'To Know How It Ends/And Still Begin to Sing It Again': Anaïs Mitchell's Hadestown, the Climate Crisis, and Recursive Ecodramaturgies.
Hadestown is a musical play that is preoccupied with the importance of cycles, both in life and in art. That characteristic is evident musically, theatrically, thematically and dramaturgically – as is shown in such examples as the repetition of musical motifs and lyrical phrases in the score, the us...
| Publicado en: | Green Letters Vol. 29; no. 3; pp. 294 - 307 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Aug2025
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=191012030&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 191012030 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 14688417 FKR3 jtl: Green Letters issn: 14688417 maglogo: Y pubinfo: dt: Aug2025 vid: 29 iid: 3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 191012030 10.1080/14688417.2025.2571106 ppf: 294 ppct: 13 formats: tig: atl: 'To Know How It Ends/And Still Begin to Sing It Again': Anaïs Mitchell's Hadestown, the Climate Crisis, and Recursive Ecodramaturgies. aug: au: Lonergan, Patrick affil: University of Galway su: Climate change Anthropocene Epoch Mythology Pattern perception Storytellers Musicals Dramatic structure Narration sug: subj: Climate change Anthropocene Epoch Mythology Pattern perception Storytellers Musicals Dramatic structure Narration keyword: Anais Mitchell Anthropocene ecodramaturgy Hadestown Musical theatre Rachel Chavkin ab: Hadestown is a musical play that is preoccupied with the importance of cycles, both in life and in art. That characteristic is evident musically, theatrically, thematically and dramaturgically – as is shown in such examples as the repetition of musical motifs and lyrical phrases in the score, the use of a revolving stage in the original production (as directed by Rachel Chavkin, and designed by Rachel Hauck), the adaptation by Mitchell of the story of Orpheus and Eurydice, and the use of theatrical form to allow audiences to reconceptualise their understanding of time. Drawing on Elizabeth M. DeLoughrey's work on allegories of the Anthropocene, this article proposes that Hadestown should be understood as developing a 'recursive dramaturgy', relating that claim to Mitchell's intention of using Hadestown to think about the climate crisis – and to locate that crisis in a system of destructive human activities that includes capitalism, industrialisation, racism, and patriarchy. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2025 holdings: @attributes: islocal: N |
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