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Guide for sustainable artistic work at the Theatre Academy

What should I take into account when planning ecologically sustainable productions at the Theatre Academy?

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Towards more ecologically sustainable productions at the Theatre Academy

  • Rehearse and try.
    • Ecologically sustainable activities can be rehearsed with support at the Theatre Academy.  Consider what you want to try and learn about ecological sustainability during this production.
  • Take advantage of the support, competence and knowledge offered by the different departments of TTP.
    • The support services for artistic work (TTP) help to take ecological sustainability into account in all stages of production, from design to dismantling.
  • Set targets for sustainability and monitor their implementation.
    • Could setting a common goal for one or more working groups right away during the planning stage help to focus attention and resources on issues relevant to production and learning? The targets should also be communicated to TTP so that they can support the meeting of these targets where possible.
  • Reserve enough time.
    • Enough time should be reserved for exploring, experimenting with and preparing ecological alternatives. It is also easier to keep equipment and goods in good condition when working at an easy pace and staying on schedule.
  • Take advantage of TeaK’s wide range of selections.
    • The most ecological starting point for designing and brainstorming is the use of existing goods, materials, clothing and technology at the Theatre Academy. Explore existing selections and storerooms already during the planning stage.
  • Experiment for as long as possible with items in the building.
    • Try ideas in rehearsals first with existing costumes, props and sets. Do not plan any purchases or fabrications with TTP until the ideas have been fully fleshed out.
  • Plan for the end right from the start.
    • The future life of materials, props, sets and costumes should be considered with TTP already during the production planning stage. How can you jointly ensure that as much as possible will be dismantled, stored, maintained and/or later reused as is or modified?
  • Take care and use correctly.
    • Items borrowed and acquired will remain useful for future users when they are used correctly and treated with care. If, for example, you plan to use an item in a way other than for its intended use, first discuss the matter with the relevant TTP department. Almost all ideas can be come up with together by discussing and planning a good and sustainable approach.
  • Use discretion when using messy materials and consumables.
    • For example, various fluids, clay, soil, sand, glitter and food can be harmful to equipment, materials, working group health and facilities. If electronic equipment is damaged beyond repair by these materials, keep in mind that the manufacture of new equipment places a considerable burden on the environment. The longer the equipment remains intact and in use, the more ecological it will be. Using messy materials also increases the need for cleaning and maintenance. Discuss the use of messy materials with each TTP department before experimenting with them. The use of fire and hazardous materials also requires joint discussion and planning.
  • Learn your lessons.
    • During the final stage of the production, repeatthe ecological sustainability targets you set earlier, assess how effectively they were met and go over what was learned through the production together. Sharing lessons, experiences and ideas with other students, teachers and TTP benefits everyone and promotes the ecological sustainability of the entire Theatre Academy.

Stage and set-building

Advice for students:

  • Present your plan in good time.
    • Review the production plans and any ecological sustainability targets with the supervising teacher and stage manager at the beginning of the planning process. This will allow you to plan the production together and get support for implementing your artistic ideas in the most ecologically sustainable way.
  • Use what’s already on hand.
    • Use as much of the items found in the stage storeroom, recycled from other sources and purchased as the basis for planning and implementation. You can also find out whether there are usable goods, sets or materials left over from currently running productions that you could use.
  • Use screws, fittings, upholstery studs or hook-and-loop straps for attachments.
    • This allows for faster dismantling and makes the reuse of materials easier. Only use adhesives if they are needed for set durability, safety or some other reason.
  • Find substitute materials.
    • Together with the stage manager, consider whether environmentally-unfriendly materials could be substituted with a more sustainable alternative that looks the same.
  • Remember the possibilities offered by fabrics and carpets.
    • If you want to change the atmosphere of the space, avoid painting and take advantage of other methods.  For example, a black box can be made lighter by using dance mats or large pieces of fabric found in the storerooms.
  • Take care of paint waste.
    • When working in the paint shop and light/sound/set studio, pour the first water used to clean painting equipment into a hazardous waste barrel/container.
  • Return borrowed tools, materials and supplies to their correct places.
    • Always return the materials you borrow to where they belong.
  • Carefully consider the use of messy materials.
    • Please note that all TTP departments must approve the use of all allergenic, messy, dusty and organic substances. There is always a good solution for a production when the plan is drawn up together and in good time.
  • Plan for the reuse, dismantling and recycling of sets.
    • In cooperation with the stage manager, plan for the reuse and dismantling of the set before purchasing. Permanent storage is usually not possible because there is little storage space.

Stage department’s own ecological choices:

When the stage design students have presented their preliminary plans in the production meeting, we will find out together about the necessary materials and their prices, availability and ecological compatibility. Often the student has reasons for the desired implementation, but if we have, for example, a bad experience with some material, we offer alternatives. We also negotiate with the supervising teacher, and a solution to, for example, a more ecological alternative can often be found. 

At the beginning of the periods, we also go through the procurement of raw materials for our future productions with the whole team, which we then order in one delivery, dividing the freight costs between the different productions. In this way, we save both nature and time, and our stock remains a reasonable size. Over the years, we have ended up preferring certain materials precisely because of better recyclability. Previously, more than ten years ago, the day of dismantling productions meant ordering a skip and throwing away almost all set elements! Since the dismantling of works is often both mentally and physically difficult, the knowledge that today’s set material will end up in another work in the future is a relief for all members of the working group, including us stage workers. 

Furniture warehouse:

Our prop warehouse is divided into two; there is a furniture warehouse and material warehouses. 

