Beyond the Stage: Tanja Beer’s Theory of ‘Ecoscenography’ and its Feasibility in Tamil Theatre

மேடைக்கு அப்பால்: டான்யா பீரின் 'சூழலியல் காட்சியமைப்பியல்” கோட்பாடும், தமிழ் நாடக அரங்கில் அதன் சாத்தியப்பாடுகளும்

Abstract

In the current ‘Anthropocene’ era, where global warming and ecological shifts pose a threat to human existence, ecological accountability within the arts has become indispensable. In the realm of modern Tamil theatre scenography, there has been a recent surge in the use of non-biodegradable materials such as Polystyrene (Rigid Foam), plastics, and chemical paints, fostering a ‘disposable culture’. This trend is detrimental both ecologically and economically. This study explores the feasibility of implementing Australian designer Tanja Beer’s theory of ‘Ecoscenography’ within the context of Tamil theatre. The theory advocates for transforming stage design from a mere decorative artifact into an ecological event integrated with the environment. Employing a qualitative research methodology, this study analyzes Tanja Beer’s three theoretical stages—’Co-creation’, ‘Celebration’, and ‘Circulation’—through a comparative analysis with traditional Tamil theatre forms, such as Koothu, and contemporary theatrical endeavors. The study concludes that while this theory originates from the West, it shares intrinsic values with the traditional material culture of Tamil theatre. Furthermore, it establishes that the utilization of local, sustainable resources offers a viable solution to significantly reduce production costs while ensuring environmental sustainability.