The ETC Theatre Green Book: Focus on learning and paths for change with the Ravenna Teatro - Centro di Produzione (Italy)
An interview with Francesca Venturi by Marie Le Sourd (part of a collaboration between the European Theatre Convention and On the Move)
The European Theatre Convention has been encouraging its membership of over 50 theatres to work towards achieving net-zero emissions by 2030 across their productions, buildings and operations. To achieve this goal, the network uses a variety of tools, one of which is the ETC Theatre Green Book. Inspired by the famous Theatre Green Book, it is comprised of detailed guidance and practical tools across three areas: Sustainable Productions, Sustainable Operations, and Sustainable Buildings, that public theatres part of the ETC network uses to improve their practices.
Based on the use of these tools and in view of the first year of self-certification that will happen during the ETC Conference in Riga in November 2025, we had a conversation with Francesca Venturi, producer at Ravenna Teatro - Centro di Produzione. Ravenna Teatro is a centre for theatrical creation, established in 1991 as an emanation of the poetics of its founding artists, Marco Martinelli and Ermanna Montanari. The centre runs its programmes across three spaces that it manages directly: the Teatro Rasi (a former church dating to the 14th century), the 18th-century Palazzo Malagola, and the Vulkano workshop-studio. It also operates at the Teatro Alighieri and other venues, engaging in an innovative approach to theatrical "cultivation" within the city. Currently, the ETC TGB only concerns the Rasi Theatre.
Here are the main points of learning that can be shared to complement a more data based approach of change through the above mentioned self-certification.
A team involvement - the people
The process has been positive from the outset. 'We started using the Green Book in October 2024 when we established our Green Team. We immediately noticed that the Operations and Building teams were very enthusiastic, so we implemented the main stages in those sectors first.
There were lots of ideas, but we didn’t know exactly how to realise them. The webinars and tools provided by ETC and Renew Culture helped us to understand what we could practically change and provided us with inspiration. Now, many people have ideas on how to improve our green level in the operations sector. It's incredible to see the involvement of colleagues who were initially sceptical or uninterested in this project.’
As far as the Green Team is concerned - which currently comprises two senior officials, two communication and two production team members - ‘there are different levels to consider between senior leaders and decision makers, as well as people responsible for different areas, such as technicians (in charge of buildings and production), managers, and people connected to the audience, such as front office staff, as well as producers and tour organisers. The challenge lay less in involving people than in the fact that the tools and training sessions are in English. There was a need to empower people, particularly the younger generation in theatre, to take part in the online training in English. They have more knowledge of English, but they are less accustomed to using it on a daily basis. (...)
Beyond the webinars and visits from the Renew Culture team, we also meet every month to discuss how we can further green our practices. The process may seem slower because, unlike some other theatres, we do not have a dedicated 'green representative' and lack the capacity to do so. Questions related to this issue are dealt with alongside other points, but there is a certain regularity to it. At the same time, this encourages others to suggest ways to improve our work process. The issue is always at the forefront of people's minds’.
Acknowledge where we start and the need to go beyond this
‘Being part of a theatre centre founded by a company that considers ecology to be one of its core values helps with this process. The people who work with us - artists, employees, and technicians - don't really ‘waste’; we treat the spaces where we work and what we do as our own, so we care for them with attention and respect.
As a small theatre company with 30 permanent employees, we find things are easier’. (…)
‘At the start of the process, the technicians were maybe the most reluctant to change, perhaps because they feared that their work would change too much. For example, they were concerned about the materials used in production, given that at least 60% of these materials are always already recycled (curtains, costumes, props, etc.), which the theatre has held in its large warehouse since the early '80s, or which are borrowed from other companies. Having a basis of ecological engagement is good, but it is not sufficient, nor should it be used as an excuse to do less, particularly from a technician’s perspective. We are already doing well, but we should try to use less PVC and steel on our stages. Steel is also very heavy, which makes touring our pieces difficult. Thanks to the Theatre Green Book’s tracker, we realised that we are quite good in terms of production, but not so much when it comes to touring, since we don't have electric vans and there are still few charging points in Italy. We always bring lighting and sound equipment on tours as venues often do not have good equipment on stage. (…) We should work on networking with other theatres in order to change the touring system. Italian theatres extensively network for artistic planning, particularly to support young artists, protect the rights of entertainment workers and secure funding. The new challenge will be collaborating to move towards sustainable touring’.
Focus on some areas of change - communication and governance
‘The first major change was in our communication with and relationship to our audience. When presenting the season's programme, for example, we changed from a 40-page colour booklet to a flyer with QR codes. Throughout the past season, the communication team worked to provide information to the public while minimising the use of printed paper. We are committed to minimising our paper usage and using FSC-certified paper. All of this year's theatre season materials will feature an eco-friendly visual identity with images of trees.
Even in the area of governance, our policy is to invest in the theatre’s energy efficiency annually, using the economic resources of our private cooperative. The venue is not owned by us, but remains the property of the city.