Our furniture is mainly old, miscellaneous donations or purchased from recycling markets. They are mainly solid wooden and metalframed furniture. We have been able to repair, reupholster, refinish the surface  and recycle these for decades. Older solid wood and metal furniture is often longer lasting, more durable and easier to repair than newer fiberboard and urethane foam furniture, for example shelves, tables and sofas. 

If we need something for the productions that we can’t find, we try to get it either by borrowing it from other theater houses or by looking at recycling groups and flea markets. We keep in mind: the longer the life cycle of the furniture, the smaller the carbon footprint. This is also more economical, not just more ecological. 

Material warehouse:

Our material warehouse is also divided into two; there is a stage structure warehouse and a raw material warehouse. 

In the stage construction warehouse, you can find platforms, railings, doors, benches, molton curtains, grass mats, dance mats, trusses, chain hoists etc. We are also constantly developing modular structures that can be easily modified and dismantled as needed. We use both wooden and metal structures for further use. We prefer screw fastening instead of staples and glue whenever possible. 

Our raw material warehouse includes plywood and wood fiber boards, plywood, lumber and softwood, metal sheets, steel pipes, flat irons, plastic sheets, milk cartons, paints, glues and others. Metal’s carbon footprint is the largest of all the materials we use, but on the other hand, it is the most durable material and the easiest to modify. 

We strive to have the staging designers take our already existing warehouses as a starting point for the design. In addition, we encourage them to look at the staging of current productions, so that they can also find parts of them for their own work. If this cannot be done for artistic reasons or if we cannot find enough material, we will try to find recycled materials, for example via social media (dedicated for props). If we have to acquire so-called virgin material, we think about how the material in question could be further used. Is the material easily disassembled and/or recycled as parts or as raw material. 

Information on the country of origin of the materials can be obtained from the suppliers. For example, the plywood, lumber and softwood plywood supplied by Hartman Oy that we use all come from domestic factories. Birch plywood and OSB board come from Latvia, MDF board from Poland and film plywood currently comes from Brazil. The metals mainly come from SSAB’s Finnish factory in Raahe. 

In the stage department, the aim is to order the raw materials together, while the freight costs are shared between the different productions. The period model enables this brilliantly. We can minimize the carbon footprint caused by transportation by getting the materials needed by several different productions in one go. 

Recycling:

Every year we do a stock inventory. If we have any unused pieces of material or set elements left, we will recycle them either by contacting other theaters or by announcing, for example, in the Roinaränni group on Facebook. It has been a pleasure to notice that the taker can be found with 99% certainty. If we still have to throw something away, we carefully sort the verses into circulation. 

The wood and metal workshops have recycling shelves and bins for all the material that is left over when making sets. Most commonly, we have the following solid materials: softwood and birch plywood, MDF board, OSB board, polycarbonate, polyacrylic, polystyrene, steel and aluminium sheets, steel and aluminium pipe, plywood, boards, paints and stains. 

These leftover materials can be used by all TeaK students. For example, a sound designer may need different material pieces of different thicknesses for course or product experiments, a set designer for surface treatment tests, a lighting designer plastic sheets for light ceilings. The sculpture department of the Academy of Fine Arts also uses our waste material. 

Finishing treatments:

Since our performance seasons are very short, on average 6 weeks, i.e. 5–10 performances, we have to paint the set structures and performance spaces with fast-drying, as a rule, water-based paints. There are few more ecological alternatives, but unfortunately they are not suited to our hectic pace, as they take longer to dry and are less durable. 

Changing performance spaces by painting has, however, decreased considerably. We offer alternative solutions for this, such as dance mats, milk cartons and fabrics. In this way, the appearance of the space can be changed without permanently modifying the space. We try to reuse our large fabrics for as long as possible. The advantage of using fabrics is their versatility, for example as a projection surface, curtains, ceilings, pleats, tensioned surface, space dividers, maybe mechanically adjustable or as a floor material; set element in many different ways. 

In our paint shop, it is especially important to remember to use a hazardous waste barrel for the first paint washes. Washing is carried out in a bucket or other container, from which the washing water is poured into the hazardous waste barrel using a funnel. Only the last rinse water from rollers, brushes and dishes may be discharged into the sewer system. We have moved almost completely to water-based paints. They are not completely non-toxic or odorless, but still better than solvent-based surface treatments. 

We no longer manufacture fiberglass items. 

Chemicals:

The chemicals used in our workshops and presentation rooms have been collected in the iChemistry database. IChemisty is a chemical management system to which all students and staff of the University of the Arts have access. iChemistry’s instructions for use will be available in Student’s Uniarts during 2024. The chemicals are located in locked cabinets in the paint shop and the metal workshop.

