19 Ethics
Ethics
I think I wish that I uncovered or discovered the ableism earlier, so that I could call it out earlier. I mean, for me at the time I thought I was doing what was required of me, which I was, but I pushed myself hard and in times that I didn’t need to. I also wish that I’d known that I don’t have to perform trauma on stage. Because, as you know, Crackwalker, it was my first big gig, and it propelled my career in many ways and I worked with some incredible people, but it was really difficult to do that show and that character and every night my body would respond because it thought I was experiencing that trauma every night and that wasn’t healthy for me. And every night I was triggered because I grew up in a very violent household and so the domestic violence scene was like quite difficult for me to sit through every night. I just wish that I’d had known I didn’t have to do all of that and I could have said no. Or I could have asked for something different in the room. I think, yeah, that’s it. I wish I’d known I could ask for what I want.
People are not as scared to call institutions out now and they shouldn’t be, I think they need to be called out. We’ve seen fractions of changes happen because of it, little, not enough, but some. And it can be tricky because we are told you won’t get hired. And that is sometimes the case, but it’s not always the case. More often than not, folks are willing to come talk with you and negotiate with you, but you have to be the one to bring it to them first at this point. Like, until institutions are saying I’d love to work with you, let’s negotiate your contract, I’m not going to trust them, right? But that’s not what happens right now. Yeah, I think don’t be afraid to ask for what you want. – Yolanda Bonnell, Actor/Director/Playwright, Toronto, ON
Ethics in this context is about the moral principles that govern not just individual behaviour, but also the behaviour of companies and institutions. Basically, being ethical means a theatre worker or company is not behaving badly. Like any sector or industry, theatre has horror stories including abuse and fraud. There was a stint where within a few years, two of our local theatre companies had staff embezzle funds. As much as we like to think that theatre is a beautiful creative space with well-meaning and progressive team members, there have been and are unethical practices. Many were hidden or kept secret for far too long.
Consent
As noted in earlier chapters the global and human rights movements of the last few years have caused shifts in programming. In addition, there have been shifts in practice. Consent-based practices are being implemented by some theatres and discussed by others. This affects what happens in the rehearsal room as well as all other parts of the process. Consent can include everything from the content you choose to work on, to tasks you agree to do, and for actors a range of physical requests.
Reading the script before signing on to do a project is crucial for all involved. This is the first step in terms of consent. Knowing what the play will entail, the content, and requirements allows all team members to make sure they are comfortable with the work. If you are not provided with a script to read before signing on, that in itself could be a sign about how the process will unfold. If it is a work in progress, then even knowing the scope of material or proposed content is helpful.
Of course directors may in their interpretation add things that were not apparent in the written text. Ethically, if the director’s vision demands more of a team member than would have been clear initially, asking consent or allowing for some process of dialogue is advisable. A recent example is with colour conscious casting, with a director choosing to acknowledge the cultural background of the actor when it isn’t something originally written in as part of the character. In this situation some discussion with the actor, but more importantly including a consultant, would allow for an informed integration rather than the risk of tokenism.
There are horror stories from the past about auditions that included derogatory comments and even requests to see the actor without clothing. There are protocols in place to prevent this in professional theatre, however when working with smaller theatres that are not using these protocols, remember that if anything makes you feel uncomfortable that is a red flag. It is not true consent if you feel pressured due to a power imbalance.
Intimacy Direction has become a recognized field and the training and use of Intimacy Directors or Coordinators is helping to navigate sexual content through a consent-based model and with better mindfulness.
Measurements and fittings are another area where protocols are important. Actors bodies are personal even when they are used as an instrument for their work. How they are being touched or spoken about is important. Doubly so for those from cultural backgrounds where bodies have been historically degraded. An actor often has to wear costumes that they may not like aesthetically. However, unless it is outlined in advance in a contract, there are limitations to what can be asked of an actor including partial or full nudity. There is also now important dialogue taking place to make sure practices for costume, hair and make-up consider cultural differences.
Use of images and likeness is part of Canadian Actors Equity Association contracts, but for those not working under these agreements it is important to make sure use of photos and video is covered in contracts so an actor or designer doesn’t have their work represented in a way in which they might object. For example, a photo from a specific production being used outside of the context of promoting that show.
Activity: Are there other things in theatre for which you feel consent should be required?
Harassment
Intersecting with consent is the reality of sexual harassment. The #MeToo movement helped to fully confront abuse in the theatre industry, which had always been present. Theatre involves the personal and the intimate. It also includes many people who have power and others who are desperate for an opportunity. This means there is opportunity for people to be taken advantage of and to fear speaking out. The casting couch isn’t a myth, it is based on actual experiences.
Canadian Actors Equity Association created Not in Our Space which is meant to be addressed at the first rehearsal of professional productions. The key is having a person, other than those in power, who can be approached with concerns. These concerns might include inappropriate sexual behaviour, but could also be abusive behaviour such as bullying, derogatory comments, yelling, insulting, and even pressure to do things that are not safe. Haven Helpline is used as a support. Historically, there have been many directors who were bullies and would yell and shame actors. Unfortunately, I hear that there are still remnants of this old (and destructive) style of working.
CAEA also has a Member Guide to Respectful Workplaces.
Health and Safety
Theatre companies and producers have a responsibility to keep both the team and the audience safe and healthy. This was brought into greater focus as a result of COVID. Theatres had to wade into mask and vaccine mandates. They had to tell actors to stay home when sick, which meant having stand-ins or understudies (plus additional rehearsals for these folks). Air quality and sanitation were monitored to a greater extent. Some of this continues.
There are riders for contracts if actors are being asked to undertake anything considered risky. There are also parametres for safety in how a set is built. A good production manager will follow all codes and make sure the rest of the team is aware of them. Cutting corners to save money does occur, but when it risks safety it is not ethical. Proper training is crucial as is putting people above the budget.
Here is a great resource: Actsafe Safety Association
Ethics also overlap with chapters on Just and Equitable Practices and the Changing Theatre Industry. Conversations around ethical practices have thankfully been brought to the forefront in the last five years, and now it remains to be seen if the commitments will be upheld. There is now an expectation to bring paid consultants on when dealing with certain terrain, such as culturally specific or lived content. A consultant can advocate and speak to the topic so that an actor doesn’t have to educate others on top of their work as an actor, or feel the need to represent/speak for an entire group. However, theatres are still struggling to integrate these consultants fully into the process by having them in the room full-time. If we believe everyone has the best intentions at heart, and that they simply lose sight of these with the stress of budgets and deadlines, then we should all feel empowered to keep reminding the decision-makers when they lose sight of ethical responsibilities.