Ecology describes the intertwined relationships in our world and includes the study of animals and plants and how we as humans relate to each other, our surroundings, and the more-than-human (Giannachi & Stewart 2005; Woynarski 2020). Ecodramaturgy describes theatre and performance that places ecological reciprocity and community at the centre of its artistic and thematic content (Arons & May 2012:4). Lisa Woynarski uses the term to deal with meaning-making concerning ecology in all theatre and performance forms, themes, processes, and narratives and thus potentially as a strategy to subvert dominant forms of representation that often devalue the more-than-human world (Woynarski 2020). Ecological theatre, thus, does something and can potentially problematize relations to the more-than-human (Woynarski 2020).

In Sweden, a few important ecocritical theatre initiatives have been run by Riksteatern - Sweden's largest touring theatre since 1933. In the Human and Nature project (2017–2020), Riksteatern investigated climate, lifestyle, and nature/culture issues. In 2017, the production Polarfararna was played, directed by Åsa Johannisson, an absurd disaster drama about an expedition to the North Pole in 2016. In 2018, the production Slutet enligt Rut was played, directed by Nora Nilsson, a comedy about inheritance and desire where Rut, who has reached the age of 112, refuses to die so that the forest she leaves behind will live undisturbed. In Nationalparken (2019), directed by Lisa Färnström, the old-growth forest is a metaphor for diversity and becomes a tribute to thousands of ways of life. This paper focuses on the following questions: What ecodramaturgical strategies can be found in the three performances? In what ways do the performances examine man’s relationship to the more-than-human? What role do forests and landscapes play in the three performances, and what dramaturgical significance do they have?