Sustainability of Operas and Theatres

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The article discusses the sustainability policies that Tiny Opera Company can adopt to reduce its energy emission into the environment as a result of its operations. It also highlights the best practice models that theatres and performance spaces use. The article suggests three options for the direction and focus of the sustainable policy and recommends the preferred option. It also discusses the strategies for promoting awareness of the sustainability policies and maximising the impact of the policy.
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Running head: SUSTAINABILITY OF OPERAS AND THEATRES
Sustainability of Operas and Theatres
Name of the Student:
Name of the University:
Author Note:
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1SUSTAINABILITY OF OPERAS AND THEATRES
Table of Contents
Introduction:...............................................................................................................................3
Assessment task 1:.....................................................................................................................3
1. Review of the case study:.......................................................................................................3
2. Best practice models:.............................................................................................................3
Commercial venues, sheds or pavilion:.................................................................................4
Live theatre business model:..................................................................................................4
3. Three options for the direction and focus of the sustainable policy:.....................................5
Option 1: Use of digital tickets:.............................................................................................5
Option 2: Energy efficiency:..................................................................................................5
Option 3: Using eco-friendly materials while holding the plays:..........................................5
4. Preferred option chosen after meeting the business manager:...............................................6
5. Sustainable policy for The Tiny Opera:.................................................................................6
a. Scope of the policy:............................................................................................................6
Commitment of the Tiny Opera to the policy:.......................................................................7
Focus Areas of sustainability the Tiny Opera:...........................................................................7
6. Meeting the business manager:..............................................................................................7
a. Typical barriers to sustainability policy implementation and strategies to address them:. 7
b. Process to develop the policy:............................................................................................8
c. Drafting policy and gaining approval for the draft:...........................................................8
7. Updating of draft policies:.....................................................................................................8
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2SUSTAINABILITY OF OPERAS AND THEATRES
8. Legislation and best practice models and sustainable policies:.............................................8
a. Environmental and sustainable legislations applying to the Tiny Opera:..........................8
b. Development of sustainability policy:...............................................................................8
c. Strategies for promoting awareness of the sustainability policies:....................................9
d. Strategies for maximising impact of the policy:................................................................9
Training:.............................................................................................................................9
Marketing:..........................................................................................................................9
Stakeholder engagement:...................................................................................................9
Conclusion:................................................................................................................................9
References:...............................................................................................................................10
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3SUSTAINABILITY OF OPERAS AND THEATRES
Introduction:
Sustainability achievement has emerged as an important organisational goal for even
small companies. The aim of the assignment is to study this achievement of sustainability
through the lenses of a small theatre company named Tiny Opera Company in Australia.
Assessment task 1:
1. Review of the case study:
Tiny Opera Company was a start-up entertainment business operating in New South
Wales, Australia. The company introduced the concept of theatres in the region which could
be enjoyed at affordable prices by the middle class customers. The company is seeking to
comply with all legislative and regulatory laws to achieve sustainability by operating in more
environment friendly ways (reneweconomy.com.au 2018). The case study does not give clear
idea about the legislative and regulatory documents except a statement showing income and
expenditure of the company. The income and expenditure statement of the company shows
that the firm is operating successfully which means that it has acquired all legislative and
regulatory documents. The documents consist of vital documents like trading licenses and
contracts laws which the entertainment company must follow while entering into contracts
for shows. It must also follow the Competition and Consumer Act 2010 and offer
entertainment services to consumers ethically (business.gov.au 2018). The firm must abide by
laws pertaining vital business areas like taxation, accounting, workplace health and safety and
sustainability.
2. Best practice models:
The following are the best business models theatres and performance spaces use:
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4SUSTAINABILITY OF OPERAS AND THEATRES
Commercial venues, sheds or pavilion:
The theatres and entertainment firms following this model primarily aim to attract
large numbers of audience. They also use promotional tactics like discounts to boost sale of
tickets. These companies usually arrange expensive shows of bands and big theatre groups
where revenue generation is one the most important aims to hold the shows (Mowforth and
Munt 2015).
Live theatre business model:
This business model which most of the big event management companies follow
consist of nine blocks. The first block consists of business partners consisting of writers, art
councils, schools and colleges and providers of venture capital. The key activities consist of
production of plays and operas, holding educational projects and social services
(environment.gov.au 2018). The value proposition section of the business model consists of
developing world class theatres for the visitors and giving opportunities to artists to showcase
their talents. The customer relationship block consists of building strong relationship with
customers by providing high quality entertainment services (Childers et al. 2015). The
customer segment block of the live theatre business model consists of local and national
theatre goers, art councils, students and families. The key resources of the business model
consist of staffs, theatre and office premises and intellectual property rights pertaining to their
original compositions. The business channel block consists of production cost, maintenance
cost, staffing costs, marketing expenses and governance cost. The revenue block of the live
theatre model consists of trading, donations from trusts, income from selling tickets and
charges taken form theatre group to hold plays (Wood et al. 2014).
