It aims to reduce the environmental impact of the live performance industry.
K3MK Company wants to commit itself to an Eco Production Charter for its projects, because it is a reference, an identifying mark for live performance companies committed to an eco-responsible approach. It is a prerequisite for the integration of more demanding standards and labels.
This is why the production wishes to carry out our projects with ecoresponsibility, by which it recognises that its economic activity has an impact on the various components of its ecological, social and economic environment.
We will pay attention to :
Acting for environmentally friendly live performance productions
Reduce the consumption of raw materials and energy resources;
Reduce the amount of waste produced by ensuring its recovery or recycling;
Encourage the purchase of eco-labelled products that include environmental criteria;
Limit and optimise travel; encourage the use of public transport and soft mobility; optimise and adapt the vehicle fleet;
Gradually integrate this process into exchanges with customers and suppliers.
We, people working in the performing arts, are aware of the environmental impact of our sector of activity.
We want to participate in the construction of a sustainable society. We no longer want to create, produce, distribute and perform in denial of the current ecological crisis.
Considering that the performing arts sector does not sufficiently provide itself with the means to move towards the respect of the 2004 environmental charter to which the preamble of the French constitution refers, we, the signatories, form a network and commit ourselves to carry out our activity according to the principles of an ethical, coherent, pragmatic and rational ecology.
This text has a dual purpose: it represents a moral commitment for those who sign it and is also intended as a guide to accompany people and structures in an approach similar to ours.
Sets and Accessories
Let us integrate ecology into the design of our sets. Let’s avoid using new materials and look for elements that are available and reusable at the performance site. Let’s favour recovery, restoration and recycling. For new elements, let’s choose ethical, non-harmful, local materials with a low production energy impact. Let’s imagine ecological, original and innovative scenographies, especially those that can facilitate energy-efficient transport. From the very beginning of the process, let us consider all the stages in the life of the scenography, from design to recycling at the end of the operation.
Instead of polluting textile industries, let’s favour alternatives, renting, exchanging, second hand and reusing. When manufacturing cannot be avoided, then let’s recover and use scraps, choose materials and dyes that are traceable, sustainable, from local companies and committed to an ecological approach.
Let’s value the skills by keeping the jobs of costume designer and dresser so that the costumes last longer and bring added value to the creations. Let’s take into account environmental issues in the deadlines and remuneration. Let’s avoid frequent washing with polluting detergents.
Let’s pool our stocks, create spaces for exchange and sharing. Let’s not throw away any more.
Let’s get out of a system that destroys ecosystems through the use of make-up and other polluting cosmetic products, plastic or non-recyclable packaging, and the encouragement of waste. Let’s limit the use of cosmetic products, and if they are indispensable, let’s favour sustainable resources, home-made products, zero waste, materials with low environmental impact. Use products that are not treated on animals. Go to local companies that respect animals, the environment and health.
Energy, sound and light
Let’s consider a voluntary simplicity of the technique around the shows.
Let’s reject gigantism, capriciousness and excessive consumption.
Let’s look for a gentle way of providing sound, an optimisation of acoustics, a refusal of sound or light pollution, with their corollary effects on our health and that of our eco-systems. Let us draw inspiration from proven techniques, such as the acoustics of ancient theatres and operas.
Let us make the most of the possibilities offered by technical progress in terms of savings in use, but also in transport. Let us take into account the impact of manufacturing in our investments in sound and light equipment.
For short journeys, let’s get around on foot, by bike or scooter, or by public transport. For medium or long journeys, take the train.
If the car is indispensable, let’s share it: car-sharing, car-pooling, pooling of equipment transport.
Integrate the transport component into the design of shows.
Let’s relate the distance of the trips to the number of performances and cultural activities that they allow. For long-distance travel that cannot be done otherwise than by plane, let’s make sure that it is in the service of a rich cultural exchange over a long period.
Let’s encourage the public to think about transport in the same way.
Let’s organise our tours and residencies by looking for the least impactful accommodation possible.
Let’s deal with the fact that there is no ideal solution yet, by demanding comfort and privacy, not luxury.
Let’s reconcile ourselves with the long term, with residency, with the pleasure of playing several performances in the same place. Let’s imagine alternative forms of touring: in a single town or department, in a flat with accommodation for the artists, mobile in a caravan, tent, yurt, camper van.
Let’s go and meet the accommodation places, hotels, gites, guest houses, which propose a reasoned and eco-responsible approach.
Let’s ask for an ethical food, as much for the environment as for our health, the respect of other animals and life on earth in general. To do this, let’s do away with products derived from animal exploitation and turn to certified and labelled eco-responsible, fair trade, local, organic and seasonal food.
Let’s move towards zero waste by banning disposable cutlery, over-packaging and plastic bottles.
Let’s develop the message transmitted and the medium used according to responsible communication. Responsible in content: honesty of the message conveyed, respect for human and ecological values. And responsible in form: choice of paper or digital according to the nature of the message, the raw materials, the energy consumption, the methods and place of manufacture, the method of distribution and the possible recovery of the product at the end of its life.
When paper is unavoidable, prefer low-ink-consuming typefaces, avoid solid colours, optimise printing formats and favour recycled paper and vegetable-based inks.
Let’s work with companies that are committed to sustainable development.
Choose the least powerful digital equipment possible, change it as little as possible, and reduce energy-consuming uses.
Let us consider the ecological transition as leading to better health for individuals, society and the planet, but also to a different and deeper level of comfort.
Let’s appropriate tools or approaches in this direction: Non-Violent Communication, the diagnosis of the efforts or possible overloads caused by the transition, the creation of posts of ecological managers.
Let us innovate.
Let’s encourage research and the creation of training courses that offer bridges between ecology and professional practices.
Let’s make culture accessible to the greatest number of people, by making it cheap or even free and by developing cultural action.