Props

Advice for students:

  • Use discretion when borrowing goods and only borrow when necessary.
    • Endless experimenting with a large volume of goods is not ecological because it consumes goods and requires a lot of maintenance. If experimentation and testing are not necessary for learning or artistic work, save nature by reducing the amount of borrowing and, in turn, wear and tear on goods.
  • Take advantage of prop staff expertise.
    • Consult with the prop masters on what might be an ecologically sustainable and appropriate way to make a production using props found in the storeroom or those fabricated or purchased for use in the production.
  • Treat the goods you borrow well and use them appropriately.
    • For example, keep eyeglasses in a storage case to avoid scratching them.
  • Report any breakage (even minor) as soon as possible.
    • The sooner (and with a lower threshold) you report breakage, the easier it is for the prop staff to repair or replace it.
  • Borrow goods suitable for your purposes from the prop inventory.
    • Together with the prop staff, you will surely find the appropriate item for your purposes. For example, do not use a fragile, decorative walking stick as a baseball bat.  Think about how you can minimize the risks of breaking props, so that the props that are key to your production do not break in the middle of a performance.
  • Avoid disposable containers.
    • Avoid using disposable containers and other disposable items whenever possible. If the production requires disposable dishes, purchase paperboard dishes and ensure that they are recycled for paperboard collection.
  • Use discretion when purchasing flowers and plants.
    • Purchase waste flowers or fair-market flowers if you need to use cut flowers. Plants can be borrowed from the prop inventory. If you purchase green plants for a production, put them in the prop inventory after use.
  • Think about whether you are using the right food, especially if the food will not be eaten
    • Buy only as much as the production requires in order to avoid wasting food.

Props department’s own ecological choices:

The ecological procedures of Theatre Academy’s props department: 
  
“The props department has items and materials used in theatre and performing arts productions. It has no limitations on materials or size. An item or a material will become part of the props when it is brought on stage. The props will always have a role as it can carry on the plot, mark time, place, weather condition or a state of mind and can even act as a co-star, like the skull in Hamlet. The set creates the atmosphere but the props help create fast and changing emotional response in the audience.” (Pipsa Keski-Hakuni, props designer, SKOB, PhD student, Aalto University)  

 The profession of props master includes a variety of skills from different industries. There are no books for this profession, but it requires a broad knowledge and skills in handicraft and its technologies. An extensive knowledge on materials is also required.  

What do we do to achieve ecological sustainability?  

We help in choosing the correct items and materials and guide in the appropriate use. In addition to informing us of the usage the items and materials are needed for, the student should also inform us on how the item or material will be used and what it is supposed to communicate to the audience. This information enables us to help and guide you in the best possible way to achieve the best option in regards to ecological sustainability.  

The props storage: 

In the storage there are a variety of items and materials. There are daily items such as phones, dishes, toys, shovels, candles, lamps, etc. but also specific items crafted for a specific production such as masks, heads, food etc. In the storage there are specifically made or modified items for theatre. We store items that are needed in most of the productions and courses. 

Many of the items are old and represent different decades. These kinds of items can’t be replaced if they break so it is expected to pay special attention in handling them to increase the lifetime of the items.    

We check and maintain all props after they have been used. In addition to maintaining, we also evaluate the condition of the item and fix it if needed. This will increase the lifetime of the item and therefore makes it more ecological.   

If an item breaks and is no longer repairable we take all usable parts to be used as spare parts. Items that can’t be saved will be recycled appropriately. Hazardous waste such as batteries, electronics, glass, metal will be appropriately recycled. There is a need for large quantities of batteries, i.e. for LED candles, fairy lights, megaphones, toys, flashlights, radios, so we invest in rechargeable batteries.  

Sometimes items must be disposed of. The reasons usually include the item being broken, short lifetime of the item (can be expected to break in the following production) or the item being hazardous to use.  All disposed and unnecessary but still usable items will be donated forward, i.e. through Facebook’s Roinaränni-page.  

We don’t rent any props from elsewhere due to the risk of damage.   

Crafting of new props: 

New props are being crafted when there are no available ones in the storage or at the stores. Whenever a new item is made, it has to have a long lifetime and it must be modified or fixed if need be. To be able to craft the needed items, we require discussion on the visual aspect of the item, the usage of it and knowledge of the resources such as budget and time.  

Recycled materials are used whenever possible. Most of the materials used are something that will not be used in anything else. There is a large variety of materials and parts such as buttons, handles, buckles, wheels, balls, etc. All of these materials have been acquired throughout the years from donations and second hand purchases. A variety of items that are pairless, outdated, broken and/or items and parts that are no longer safe to use will be used in making new props. In addition to all this the leftover wood materials and metal from the stage department are used in crafting. Also some of the fabrics and materials of the wardrobe department can be used.   

The materials used in making new props are always selected based on how ecological and environmentally friendly they are. In case there are no materials for the crafting of a new prop available in our storage they are always acquired from second hand shops if possible. The principle is: the longer the lifetime of the item, the smaller the carbon footprint. In addition to it being ecological it is also economical.  

Purchasing new materials the aim is always to choose ecological materials and consider the lifetime of the material and how well it suits the requirements. Our goal is to carefully consider purchasing new materials and only buy them when really needed.  

We avoid using toxic materials. This often leads to sewing materials instead of glueing them. Sewing isn’t only limited to fabric but can also include plastic, metal, jewellery etc. It is ecological but time consuming. Fibreglass and resin are rarely used.  

All chemicals used in the props department have been gathered to iChemistry database. IChemistry is a system for chemical management where all Theatre Academy’s students and staff have access to. iChemistry instructions will be available in students’ Uniarts webpages in 2024. 

