The article explores the representation of climate change negotiations in theater, noting the limited artistic engagement despite the rich narratives these events offer. It critiques the political maneuvering in past climate summits while highlighting the RSC’s production “Kyoto” and its depiction of key figures and conflicts. The narrative also discusses the role of lobbyists like Don Pearlman in obstructing climate agreements and the potential resurgence of past political attitudes in modern discussions.
The article discusses the lack of representation of climate change negotiations in theater, particularly since audiences often prefer productions that resonate with their existing beliefs. Past attempts like the National Theatre’s “Greenland” have discouraged theater companies from exploring climate-related themes. Since the inaugural UN World Climate Conference in 1995, many key diplomatic events have taken place without significant artistic interpretation, despite their potential as stories filled with conflict and drama.
While highlighting the RSC’s production “Kyoto,” the article mentions various historical figures involved in climate diplomacy, like UK politicians John Prescott and Tony Blair, as well as Angela Merkel of Germany. The narrative emphasizes how even renowned climate champions sometimes prioritize national interests over global needs, showcasing political game-playing behind climate agreements.
The article also references the influence of previous successful plays that examined political negotiations, such as J.T. Rogers’s “Oslo” and David Hare’s “Stuff Happens,” connecting past stories with the current political landscape. The RSC’s lack of a London venue has restricted its reach, but their newest show seeks to create vivid representations of climate interaction, despite the mundane venue and technical difficulties.
A critical character in the narrative is real-life lobbyist Don Pearlman, portrayed by actor Stephen Kunken. Pearlman represents a deliberate opposition to climate agreements and symbolizes the political forces that hinder progress. His interactions with delegates showcase the tension between those wishing to progress climate deals and those aiming to obstruct them.
As delegates gather in Rio to confront climate issues, Herzog’s involvement enhances the emotional gravity of the proceedings. The story captures how electoral politics influence climate negotiations, showcasing a moment when tensions erupt due to misunderstandings during discussions, leading to comical yet revealing scenarios.
In the end, Pearlman’s lobbyist role fades as softer lobbying approaches gain traction in the climate conversation. Despite his retirement from the scene, the article warns that attitudes reminiscent of the past, particularly those seen under the Trump administration, may resurface. It concludes by stating that contemporary efforts still struggle with the same conflicts and negotiations noted in previous climate talks, as new leaders emerge in an ongoing battle over climate policy.
The article sheds light on the interplay between climate politics and theater, emphasizing how historical climate summits have been largely overlooked in dramatic narratives. It illustrates the conflicts, personalities, and political dynamics that shape climate negotiations. As the narrative progresses, it reflects on the ongoing nature of climate discussions and suggests that new approaches in lobbying and politics could redefine the future, while challenges from the past still linger.
Original Source: thecritic.co.uk
