From Roots to Stage: The Wood Wide Web – Veven

Communication is a phenomenon inherent to all agents in nature,

and in the wood wide web, it is the threads

that make it visible.

Veven is a children’s theater piece first performed in Oslo by the Norwegian theater collective Pleiade.[1] The word “veven” meaning “web” in English and “ağ” in Turkish, references the wood wide web, a term that points to fungi and mycorrhizal connections. In this paper, I will invite the actors of the wood wide web from the soil to the stage and analyze Veven through a posthumanist lens.[2] I’d like to thank Azranur Elif Sucuoğlu for the proofreading of the Turkish version. Türkçe versiyon için buraya tıklayınız.

The trailer of Veven

The story of Veven begins with a little girl named Karoline communicating with fungi. While playing in the forest with her friend Hedvig, Karoline discovers the fungal network of roots and minerals. Karoline is shy and quiet, while Hedvig is her complete opposite: a rebellious and spoiled child. Hedvig’s actions, like throwing the wrapper of the chocolate she ate on the ground and damaging tree branches, anger Karoline. Karoline shouts at her friend in frustration and tells her to leave the forest. In that moment, the fungi pull Hedvig into the wood wide web (Veven). The fungi, who are friends with Karoline, believe that Hedvig’s harmful behavior means she must be transformed. They wish to decompose and return her body to nature. After all, this event will happen sooner or later. Upon learning this, Karoline tries to find and save her friend. Meanwhile, Hedvig meets a fungus in the wood wide web, speaks to it, and begins to weaken and decay. The only way out is to sing the forest’s song. Fortunately, with the help of the spirit of the forest, Karoline finds her friend. Together, they sing the forest’s song and return to the surface of the forest. By the end of the adventure, both of them have changed their perspectives on the fungi and the wood wide web.

Image 1. Veven Poster and the theater team[3]

The collaboration between rooted bodies[4] and micro-organic lifeforms in the wood wide web has served as both the source of inspiration and the metaphorical body for this theater. Veven brings this connections and interrelationships to the stage, rethinking the human not only as a subject but as a knot in the intricate structure of nature. The performance combines biology, musical theater, ecocriticism, and music technology, presenting an interdisciplinary collaboration. The colors and sounds of nature and the forest (wind, the flow of water, the sound of fungal spores spreading, etc.) are integrated into the stage.[5] Thus, in Veven, sound design is used to depict the invisible and inaudible communication of the wood wide web. For instance, vibrations and echoes are created through music, evoking the signals sent between roots. The blending of these sounds with lighting in the stage (the color of the forest floor, beams of light) and visual effects represents a posthumanist approach.

Image 2: The Colors of The Wood Wide Web and Mycelium

In recent years, there has been a noticeable shift away from anthropocentric narratives in theater, with posthumanist critique paving the way for fresh, innovative approaches on stage.[6] Veven stands out as a distinctive example of these new approaches, presenting a posthumanist performance that incorporates more-than-human entities and pushes the boundaries of performance art.[7] In this work, the dynamics of the performance are influenced by the actors’ interaction with the space, the set, and the music, as well as the organic role of the environment, improvisation by the performers, and the involvement of nature and fungi as actors on stage. These aspects embody the posthumanist dynamics of the performance.

Image 3. Music, Lighting, and Fungi

In another sense, the staging of fungal networks and roots as characters in Veven, the focus on the connections between different life forms, the actors’ integration with nature rather than merely imitating it, the critique of the Anthropocene, and the representation of fungal networks through music and visual design on stage are all characteristic features of posthumanist theater.

Image 4. Stage Design and a Posthuman Fungal-Human

In Veven, music technology is used to create the sounds of fungi and the wood wide web. This posthuman music, mimicking these sounds, along with the interactive set design, serves as a reminder of the crucial role non-human entities play in the narrative.

As mentioned in Veven’s story, we can select fungi, one of the actors in the wood wide web, among many organisms. Fungi are, indeed, one of the crucial organisms in the life of our world. However, as seen in the dialogue between Karoline and the fungi, when we refer to fungi, we are not merely talking about what is above the ground:

Karoline:

My name is Karoline, but… who are you really?

Fungi:

We are fungi, of course!

Karoline:

Fungi? Do you mean the little one over there?

Fungi:

Yes, that’s the fruiting body, a tiny part of the fungus. Like an apple and the apple tree.But most of the fungus is underground. We are a web of millions of thin, thin underground threads that bind the forest together. We allow the trees to communicate and collaborate with each other.[8]

Fungi as decomposers have a principal role such as degrading dead matter and recycling nutrients back through the environment for other organisms to use.[9] They connect “decaying leaves with fallen twigs, large rotting stumps with decomposing roots”[10] creating living networks within the ecosystem and transforming them. As mentioned in Veven:

Fungi :

We’ve pulled her down into the Veven, underground. You said you wanted her gone. So now we’re taking her back to nature. You know we’re decomposers?

