Taking Inclusivity To The Next Level
Bhavikk Shah
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Wednesday, 10 September 2025
Taking Inclusivity To The Next Level
A very interesting piece by David Jays in The Guardian reports, "Cow | Deer gets 'between the em2½zars' of animals, creating mouse noises with polystyrene balls and comparing wild creatures with industrialised ones. So if there's no dialogue, what did its writer do?"
Director Katie Mitchell is taking farming into the dressing room of London's Royal Court Theatre. Mitchell, sound artist and playwright Nina Segal are
collaborators on a "radical wordless project," that explores ways of exploring ways of addressing climate crisis. "They began experimenting with conveying the experiences of different animals," writes Jays.
"It was thinking through sound, with no narrative – just playing in a room," says Wilson in the report, and Mitchell explains, "We wanted to prove that presenting the more-than-human world would be as interesting and theatrical as the human world. We needed a writer's help, but without words." Enter Segal, an associate at the Royal Court. "I'm really interested in pushing the possibilities of what writing can be," she says.
"There are no puppets or pantomime costumes: it is sound that brings the animals to life. "There are three layers," says Mitchell. "Mel's field recording, the sound design, and then the live foley. It's a very complex weave."
It sounds like a very interesting and innovative project!
"A dramatic experience concerned with the mundane may inform but it cannot release; and one concerned essentially with the aesthetic politics of its creators may divert or anger, but it cannot enlighten."
David Mamet
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