Costumes

Advice for students:

  • Take advantage of costume staff expertise.
    • Consult with the costumers on different outfit options and what could be an ecologically sustainable way to make costumes.
  • Borrow costumes as needed.
    • Endless experimenting with a large amount of costumes is not ecological because this will require a lot of costume maintenance. Of course, it is sometimes necessary to try and test things, but if this is not central to learning, save nature by reducing the amount of costumes borrowed and, in turn, the amount of laundry to be done.
  • Treat costumes well.
    • Store clothing, wigs and shoes in their designated places (e.g. a clothes rack) and on hangers suitable for them. The Theatre Academy does not employ costumers, so it is important that you learn how to care for costumes and store them properly yourself. This will ensure that the costumes last for the entire duration of the production run and stay in good shape for the next users.
  • Wear undergarments.
    • It is a good idea to wear, for example, a t-shirt or other undergarment to absorb most of the sweat and oil from the skin. These undergarments should also be easy to wash. This reduces the need to maintain the actual costumes and protects them from excessive wear and tear.
  • Do not use strong fragrances.
    • Strongly scented deodorants and perfumes stick firmly to fabric fibers, thus increasing the need for washing and stronger detergents.
  • Take care of your shoes.
    • Use socks and insoles whenever possible as they protect your shoes. It is a good idea to remove them from the shoes between rehearsals/performances so that the shoes can properly dry and air out after wearing. Also use a shoehorn in order to keep the shoe heel intact. The use of a shoehorn saves shoes, especially when making quick changes and you don’t have time to untie and retie the shoelaces.
  • Carefully consider the use of messy materials.
    • These include various fluids, clay, soil, sand, glitter and food. These materials increase the need for costume maintenance and cause wear and tear. They can also be harmful to washing machines and sewers. The use of fire and the protection of clothing against fire must also always be discussed in advance.
  • Keep highly used and rarely used clothing separate.
    • This makes it easier to avoid doing unnecessary laundry. Dividers can be used on costume racks to make organizing easier.
  • Take care of any necessary costume maintenance during rehearsals.
    • Highly used clothing must be washed frequently enough to prevent sweat, skin oil and dirt from getting embedded in the clothing. This also extends the service life of the garment. Costumes are taken care of by costume maintenance, and you are responsible for notifying them when a costume needs maintenance. (During a production run, production costume maintenance is scheduled in advance.)
  • Bring in damaged costumes for repair.
    • If your costume or shoes are damaged in any way, bring them in for repair as soon as possible. This prevents the damage from getting worse and makes repairs easier. Keeping clothing and shoes in use for as long as possible is in everyone’s interest.
  • Take the ecological aspects of costume design into account.
    • It makes sense for a costume designer to utilize and modify existing costumes and fabrics at the Theatre Academy. You should also look for materials at flea markets. If you purchase new materials or clothing, pay attention to quality, durability, suitability and certification. Also pay attention to the possibilities of costume maintenance when assembling costumes. 

Wardrobe’s own ecological choices:

What do we, as wardrobe staff, do for ecological sustainability? 

We guide, share information and sources of information, remind, ask, question, and bring out the ecological perspective in all Costume Department activities. We also want to learn new ways and means of operating in a more ecologically sustainable way. 

Costume storage: 

The clothes in the storage are ecological. Even though the Theatre Academy’s performance seasons are not long, the clothes used in performances are circulating for a long time. After the performance, costumes, shoes, bags, wigs, jewellery, and makeup are cleaned and fixed, and taken back to storage, from where they can be reused for future productions. The longer they stay in circulation, the smaller their carbon footprint becomes. Furthermore, old clothes are often made of better-quality materials than new ones. And what’s best, they are already here, there is no need to source them or order them from elsewhere. 

We also regularly replenish the storage with new or second-hand clothes and shoes. The experience of our staff helps us understand what kind of clothes are versatile, what is needed more or what type of clothing lacks sizes. When shopping for clothes, we also try to take sustainability into account when choosing materials and the place of purchase. 

When making new costumes, we use working methods that aim for the longest possible life for costumes and materials. When designing costume structures, we pay attention to the needs of the production we are working on as well as the future use of the costume. For example, we leave plenty of seam allowances in clothes, which makes it easier to change their size for the next need. When attaching decorations on clothes, we try to avoid adhesives, and prefer sewing or other methods. This makes it easier to remove the decorations and reuse the costume and decorations. 

The footwear and bags in the storage are maintained and intact. By maintaining and repairing them, we try to keep them in use for as long as possible. We prefer footwear made of breathable and moisture-wicking materials such as leather, fabric blends and mesh fabrics. Leather shoes can withstand years of use if they are well cared for. They can be repaired with chemicals and solvents that are milder than what faux leather and coated leather shoes require. Leather shoes can also be painted with more environmentally friendly materials. The faux leather in shoes also increases the internal temperature and humidity of the shoe, which is not good for foot health. 

Fabric storage: 

We replenish the fabric stock carefully and according to ecologically sustainable principles. The durability of materials is important to us, as we want the costumes we create to last as long as possible. We place fabric orders based on mutual consideration and in larger batches. The choice of stock fabrics is also influenced by current costume trends and other special requirements of the performing arts. 

Assessing the eco-friendliness of a fabric is very difficult because of the several different factors that affect its sustainability. Various certificates help with the assessment. More and more ecological materials are being developed and are becoming easier to access for consumers. An example is Tencel along with materials made from recycled fibres. 

In costumes, the right choice of material depends on the need and purpose. Poor material choices expose clothes to breaking either during the performance season or immediately after. That way the garment won’t have further use anymore. For some garments, the most sensible material choice is polyester, for others wool. For these there are also ecological and ethical alternatives to varying degrees. 

Dyeing: 

For the time being, we still usually use so-called direct dyes, which are not particularly ecological. This is because we have a large number of colours in stock, and it makes sense to use them up. 

The production and use of natural dyes is currently studied extensively, and we follow the industry with interest and strive to find more ecological dyeing methods. 

