Edinburgh Fringe

Apply now for the 2014 Edinburgh Fringe Sustainable Practice Award

EFSPA-Green-Logo Applications are now open for the 2014 Fringe Sustainable Practice Award, celebrating the greenest and most sustainable shows on the Edinburgh Fringe. This project, a partnership between Creative Carbon Scotland and the Center for Sustainable Practice in the Arts, with media partner The List, rewards shows which engage their audiences with sustainability, take responsibility for their environmental impacts, and think big about how the arts can help to grow a sustainable world. Applications are open from February 19th to July 18th, with a shortlist announced in The List on July 30th, and the winner announced in a ceremony at Fringe Central on August 22nd.

“We believe artists and cultural organisations are uniquely placed to address the challenges brought on by climate change – through the art they produce, the audiences they speak to and the way in which they operate,” says Ben Twist, Director of Creative Carbon Scotland, “This major award celebrates and publicises their innovative work during the Festival Fringe.”

Shortlisted shows will receive coverage in a special feature in The List on the Fringe Sustainable Practice Award, published on July 30th, and reviews of shortlisted shows will be highlighted in The List’s festival issues and website. The organisers of the Award are seeking to bring new publicity and audiences to productions working hard to do their best work and to do it sustainably. The winner will receive the Award itself along with a special feature and coverage in the Center for Sustainable Practice in the Arts’ Quarterly Magazine.

The award for Sustainable Production on the Fringe was first launched in 2010 at the Hollywood Fringe and Edinburgh Festival Fringe. Previous Edinburgh recipients include: The Pantry Shelf (2010), a satirical comedy that takes place in any ordinary pantry shelf, produced by Team M&M at Sweet Grassmarket; Allotment (2011) by Jules Horne and directed by Kate Nelson, produced by Nutshell Productions at the Inverleith Allotments in co-production with Assembly; The Man Who Planted Trees (2012) adapted from Jean Giono’s story by Ailie Cohen, Richard Medrington, Rick Conte and directed by Ailie Cohen, produced by the Edinburgh’s Puppet State Theatre; and How to Occupy an Oil Rig (2013), by Daniel Bye and Company, produced at Northern Stage. Awardees have gone on to future success on the Fringe and presentations around the world including as close as Cardiff for World Stage Design, and as far as New Zealand and all across the US and Canada.

 “We see the arts as the best driver of sustainable societies and it’s not just our opinion: data shows that performance promotes positive environmental, social, and economic impacts. This award is intended to reward those artists and companies which embody all of these positive points in an intentional way. It’s not just about going green,” says Ian Garrett, Director of the CSPA. “The fringe model provides an ideal platform to start working with sustainable ideas through all of the freedoms and restrictions the festival allows!”

Creative Carbon Scotland is a partnership of cultural organisations using the arts to help shape a sustainable Scotland. The Center for Sustainable Practice in the Arts is in the Arts is a Think Tank for Sustainability in the Arts and Culture.

Shows can apply now at http://www.sustainablepractice.org/fringe/

For more information, contact:

• Ian Garrett – fringe@sustainablepractice.org – US 818-687-6655 – UK 0759 744 1915

• Ben Twist – ben@creativecarbonscotland.com – UK 0131 529 7909

Daniel Bye’s How to Occupy an Oil Rig receives 2013 Award for Sustainable Production at the Edinburgh Festival Fringe #edfringe

Daniel Bye receives the 2013 award for Sustainable Production from Creative Carbon Scotland's Ben Twist.

Daniel Bye receives the 2013 award for Sustainable Production from Creative Carbon Scotland’s Ben Twist.

Creative Carbon Scotland and the Center for Sustainable Practice in the Arts, in partnership with the List, presented Bye with Award at Fringe Central on August 23rd.

In a ceremony in the concourse at Fringe Central on Friday, August 23rd at 4:00 pm, Ben Twist of Creative Carbon Scotland awarded Daniel Bye the 2013 Award for Sustainable Production at the Edinburgh Festival Fringe after presentation by Ian Garrett of the Center for Sustainable Practice in the Arts and Sholeh Johnston of Julie’s Bicycle. This was the fourth year of the award’s presentation. Applicants and fringe participants alike enjoyed complimentary beverages and snacks with support from Vegware, producers of compostable food containers.

