Theatre Design & Technology - Summer 2017 - 28

Two sample flats with Ecor Flatcor-Brown, on the left, and Flatcor-White at right.

essential, as the challenge is too big for any one office to
tackle alone. Success is dependent on functioning partnerships across the campus and across traditional divisions between operations and academics." Indeed, this
case study engaged both faculty members and employees of IU Facility Operations (IUFO) in the pursuit of
sustainable theatre. This study took a cue from the program and sought sustainable, specific solutions for each
unit within IU Theatre.
Lasting change requires a multi-level approach, not
only top-down or bottom-up, but also from inside-out.
Those who are established mid-level members of a department need to be part of any plans to alter practices.
Institutions can help foster sustainable efforts in departments by encouraging and funding place-based, sustainable projects where theatres can exercise their creativity
and lead by example.
Novelty: The second impediment, novelty, occurred when a new material was introduced into the
scenic design and construction process. This proved to
be similar to Brunner's experience with Wheat Board
some 18 years ago. The authors were introduced to Ecor
Environmental products during an April 2016 interview
with Grady Barker of Paper Mache Monkey (www.papermachemonkey.com/sustainable-design/), an art and
design studio in New York City, the authors were introduced to Ecor Environmental products. Barker used
the product as an environmentally friendly alternative
for a variety of professional scenery and props projects.
"Ecor is made from waste fiber, water, and heat. That's
it. It is 100 percent bio-based, 100 percent comprised
of recycled waste materials, 100 percent recyclable, and
28

theatre design

& technology

S u m m e r   2 0 1 7

is cradle-to-cradle compliant" (www.ecorglobal.com).
After initial research and conference calls with Noble
Environmental Technologies, Ecor's parent company,
IU Theatre purchased 30 sheets of Flatcor, 2.5mm thick
flat panels (10 white, 20 brown). The brown product is
100 percent OCC (old corrugated cardboard), while the
white version is 100 percent ROP (recycled office paper). Also purchased were 12 sheets of WaveCor, threedimensional structural panels that are 1.5-inches thick,
which will be evaluated in a future project. Ecor can be
a viable replacement for hardboard (Masonite) and lauan plywood applications, and it has similar price point,
making it an immediately practical alternative.
Upon the product's arrival in the scene shop, staff
and students began referring to it as "veggie board," as
their way to distinguish it from more common wood
products. Ecor's novelty and comical nickname did not
heighten curiosity about its applications but rather reinforced aversion. Members of the design and production team in the scene shop could not predict how Ecor
would behave when cut or painted, unlike plywood, and
thus many viewed it as unreliable. This skepticism has
a reasonable foundation. Beyond mere human nature,
this same circumstance has been observed in other
studies about alternative scenery products, including
Honeycomb panels and Wheat Board (Brunner 2009,
29). Once incorporated into the scenery, Ecor behaves
differently than more rigid engineered wood panels; it
responds to scenic paints in unfamiliar ways and can
only be used in a limited number of scenic applications.
However, it is viable in the very applications where
stage scenery makes use of the most environmentally
harmful products (e.g., where lauan is most prevalent):
flat covering and facing.
The extent to which any theatre carpenter, designer,
or technical director can predict the performance of a
new novel product is based almost entirely on trial and
error, and many are either unwilling or not empowered
to experiment. To reduce skepticism for this novel product, the authors subsidized its use through the grant.
Reducing any sense of burden on the scenery budget
immediately reduced a certain amount of skepticism
and encouraged experimentation. The extent to which
a theatre organization or scene shop is willing to experiment with new products and processes is largely a
matter of culture and schedule. Universities are charged
with fostering research and experimentation in the arts.
While not present in all theatre programs, highly constrained production schedules do not permit the time or
attention needed to respond appropriately to the unpredictable behaviors of novel products and processes. It
is clear that this is necessary for change towards more
sustainable theatre production. The unfortunate result is
a logical resistance among some academic theatres to


http://www.ecorglobal.com http://www.papermachemonkey.com/sustainable-design/ http://www.papermachemonkey.com/sustainable-design/

Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 2017

Contents
Theatre Design & Technology - Summer 2017 - Cover1
Theatre Design & Technology - Summer 2017 - Cover2
Theatre Design & Technology - Summer 2017 - 1
Theatre Design & Technology - Summer 2017 - 2
Theatre Design & Technology - Summer 2017 - Contents
Theatre Design & Technology - Summer 2017 - 4
Theatre Design & Technology - Summer 2017 - 5
Theatre Design & Technology - Summer 2017 - 6
Theatre Design & Technology - Summer 2017 - 7
Theatre Design & Technology - Summer 2017 - 8
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Theatre Design & Technology - Summer 2017 - Cover3
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
http://www.nxtbookMEDIA.com