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5SUSTAINABILITY OF OPERAS AND THEATRES
3. Three options for the direction and focus of the sustainable policy:
The following are the three options for the sustainability policies which Tiny Opera
Company can use in its premises:
Option 1: Use of digital tickets:
The use of digital tickets is a very effective method the theatre company can use to
gain sustainability. This would be effective because it would allow the theatre company to
reduce its consumption of paper, thus benefitting the environment. Adoption of this digital
ticket model would require a period of six months as the company would require installing
software and ticketing system capable of processing online orders of shows and tickets. The
cost of implementation of the digital ticket policy would require huge initial expenditure
because it would require the theatre company to upgrade its booking system (Waas et al.
2014).
Option 2: Energy efficiency:
Tiny Opera Company should become energy efficient in order to achieve
sustainability of operations. Tiny Opera can install solar energy generation system and waste-
to-energy plant to meet a part of its own energy consumption. This sustainability measures
would be effective in making the firm energy efficient and reduce a part of its energy
expenditure. Installation of solar system and waste-to-energy plant would be time consuming
and require six months. The cost of implementation of this strategy in the initial level would
be high but would become less as the plants would start generating energy and saving the
firm’s expenditure costs (Jia et al. 2015).
Option 3: Using eco-friendly materials while holding the plays:
Tiny Opera can use eco-friendly materials to decorate stages before shows which
would be effective in reducing the amount of harmful chemicals which the company releases
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6SUSTAINABILITY OF OPERAS AND THEATRES
into the environment. The time frame which implementation of eco-friendly material would
require is a month which is less compared to the other two options. Moreover the switching
over to eco-friendly ways of stage arrangement would attract less cost compared to the
previous options (van den Eynde, Fisher and Sonn 2015).
4. Preferred option chosen after meeting the business manager:
The business manager would be consulted on the policy options discussed above to
decide on the preferred options. A comparison between the three sustainable strategies to be
adopted shows that the second option of becoming energy efficient is the most effective
option. This is because though installing solar energy system and waste-to-energy plants are
expensive in the initial phase. However, in the long run this would enable the firm to reduce
its energy expenditure (Hussain, Khan and Al-Aomar 2016). Thus, gaining energy efficiency
would help Tiny Opera in becoming financially and environmentally sustainable.
5. Sustainable policy for The Tiny Opera:
a. Scope of the policy:
The scope of sustainable policy of Tiny Opera should apply to both cost
considerations and environment considerations. The firm should aim to become energy
efficient by achieving relevant standards like reducing wastage of energy and as a result,
reduce the cost to procuring energy from third party companies (Apanavičienė et al. 2015).
The sustainability policies should meet all the legislations in power within Australia,
particularly NSW.
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7SUSTAINABILITY OF OPERAS AND THEATRES
Commitment of the Tiny Opera to the policy:
The Tiny Opera is committed to follow its sustainable policies to reduce its energy
emission into the environment as a result of its operations. The company is also committed
to save energy costs and become energy efficient (Abdel-Shafy and Mansour 2016).
Focus Areas of sustainability the Tiny Opera:
The areas of sustainability on which Tiny Opera should focus are:
1. Energy efficiency
2. Cost effectiveness,
3. Compliance with environmental laws of Australia, particularly the ones in force in NSW
4. Economical use of raw materials.
6. Meeting the business manager:
a. Typical barriers to sustainability policy implementation and strategies to address
them:
Barriers to sustainability Strategies to address them
1. Shortage of money Channelizing more revenue towards adoption of
sustainability
2. Scarcity of technology The firm should acquire new technology like
solar energy systems and recycling plants to
tackle this problem.
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8SUSTAINABILITY OF OPERAS AND THEATRES
b. Process to develop the policy:
The process to develop sustainable policies consists of channelizing more resources
towards attaining sustainability.
c. Drafting policy and gaining approval for the draft:
The sustainability project officer should draft sustainable policies and gain approval
of the apex management.
7. Updating of draft policies:
The sustainability policy would be updated according to the agreements made after
consulting the business manager.
8. Legislation and best practice models and sustainable policies:
a. Environmental and sustainable legislations applying to the Tiny Opera:
The sustainable policies and the best practice sustainable should contain legislations
pertaining to the environment in Australia like the Environment Protection and
Biodiversity Conservation Act 1999 (environment.gov.au 2018). Moreover,
the industrial ministry of Australia too requires business organisations
including theatre companies gain legitimate licenses to operate in the
market. The theatre company also needs to comply to the Fair Work Act
2009 (legislation.gov.au 2018)
b. Development of sustainability policy:
Tiny Opera Company can develop its sustainable policies to reflect its commitment to
achieve sustainability by adopting sustainable methods of operation. This adoption of
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9SUSTAINABILITY OF OPERAS AND THEATRES
sustainability policies should take place under direct supervision of the apex management
(Apanavičienė et al. 2015).
c. Strategies for promoting awareness of the sustainability policies:
The opera should adopt strategies like marketing its sustainability policies on the
digital and print media. It should also make use of social media to promote its sustainable
policies (Hosenuzzaman et al. 2015).
d. Strategies for maximising impact of the policy:
Training:
Tiny Opera Company should train its employees to act in sustainable ways. This
would enable the company to attain sustainability more effectively due to growing employee
support.
