Looking at Simon McBurney’s award-winning solo performance The Encounter (2015), this paper examines the play’s contribution to environmental humanities through an ecocritical study of its combined use of state-of-the-art sound design and the age-old art of storytelling to address the link between the ecological and spiritual crises that we are facing. The Encounter relates the real story of the American photographer Loren McIntyre who lived with the Mayoruna tribe for six weeks in 1969 after getting lost in the Amazon rainforest. Relying heavily on sound design to take us deep into the jungle, the show addresses our relation to nature and technology and elicits our empathy to denounce the dictates of a globalised world ruled and threatened by neoliberal and neocolonial capitalistic ideologies. As the brain – and the stage – become the forest, The Encounter challenges the notions of distance and separation from the Other in favour of a deep sense of interconnectedness. Using Donna J. Haraway’s 2016 book Staying with the Trouble: Making Kin in the Chthulucene, this article sheds light on how The Encounter invites us to recognise the urgency of defining what it means to live together in “response-ability on a damaged earth” (Haraway 2) and how the intermedial, hybrid qualities of the play found not a “post-human” but, on the contrary, a “com-post” theatre piece (11).

中文翻译：

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Chthulucene 的邂逅：Simon McBurney 的堆肥剧院

看西蒙麦克伯尼获奖的独奏表演相遇（2015 年），本文通过生态批判研究来检验该剧对环境人文学科的贡献，该研究结合使用最先进的声音设计和古老的讲故事艺术来解决生态和精神危机之间的联系我们正面临。相遇讲述了美国摄影师 Loren McIntyre 的真实故事，他于 1969 年在亚马逊雨林迷路后与 Mayoruna 部落一起生活了六周。该节目严重依赖声音设计将我们带入丛林深处，探讨了我们与自然和技术的关系，并引发了我们对新自由主义和新殖民资本主义意识形态统治和威胁的全球化世界的谴责的同理心。当大脑——和舞台——变成森林，相遇挑战距离和与他者分离的概念，以支持深刻的相互联系。使用 Donna J. Haraway 的 2016 年著作与麻烦共处：在 Chthulucene 制造亲属，这篇文章阐明了如何相遇邀请我们认识到在“受损地球上的反应能力”（Haraway 2）中定义共同生活意味着什么的紧迫性，以及该剧的中间、混合品质如何发现不是“后人类”，而是在相反，一个“com-post”戏剧作品（11）。