This study examines Henrik Ibsen’s “The Wild Duck” within the framework of ecodramaturgy. Beginning with an inquiry into how anthropocentric thought took root in Western philosophy and culture, the study traces the development of ecocriticism as a literary and cultural strategy for destabilizing the centrality of the dominant subject, and subsequently addresses the convergence of ecological narrative with performance art and the emergence of ecodramaturgy as a theoretical and practical framework for theatre. Drawing on the theoretical contributions of scholars including Theresa J. May, Timothy Morton, Graham Harman, Rosi Braidotti, and Una Chaudhuri, the study proposes that the Wild Duck in Ibsen’s play functions as a hyperobject in Morton’s sense, in that its shadow and viscosity extend across nearly every character in the play, weaving them into an interobjective network. The study further argues that the attic constructed within the play can be read as an aestheticized, picturesque reproduction of wildlife shaped by anthropocentric and Capitalocentric impulses, concealing the destruction wrought by industrial capitalism upon nature. The hierarchical value system attributed to the animals in the attic is examined as a reflection of anthropomorphism and speciesism. Through this ecodramaturgical reading of The Wild Duck, the study aims to demonstrate the breadth of interpretive and narrative possibilities that ecodramaturgy opens up when applied to canonical dramatic texts, and to contribute to the broader project of constructing a non-hierarchical, egalitarian, and ecologically just theatrical language.

This study examines the malleability of Iyorwuese Hagher’s plays to varied styles in performance, using
Mulkin Mata, Aishatu, and Anti-People as staged at the Department of Theatre Arts, Federal College of
Education (Special), Oyo, between 2002 and 2012. The problem addressed is the limited scholarly
attention given to the relationship between Hagher’s dramaturgy and the interpretive possibilities it offers
directors, actors, and designers in performance. Although Hagher’s plays have attracted literary attention,
insufficient study has been devoted to their pliability in stage realisation. This study addresses that gap. Its
aim is to establish how Hagher’s dramaturgy permits diverse performance choices, while its objectives are
to identify the stylistic features of the selected plays, examine their stage interpretation, and assess their
adaptability beyond the stage. The study is anchored in Patrice Pavis’s theory of mise en scène, which
explains performance as the organised transformation of dramatic text into stage expression through
acting, design, movement, and visual composition. Adopting a qualitative, practice-based analytical
method, the study draws on selected productions and textual evidence. Findings show that Hagher’s use of
narration, role reversal, audience involvement, satire, episodic structure, and flashback expands directorial
and design options. The study concludes that the formal elasticity of these plays strengthens their stage
vitality, pedagogic value, and screen adaptability, thereby extending their relevance within theatre practice
and performance scholarship.

In this article, I reflect on Directing Training by articulating the concept of training in relation to the role of directing and by investigating its occurrence within the context of Composition practices developed by the American theater SITI Company. These practices are based on the procedures that its director Anne Bogart learned while taking classes with Aileen Passloff in the 1970s. Composition emerged from the Judson Dance Theater movement (1962–1964), which following other movements broadly understood within the counterculture of the 1960s, favored a deep revision of the nomenclature and categories instituted by modernity. Drawing on a bibliographic review and access to primary sources, I draw upon the concept of the end of art (Danto, 2006) to discuss the impact of this process on the decline of the modern theater director and the manner in which Composition, as an apparatus (Agamben, 2009), reflects the characteristics of a postmodern theater director.

This study investigates Virginia Woolf’s final novel, Between the Acts (1941), through the theoretical intersection of affect, materiality, and anticipatory trauma. Drawing on non-representational theory of affect and trauma scholarship, this article argues that the affective materials of the novel such as the gramophone, mirrors, the barn, and the pageant itself function at once as figures of impending catastrophe and as active producers of anticipatory trauma materially: the felt weight of a war not yet fully arrived. Set on a single June day, Between the Acts incorporates its objects and landscapes with a pre-traumatic affect that circulates through bodies, surfaces, and sounds before it can be articulated in language. Within this frame, the study reveals how Woolf’s materiality of language, manifested through syntactic fragmentation and deliberate silences, performs the collapse of meaning at the limits of representation. By positioning the text at the junction of the material turn, affective turn and trauma studies, this analysis provides a new theoretical perspective for Woolf studies as well as modernist affect scholarship.

From nature writing to ecological anxiety, theatre, as a visionary medium, portrays not only how ecological catastrophe permeates life but also how humans and non-humans witness this spectacle. Set in a garden and a cottage, Caryl Churchill’s Escaped Alone (2016) and Lucy Kirkwood’s The Children (2016) portray the apocalypse through the practices of everyday life. The former is fragmented, mirroring the mental and environmental decline throughout, whereas the latter differs in its natural flow of dialogue and the traces of trauma. However, the characters, or the survivors, live in both comfort and demolition, using domestic space as a base for recalling and sharing the reasons for and remedies of the catastrophe. Therefore, both plays present environmental trauma through the practices of daily life in domestic spaces, where their anxieties are exposed. Considering related works and articles, this paper offers a comparative analysis of Escaped Alone and The Children, showing how everyday life mediates between disaster and remembrance.

During the 1970s and 80s the security forces of the white run apartheid government in South Africa gained international notoriety for the various obscenities committed during its interrogation of the political dissidents and revolutionaries of the country. Written and Published during these violent decades, J.M.Coetzee’s Waiting for the Barabarians (1980) interrogates the impact of the torture chamber on the conscience of a protagonist approximating the subject position of both victim and perpetrator. Named simply the Magistrate, Coetzee’s protagonist journeys from being a person obsessed with cleaning up the literal and metaphorical filth littering his imperial outpost to an experience of living through the excremental on an everyday basis. This foregrounding of the excremental, I argue, is seminal to the question of relating ethically to the ‘barbarians’ traumatized by the ‘Empire of pain’(Coetzee 24) in the novel. While Apartheid’s administrative measures related to public health—especially of the urban population—was influential in realizing the Afrikaners’ dream of separate development, in Coetzee’s novel the trope of the dirty, infectious, dangerous native is counterfocalized to reveal contamination of the self by the radically other as the only way of gesturing towards an ethical future. To this end, I draw upon Dominick La Capra’s concept of ‘empathic unsettlement’ to produce a reading of Coetzee’s poetics of self-cancellation: a poetics that repeatedly approaches the trauma of the truly ‘obscene’ other without ever being able to appropriate the same..

This review aims to introduce the reader to the comic book Maramunhã – In the Land of Wanará (2024),
focusing on the allegory of Brazilian colonisation it embodies. To this end, authors such as Krenak (2018),
Tettamanzy (2018), Dorrico et al. (2018), Quijano (2005), Grosfoguel (2005) and Mignolo (2008) are
used as a basis for the analysis of Brazilian colonisation and the idea of decoloniality present in the
narrative. The aim is thus to demonstrate that this comic book possesses critical and historical potential,
serving not only to comply with Law No. 11,645 of 10 March 2008, but also to function as a vehicle for
promoting local indigenous culture and as a strong critique of the colonisation process.