The Sustainable Production Award is an annual celebration of performance that’s working for an environmentally sustainable world. Open to all Fringe Festival productions by application, the award assesses all aspects of a production’s sustainability, from design to content. This award ceremony recognizes the best in this year’s sustainable productions, alongside inspiring presentations from Creative Carbon Scotland, the Center for Sustainable Practice in the Arts, and Julie’s Bicycle. The Sustainable Production Award is presented this year in partnership with The List, which is reviewing all shortlist shows and promoting the awards events.

The award is determined by the submission of a questionnaire about how the show was produced, and how environmental and sustainable themes were considered along the way. Assessors selected a short list of 23 productions, which appeared in the weekly editions of The List. These 23 shows were reviewed based on their questionnaires and the assessment team voted for the production which most aligned with the priorities of the award. Five finalists–Adventures of Alvin Sputnik: Deep Sea Explorer, The Garden, and Garden O’ Delight, How to Occupy An Oil Rig, Sacred Earth–were identified as outstanding entries before the winner was selected last week.

How to Occupy an Oil Rig was selected due to its conscientious production and themes related to sustainability in our present world. In their assessment  the reviewer for the show said,”It tells stories of journeys through environmental activism engagingly, wittily, movingly… It’s all about sustainability, and is making very bold points about the scale of the problem and the necessity of radical solutions.” Also praised by the press, the Financial Times said that How to Occupy an Oil Rig was, “The real thing. Clever, engaging and important.” The Guardian said it is, “Fantastic work. Invigorating and playful. Both beautiful, and wants to change the world.” Accepting the award, Bye said “It’s great for the work to be recognized for its impact outside of the theatre itself, in the wider world.”

“Even more so than we want someone to score perfectly on the questionnaire we use to evaluate shows, we want theater artists to look at the questions and think about how it helps to guide their thinking about sustainability in the their art. There may be questions asked in ways they hadn’t thought, and we hope they ask these questions of their next project and the project after that,” adds CSPA Director Ian Garrett.

The award for Sustainable Production on the Fringe was first launched in 2010 at the Hollywood Fringe and Edinburgh Festival Fringe. Previous recipients include:  The Pantry Shelf (Edinburgh 2010), a satirical comedy that takes place in any ordinary pantry shelf, produced by Team M&M at Sweet Grassmarket; Presque Pret a Porter (Hollywood 2010), produced by Dreams by Machine; and Allotment (Edinburgh 2011) by Jules Horne and directed by Kate Nelson, produced by nutshell productions at the Inverleith Allotments in co-production with Assembly. Last year recipients were D is for Dog by Katie Polebaum and the Rogue Artists ensemble, directed by Sean Calweti (Hollywood 2012) and The Man Who Planted Trees (Edinburgh 2012) adapted from Jean Giono’s story by Ailie Cohen, Richard Medrington, Rick Conte and directed by Ailie Cohen, produced by the Edinburgh’s Puppet State Theatre.

Ian Garrett and Miranda Wright founded the CSPA in early 2008. The organization provides a network of resources to arts organizations, which enables them to be ecologically and economically sustainable while maintaining artistic excellence. Past and Present partnerships have included the University of Oregon, Ashden Directory, Arcola Theatre, Diverseworks Artspace, Indy Convergence, York University, LA Stage Alliance and others.

Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. CCS believes cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

More Info

Center for Sustainable Practice in the Arts: http://www.sustainablepractice.org  

Creative Carbon Scotland: http://www.creativecarbonscotland.com/

CSPA Fringe Initiatives: http://www.sustainablepractice.org/programs/fringe/

2013 Edinburgh Festival Fringe Questionnaire: http://bit.ly/cspafringe13

The List’s Edinburgh Coverage: http://edinburghfestival.list.co.uk

Sustainable Production Award at #edfringe Shortlist.