Our fabric stock includes well tried and versatile fabrics that last for a long time, either undyed or light toned. Dyeing them is possible when needed. This way, we don’t have to stock large quantities of fabrics in different colours. Dyeing dark tones is more difficult, so in their case we prefer pre-dyed fabrics. 

Costume maintenance: 

In costume maintenance, we wash as full loads as possible in washing machines and the clothes are preferably dried without use of additional electricity. In washing machines, whenever possible, we use eco programs, and turn off the power switches for the weekend. We buy detergents in large packages. When choosing detergents, we prefer fragrance-free and eco-certified detergents, such as Ecodoo. For stain removal, we use environmentally friendly gall soap. We use spirit vinegar as fabric softener. It inhibits the growth of bacteria and improves the laundry result, brightening coloured laundry. Also, it helps to keep the washing machine’s tub in better condition. As a fabric softener, we also use unscented LV series fabric softener. 

The shoes are maintained by checking them one by one, wiping the surfaces, freshening if necessary. When necessary, conditioners are put on leather shoes and broken ones are repaired. Sometimes shoes are also shaped back into their own shape with lasts. All this helps the shoes to stay in good condition and in use for as long as possible. 

After use, the wigs are checked to see what kind of maintenance they need. Options include washing with wig conditioners, ozonation or airing. The wigs are combed and trimmed before being returned to the storage. 

Makeup products and accessories are also maintained. Brushes and other accessories are washed, and cosmetic packages are wiped. A clean surface is cut into the lipsticks and the makeup pencils are sharpened. If there are several packages of similar products, we hope that the opened packages are always used up first. The year of opening a product is also marked on the packages to make it easier to determine if the makeup is still usable. 

Read more about ecological laundry in Taito ́s “Ecological clothing maintenance” video series. (Only in finnish.) 

Recycling, chemicals, waste sorting and transport: 

We occasionally reduce the number of costumes in storage to keep the stock as suitable and easy to use as possible. We remove footwear and bags from storage when repairing them is no longer reasonable or they are beyond repair. We carefully choose the clothes to be removed and find out if they could find further life elsewhere in the performing arts field. If not, we donate the clothes for recycling. We deliver fabric waste (cutting waste and non-recyclable clothing) to textile waste collection points or donate it as material to the Academy of Fine Arts. 

The chemicals used in the costumes have been collected in the iChemistry database. iChemisty is a chemical management system that all Uniarts Helsinki students and staff have access to. The iChemistry user manuals will be available in Uniarts webpages during 2024. 

In transporting performance costumes, we utilise cooperation and joint transports with e.g. stage props. We pack the clothes appropriately and instruct the performers in clothing maintenance and repacking the clothes for return. 

Tips for costume designers:

How can you, as a costume designer, work sustainably?  

As a designer, think about how you would like to incorporate ecological thinking into your costume design or practices. The wardrobe staff can help and guide you to seek information and to commit to work more sustainably with your costume designs. We are also eager to learn more about sustainability. Here are some perspectives on designing and creating more ecologically sustainable costumes. 

Ecological costume design starts from a circular economy approach, which means considering the life cycle of a costume with every choice you make. The design considers the entire performance season, including costume maintenance, and the post-performance life of the costumes, i.e. what happens to them after the performances are over.   

Ecology can also be considered in terms of learning sustainable working methods and design processes. Costume design is guided by different, sometimes conflicting, values: the artistic content of the performance, the budget, the time available for work (both for the costume designer and the wardrobe staff) and environmental sustainability. Even if the structure of the performance, artistic goals or schedule might not support sustainable choices at everything, it is good to take into consideration what parts of the process do give a possibility to make the environmentally friendly choice. 

Could ecology be seen in the same way as, for example, a budget – if there is not enough money, something must be changed? 

The Theatre Green Book gives you a good basic understanding of how to make theatre productions in a responsible and ecological way.  You can download it here.

When doing your costume design at the Theatre Academy, please pay attention to the following points: 

Design: 

  • Could the costume design be based on existing garments? 
  • Endless experiments with a large amount of clothes are not ecological, because it causes a lot of costume maintenance.     
  • Do you have enough time to look for and order ecological alternatives for fabrics and clothes? Poor quality choices are often a result of lack of time and money. 
  • Consider the Wardrobe staff’s effort to make reusable costumes. Such methods can be more time-consuming, for example sewing on decorations instead of glueing them on. We also like to discuss material choices with you for the same reason. 

Materials and finished costumes:  

  • Our costume storage is available for you. We will modify the garments according to sustainable principles. It is not ecologically sustainable to modify clothes so that they are no longer suitable for further use or cannot be washed. Please also pay attention to the durability of the costumes in use.  
  • It is good to pay attention to the ecology and ethics of materials. It is not always easy. They are affected by the conditions under which the raw materials are grown or manufactured, as well as by the processes used to make and shape the fabric.  You should also consider the ecological and ethical implications of clothing manufacture. Get to know about the different certifications available.   
  • Our fabric stock is available for you to use. The use of fabrics from storage is an ecological choice. They are already here and no longer need to be manufactured or transported. Use what you have. Stock fabrics also do not incur additional costs for production.    
  • We recommend doing second-hand shop tours. Clothes are recycled and therefore more ecological. The range of styles is often wider than in ready-made clothing shops and the prices are lower.  Sometimes what you bought might be a miss, but clothes made from good materials can be used in the future for other productions at the Theatre Academy.     
  • You can find nice materials from second-hand shops, too.  It is possible to make fabric finds or use clothes as material. However, we hope that you will pay attention to the fabric qualities and their compatibility. A costume that breaks because of a poor material choice and cannot be reused, and will therefore not be ecological, even if its materials are purchased second-hand. 
  • When buying footwear, pay attention to the materials. They should be breathable and moisture-wicking. Leather shoes, if well cared for, will last for years of use. They are easier to repair, and the chemicals and solvents used are less toxic than those required for synthetic leather and coated leather shoes. Leather and fabric footwear can also be painted with less toxic paints. 
  • It is a good idea to consider costume maintenance from the very beginning of the design process. The most ecological way to do maintenance is to wash costumes in a full washing machine. Ideally all the costumes from a production can be washed together in a couple of full washing machines, so it would be good if the colours and materials could be washed together. How would this kind of thinking affect the creative process? 