Karoline:

Decomposers?

Fungi:

We make things rot, break them down so they can become something else.

Additionally, fungi, through mycorrhizal relationships[11], collect water, nitrogen, phosphorus, and other minerals from the soil via thread-like structures called hyphae, which are connected to plant roots, and transfer them to the plants. While fungi extract these minerals from the soil, they use the organic carbon received from the plants. Mycorrhizal networks enable fungi to form symbiotic relationships with different plants. These networks function as a kind of “plant communication network” underground, allowing plants to communicate with each other.

Fungi:

A tree over there says “hoho!” to the tree over there “heihei,” saying “it’s so dark here, can you send me some energy?” “Yes, of course, zom zom zom,” and then we send it off.

Karoline:
I didn’t think fungi could talk.

Fungi:
Yes, we do. We just do it in our own special way. Not with words that blow quickly through the air, but underground, without sound so no one notices it.

In this way, fungi make a significant contribution to the sustainability of the nutrient cycle within the ecosystem. These networks, with their rhizomatic structure, differ from traditional hierarchical systems and have multiple entry and exit points.[12]

Fungal organisms are among the most powerful agents in ecosystems. By bringing together both the processes of regeneration and decay, they demonstrate that life is in a constant state of change. Bodies that fall to the ground are decomposed by various organisms and returned to nature. This process shows that every being in nature is interconnected within a cycle. The soil is a network where life and death operate together.[13] Fungi, as an integral part of these networks, play a crucial role in ensuring the sustainability of ecosystems and offer a model that demonstrates how entities come together and form new structures in nature.

Fungi seem to be a symbol of a posthumanist perspective because, through their multiple, networked, and interconnected nature, they highlight the ontological value of more-than-human entities. Posthumanist thought, by avoiding anthropocentric ontologies, advocates for a world where more-than-human entities also act as agents. Karen Barad’s concept of “agential realism” emphasizes that objects and beings are not independent but are in constant interaction.[14] Fungi are some of the best examples of this continuous interaction. By transporting information, energy, minerals, and nutrients, fungi maintain balance in ecosystems and create sustainable habitats. Humans, too, must “think like fungi”[15] — giving up their dominance over nature and creating a more egalitarian and sustainable world. In Veven, Hedvig’s salvation from decay and her emergence to the forest surface is contingent upon learning the language of fungi and being able to communicate with them.[16] Hedvig does not know this language and must communicate with the fungi she encounters through sounds[17] (saxophone) and movements.

Image 5: Mona Krogstad and her performance: the expression of the fungi

On the other hand, fungal organisms are posthumanist in that they have the capacity to evoke mixed emotions, such as mycophobia and mycophilia. This can also be observed in the following conversation between Karoline and the fungus in the performance:

Karoline: No, she’s my friend! Of course, I don’t want her to rot! And I thought you were my friends? That you were kind?

Fungi: Kind? Mean? Some mushrooms are edible, others are poisonous. Does that mean the poisonous ones are mean? Are you just kind, maybe?

As seen above, the unknown or incomprehensible aspects of nature, or those that cannot be understood through human perception, do not imply that they are necessarily less valuable, harmful, or bad. The multi-layered nature of fungi necessitates the reconfiguration of language and behavior, requiring a more complex and relational expression of the relationship between humans and nature. Mycorrhizal relationships establish complex interactions between different species, creating new connections, and these relationships cannot be reduced to a simple classification. Therefore, it is clear that the development of a new language for fungi and the use of posthumanism as a primary resource for constructing this language is essential.

Inter-species Entanglement with Fungi

Figure 1: The Seven Kingdoms of Life[18]

The Seven Kingdoms of Life, as presented here, goes beyond classical classification. As shown, there is neither a hierarchical classification nor a sharp distinction between organisms. Fungi, in particular, emerge as collaborative, interactive, and transcorporeal assemblages[19]. In this way, fungi transcend the biological boundaries of nature, revealing the limitations of binary thinking. This situation underscores how narrow and artificial the categories we’ve created to understand nature truly are.

“Mycelium is a way of life that challenges  our  animal  imagination”[20]

Fungi, as a definitive example of interspecies entanglement, remind us of the need to reconsider species hierarchies and affiliation relationships. As Haraway’s concept of “inter-species permeability”[21] suggests, fungi point to a more horizontal ontology, one that surpasses human-centered, hierarchical thinking. The permeability between species, the uncertainty of biological and cultural boundaries, and the dynamism of relations between humans and other beings constitute key components of posthumanist ecocriticism. Posthumanist thought, which encourages ways of coexistence with non-human life forms (historically, culturally, technologically, and physically), rejects the binary division between humans and non-humans. Furthermore, posthumanism links the human to other forms of being, making human existence relational, relative, and multiple. While humans may appear to dominate nature, they are intricately interconnected with the other entities that surround them.

