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Tanja Beer

@ecoscenography

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Ecological designer, community artist & Senior Lecturer in Design at the Queensland College of Art and Design, Griffith University, Australia

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💫 Meet the new IETM members!

Since the start of 2026, 37 new organisations and freelancers based in 19 countries have joined the IETM community

🔎 Discover who they are and get in touch to give them a warm welcome via the link in bio!

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Week One of the HopePunk climate festival was a hit! Excellent shows, enlightening and provocative panel conversations and an inspiring key note. There are two weeks left of the festival, so make sure to head down to La Mama to check it out!

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This week has just been such a balm in the midst of the global batshit crazy.

draft number xx later… 🤯🫨😱😍🥺
still reeling from finishing my keynote for the first climate x theatre festival in Australia by independent theatre home @lamamatheatre (almost 60!), in partnership with the P+ERL team @performance_eco_research_lab

The hardest thing is to try ‘reading the room’ within a few days (esp with social anxiety), but thankfully, I was in good company and hence, constant re-drafting. Then the battle to edit down for length cuz I wanna talk about so many artists! This time, I shared about our work through Pickle Party, the ECOncert series and of course Recess Time.

Biggest hugs to Tanja, Grace and Dora - thank you for your trust. Ya’ll are truly the get-shit-done theatre practitioners, leaders and composters. To the awesome humans who turned up. Here’s to so many more conversations down the road! 🥰

Ooo I even got to attend a planting party by @creativeclimateau!! Scroll to see what I made - still shook that this flower lasts… forever. ❤️ @afloralfixation

Thanks @nacsingapore for the support

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UN/BOUND

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Eco-creativity, experimental materials, eco-feminism and more. Our team had a blast sharing our work at @iftrmelbourne2026 !

We are grateful to connect with collaborators from across Australia and around the world. A huge thank you to IFTR and the organisers for a fantastic week.

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Meet Lead CI @ecoscenography! Our eco designer and ecoscenography expert. 🌱

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We are P+ERL 👋

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A portal to Springbrook...
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#waterfall
#rainforest
#healing
#naturetherapy
#springbrooknationalpark

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Earlier this year the Theatre Green Book Education Committee and the Royal Conservatoire of Scotland brought together a symposium exploring eco-scenography.

Simon was delighted to share a Reset Scenery case study, and we had the opportunity to showcase our modular scenery system alongside LIGNOLOC®️ wooden nail guns.

It was a valuable opportunity to share our practical solutions and contribute to the wider conversation around how embedding eco scenography and sustainable practices in education is helping shape the future of theatre.

Follow the links below to watch our case study, the keynote speech by Dr. Tanja Beer and cases study presented by Kenneth MacLeod. @ecoscenography / @_kennethmac

#resetscenery #ecoscenography #rcs #theatregreenbook #modularscenery

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When craft becomes ethics.

Meet Laura Marnezti (Mexico), a costume designer with nearly fifteen years of experience exploring costumes as living sculptures that transform spatial and bodily perception.

Her interest in sustainability stems from a 'craft ethic' that values slow processes, manual techniques, and dignified labour. Working intuitively with circularity, she transforms existing materials and natural fibres through close proximity to materiality and respect for those who work with it.

For Laura, sustainability isn't an imposed framework but emerges organically from gentler production schedules with maintenance and repair programmes instead of replacement.

Discover more at https://liinks.co/ecosisters in the bio or at https://ecoscenography.com/2026/03/09/ecosisters-laura-marnezti-on-slow-processes-and-the-ethics-of-making-mexico/

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Quando artesania se torna ética.

Conheça Laura Marnezti (México), figurinista com quase quinze anos explorando figurinos como esculturas vivas que transformam percepção espacial e corporal.

Seu interesse em sustentabilidade emerge de uma 'ética artesanal' que valoriza processos lentos, técnicas manuais e trabalho digno. Trabalhando intuitivamente com circularidade, ela transforma materiais existentes e fibras naturais através da proximidade com a materialidade e respeito por quem trabalha com ela.

Para Laura, sustentabilidade não é uma estrutura imposta, mas emerge organicamente de cronogramas de produção mais gentis com programas de manutenção e reparo em vez de substituição.

Descubra mais em https://liinks.co/ecosisters na bio ou em https://ecoscenography.com/2026/03/09/ecosisters-laura-marnezti-on-slow-processes-and-the-ethics-of-making-mexico/

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What if scenography wasn't about objects at all?

Meet Elina Lifländer (Finland), scenographer, spatial artist, and lecturer whose practice challenges us to see beyond the visible.

Rooted in contemporary dance and experimental performance, Elina works with invisible scenography and spatial rhythms as conceptual materials. Her sustainability emerges from natural and recycled materials, but also from immaterial design strategies themselves.

For her, scenography is spatial and relational thinking rather than object-based construction. The most sustainable design might be the one you can't see – but deeply feel.

Discover more at https://liinks.co/ecosisters in the bio or at https://ecoscenography.com/2026/02/26/ecosisters-elina-liflander-on-invisible-scenography-spatial-rhythms-and-engaging-audiences-finland/

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E se cenografia não fosse sobre objetos?

Conheça Elina Lifländer (Finlândia), cenógrafa, artista espacial e professora cuja prática nos desafia a ver além do visível.

Enraizada na dança contemporânea e performance experimental, Elina trabalha com cenografia invisível e ritmos espaciais como materiais conceituais. Sua sustentabilidade emerge de materiais naturais e reciclados, mas também das próprias estratégias imateriais de design.

Para ela, cenografia é pensamento espacial e relacional em vez de construção baseada em objetos. O design mais sustentável pode ser aquele que você não vê – mas sente profundamente.

Descubra mais em https://liinks.co/ecosisters na bio ou em https://ecoscenography.com/2026/02/26/ecosisters-elina-liflander-on-invisible-scenography-spatial-rhythms-and-engaging-audiences-finland/

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When post-show waste becomes creative awakening.

Meet Mawukplorm Adjahoe (Ghana), performance designer with over ten years of experience transforming discarded plastic, wood, and fabrics into scenographies that embody materials' histories and textures.

A PhD graduate from the DAAD programme focused on UN SDGs, she works with biomimicry and the circular economy. For Mawukplorm, circularity is a cultural philosophy of care for materials, people, and environments – not an aesthetic limitation but an invitation to deeper creativity.

She redefines beauty through ethical and ecological integrity, advocating for institutional green policies and sustainable resource centres to strengthen eco-arts practices in Ghana.

Discover more at https://liinks.co/ecosisters in the bio or at https://ecoscenography.com/2026/02/23/ecosisters-mawukplorm-adjahoe-on-waste-as-creative-resource-ghana/

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Quando resíduos do pós-espetáculo se tornam um despertar criativo.

Conheça Mawukplorm Adjahoe (Gana), designer de performance com mais de dez anos transformando plástico, madeira e tecidos descartados em cenografias que incorporam histórias e texturas dos materiais.

Doutora pelo programa DAAD focado nos ODS da ONU, ela trabalha com biomimética e economia circular. Para Mawukplorm, circularidade é uma filosofia cultural de cuidado com materiais, pessoas e ambientes – não uma limitação estética, mas um convite à criatividade mais profunda.

Ela redefine beleza através de integridade ética e ecológica, defendendo políticas institucionais verdes e centros de recursos sustentáveis para fortalecer práticas eco-artísticas em Gana.

Descubra mais em https://liinks.co/ecosisters na bio ou em https://ecoscenography.com/2026/02/23/ecosisters-mawukplorm-adjahoe-on-waste-as-creative-resource-ghana/

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