SAFE AND ETHICAL PRACTICE

For this resource we have used advice and information from University of California, Arts Centre
Melbourne, Brendan Carroll from the VCE Drama and Theatre Studies Network, University of Wisconsin, UK
Theatre, Theatre Network Australia, Safe Theatres Australia, Creative Victoria, and Live Performance Australia.

Safety can start with us, here are some tips for showing, not telling.

1. Understand the equipment you have, and get training to maintain it

properly.
No two theatres are exactly the same. Get training so you know how to use your stage’s
equipment.

2. If your students are using stage aspects or equipment, make sure that it is
age appropriate and skill level appropriate.
Teach students how to do tasks that are appropriate for their age level and skill ability. For
example, younger students running a counterweight system might be allowed to move a 50-
pound object instead of a 500-pound one

3. Use pieces, equipment, and connectors that are made for theatrical
purposes.
Buy from a theatrical supplier. The hardware that you buy at your local big-box store is not
intended for theatrical use.

4. Small spaces still have safety rules

Ensure exits are clear. In case of an emergency, you have to be able to get out. Make sure there is
an unblocked way for all audience members, actors, and crew members to exit.

5. Don’t forget flat safety.

Use goggles, wear closed-toe shoes, and wear gloves for handling materials. Avoid loose clothing
and tie hair back.

Want to find out more, listen to a theatre safety podcast episodes from
Theatre folk – you can find a link in the description -
https://www.theatrefolk.com/podcast/theatre-safety/
or go to https://www.theatrefolk.com/blog/6-theatre-safety-rules-
drama-teachers/
You can also use a risk assessment checklist.

1 Identify the hazards

Identify the hazards Carefully thinking, examining and listing the specific ways people or property may be
harmed in the course of the event. This is usually best done by a planning group including those involved in
doing the tasks as well as those involved in organizing the event.

2 Assess the risks

Assess the risks Assess the risks Pondering if an identified hazard did cause harm, what would be the
consequence, to whom, to what extent, etc. and deliberating on the likelihood of this happening.

3 Evaluate existing controls

Evaluate existing controls Observing if things are already being done to prevent an identified hazard from
causing harm. Using a ‘hierarchy of controls’ to judge if these measures are the most effective and
‘reasonably practicable’ ways to eliminate or lower the risk. Applying what is known as the risk assessment
‘matrix’ to determine the level of risk with the existing control measures in place.

4 Implement additional controls

Implement additional controls Putting in place additional control measures with reference to the ‘hierarchy
of controls’ to eliminate or lower the risk if the existing measures are inadequate and the risk level is
intolerable. Substantiating the effectiveness of the additional controls by the ‘matrix’ rating.

5 Review and update

Review and update Review and update Reviewing and where necessary amending if unforeseen hazards
arise, control measures become ineffective and risk ratings change due to unplanned occurrences, such as
equipment breakdowns, schedule changes etc. etc.

Risk Assessment Forms –

What kind of hazard?
1. Slip/Trip i.e. treads or stairs, wet areas, rake stage etc
2. Falls from Height i.e. open floor traps, stairs without handrails, platforms without handrails etc
3. Falling Objects i.e. non secured scenery, counterweights, non secured lighting fixtures, props etc 4. Plant and
equipment i.e. automation, rigging and scaffolding, flown pieces, flown people, winches etc
5. Traps & Pits i.e. actors traps, orchestra pits

How likely is it to occur?

What is the consequence?
What is the risk?
How will you control for it?
Who is responsible?

For an incredibly detailed guide to different stages of the process for different productions areas, go to University
of California website, and check out their amazing guide -
https://drama.arts.uci.edu/sites/default/files/files/ucperformingartssafetymanual-vers1-030314.pdf

Or check out the Art Centre exemplar - https://www.artscentremelbourne.com.au/-

/media/acm/files/learn/resources/2019/safeandethicaltheatrepractices.ashx?la=en&hash=F3E8322525649C8808
76343D12EB867AC98CF804
How can we be ethical?
 Hiring/audition/participation/prospective practices are equal opportunity
 Designs are genuinely your own
 Designs borrowed heavily by other designers or creatives are acknowledged
 Ensuring that representations of other cultures and characterterizations are
appropriate.

Feel free to listen to our episode on Casting with authenticity -

https://soundcloud.com/asidepodcast/the-aside-casting-diversity-and-authenticity-with-cessalee-stovall

 Ensuring products are not tested on animals.