Haraway argues that species are not distinct, fixed, and rigid categories. Instead, she emphasizes that the boundaries between species are flexible, permeable, and even “holey.” Therefore, the human body is not confined to its own biological tissue. Our bodies, in collaboration with fungi and other microorganisms, coalesce into a shared ecosystem. This understanding shows how the human body’s biological boundaries can be shared with microorganisms like fungi, demonstrating the “holey” nature of species boundaries. Fungi, as concrete examples of such interactions, allow us to rethink the biological limitations of the human body and the permeability between species. The closing scene of Veven poignantly encapsulates this perspective with the following line:

Karoline:

Can we come back sometime?

Fungi:

Yeah, yeah – but stay on the surface next time.

Hedvig:

Okeeey

Fungi:

And we’ll see each other at home.

Both:

— Huh?

Fungi:

Yes, didn’t you know that it’s fungi that makes bread rise, gives cheese its good taste… and your dad has fungi between his toes.

According to Finzi, “fungi, which exist on the periphery of life[22], come together without taking shape in the conjunction of processes of renewal and decay, and create the peaks and valleys of existence and embodiment”[23]. This versatility represents the continuous state of becoming of fungi. In other words, it is the blurring of the boundaries between nature and culture, going beyond biological categories. Matter is not just a passive entity but also something involved in the process of creating active meaning. The meaning of something is related to its material existence.[24]

The transformative power of fungi within ecosystems is highlighted by their ability to even digest the most toxic wastes of techno-capitalist modernity. This shows that fungi are not only part of nature but also serve as tools that cleanse the environment by transforming human-made remnants. Oppermann argues that ecological transformation must be re-established through the agency of non-human entities[25], and fungi, as a concrete example of this transformation, deeply shake our thoughts about humanity’s dominance over nature.

The Fungal Traps of Capitalism

The human-centered evaluation of fungi leads to them being valued solely based on their biotechnological suitability. This approach remains anthropocentric. For example, the use of the fly agaric mushroom in emojis or as an aesthetic object, detached from its ecological and cultural context and appropriated through symbolic means, transforms it into a part of the human-centered capitalist and pragmatic understanding in popular culture. In this context, the commercialization, reduction to a pastoral ideology, and commodification of fungi are evident. The fly agaric, not only disconnected from its cultural and natural context, but also used directly as a functional element, becomes part of an understanding that reinforces humanity’s dominance over nature.[26] This situation is a typical example of modern capitalist societies’ efforts to control and transform nature.[27]

Image 7: The Use of Fly Agaric in Performance

The mushroom is a non-human actor that carries its own intrinsic value and function. This means acknowledging the mushroom’s fundamental ontological existence, agency, and wholeness, without reducing its subjectivity to any functionality. In Veven, during the conversation between Karoline and the stinkhorn mushroom, scientifically known as Phallus indusiatus, we realize that categorizing species based on our value judgments is a product of anthropocentric thinking:

The Stinkhorn Mushroom: But then she said I stink! Do you think I stink?

Karoline: Eh… no, no.

The Stinkhorn Mushroom: Yes! And that’s on purpose! Think about it. To attract flies. They spread my spores. But squeezing was nice too, almost like having a visit from a fly. Hehe. Take this spore, and you’ll likely find your friend.

Fungi can play a critical role in ecological transformation, but their value should be discovered in the depth of the relationships they establish with the entire ecosystem, rather than being reduced solely to human interests. The commodification of fungi, as well as their functionalization, is not just an approach that reinforces capitalist and anthropocentric thinking. It also hinders our understanding of fungi’s ontological value as an agent and prevents us from respecting the autonomy and diversity of nature.

On the other hand, eco-technological applications such as Mycorrhiza technology can potentially offer a way to develop a more sustainable and ecological way of life, rather than continuing the existing capitalist order. Mycorrhiza technology involves using the symbiotic properties of mycorrhizal fungi in areas like agriculture, forestry, or ecosystem restoration. Thus, mycorrhiza, as a technology that improves soil health and sustains ecological cycles, could reshape the relationship between humans and nature. This supports the idea of creating a balanced life in harmony with nature, against the capitalist model of unlimited growth and consumption.

Nature is not just a struggle for existence; it is also a life form filled with cooperation and various species. Our bodies, as well as the bodies of non-human entities, are interconnected within an inseparable whole, and their existence is sustained through symbiotic interactions. The underground network allows us to move away from an anthropocentric worldview and helps us understand an ecosystem where everything in nature is interconnected. In this sense, fungi serve as a powerful symbol that challenges our connection with nature and elevates efforts to rebuild it.

