“We are shaped, to a greater extent than almost any other species, by contact with others. [. . .] Yet what counts now is to win. [. . .] And for this, we have ripped the natural world apart” (Monbiot). This quote stems from a Guardian article that is also printed as an epigraph in Tanya Ronder’s 2015 play Fuck the Polar Bears, and it reveals the connection between the Capitalocene, as described by Jason W. Moore, and contemporary eco-drama: both thematise the “Age of Loneliness” (Monbiot) in which everyone fights against each other. In contemporary drama, this behaviour is frequently reflected in the depiction of isolation and alienation from nature that is expressed in the form of disgust, for instance, by making objects that are associated with nature literally or metaphorically disgusting.To various degrees, the depiction of the Capitalocene in combination with disgust and abjection can be found in Fuck the Polar Bears as well as in Dawn King’s 2011 play Foxfinder. In both plays, disgust is depicted as degrading the relationship between humans and nonhuman nature. The dichotomy of nature and culture then lines up to “a seemingly endless series of human exclusions” (Moore, Introduction 2) and alienates humans from nature. In these plays, a random disgusting object functions as substitute for the border between humans and nature. By making toy polar bears or foxes disgusting, the border between humans and nature, and to some extent between humans and other humans, is redrawn, which leads to an increased sense of isolation and alienation. Therefore, both plays use disgust as a technique to extrapolate the lack of interconnection between humans and nature, which comments on the competitive, isolating, and destructive nature of the Capitalocene.

中文翻译：

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疏离、落魄和厌恶：在当代生态剧中遭遇资本新世

“与几乎任何其他物种相比，我们在很大程度上是通过与他人接触而形成的。[。. .] 然而，现在最重要的是获胜。[。. .] 为此，我们将自然世界撕裂了” (Monbiot)。这句话出自一个监护人在 Tanya Ronder 2015 年的戏剧中也印有题词的文章去他妈的北极熊，它揭示了 Jason W. Moore 所描述的资本新世与当代生态剧之间的联系：两者都以每个人互相争斗的“孤独时代”（Monbiot）为主题。在当代戏剧中，这种行为经常体现在对与自然的孤立和疏离的描写中，表现为厌恶，例如，将与自然相关的物体在字面上或隐喻上变得厌恶。资本新世与厌恶和沮丧相结合可以在去他妈的北极熊以及黎明之王 2011 年的戏剧寻狐者. 在这两部戏剧中，厌恶都被描述为贬低人类与非人性之间的关系。自然与文化的二分法然后排列成“看似无穷无尽的一系列人类排斥”（摩尔，引言 2）并使人类与自然疏远。在这些戏剧中，一个随机的恶心物体充当了人与自然之间的边界的替代品。通过使玩具北极熊或狐狸变得令人厌恶，人类与自然之间的界限，在某种程度上，人类与其他人类之间的界限被重新划定，这导致了孤立感和疏离感的增加。因此，这两部戏剧都使用厌恶作为一种技术来推断人类与自然之间缺乏相互联系，这对资本新世的竞争、孤立和破坏性进行了评论。