You still have one week to catch the shortlisted shows for the Sustainable Production Award at the Edinburgh Festival Fringe. If you haven’t caught the list of productions which have stood out to our team of Judges, here are all 23.

If you’re in Edinburgh this week and want to join us for the awards ceremony on Friday the 23rd at 4:00 pm at Fringe Central, make your free reservation here:

http://www.eventbrite.co.uk/event/4274573364

1-000-suns_30676

1,000 Suns

For a teenager what’s worse? Growing up in America? Or growing up after America? Five young people face the struggles of their post-nuclear lives, in a wasteland that was once America, after the Cold War turned hot. They strive to overcome the oppressive authority of their parents and teachers, the hopelessness of the crater that they call home, and a dark sickness that threatens everything they hold dear.

TICKETS

 all-roads-lead-to-rome_32696_thumb

 All roads lead to Rome

Chris has lovingly repaired his family Triumph Herald Estate so that he can drive it from his home in Colchester to Rome. Part investigation into his father’s account of his time as a Polish soldier in the Italian Campaign and part muse on consumerism, this show brings together car mechanics, classical civilisation and the fetishisation of possessions in a solo performance using old photos, new film and surprising mechanical objects. A feast of razor-sharp observations and bizarre confessions extending beyond the immediate subject matter to grasp at universal truths. Total Theatre, Poland 3, Iran 2.

TICKETS

 adventures-of-alvin-sputnik-deep-sea-explorer_32527

The Adventures of Alvin Sputnik: Deep Sea Explorer

Seas have risen, billions have died. Alvin Sputnik is our only hope. He must venture to the bottom of the ocean to find his wife’s lost soul and save humanity. Direct from sell-out seasons in New York, Sydney and Auckland, this multi award-winning piece of heart-warming ‘theatrical magic’ (Sunday Mail) is a one-man micro epic about enduring love and the end of the world. ‘Akin to a theatrical Wall-E’ (New York Times). Winner, Outstanding Solo Show, New York International Fringe Festival. Winner, Best Theatre Production, Auckland Fringe. Winner, Best Puppetry, Adelaide Fringe.

angus-weaver-of-grass_31728

Angus – Weaver of Grass

Angus MacPhee’s life is a tale of illness, lost traditions and magical hats of grass, stunning like sunbursts. Raised on South Uist, and traumatised by WWII, Angus spent 50 years in a psychiatric hospital. He did not speak; instead he wove remarkable costumes from grass which feature in the Collection de l’Art Brut, Switzerland. Featuring beautiful Gaelic singing and grass replicas by Joanne B Kaar. Using sounds, songs and images of the Outer Hebrides, this is his tale. ‘Physical, emotional and aural beauty… their collective artistry is awesome.’ (Stage). www.horseandbamboo.org

TICKETS

 faustus_30223

Faustus the Musical

Even the best and wisest amongst us do things we later regret… Under the bleak skyline of the industrial revolution, a company assembles to pass judgement on the greatest of a generation. In this gritty, steampunk-inspired retelling of the classic, an ensemble of actor-musicians and puppets bring to life the fall of John Faustus. In the bowels of the industrial revolution, change is brewing. A particular kind of hunger is bubbling inside one of the world’s most powerful minds, and when an offer is made that promises to satisfy that hunger, he makes a choice. A bargain. With the devil.

TICKETS

 crying-out-loud-presents-flown_32538

Flown

Flying drum kits, levitating ironing boards and swinging divas. Welcome to the world of the unexpected! Irreverent and silly, bold and breathtaking, take flight with Flown for a captivating afternoon at the circus. A stunning troupe of masterful acrobats, aerialists, dancers, musicians and stuntmen are putting on a show for you. The problem is, the show has already started and no one is prepared. Taking you to dizzying heights and beyond, Pirates of the Carabina invite you to share in the thrills, fear and physical feats that define the life of a 21st-century circus artist.

