NO WOOD, NO KINGDOM

Human civilisations define themselves in opposition to nature. Forests have been used as a source of fuel and raw materials since time immemorial. In ancient times, the Greeks and Romans almost completely deforested the Mediterranean region to build their war fleets. With man’s self-perception as the crown of creation, the degradation of nature to a mere source of resources acquired a religious foundation.

“No wood, no kingdom” — this admonition presented to the English Parliament by an agricultural expert in 1611 drew attention to the deforestation of entire regions in the wake of early industrialisation. The result was a shortage of wood, fuel and food in the kingdom. Growing awareness of the threat of over-exploitation of natural resources led to the passing of the first forest protection laws — the idea of sustainability was born. However, the pursuit of profit gained the upper hand, the energy demand of emerging industries increased, and the transition to fossil fuels paved the way to the Anthropocene.

William Shakespeare’s plays contain numerous references to the environmental and resource crises of his time. The barren island landscape in The Tempest refers to advancing deforestation; in The Merry Wives of Windsor, the transition from wood to coal is addressed. In his monologues, Hamlet questions the culturally handed-down supremacy of man.

In A Kingdom for a Tree, inspired by William Shakespeare and Samuel Beckett, a woman in black wanders through barren landscapes. Man has subdued the earth, exploited nature and ultimately defeated it. It is the world after: she is the sole survivor, no forests, animals or plants to be seen. Thrown back on herself, her memories and dreams, she stages absurd scenes that defy logic. It’s all for nothing because everything seems futile — so everything is possible. What can be done? Is there a future? How to take a stand when all seems lost?

Aleksandra Sawa