Theatre has long been a powerful medium for societal reflection, offering audiences a mirror to question their values, beliefs, and norms. However, when it comes to the portrayal of nonhuman animals and the exploration of speciesism, theatre often lags in its critical engagement. How is speciesism is represented in theatre? And how can performances challenge deeply embedded anthropocentric narratives, offering a path toward more compassionate interspecies relationships?
Defining Speciesism in Performance
Speciesism refers to the assumption of human superiority leading to the exploitation of animals, a concept coined by British psychologist Richard D. Ryder. In theatre, this often manifests through human-centric narratives where nonhuman animals are portrayed as mere symbols or metaphors for human emotions and experiences, rather than beings with agency and intrinsic worth. This anthropocentric approach reduces animals to props or caricatures, reinforcing their status as "other" and inferior to humans.
In Performing the Wound in Animal Rights, I explore the troubling ways nonhuman animals are frequently portrayed in performance, questioning whether they are ever truly given the respect they deserve as sentient beings. This is central to understanding how theatre can perpetuate speciesism or, conversely, challenge it by offering more nuanced portrayals of animals.
Nonhuman Animals as Props vs. Agents
One of the key issues in traditional theatre is the objectification of nonhuman animals. Whether it’s the use of puppetry or actors dressed in animal costumes, nonhuman animals are rarely depicted as autonomous beings. Instead, they serve as mirrors for human concerns, reinforcing speciesist assumptions. Performances such as Kafka’s Metamorphosis show this objectification process where the protagonist transforms into an insect, representing his alienation from society. The nonhuman is used as a symbol of “otherness” rather than a being with its own narrative.
This objectification reflects broader societal attitudes toward nonhuman animals, where they are seen as resources for human use — for food, entertainment, or companionship. In theatre, this mirrors the ideological underpinnings of speciesism, which assumes human interests always supersede those of animals.
Challenging Speciesism through Performance
However, not all theatre perpetuates these speciesist views. There is a growing movement within performance art and activist circles that challenges these assumptions. In my own works like Anti-Hunt and Box of Shadows, nonhuman animal suffering is brought to the forefront, asking audiences to confront the trauma experienced by animals under human dominion. Through these performances, theatre can serve as a space for audiences to bear witness to animal suffering and reflect on their role in perpetuating that suffering.
These performances aim to disrupt the anthropocentric narratives that dominate the stage. Rather than using animals as metaphors for human conditions, these works focus on the lived experiences of animals themselves, offering a more compassionate and empathetic portrayal. By doing so, they invite audiences to question their own speciesist assumptions and consider the ethical implications of their relationship with nonhuman animals.
The Role of Audience in Decoding Speciesism
Theatre audiences play a critical role in interpreting the messages embedded within a performance. As explored in my research, audience reactions to performances that challenge speciesism often vary, with some experiencing discomfort or even denial. This speaks to the deeply ingrained nature of speciesist beliefs in society. By confronting these beliefs on stage, performances can provoke a powerful cognitive dissonance, pushing audiences toward critical reflection and, potentially, behavioural change.
Interspecies Performance: A New Paradigm
One of the more radical approaches to breaking down speciesism in theatre is through interspecies performance. This form of theatre does not merely depict animals but incorporates them as co-creators in the performance process. The work of performance artist Daniel Hellmann as "Soya the Cow" exemplifies this approach, where the boundaries between human and animal are blurred, and the animal is given agency on stage. This challenges the audience to reconsider their preconceived notions of nonhuman animals and their roles in our lives, both on and off the stage.
Interspecies performance offers a way forward in breaking down the speciesist structures that dominate theatre. By offering a platform where animals are not just represented but are active participants in the creative process, these performances subvert the traditional human-animal hierarchy and open up new possibilities for empathetic engagement.
Conclusion
Theatre has the potential to be a transformative space where societal norms, including speciesism, are questioned and challenged. Through performances that give voice to nonhuman animals and confront the violence of human-animal relationships, we can move toward a more just and compassionate society. By shifting away from anthropocentric narratives and embracing interspecies performance, theatre can help dismantle the speciesist ideologies that underpin much of our culture.
In a world increasingly aware of the ethical implications of human actions toward animals, the theatre can and should be a space where these issues are brought to the forefront, urging audiences to engage with the pressing questions of animal rights and liberation. By doing so, theatre not only reflects societal values but also has the power to change them.
Comments