TICKETS

 garden_32387

The Garden

The Garden tells the tale of a couple living on the 10th floor of a high rise block, at a time when humanity has run out of resources, who discover hope in the form of a strange tree that grows through the floor of their kitchen. ‘Compelling performances … astonishingly expressive vocal lines’ **** (Scotsman). ‘An astonishingly moving portrait of a loving couple at the end of their tether’ (Joyce McMillan, Scotsman, for the original play). Cast: Pauline Knowles, Alan McHugh, Libretto/Direction: Zinnie Harris, Composer: John Harris. Commissioned by Sound Festival. First sell-out performances in Aberdeen, 2012. www.patersonsland.co.uk

 GARDENO250_1

Garden O’ Delight

Journey back in time and join magical creatures who live in this beautiful world. But someone wants to destroy it forever. Outside, promenading, interactive family fun with an ecological theme. Music by John Sampson.

 gypsybird-speaks_31546

The Gypsybird Speaks

Dark times have befallen the forest clearing where a journalist, a director, a painter, and a witch lament the lost Philena. Devoured by the gypsy moths, the forest crumbles slowly as the mysterious prophet Asphodel draws near. Entwined in the forest mythology the characters delve deep into one another’s psyche, a magnetism they are powerless to avoid. Fresh new writing in the spirit of the Brothers Grimm, for grown-ups.

TICKETS

how-to-occupy-an-oil-rig_30693

How to Occupy an Oil Rig

There are all sorts of lessons to be learned in life. How to get served at the bar. How to crash a boardroom meeting. How to avoid becoming romantically attached to an undercover police officer. That sort of thing. In this playful and provocative show about protest, you’ll learn how to do all of this and more. Funny, surprising, and not a little sad, How to Occupy an Oil Rig is for everyone who ever wanted to change anything. And that’s everyone. You get to play with plasticine, too. Produced by ARC Stockton.

TICKETS

hunt-darton-cafe_32700

Hunt and Darton Cafe

The award-winning interactive performance/installation and fully-functioning cafe returns! Expect a playful exploration into customer expectation, where food, service and business are the art. Festival staples, includes the sensational signature dish, the roast dinner sandwich which can be found on the menu alongside Coco-Pops, Battenberg and beans on toast. With guest waiters, themed days and activities such as their much loved Not Great Bake-off. We are here to serve. Prepare for appetites to be satisfied in more ways than one. ‘A must-visit Fringe experience’ **** (Scotsman). ‘Holly Darton and Jenny Hunt are wowing the Fringe’ (Observer).

TICKETS

island-state_32859

Island State

2046. Great Britain is underwater, except for one tiny island with a population of two: Marilyn (28, ruthless survivalist) and Josie (17, childlike). They don’t get on. A new darkly comic play about national identity, friendship and tennis, Island State is the story of two women’s struggle to keep going in the face of environmental catastrophe. ‘Quirky, dark and ultimately surprising … a striking portrayal of human nature and all its intricacies’ **** (DurhamTheatreReview.com). Winner: Best New Writing and Best Actress, Durham Drama Festival 2013.

TICKETS

crying-out-loud-presents-l-apres-midi-d-un-foehn-version-1_32338

L’après-midi d’un Foehn – Version 1

This is the moment that the real life of the plastic bag begins its own life without us. An ethereal and magical performance art piece, accompanied by the classic Debussy music. A ballet mistress has created a piece of choreography performed by plastic dancers, propelled by currents of air on the lyrical music. The piece transports the viewers, sitting on the stage, to a world where the laws of gravity no longer exist and boundless adventures await. A beautiful journey that ignites the imagination.

TICKETS

last-land-and-il-gioco-del-gregge-di-capre_31179

Last Land

Last Land is inspired by frozen plains and dusty desert majesty. Maria Nilsson Waller reconstructs the vast scale and unpredictability of these contrasting landscapes in a highly physical, poetic work that invites us to consider the urgency of tectonic movement and the accelerating rhythms of nature and climate change. In award-winning Fabrizio Favale’s solo, Il gioco del gregge di capre, the dynamics of goats flocking are seen and re-imagined with the clashing of horns and the crashing of hooves.

