Theatre Design & Technology - Summer 2017 - 32

and do not view it as an obstacle to traditional practice.
Once these students acquire and hone their abilities,
they graduate and can no longer shift the dialogue on
sustainability and theatrical production on campus.
Jeff Baldwin, a graduate student in theatre technology at IU Theatre who finished his education in May 2017,
is an excellent example. Baldwin helped incorporate Ecor
into The Duchess of Malfi, despite skepticism from other
members of the scene shop. While his guidelines noted
earlier are quite helpful, he has graduated and can no
longer push for Ecor's use. Without a well-versed advo-

cate, interest in Ecor and knowledge of its applications
will likely diminish, and staff may once again view it as a
hindrance rather than an opportunity. Academic theatres
must have a student dedicated to sustainable practice
with the addition of committed staff or faculty to ensure
communication of sustainable initiatives.
Communication: Perhaps the most prevalent impediment, communication, affected how sustainable
change was perceived. Ranseen, who had limited experience with the technical aspects of theatre design and
production, had no previous experiences to alter and
no practices to change. And, as a non-major,
she was an outsider providing a balcony-view
of the entire theatre production process. Her
inexperience helped her to suggest the best
possible solutions without perceiving sustainability as a change to an established production practice. In addition, by conducting
preliminary research on ideas and solutions
related to more sustainable options, she minimized the effort required of faculty and staff
members to launch sustainability efforts and
helped guide change in a positive manner.
Ranseen could push for change and facilitate discussion on possible environmental
initiatives between key players. For example,
she asked Andrew Lowry of IUFO about the
theatre facility's energy consumption, which
ultimately resulted in the installation of CO2
sensors in both of IU's performance spaces to
provide more optimal HVAC operation. A few
months later, she reached out to Lowry again
about LED house lights. She coordinated a
discussion between Lowry and IU Theatre
production staff, and the effort is moving forward with a feasibility study to be conducted in
summer 2017.
These examples illustrate that, while
Ranseen did not understand the technicalities of house lighting or HVAC systems, she
knew how to coalesce a group of individuals
who could delve further into the issue, highlighting the value of an environmental liaison
to lead communication in academic theatre.
An environmental liaison, whether a student,
staff member, or other individual, can suggest
San Jose Center For The Performing Arts Main Curtain
and help implement change in many areas of
Charisma Velour, Gold Applique Design & Trim
theatre production, focusing entirely on sustainability and guiding environmental change
By Team San Jose (Bill Overstreet, Carol Overstreet, Bob Havlice, Edward Church)
within the department. And, again, a multiand Rose Brand Inc.
level approach is ideal to communicate with
students, staff, and administrators.
The Broadway Green Alliance's College
Green Captain program operates along these
lines to impart knowledge, educate, and comYour Partner in Production
municate solutions to more sustainable design
Photo: Lea Stohs

"Look What We Did!"

32

theatre design

& technology

RB_TD&T_LOOK WHAT WE DID AD SAN JOSE_1_4.63 X 7.38.indd 1

S u m m e r   2 0 1 7

6/27/17 4:18 PM



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
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Theatre Design & Technology - Summer 2017 - Contents
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