Dyeing:  

  • Fabrics and clothes can be dyed in the wardrobe if required. 
  • When choosing the fabric for dyeing, it is a good idea to consider what kind of dyes are possible to use for that material. Synthetic dyes can be harmful to nature and humans, even toxic. The dyeing conditions, bulk dyeing, additional chemicals, and bleaching agents all add to the mix. To put it simple, undyed fabrics are the most ecological and dyed fabrics are the least ecological. 
  • Think about whether natural dyes could be an option. The challenges with natural dyes are the limited choice of colours, the availability of dyes, the time required for dyeing and the permanence of the colour. With natural dyes, you have to think about how much, how strong and how precise the colours in the costume have to be.  
  • For special effect materials, you can also think about alternative, more ecological solutions. For these, too, the durability of the material in relation to the duration of the performance must be considered.  

More information on dyeing and ecology:  

The BioColour research project offers a comprehensive information package on colour; videos, podcasts, publications and links. The BioColour project is developing new methods for the production and use of bio-dyes.  Read more about the research project here.

On Taito Association’s  Dyes and Dyeing Green article you can find more information about textile dyeing in general, natural dyes and bio-dyes. Read the article here, only in Finnish.

This section was written with the help of costume design teacher Susanna Suurla from Aalto University.   

For more information, please contact kati.autere@uniarts.fi

Light, sound and AV

Advice for students:

  • Reduce energy consumption
    • Turn on the light, audio and AV equipment only when you need to use them. LED lights turn on when power is supplied even if you are not using them yet – the light fan will turn on, the displays will turn on, thus consuming power.
    • Choose high-quality LED lights. LED lighting is the primary choice in all performance venues. Incandescent and halogen bulbs are extremely inefficient light sources, In halogen bulbs, about 95% of energy is converted to heat and only 5% is used to generate light.
    • Turn off the lights when you leave the facility and turn off all power at the end of the day.
  • Take care of the equipment you use
    • Carry equipment carefully in transport boxes (cases) and on carts intended for moving and transporting equipment.
    • Set aside enough time for moving, building and dismantling equipment. Haste often results in dents, scratches and even damaged equipment.
    • Power cords and other equipment are attached to the roof grid, trusses, etc. with Spannfix. Do not use tape.
    • There is a place for everything. After use, return the equipment to its proper place. Do not leave equipment in the corner of a performance venue or on a case to gather dust. Instead, put equipment into their respective cases or, for example, put lights in their place on the rack.
    • Always cover the light and sound console with a hood at the end of the day. Do not eat or drink on or next to equipment.
    • Coil power cords correctly so that the wire will not twist and sustain damage. Do not use electrical tape – use a hook-and-loop (Velcro) strap attached to the cord. A TTP support person will advise you, if necessary.
    • Do not hesitate to consult TTP personnel if you are unable to use the equipment. Sound, light and AV equipment breaks when misused. Equipment manuals can be easily found in Trail, and light and sound department support personnel will guide you in the correct use of the equipment.
    • Inform your support person if you find that the equipment you are using is out of order and clearly mark the broken device (date, name, fault assessment and how the fault occurred). A support person will take the appliance to a service point for repair or send it for maintenance. 
  • Recycle and purchase wisely
    • Avoid using disposable products and consult your support person when making purchases. This will help you avoid making potentially unnecessary or incorrect purchases.
    • Return used energy-saving bulbs, LEDs and fluorescent tubes to the WEEE (waste electrical and electronic equipment) collection point. Your support person or Info staff will help you find the right collection container. You can also give the above-mentioned bulbs, lights and tubes to your support person for recycling. Halogen and incandescent bulbs can be disposed of with mixed waste. Recycling decommissioned lamps is important as they can be used to recover valuable materials for reuse (LEDs are composed of 88% glass, 5% metals and 7% other materials). In addition to bulbs/lights/tubes, other lighting fixtures, such as decorative lamps and Christmas light sets, light therapy lamps and lamps with fixed luminaires must be placed in the WEEE container.
    • If possible, always use rechargeable batteries. Other empty batteries and small appliance batteries can be taken to Info. Tape the battery terminals before putting them in the collection container to prevent fire hazards. More than half of the raw materials contained in batteries can be reused.
    • Before cutting a piece of new lighting film, try used coloured films that are in good condition. Used films can be found in the cutting station drawers. Mark the films that are in good condition and sort them in the drawers after use. 

Light, sound and AV departments own ecological choices:

Ecologically sustainable lighting or sound design is not just counting Watts. It is a long-term development of ecologically sustainable procedures, life cycle thinking and detective work that explores the ethics and responsibility of audiovisual equipment manufacturers. It is the maintenance and careful storage of equipment and familiarization of a wide range of users with the correct use of equipment.

