Theatre Design & Technology - Summer 1989 - 21

M A
RAN

A G E M E
D ALL

D A V I D 5 0

Life, it is said, can be hazardous to your health. We have
ment, those of us who ell.'j)ose ourselves each day to lifeshortening hazards) It has always seemed to me that the
always been exposed to risky situations-hazards, dangers, and death-defying actions. Accepting risks is part of
best way to minimize the dangers of our business is to
doing business. Indeed, the role of insurance companies is
place ourselves in a framework in which we can safely
to assume risks for a price. These risks can take many
manage risks.
fom1s: chemical or fire hazards, inadequate ventilation,
Risk management systems provide a synergistic matrix
e};plosions, electrical injuries, fatigue, distress or trauma,
allowing us a reasoned performance criteria on which to
physical abuse, and reproductive or other physical
perform aesthetic and practical tasks. Such systems are
damage.
guidelines for the prudent and reasonable person. However
In the entertainment industr}\ risk taking occurs daily
rigid these parameters may appear, they put into motion
at all levels. The director who wams a hazardous stunt, the
principles that continuously force us to weigh and contechnician who pushes himself or herself beyond the norsider risks. Once we have freely selected the tasks and can
mal limits of fatigue, the costumer who works in an
accurately determine our potential exposure to risk, then
unventilated shop, the carwe can perform effectively in
penter who refuses a guard
a management structure.
on a saw, the property master
Unfortunately, accident
who doesn't lock out the firdata,
fatality and obituary
RISK MANAGEMENT CAN GIVE OUR
ing mechanisms, the stage
statistics, loss runs, medical
manager who doesn't combills, fire losses, and escalatINDUSTRY A POTENT TOOL WITH
pletely check the facility, the
ing insurance premiums all
£lyman who hasn't time to
unequivocally proclaim that
WHICH WE CAN CONTROL AND
examine the rigging - such
such risk management techexamples are infinite.
niques are not applied, ei ther
MANAGE THE RISKS INVOLVED IN
The attack on the mind,
individually or collectively.
body, and spirit in our busiRisk management as a geness can be unrelenting.
neric practice can give our
PRODUCING THEATRE.
Such demands - insidiously
industry a potent tool with
and none-tO-subtly implewhich we can control and
mented - expose people
manage the risks involved in
working in this industry to greater and greater risk taking.
producing theatre. To be sufficiently motivated to adopt
These demands are insidious because they grind, batter,
such practices, we must truly understand their benefits:
and gnaw away at our creativity and energy. How ironic
how can risk management teclmiques and concepts be
that we often blindly place ourselves in the maelstrom of
translated and implemented into flesh-and-blood reality
exposures in the cause of producing a better world.
in the workplace) How can I be compensated or protected
Of course, we didn't get involved in this industry to
for exposing myself to hazards every working da)\ month,
year)
maim or kill ourselves in any manner, and so the effective
management of risks would seem to be a practice enjoyed
We also must overcome some duplicity and selfand eagerly applied by everyone. Such is not the reality.
deception. In the real world, the general public seems
While major industries have adapted risk management
concerned about risks: unsafe bridges, nuclear plant
concepts, the entertailm1ent industry has been slower to
meltdowns, toxic spills, polluted water supplies, hotel
recognize their value.
fires, asbestos contamination, AIDS. I say seems conSo, where do we fit in to the total puzzle of risk managecerned, because in the workaday world such concems
TD&T

SUMMER 1989

Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1989