Marketing:
The opera should market its sustainability policies among its customers, suppliers and
all other stakeholder groups. This would help the company to strengthen its sustainability
adoption (Jia et al. 2015).
Stakeholder engagement:
As pointed out, the opera should promote its sustainability policies to gain stakeholder
support. This would strengthen its sustainability achievements and methods of operations
(Abdel-Shafy and Mansour 2016).
Conclusion:
It can be concluded from the above discussion that obtaining sustainability is very
crucial. However, formation of sustainability policies should have apex management and
stakeholders’ encouragement. These two factors are very in ensuring successful achievement
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10SUSTAINABILITY OF OPERAS AND THEATRES
of sustainability. Tiny Opera can also enter into open innovation to gain higher levels of
sustainability.
References:
Abdel-Shafy, H.I. and Mansour, M.S., 2016. A review on polycyclic aromatic hydrocarbons:
source, environmental impact, effect on human health and remediation. Egyptian Journal of
Petroleum, 25(1), pp.107-123.
Apanavičienė, R., Daugėlienė, A., Baltramonaitis, T. and Maliene, V., 2015. Sustainability
aspects of real estate development: Lithuanian case study of sports and entertainment
arenas. Sustainability, 7(6), pp.6497-6522.
Childers, D.L., Cadenasso, M.L., Grove, J.M., Marshall, V., McGrath, B. and Pickett, S.T.,
2015. An ecology for cities: A transformational nexus of design and ecology to advance
climate change resilience and urban sustainability. Sustainability, 7(4), pp.3774-3791.
Corredoira, L. and Sood, S., 2015. Meeting new readers in the transition to digital
newspapers: Lessons from the entertainment industry. El profesional de la
información, 24(2), pp.138-148.
Department of the Environment and Energy. 2018. Department of the Environment and
Energy. [online] Available at: http://www.environment.gov.au/resource/local-government-
and-australian-environment-law [Accessed 6 Feb. 2018].
Fair trading laws. 2018. Business.gov.au. Retrieved 6 February 2018, from
https://www.business.gov.au/info/run/fair-trading/fair-trading-laws
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11SUSTAINABILITY OF OPERAS AND THEATRES
Hosenuzzaman, M., Rahim, N.A., Selvaraj, J., Hasanuzzaman, M., Malek, A.B.M.A. and
Nahar, A., 2015. Global prospects, progress, policies, and environmental impact of solar
photovoltaic power generation. Renewable and Sustainable Energy Reviews, 41, pp.284-297.
Hussain, M., Khan, M. and Al-Aomar, R., 2016. A framework for supply chain sustainability
in service industry with Confirmatory Factor Analysis. Renewable and Sustainable Energy
Reviews, 55, pp.1301-1312.
Jia, P., Govindan, K., Choi, T.M. and Rajendran, S., 2015. Supplier selection problems in
fashion business operations with sustainability considerations. Sustainability, 7(2), pp.1603-
1619.
Mowforth, M. and Munt, I., 2015. Tourism and sustainability: Development, globalisation
and new tourism in the third world. Routledge.
Sydneyoperahouse.com. 2018. Cite a Website - Cite This For Me. [online] Available at:
https://www.sydneyoperahouse.com/general/corporate-information.html [Accessed 6 Feb.
2018].
van den Eynde, J., Fisher, A. and Sonn, C., 2015. Working in the Australian entertainment
industry. Phase 2: Executive summary.
Vorrath, S. 2018. Rooftop solar most reliable source of new generation on NEM, says report.
[online] RenewEconomy. Available at: http://reneweconomy.com.au/rooftop-solar-most-
reliable-source-of-new-generation-on-nem-says-report-42218/ [Accessed 6 Feb. 2018].
Waas, T., Hugé, J., Block, T., Wright, T., Benitez-Capistros, F. and Verbruggen, A., 2014.
Sustainability assessment and indicators: Tools in a decision-making strategy for sustainable
development. Sustainability, 6(9), pp.5512-5534.
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Wood, R., Stadler, K., Bulavskaya, T., Lutter, S., Giljum, S., de Koning, A., Kuenen, J.,
Schütz, H., Acosta-Fernández, J., Usubiaga, A. and Simas, M., 2014. Global sustainability
accounting—Developing EXIOBASE for multi-regional footprint
analysis. Sustainability, 7(1), pp.138-163.
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