Kaavio.

The challenges that the VAV team faces in terms of ecological sustainability are both technical and adaptive, as described in the model above. As experts in our team, we can solve most of the technical challenges created by ecological sustainability by experimenting with the new and repairing the old, but at the same time we strive to see the challenge more broadly, in which case changes are required not only in the technology but also in the attitudes and ways in which we are accustomed to design and work.

More permanent changes are achieved through continuous open discussion, but changes do not happen overnight. However, a lot has already happened, and we even had to count some watts because we do do most of our work with electronic devices.

Performance spaces and equipment:

Theatre Academy has a total of nine spaces defined as performance space: four studios, Theatre Hall, two rehearsal halls and White Studio, which is shared with Academy of Fine Arts. All these facilities exist and are equipped for students’ performances and other events. The lighting and sound systems that served Theatre Hall for more than 20 years were renewed in 2021 and four studios in 2023. The systems were used up before the renewal was completed.

Procurement:

The lighting, sound and AV team has large number of devices – total of nearly 3000 devices listed in Trail asset management service, with a total price of over 2 million euros. The team’s annual investment budget is the largest in Theatre Academy and for this reason the responsibility of our procurement is emphasized. We do not make unnecessary purchases; we only acquire new equipment when needed. Before purchasing new equipment, we will assess whether the existing equipment could be utilized, repaired or reused. Procurement is guided by the Ecologically and Socially Sustainable Procurement Guide.

One example of an ecologically sustainable procurement is the ReLite Led modules, which were acquired in 2019 for Theatre Hall’s 2 kW Fresnel luminaires (purchase from 1999). For luminaires used mainly as rehearsal and audience lights electricity consumption was 2000W each. Replacing halogen bulb with a LED module reduced the consumption of one device to 160W. As the bulbs don’t need to be replaced anymore so often, both economic and ecological savings are made. The halogen bulb lasts about 2500 hours, while the led module lasts up to 20 times longer, 50,000 hours. After serving us for more than 20 years the luminaires were granted new life. At the end of 2023, we replaced the halogen bulbs with a LED module in one of the rehearsal spaces mainly used for dance practice and performance. This will reduce the electricity consumption of one luminaire more than 800 W. Thus, 20 luminaires will consume 3,700 W instead of 20,000 Watts in the future.

Kuvassa ReLite Led lamppu.
ReLite LED module mounted on 1kW Fresnel. Photo Hanna Käyhkö.
Kuvassa ReLite Led lamppu.
ReLite. Photo Hanna Käyhkö.

We will gradually go through all the luminaire types and turn halogen bulbs into LEDs as new proven products come on the market. We modified 750W halogen profiles into LED profiles, which maximum energy consumption is only 220W and the number of hues is endless. A similar update will be made in 2024-2029 for rehearsal halls, where 1 kW Fresnel luminaires are used daily for several hours. In 2024, we will begin a year-long test of how the LED module mounted on 1kW Fresnel can withstand the daily use. Only after this test will we make the final decision on the purchase.

One other example of responsible procurement is the 9600-lumen laser projector Christie DWU960-IS, which replaces two times heavier Barco RLM W6 projector. The laser projector is promised useful life of 20,000 hours, while the Barco lamp has useful life of only about 2,000 hours.

When making purchases, we research and compare devices on the market and keep in touch with suppliers and colleagues who make purchases. One of the most important features of the device to be acquired, whether it is a lighting fixture, a sound table or a video projector, is its usability and quality. A high-quality device will last in use, even if it is transported, stored and used for years or, in some cases, decades. An example of this is the Arri L-7 Fresnel lamp, which was purchased as the first LED light for the Theatre Academy’s performance spaces. Luminaires purchased in 2014 still function flawlessly and have hardly had to be sent to service. The Arri L-7 electricity consumption is only 220W and savings are also made by the reduction in the use of color filters. This luminaire has replaced some of the 1 kW Fresnel in all performance spaces.

There are differences in equipment manufacturers and suppliers. Unfortunately, the environmental work of our preferred manufacturers and dealers is not completely transparent and standardized, although most of the manufacturers we choose have their own environmental program. For example, the Finnish manufacturer Genelec and the French manufacturer L-Acoustics, as well as the moving light manufacturer JB-Lighting, have their own environmental program:

Check out Genelec’s environmental program here.

Find out about L-Acoustics’ environmental program here.

Check out JB-Lighting’s environmental program here.

JB-Lighting makes the equipment modular, making it easy to maintain and repair the equipment yourself. The company promises spare parts for its products from the time of purchase for the next ten years, and even after this, spare parts can be ordered.

Many responsible manufacturers want to strive for as transparent a production chain as possible, but in the case of the LED production process, for example, transparency has yet to materialize. According to studies, 87% of the world’s light sources will be LEDs by 2030. Compared to the amount of space LED has already taken over the lighting market too little is known about the collection and final disposal of raw materials used in LED production. The collection of raw materials used in LEDs has social and environmental impacts – toxins are released into the soil, air and water. Some raw materials have radioactive properties and the resulting harm to the local ecosystem and workers’ health is severe. China and some countries in Africa, for example, are willing to take great risks in collecting rare earth elements.

We prefer products manufactured as close as possible, being aware that some of the components come from outside Europe. For example, our hazer Swefog K1 has been assembled in Sweden. The components come mainly from Sweden and Europe. The only part produced outside of Europe is the machine pump, which comes from China. The liquid of the hazer is packed in such a way that 75% less plastic is needed for the packaging.