TICKETS

one-giant-leap_31149

One Giant Leap

An impossible attempt to bring the whole universe into a theatre and into our understanding, using a tennis ball, a wastepaper basket and a dash of theatrical invention. Iain Johnstone’s passionate solo performance about the relationship between humanity and the heavens is full of facts and awkward questions. Funny and serious, intelligent and silly, theatre and lecture, cosmic and personal, One Giant Leap asks us to think – about what we take for granted and about what we choose to ignore. www.madeinscotlandshowcase.com

TICKETS

ours-was-the-fen-country_32322

Ours Was the Fen Country

For the past two years Dan Canham (DV8 / Kneehigh / Punchdrunk) has been capturing conversations with people of the Fens, East Anglia. Eel-catchers, farmers, parish councillors, conservationists have all been interviewed. In this ethereal piece of documentary dance/theatre, Dan and his ensemble fuse movement and sound with words and memories from their native collaborators to get to the heart of this mysterious expanse of flat land, celebrating universal stories of rural communities fading from view. Exhilarating, poetic look at the inevitability of change from the voices of those who still know the old words.

TICKETS

pigmalion-zoo_31584

Pigmalion Zoo

In a decrepit and bankrupt city, God’s body was found dead in a Sainsbury’s car park. Since then, the annual Holy PG Tips competition has been held allowing citizens to audition to become the new God. Pigmalion is training his daughter to seduce God, believing He will come back from the dead and marry her. The play descends into the distorted perversion of building a family when all external structures have failed. Harrowing, dauntless, and deeply moving – Pigmalion Zoo doesn’t hesitate to expose the dangerous side of desire as it slowly corrupts nature itself.

TICKETS

 250PRICEOFshow_12123_31962

The Price of everything

How much is beauty worth? What will people pay for an air guitar on eBay? Can I have a glass of milk? These urgent questions and others are answered in this performance lecture about value. Daniel Bye’s whistle-stop tour of bizarre facts and impassioned arguments is occasionally shambolic and often misleading but always a joy to watch. Comic, provocative and possibly a tiny bit sad, this show is a must if you’ve ever wondered about the difference between the price of an object and its value. And you get a free glass of milk.

TICKETS

sacred-earth_31143-1

Sacred Earth

Ragamala’s Artistic Directors Ranee and Aparna Ramaswamy create visceral, universal experiences that use Indian dance (Bharatanatyam) to express their contemporary point of view. Sacred Earth explores the interconnectedness between human emotions and the environments that shape them. Inspired by the philosophies behind the ephemeral arts of Kolam and Warli and the Tamil Sangam literature of India, Sacred Earth is Ranee and Aparna Ramaswamy’s singular vision of the beautiful, fragile relationship between nature and man. Performed with live music; featuring guest Warli artist Anil Vangad. ‘Rapturous and profound … an excellent company’ (New York Times).

TICKETS

smallest-light_32334

The Smallest Light

What makes something worth standing up for? Can I change the world from my living room? What if I’m protesting, my costume rips and a picture of me naked ends up going viral? Inspired by courageous protesters who risk everything for what they believe in, four women find quirky ways to effect change in the world around them. Charting the performers attempts to stand up for what they believe in, The Smallest Light uses exciting visual storytelling to tell four explosive stories about what it is that makes us act.

TICKETS

somnambules-and-the-7-deadly-sins_31150

Somnambules & the 7 Deadly Sins

Are you ready for the experiment? Who’s next? Internationally renowned multiple award-winning performers Tanya Khabarova (Derevo) and Yael Karavan (Karavan Ensemble) invite you on an epic voyage into the mysteries of what we are made of, transporting us through archetypes, icons and the ancestors within us. Step into the laboratory for a spectacular journey through astonishing imagery, time and art – a feast for the eyes and mind. ‘Beautiful, extraordinary – a match made in heaven … an intoxicating play between two magnetic performers’. Total Theatre. ‘A dynamic performance that blew everyone away.’ Latest 7 ****

TICKETS

sweater-curse-a-yarn-about-love_30303

Sweater Curse: A Yarn about Love

From Dallas, Texas, comes this smart solo comedy about love, old movies, great literature and unfinished jumpers. Like craft night with more laughs! Nora Ephron with needles! `Don’t talk to me about acrylic yarn,’ says writer/performer Elaine Liner, ‘it’s cheap and loud, like the Real Housewives of Atlanta.’ Knit and crochet during a show (yes, bring your stuff!) that’ll have you in stitches. Come early to the knit-in and add rows to the travelling scarf. Afternoon performance in air-conditioned venue. Suitable for all ages. `Elaine’s hilarious stories add up to a well-spun yarn’ (TheaterJones.com).