Veven, which can be seen as an example of re-establishing our relationship with nature, encourages us to see the entangled connections between humans and the natural world. What is at stake here is passing through the door opened by posthumanism, enabling us to transfer the interconnected world of humans and non-humans into science and art through a new interpretation. This can be achieved through various forms of art, such as philosophy, music, and theater. Additionally, the mycelium network can serve as an example for communities and systems to connect with each other. Drawing inspiration from this, we can develop a new way of life, ranging from capitalist habits to sustainability.

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[1] The script was written by Ragnhild Risnes and Maja Sørbø, while the music and sound design were created by Lilja María Ásmundsdottir and Mona Krogstad. The show is directed by Julia Sørensen, while Sørbø, Risnes, and Krogstad are the performers.

[2] The primary driving force behind this article is the joy my daughter and I experienced in Veven and my passionate obsession with mycology, meaning my special interest in fungi.

[3] The photographs used in this article are taken from Lars Opstad.

[4] The concept of the “rooted body” not only refers to the embodiments in the wood wide web and rhizomes, but also expresses the entaglemented existence of humans with other species.

[5] For the works of Lilja Ásmundsdottir, one of the composers of the performance’s music, please visit: https://www.liljamaria.com/

[6] Choreographies and theatrical performances conducted under the leadership of Z. Gizem Yılmaz can be explored on this subject. Additionally, for more information on “posthumanist theater” in Turkish, the works of Z. Gizem Yılmaz, “Tiyatronun Posthümanist Tarihçesi” (2023, Siyasal) and “Kozmik Kareografi: Bedenlerin Element Dansı” (2023, Yeni İnsan) are recommended.

[7] Ragnhild has stated that they were inspired by fairy tales, the ‘hero’s journey’ (Greek dramaturgy), and Disney and other animated films, as well as by elements of slapstick (a comedy genre based on exaggerated physical movements, such as falling, crashing, slapping, etc.) and physical language.

[8] The dialogues in this text are taken from the script written by Ragnhild Risnes, one of the scriptwriters, and the Turkish translation is my own.

[9] Fox, A. & Boddy, L. (2013). Ecology of Saprotrophic Fungi. In: R. G. M. L. Anderson & J. M. D. J. L. (Eds.), Fungal Ecology: Making the Most of the Mycological Mysteries. 16-17.

[10] Sheldrake, M. (2020). Entangled Life: How Fungi Make Our Worlds, Change Our Minds and Shape Our Futures. London: The Bodley Head. p. 178

[11] Mycorrhizal relationships are symbiotic connections in which fungi form mutually beneficial associations with plants. There are two types: ectomycorrhizae (where the fungus settles on the plant’s outer surface and transports nutrients) and endomycorrhizae (where the fungus penetrates the plant’s root cells to transport nutrients). These relationships define the role of the fungus in the ecosystem in a complex and multidimensional way.

[12] Sheldrake, p. 178.

[13] Yılmaz, Z. Gizem (Kasım 2022). Toprağın Hali. https://thepentacle.org/2022/11/06/topragin-hali/

[14] Barad, K. (2007). Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Duke University Press.

[15] Whiteman, M. 2021. “Fungi Umwelt.” CR: The New Centennial Review 21 (3): 225–244.

[16] “If you want to save your friend, you must also travel down into the Veven.  You must teach her the language of fungi. The song of the forest is the way out.”

[17] In the meantime, Mona Krogstad performs on stage with her saxophone, representing the communication between the fungus and Hedvig. For more of Krogstad’s work as a jazz musician, see [https://www.monakrogstad.com/](https://www.monakrogstad.com/).

[18] Ruggiero, M. A., et al. (2015). A Higher Level Classification of All Living Organisms. Plos one, 10(4). https://doi.org/10.1371/journal.pone.0119248

[19] It describes a dynamic situation in which living beings interact with each other’s bodies to form an ecological web, characterized by a constantly evolving and interdependent structure, emphasizing the interconnectedness and relationality inherent in ecological systems.

[20] Sheldrake, 46.

[21] Haraway, D. (2016). A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century. In The Companion Species Manifesto: Dogs, People, and Significant Otherness (pp. 3-49). Chicago: Prickly Paradigm Press.

[22] The term “periphery” refers to fungi often being unseen, not at the center of life, or acting as marginal agents.

[23] Finzi, J. (2024). Fungal Rhizomes: Mycorrhizae and Posthumanism. Green Letters, 1–16. https://doi.org/10.1080/14688417.2024.2361359

[24] Barad, K. (2007). Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Durham: Duke University Press.

[25] Oppermann, S. (2014). Ecocriticism and the Environmental Humanities: Rethinking the Role of Nonhuman Agents in Ecological Transformation. In Ecocriticism. New York: Routledge.

[26] Finzi, s.6

[27] Haraway, 30-34.