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Tim Spooner has described his practice as “an increasingly complex series of live performances centred on the revelation of life in material.” 1  In this article, I consider this revelation as the precondition of a theatre ecology. Spooner stages a theatrical encounter between bodies and environments, in which distinctions between  person - thing ,  subject - object ,  self - other  no longer hold. Whilst there are evident parallels between this practice and  posthumanist , or  new-materialist  philosophy, I shall describe Spooner’s theatre as  artlike .This article responds to two thematics outlined in the original call for papers for CDE 2021: “eco-spaces” and “eco-aesthetics.” The argument runs: 1) an ecological space is the result of an ecological aesthetics; theatre is considered fundamentally social, political in significance; art is fundamentally ecological in significance; 2) ecocritical theatre and theatre ecology are categorically distinct: in ecocriticism, political, social, and cultural concerns mediate a concern for nature; in a theatre ecology nature is reconstructed virtually; 3) ecocriticism stages a recognition of an ecological crisis in social terms; theatre ecology stages a revelation of an environment; 4) against theatre, there is legislation; 5) a theatre ecology extends a juxtapositional logic of  political ecology : this is a false start and ill-timed.The argument leads to a reconstruction of three gestures drawn from three of Spooner’s performances. In these gestures, theatre is rendered  artlike . The exposition describes Spooner’s practice in terms of  embodiment  and  occupation , before considering how the ecological implications of an artlike theatre are, firstly and finally, ethical.

An Art Like Nature: Theatre Environment as Territory in Tim Spooner Performances