemporary youth culture and performance, unmediatised co-presence, artistic collaboration, community action, and activism are crucial in the high-stakes context of Australia's climate crisis. [ABSTRACT FROM AUTHOR]

This paper reflects on my experience of using personal stories to create a Pot Gan performance exploring the complexity of how lives are lived, how the experience of climate change is shaped by poverty and struggle, but also strength in facing adversity. Bringing real stories to the stage had more meaning, emotion and personal connection for audiences, while also challenging them to work through a solution to the problems the characters onstage faced. It calls on us to treat their stories with an ethics of care, recognising that each person's story belongs to that person alone. [ABSTRACT FROM AUTHOR]

This article is based on a paper first presented at the Performance Studies international annual conference on Performing Rights at Queen Mary, University of London, 2006. It has been rewritten specially for this themed issue of RiDE in light of my research following publication of Theatre Ecology: Environments and Performance Events in 2007. Mainly in the format of a thought experiment, it argues that the current ecological crisis of global warming could be a systemic ‘insanity’ of planet Earth produced by a human compulsion to perform. It aims to demonstrate that finding cures for this affliction requires a radical revision of how Homo sapiens values human rights via complementary biotic rights inclusive of other organic species. As these rights are an aspect of ongoing global performance ecologies understood as integral to eco-systemic evolution, it becomes necessary for humans to invent refreshed ways of assessing how futures variously emerge through the natures of present and past. The article's thought experimental methods are adopted, in part, so that a few jocular analytical tropes can be treated as entirely serious. Hence it proposes that the concept ‘retro-modernisation’ should be recycled immediately and that one of the shortest of verbal paradoxes is adopted as a motto by all eco-warriors of the dramatic, theatrical and performing arts – but it is certainly not ‘Be spontaneous!’ [ABSTRACT FROM PUBLISHER]

This introductory article for a themed edition on environmentalism provides a particular context for those articles that follow, each of which engages with different aspects of environmentalism and performance in community-related settings. Responding to the proposition of Bottoms that there is a lacuna in the field of applied drama and environmentalism, we suggest that the more significant lack is that of ecocriticism. As the articles in this journal testify, there are many examples of applied theatre practice; what is required is sustained and rigorous critical engagement. It is to the gap of ecocriticism that we address this issue, signalling what we hope is the emergence of a critical field. One response to the multiple challenges of climate change is to more transparently locate the human animal within the environment, as one agent amongst many. Here, we seek to transparently locate the critic, intertwining the personal – ourselves, human actants – with global environmental concerns. This tactic mirrors much contemporary writing on climate change and its education, privileging personal engagement – a shift we interrogate as much as we perform. The key trope we anchor is that of uncertainty: the uncertainties that accompany stepping into a new research environment; the uncertainties arising from multiple relations (human and non-human); the uncertainties of scientific fact; the uncertainties of forecasting the future; and the uncertainties of outcomes – including those of performance practices. Having analysed a particular turn in environmental education (towards social learning) and the failure to successfully combine ‘art and reality’ in recent UK mainstream theatre events, such uncertainties lead to our suggestion for an ‘emancipated’ environmentalism. In support of this proposal, we offer up a reflection on a key weekend of performance practice that brought us to attend to the small – but not insignificant – and to consider first hand the complex relationships between environmental ‘grand narratives’ and personal experiential encounters. Locating ourselves within the field and mapping out some of the many conceptual challenges attached to it serves to introduce the territories which the following journal articles expand upon. [ABSTRACT FROM PUBLISHER]