TICKETS

 total-hero-team_30195

Total Hero Team

New two-man musical from the people behind Dinosaur Planet, Hey Hey 16K and Moon Horse, featuring superheroes, robots, pirates, kittens and a free badge. ‘Like two drunk dads getting up and singing at a barbecue’ (BBC Radio 1).

A Greener Fringe for Edinburgh: The CSPA and Creative Carbon Scotland team up with the List on Major Award

logo-colorSML LIST logo Guides - UK2012version Untitled

Applications are now opened for consideration for the 2013 Fringe Sustainable Production Award, designed to reward sustainable practice in the production of an Edinburgh Festival Fringe show. Productions are invited to engage their audiences with sustainability, take responsibility for their environmental impacts, and think big about how the arts can help to grow a sustainable world. Entries are invited from companies until 18 August, with shortlists announced on 5, 12 & 19 August and the final award being made on Friday 23 August in a ceremony at Fringe Central.

“We believe artists and cultural organisations are uniquely placed to address the challenges brought on by climate change through the art they produce,” says Gemma Lawrence from Creative Carbon Scotland,”The audiences they speak to and the way in which they operate. This major award celebrates action being taken by artists and companies to use the form, content and framing of their work to engage with climate change during the Festival Fringe.”

This year, for the first time, a review of every shortlisted production will be published in The List and The List will also cover the shortlisting events. The winner will receive a special feature and coverage in the Center for Sustainable Practice in the Arts’ Quarterly Magazine.

The Fringe Sustainable Production Award celebrates the best in environmentalism on the Edinburgh Fringe, and highlights the different exciting approaches Fringe productions are taking to sustainability. We’re inviting all Fringe productions – whether they’ve just started thinking about recycling or whether they’ve been bike-powering venues for years – to apply for this high profile award, and to tell us the new ideas and new ways they have for engaging with sustainability

The award for Sustainable Production on the Fringe was first launched in 2010 at the Hollywood Fringe and Edinburgh Festival Fringe. Previous recipients include:  The Pantry Shelf (Edinburgh 2010), a satirical comedy that takes place in any ordinary pantry shelf, produced by Team M&M at Sweet Grassmarket; Presque Pret a Porter (Hollywood 2010), produced by Dreams by Machine; and Allotment (Edinburgh 2011) by Jules Horne and directed by Kate Nelson, produced by nutshell productions at the Inverleith Allotments in co-production with Assembly. Last year recipients were D is for Dog by Katie Polebaum and the Rogue Artists ensemble, directed by Sean Calweti (Hollywood 2012) and The Man Who Planted Trees (Edinburgh 2012) adapted from Jean Giono’s story by Ailie Cohen, Richard Medrington, Rick Conte and directed by Ailie Cohen, produced by the Edinburgh’s Puppet State Theatre.

Ian Garrett and Miranda Wright founded the CSPA in early 2008 after individually working on each of the programs that now make up the multi-faceted approach to sustainability separately. The organization provides a network of resources to arts organizations, which enables them to be ecologically and economically sustainable while maintaining artistic excellence. Past and Present partnerships have included the University of Oregon, Ashden Directory, Arcola Theater, Diverseworks Artspace, Indy Convergence, York University, LA Stage Alliance and others.

“The purpose of this award is not just to recognize the greenest production. Our objective in offering this award is to ask questions of ourselves, as theater artists, about the greater impact of our work on the world around us. The fringe model provides an ideal platform to introduce these ideas,” says Wright, “The CSPA is not just another ‘go green’ organization. We hope to gather and distribute information that aids in the sustainability of the earth, the sustainability of our communities, and the sustainability of our art.”

Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre andScottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

  • Changing their own behaviour;
  • Communicating with their audiences;
  • Engaging the public’s emotions, values and ideas.
  • Engage arts organisations and stakeholders in promoting environmental sustainability;
  • Provide support for arts organisations to be at the forefront of shaping an environmentally sustainable Scotland;
  • Support arts organisations, artists and audiences to be as environmentally sustainably as possible.

Why sustainable practice in the cultural sector?

Like all sectors, the cultural sector faces risks from climate change and the legal, social and economic changes it will bring. Much more than many other sectors, arts and cultural organisations have huge potential to provoke crucial public behaviour change. We believe cultural organisations are uniquely placed to address the challenges brought on by climate change through the art they produce, the audiences they speak to and the way in which they operate themselves.

CONTACT: Ian Garrett – fringe@sustainablepractice.org – US 818-687-6655 – UK 0759 744 1915

MORE INFO:
CSPA Fringe Initiatives: http://www.sustainablepractice.org/programs/fringe/
2013 Edinburgh Festival Fringe Questionnaire: http://bit.ly/cspafringe13
Creative Carbon Scotland: http://www.creativecarbonscotland.com/

THE MAN WHO PLANTED TREES Announced as Recipient of the 2012 Award for Sustainable Production at the Edinburgh Festival Fringe

The Center for Sustainable Practice in the Arts (CSPA) has awarded the third CSPA Fringe Award for Sustainable Production at the Edinburgh Festival Fringe to The Man Who Planted Trees adapted from Jean Giono’s story by Ailie Cohen, Richard Medrington, Rick Conte and directed by Ailie Cohen. It is produced by the Edinburgh’s Puppet State Theater, and is currently on tour in North America.

Giono, who passed in 1970, has said about The Man Who Planted Trees in 1957: “I wrote this story to make people love trees, or more precisely to make people love planting trees. Of all my stories it is one of the ones of which I am most proud. It has never earned me a penny and for that reason it has accomplished the very purpose for which it was written.”

The Man Who Planted Trees was chosen because of the synchronicity of the themes and the physical production of the show.” comments Ian Garrett, co-founder and Director of the CSPA. “ The award is intended to reward both smartly addressing issues of sustainability and production practices. Further, we recognize that in the Fringe environment, the physically production is often partially determined by the resources and time made available by the venues. What made The Man Who Planted Trees stand out is that it was able to successfully combine these factors into one of the most consistently lauded productions of the festival.”

The award is determined by the submission of a questionnaire about how the show was produced and audience response. The Man Who Planted Trees’ production team was able to provide comprehensive technical information for the production, which showed a commitment to design and resource efficiency. This considered approach also factored into their communications and marketing. All of these factors were further supported by the themes of the play.

The CSPA Directors, Ian Garrett and Miranda Wright adjudicated the award, along with select CSPA affiliates and friends. This year marked the beginning of a closer relation with Festival Edinburgh, which supports all of the festivals throughout August and the rest of the year. For the original Edinburgh Fringe application, Mhora Samuel and Tim Atkinson from The Theatres Trust’s European Regional Development Fund-backed Ecovenue project helped the CSPA adapt the criteria for a UK audience, providing guidance on UK equivalents to US name brands, as well as providing insight on measuring conventions and policy.

“The CSPA is not just another ‘go green’ organization,” says Wright.  “We hope to gather and distribute information that aids in the sustainability of the earth, the sustainability of our communities, and the sustainability of our art.  And so, the purpose of this award is not to recognize the greenest production.  Our objective in offering this award is to ask questions of ourselves, as theater artists, about the greater impact of our work on the world around us. The fringe model provides an ideal platform to introduce these ideas and the award due to the expectations and scale of the shows.”

“Even more so than we want someone to score perfectly on the questionnaire we use to evaluate shows, we want theater artists to look at the questions and think about how it helps to guide their thinking about sustainability in the their art. There may be questions asked in ways they hadn’t thought, and we hope they ask these questions of their next project and the project after that,” adds Garrett.

Ian Garrett and Miranda Wright founded the CSPA in early 2008 after individually working on each of the programs that now make up the multi-faceted approach to sustainability separately. The organization provides a network of resources to arts organizations, which enables them to be ecologically and economically sustainable while maintaining artistic excellence. Past and Present partnerships have included the University of Oregon, Ashden Directory, Arcola Theater, Diverseworks Artspace, Indy Convergence, York University, LA Stage Alliance and others.

The big idea? Get lost

This post comes to you from Ashden Directory

Joan Littlewood

Wallace Heim writes:

Seminars about sustainability and the arts often, usefully but repeatedly, focus on energy use and material consumption. A public conversation at the Edinburgh Festival Fringe, ‘What’s the Big Idea?’, organised by Creative Carbon Scotland and Festivals Edinburgh, nodded to the material imperatives –  the plastic cups – then shifted the discussion to the processes of making theatre that don’t fit with the accountancy of sustainability, to the unintended consequences of sustainable decisions, and to the need for sharing more technologies more widely.

The conversation opened with provocations from Erica Whyman, Artistic Director of Northern Stage, and Anthony Alderson, Director of the Pleasance Theatre Trust, chaired by Harry Giles, Environment Officer of Festival Edinburgh, and hosted by Ben Twist of Creative Carbon Scotland.

A phrase from Whyman recurred throughout the discussion. She quoted theatre director Joan Littlewood speaking about how to make theatre, and how to challenge the hierarchies in power: ‘We must get lost if we are to make a new route.’

Whyman compared ‘getting lost’ to the need in theatre production for not adhering to absolute objectives, whether financial, material or ideological. The question, for Whyman, is not why more artists don’t make work about climate change. Artists make the work they want to make; they are not essayists or teachers. Rather, artists get lost, and create something that surprises.< The surprises, or unintended consequences of working within financial constraints have meant theatres having to work with different economic models. Whyman’s example was Northern Stage’s decision to group together artists, makers and staff in accommodation in Edinburgh for their series of productions at St. Stephen’s church. Inadvertently, they created a commune, a creative and powerful way of working together as a team. These aspects of consensus and democracy are forgotten, according to Whyman, in the accountancy of sustainability and in the apocalyptic narratives of climate change. Alderton spoke of the need to look for the wider questions behind the requests for the artistic community to recycle or use less energy.  Every company working with the Pleasance plants a tree in Scotland. This is a trade. Theatres are places of trade, artistically and materially, and need to share their technologies, be less possessive about their productions and share ideas. ‘Getting lost’ figured in many of the audience’s questions. If theatre productions set the conditions for the audience to get lost in finding a new route, and organisations set the conditions for productions, how do directors and curators more immediately set the conditions for artists to ‘get lost’ in creating new work about sustainability or the climate? Why might artists not be willing to engage with, get lost, in the scientific and the political aspects of climate change? How can artists be encouraged to hold contradictory ideas in tension in creative ways, like the tension between where we are now, and where we could be heading? Too, there were questions about the relation between theatre and the public; about whether theatre should teach; about audiences’ carbon footprints and whether the arts world had responsibility for audiences' travel.

The slight change of perspective connected the achievement of carbon reduction figures to the relations and effects between material use and communal, artistic and intellectual change – a viable new route.

“ashdenizen blog and twitter are consistently among the best sources for information and reflection on developments in the field of arts and climate change in the UK” (2020 Network)

ashdenizen is edited by Robert Butler, and is the blog associated with the Ashden Directory, a website focusing on environment and performance.
The Ashden Directory is edited by Robert Butler and Wallace Heim, with associate editor Kellie Gutman. The Directory includes features, interviews, news, a timeline and a database of ecologically – themed productions since 1893 in the United Kingdom. Our own projects include ‘New Metaphors for Sustainability’, ‘Flowers Onstage’ and ‘Six ways to look at climate change and theatre’.

The Directory has been live since 2000.

Go to The Ashden Directory

Powered by WPeMatico