 Ensuring that makeup and hair designs are culturally appropriate.
 Props are sourced ethically, from legitimate businesses with without the use of
modern slave labour.
 Ensuring that costumes sourced are manufactured by companies that pay their
workers well and practice ethical working conditions. (ie: not sweatshops)
 Ensuring that costume designs are culturally appropriate.
 Ensuring that actors are comfortable with close and intimate contact and that
appropriate guidelines are agreed to.
 Ensuring that the representations of gender, sexuality, religion, disability, etc.
are approached with a careful consideration of performance style and
theatrical intent.
 Ensuring that representations of other cultures and characterterizations are
appropriate.
 Ensuring that appropriate and respectful physical contact and language is used
both on and offstage.
 Interact with other creatives in an open inclusive way
 Reduce secret or exclusionary practices
 Ensuring that all sounds are sourced from copyright free sources
 Ensuring that credits, permissions and acknowledgements are included for
work sourced from outside sources
 Ensuring all licence and rights are properly acquired and acknowledged
 Audiences are properly prepared for triggering design and or content (gun
shots, strobe, violence etc)
How can we be safe?

Hair and Makeup Design

- Ensuring that the actors are not allergic to any ingredients in the makeup or hair products
used.
- Ensuring that hygienic practices are followed (such as not reusing sponges)
- Ensuring that the makeup/hair supplies are stored and packed away properly.

Costume Design
- Ensuring that the costumes allow for a safe range of motion as needed by the actors and
don’t place any restrictions on their ability to move.
- Ensuring that the costumes don’t harm the actors in any way (such as shoes that may
cause blisters, sharp edges that may dig into the skin, etc.)
- Ensuring that the costumes are washed and cleaned in between performances (as
needed) and after bump out.

Set Design
- Ensuring safe working practices are adhered to during set design and construction.
- Ensuring that when working at heights above 1 meter, that 3 points of contact are
maintained with any ladder or scaffolding system at all times.
- Ensuring that proper safety clothing is worn during set construction (eg: painting overalls,
safety goggles when cutting, etc)
- Ensuring proper form and technique is used when utilizing tools such as hammers, saws,
staple guns, hot glue guns, etc.
- Not using power tools.
- Ensuring that the construction and design of the set is safe to be utilized and manipulated
by actors.
- Ensuring that trip or fall hazards are identified.
- Ensuring that entrance/exit points and walkways are well lit or defined by glow tape for
actors and audience in low light situations.
- Ensuring that scene changes in low lit situations function in a safe and well rehearsed
manner.
Props
- Ensuring safe working practices are adhered to during prop design and construction.
- Ensuring that edible props are non toxic and safe to consume.
- Ensuring that the cast are not allergic to edible props.
- Ensuring that weaponry (guns, swords, daggers, knives, etc.) are blunt, non-harmful and
stored away in a safe manner.
- Ensuring that actors are trained in the safe operation of complex props.
- Ensuring that each prop functions as intended.
- Ensuring that each prop has a place to be retuned to after each rehearsal/performance.

Lighting:
- Ensuring that when working at heights above 1 meter, that 3 points of contact are
maintained with any ladder or scaffolding system at all times.
- Undertaking suitable training in the safe operation of lighting systems.
- Ensuring that each light is rigged with a safety backup chain.
- Ensuring that new lighting is tagged and tested by the school before use.
- Ensuring that light bulbs are changed correctly without touching the glass and old bulbs
are disposed of safely.
- Ensuring that all lighting cabling is tidy and does not pose a hazard to actors and crew.
- Flagging any potential safety issues with teachers or tech staff.
- Ensuring that lights are warmed up slowly at the beginning of each rehearsal/performance
- Ensuring that lights are not placed close to flammable substances or materials
- Taking precautions when handing hot lighting fixtures (such as wearing gloves)
Directing and Acting
- Ensuring that the cast are warmed up physically before undertaking strenuous physical
action.
- Ensuring that blocking and choreography does not pose a risk to actor safety.
- Ensuring that there is strong safety support, training and backup for physical theatre
techniques (such as tumbling, aerials, lifts, etc.)
- Ensuring that stage combat is rehearsed slowly, safely and methodically.
- Ensuring that scene changes in low lit situations function in a safe and well-rehearsed
manner.
- Ensuring that actors are not damaging their vocal chords by warming up as appropriate
and not continually straining their voices.
- Ensuring that you physically and vocally warm up before rehearsals.
- Ensuring that other actors are comfortable with close and intimate contact during
rehearsals and performances and that appropriate guidelines are agreed to.
- Ensuring that there is strong safety support, training and backup for physical theatre
techniques (such as tumbling, aerials, lifts, etc.)

Sound
- Ensuring that all cabling, speakers, instrumentation, etc. is safely secured so as not to
become as hazard for actors.
- Ensuring that cabling is tested and tagged.
- Ensuring that volume of sound do not interfere with the actors or crew's ability to
communicate with each other.
- Ensuring that volume of sound does not cause discomfort for the actors, crew or audience
- In the case where sound designs are purposefully discomforting, that warnings are
displayed at Front of House

There is a 90minute long workshops on ‘Safe Theatres’ run by Theatre Network Australia available for
free by going to https://www.tna.org.au/safe-theatres-workshop/