The art of sustainability: How STAGES is transforming theatre’s environmental footprint

The Sustainable Theatre Alliance for a Green Environmental Shift (STAGES) is pioneering new approaches to sustainability in theatre, driven by the belief that performance art, like any other industry, must address its environmental footprint. 

At the forefront of this initiative in Sweden are Natasja Börjeson, a post-doctoral scientist at the Department of Environmental Science and STAGES Sustainability Coordinator at Sweden’s Royal Dramatic Theatre (Dramaten), and Emma Meyer Dunér, Head of Dramaturgy at Dramaten. Together with colleagues, they are guiding the initiative locally through innovative collaborations that could redefine how theaters operate in an eco-conscious world.

For Börjeson, STAGES represents a rare opportunity to merge the worlds of academia and theatre in ways that foster real, lasting change. “It’s not just about theatre doing their thing or academia staying in its bubble. This project is about bringing everyone together—scientists, artists, technicians—and learning from one another to create new, sustainable practices,” she explains. This collaborative knowledge-building process, or co-creation, is central to STAGES, allowing professionals from different fields to work together and rethink theatre’s environmental impact.

A major component of STAGES is its use of “open labs,” where theatre professionals—from set designers to makeup artists—collaborate with environmental experts in an ongoing dialogue about sustainability. Börjeson recalls how these labs have tackled everything from the chemical risks in beauty products to the controversial use of plastics in set design. “The makeup department was especially concerned about the chemical risks in their products,” she says, noting that these discussions have already led to safer, more sustainable alternatives. In this way, STAGES encourages a deeper understanding of how small changes in everyday practices can have a larger ecological impact.

Theatre, Börjeson argues, operates much like a microcosm of society: it builds, travels, and consumes, all while reflecting broader societal issues. For her, STAGES is about rethinking how theatre can operate within planetary boundaries. This approach is rooted in Doughnut Economics, a framework that balances human needs with the ecological limits of the Earth. Börjeson points out that many theatres, including Dramaten, are adopting these principles to rethink their operations. “It’s about asking, ‘How can we get our theatre into the doughnut?’” she says, referring to the challenge of integrating sustainable practices, from energy efficiency to material reuse, into the core of theatre production.

Emma Meyer Dunér, who represents Dramaten on STAGES' board, sees this collaboration as an opportunity to turn sustainability from a constraint into a creative challenge. “Theatre, by its nature, is circular,” she explains. “We’re constantly recycling performances, ideas, and materials.” Yet, even with this inherent circularity, the transition to more sustainable methods has been challenging. “It’s a dilemma to impose limitations while protecting artistic freedom,” Meyer Dunér admits. However, Dramaten has already implemented practical changes, from reducing paper use to rethinking the longevity and reuse of costumes and set materials. “We’re finding ways to discuss consumption in ways that were once considered taboo,” she adds.

One of the most innovative aspects of the STAGES project has been rethinking touring models, traditionally a carbon-intensive part of theatre. Instead of relying on long-haul travel to bring productions to international audiences, STAGES has experimented with more sustainable solutions, such as generating electricity through bicycle power and using low-impact lighting solutions like oil lamps. Börjeson is particularly excited about decentralizing theatre productions, where local theatres could create their own versions of the same play. “What if, instead of flying across the continent, each theatre could perform their own adaptation of the same work? she asks, hinting at a future where localized performance becomes the new norm, cutting down on carbon emissions while fostering local creativity. A prime example is the performance "Jérôme Bel," which follows this model and will be staged by all the theatres involved in the project. Dramaten will host its version next week.

Despite these exciting developments, the road to sustainability is not without challenges. Börjeson is candid about the obstacles, such as tight budgets and institutional resistance. “You’re asking people who are already stretched thin to change how they work,” she acknowledges. Still, both Börjeson and Meyer Dunér remain optimistic about the long-term benefits. “Once the framework is in place, theatres could actually save money by reducing waste and reusing materials,” Börjeson suggests, pointing to the financial and ecological advantages that come with these changes.

Meyer Dunér, too, sees the creative potential in sustainability efforts. She notes that the collaboration between scientists and artists has sparked unexpected innovation at Dramaten. “We’re discovering new ways to work together. What used to feel limiting is now opening up new possibilities,” she says. This new perspective is not only reshaping theatre production but also influencing how Dramaten interacts with its audiences, shifting to more digital communication and environmentally friendly engagement strategies.

For Börjeson, the most profound revelation of the STAGES project is how the performing arts can personalize abstract environmental issues. “Science can be very abstract and complex, but theatre makes these issues personal. It forces you to feel things,” she explains. This emotional connection is, in her view, key to inspiring lasting change. “We need to reimagine society, and art can help us do that in ways that laws and regulations alone cannot.”

As STAGES moves forward, its ripple effects are already extending beyond the theatre world. Börjeson and Meyer Dunér both believe that the lessons learned from this collaboration will inspire other sectors to rethink their own sustainability challenges. Whether it’s rethinking material usage, decentralizing production models, or fostering cross-disciplinary creativity, the innovations sparked by STAGES offer a blueprint for industries grappling with their environmental responsibilities.

Ultimately, STAGES is not just about transforming theatre—it’s about showing how the arts can be a catalyst for wider societal change. “This is the kind of project that gives you hope,” Börjeson reflects. “Not just for theatre, but for society as a whole.”

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