We also pay attention to how importers take account of the sustainability of the products they choose to sell and constantly ask questions about ecological sustainability.

Maintenance:

All our equipment can be found in the asset management service Trail, which enables monitoring and predicting the use of the equipment and the necessary maintenance. In Trail can be found all the manuals needed for the correct use of the devices, so that physical manuals are no longer needed. If a student wants to make a design with devices that consume as little energy as possible, for example, the information of the device’s electrical consumption can be found easily.

The storage and logistics of the lighting department are designed so that the equipment in everyday use can be found near the performance space, in each performance space’s own local storage. This equipment is maintained, cleaned, updated and, if necessary, sent outside the house for maintenance twice a year and visually at the end of each production period. Other equipment can be found in the light storage in the basement and the thorough maintenance of the equipment there takes place in the summer months. The audio and AV equipment is picked up with TTP support personnel from the storages. The equipment is stored and transported so that it suffers as little as possible. In addition, audio-technical devices are protected by shockproof container. For example, multiple wireless microphone receivers are fixed in the same container to avoid unnecessary strain. The latest purchase of a wireless system was made in 2011 and the model acquired at the time or the next one is no longer in production.

In the local storages, students, together with their TTP support person, take care of the cleanliness of the storage and make sure that the equipment is either in use or, for example, hangs neatly on the rack.

Organized and well-maintained storage space makes the use of the equipment easier and more convenient. Photo Hanna Käyhkö.

Recycle and reuse:

Reuse is the preferred option, where the whole product or part of the product is reused as such, either for the same or for a different purpose than the original. This way the environmental burden caused by the production process of the new product can be avoided. When we reuse old metal shell of a Fresnel lamp we prevent and reduce waste. Often, devices that still work and are unnecessary for us are also offered to those who need them – colleagues in other academies of the University of the Arts Helsinki, the Theatre Academy co-operation theatres and, in addition to these, other theatres whose budget is limited. One well-proven channel for reuse is Roinaränni, which operates on Facebook, through which, for example, audiovisual equipment and other goods circulate well.

If the device is no longer repairable i.e., so old and damaged that it is no longer safe to use, the device is disassembled and each part is recycled correctly, which means that the materials end up being recycled as raw materials. We offer individual parts for the props department before recycling and from these the props make new items or the productions. Students have also further refined e.g., discarded lamp lenses and wires in their own projects.

1kW Selecon Fresnel disassembled into parts. The luminaire consists of metal, plastic and glass, among others. Photo Hanna Käyhkö.

Recycling discarded lamps is important because by right recycling, valuable materials can be recovered for reuse. Energy-saving and other fluorescent lamps contain a small amount of mercury, so they must be disposed as toxic waste. LED lamps do not contain mercury but have electronic components. Broken LED luminaires and fixed LED luminaires, from which the LED chip cannot be removed, also belong to the WEEE collection (waste electrical and electronic equipment). Up to 99% of the materials used in the WEEE collection are reused as industrial raw materials. Filament and halogen lamps can be disposed of with normal mixed waste.

Tips for Light and Sound Designers:

Sustainable design:

It is good to stop at times to think about what you are doing and how you or the artistic ensemble’s choices could be on a more sustainable basis.

The Theatre Academy offers more and more education in ecologically sustainable design each year, and our department provides the tools to enable designers to do lighting, sound and AV design in the most ecologically sustainable way possible.

In terms of ecological sustainability, the best result is achieved when the sustainability perspective is considered already in the preliminary planning phase and the entire working group commits to follow the agreed plan. The physical environment supports the lighting, sound and AV designer in finding ecologically sustainable solutions as far as possible, but there is still a lot of development to be done in the coming years.

The control of lighting and other equipment in the performance spaces is made clear and simple. There is a circuit breaker for lighting and sound technology in the premises, from which extra electrical loads can be cut off at the end of rehearsals and performances. This way we can avoid standby power consumption. For example, the screens and fans of LED luminaires consume electricity even when the lamp is not on. A log data of an individual Arri L7-C LED Fresnel luminaire reveals that the fan has been on for 323 days, even though the lamp has only been on for 64 days. It is easy to change the way we work – let’s turn on the power only when the equipment is in use. Only network switches connected to the rehearsal and performance spaces are always on to prevent switches slow reboots and breakage.

We also take sustainability thinking into account in details that may seem insignificant, especially under schedule pressure and in the midst of rush. However, over the years these details form a significant expenditure item and a large amount of waste.

We don’t use tape to wrap the wires, we use Velcro® strap attached to the wire. The adhesive surface of the tape makes the wires sticky, and the sticky wires can only be cleaned with a strong solvent. We attach the wires to the hanging points and other structures instead of tape with Spannfix rubber band. Where possible, we use high-quality rechargeable batteries instead of standard batteries.

Everyone who makes small purchases should go through the principles of ecologically sustainable procurement before making any purchases. The purchase of single-use devices is not recommended i.e., the device should be reusable and repairable.

Cheap LED lamps are very often disposable and cannot be repaired. Photo Hanna Käyhkö.

Although a haste and a small budget would tempt you to make an unecological purchase, you should first contact a production support person who can help you find a more ecologically sustainable alternative. Equipment can often also be rented or borrowed from other theatres.

Wireless microphones use batteries. Rechargeable batteries are a better choice from an environmental perspective. Photo Hanna Käyhkö.

What environmentally friendly practices do you have? Tell them to us!

Further information

You can find additional information in the following links: