This article investigates live performance in the broad geo-historical context of the Anthropocene, a contested term in recent scholarship, but one that offers a breadth of focus on human relations with its coexistent non-human other. These interrelations are examined through a range of theatrical and non-theatrical genres and sites from the Australian parliament's coal theatrics to exemplary performances by Indigenous companies Bangarra Dance Theatre and Marrugeku. It sets the scene with a visit to the Curtain Tree in the rainforests of north Queensland, Australia, arguing that the vitality and display of its root system models a special kind of reciprocity between the performative elements of the environment and the environmental elements of theatre and performance. This is traced through recent short-run immersive works, Hanna Cormick's Mermaid (2020) and Melinda Hetzel and Company's Conservatory (2020), and a rereading of a canonical Australian drama, Summer of the Seventeenth Doll.

本文调查了人类世广泛的地缘历史背景下的现场表演，这是最近学术界有争议的术语，但它广泛关注人类与其共存的非人类他者的关系。这些相互关系通过一系列戏剧和非戏剧类型和网站进行了检验，从澳大利亚议会的煤炭戏剧到土著公司班加拉舞蹈剧院和 Marrugeku 的示范表演。它以参观澳大利亚昆士兰州北部热带雨林中的窗帘树为场景，认为其根系的活力和展示塑造了环境的表演元素与剧院的环境元素之间的一种特殊的互惠关系，表现。这可以通过最近的短期沉浸式作品 Hanna Cormick 的美人鱼（2020 年）和梅琳达·赫泽尔公司的音乐学院（2020 年），以及重读澳大利亚经典戏剧《第十七个娃娃的夏天》。