Furthermore, we tried to improve on what was already working. We asked our employees to cycle to work as much as possible, avoid wasting paper, sort waste and turn off lights and heating when leaving a room. In general, developing these processes may feel like an additional workload, but we feel that it is the right thing to do’.
On the need to adapt and not exclude
‘As far as communication and the online process is concerned, some audience members, particularly the older generation, found it difficult to accept the change, for instance the use of QR codes. They were angry with us. The communication team took the time to explain during our season presentations. Our team gave different presentations and explained what each performance was about. This took more time, but it was appreciated.
For each performance, we create a small programme containing basic information. It is not a booklet, and we display the presentation in the venue. This is also because these programmes are sometimes left on the floor. We encourage visitors to return them to the entrance’. (...)
‘We collaborate with an association for some performances, where they provide sign language interpretation. For blind people, there is the possibility to have headsets for one night out of four. We are in contact with associations connected to them’.
A challenging work context - the building
From the description of the theatre and the production centre, we immediately see the challenge of the building in relation to the cultural heritage it represents: ‘We are constantly working to make the space ecologically sustainable, investing a portion of the funding we receive each year to improve the theater's energy efficiency.’
‘By 2030, all the buildings will have switched to LED lights (we already bought LED projectors for the main hall during the last production). Although many improvements have been made to the heating and cooling systems, switching to an all-electric system instead of gas, the main entrance door is very old and does not insulate at all, so it needs to be replaced.’
A multiple level of investment - the different stakeholders involved
The relation with the audience
‘Ravenna is a small city. People cycle, but there is no public transport after 9 pm. We encourage car sharing and organise a bus system to connect Ravenna with the surrounding villages, collecting people and bringing them back. Otherwise, people would have to drive, which would cause parking issues as well as pollution. People from nearby towns are often reluctant to come to the theatre in the city centre, but if there is a bus and someone on the bus provides information about the show they are going to watch, they might be more inclined to come. These services are included in their subscription tickets, which is very much appreciated. This system existed before the Theatre Green Book process, but it has given us more motivation to continue, even if it requires some internal organisation (e.g. team members having to be on the bus)’.
The city council of Ravenna and the cooperation with peer-organisations
‘We have a city council that is very engaged and encourages green practices. In 2024, the council offered organisations whose employees cycle to work the opportunity to provide a refund based on the number of kilometres cycled. We applied for this support and will receive an answer in September. Each employee will then have an app on their phone to measure the distance travelled. (…) Together with our ‘neighbors’ - the city's Art Museum, the Music Conservatory (also owned by the municipality), and the headquarters of the Association of Cooperatives - we are as well working to build a green energy community. This community-based project manages local energy resources (e.g, solar panels) and bridges the gap between production and consumption. It engages residents, cultural activities, and local businesses to increase the generation and self-consumption of renewable energy’.
The Italian connection and dissemination
‘Another Theatre Green Book was presented in Milan. Another ETC member in Italy (Teatro Stabile di Torino) is involved in the process.
When we sign contracts with companies, we include a clause stating our commitment to environmental sustainability and our intention to implement basic rules in this regard. This information will circulate among the companies. For now, we are simply communicating with the companies and gathering their feedback as a first step in the process’.
The question of networking and sharing of knowledge are also key in this process: ‘Some companies and theatres are already committed to sustainability. We need to network to raise awareness of this and achieve results more quickly’, including on touring as abovementioned.
The network - The role of the European Theatre Convention
‘ETC opened our eyes to a journey that we were already on, but without truly realising its scope and importance at a European level. The mentoring and advice we received were crucial in helping us to understand how to structure the team, our communications and activities. They gave us practical tools with which to measure actual results, and they allowed us to connect with other European theatres, which is crucial for exchanging ideas and improving together. Seeing other people’s successes is encouraging — if they can do it, we can do it too!”
In ETC conferences, there are specific meetings on the subject. We gradually became part of the process. First, we heard about the Theatre Green Book in Timișoara, and then we immediately thought it was a very interesting programme. After that, we were able to apply for it. This is always a recurring theme, which allows us to take a moment with all ETC members to share practices, tips, etc. We plan to be more engaged, but we need time to read, watch and digest all the experiences.’
The changes to happen (in a different way)
‘People often think that achieving climate neutrality by 2030 is unattainable, so they hesitate to start their green journey. They are unaware that they are already taking many actions that have a positive environmental impact. We recommend undertaking this process to receive concrete support from experts in theatre and the environment, and to connect with theatre professionals from different sectors. Multi-level discussion helps us to understand where we can go’.
‘Thanks to ETC-TGB, we understood that we can't change everything right away - in fact, some things may never change - but we can make small improvements, and that our mental attitude is the most important thing. We should embrace change and do everything we can, but not fight pointlessly against what can't be changed’.
‘In practice, our next goal beyond focusing on the building is to reduce the environmental impact of our tours by using fewer heavy or polluting materials, until we can count on electric vans’.
‘We believe that cultural spaces can play a significant role in raising public awareness of sustainability issues.
This is why we will continue to devise poetic initiatives related to climate change and our ability to influence it’.
