Figueres a Escena

A Look Behind the Fire Safety Protocols at El Jardí

Backstage fire safety is easy to overlook when the audience is focused on the stage, the orchestra, or the performers. At Teatre El Jardí in Figueres, however, a safe show depends on many quiet routines: clear escape routes, controlled equipment, trained staff, careful storage, and reliable communication between the venue, visiting companies and front-of-house teams. Learn more about Paraula Dactor.

These principles matter to Australian arts audiences and professionals too. Whether you are visiting from Melbourne, Sydney, Brisbane or a regional centre, the same basic questions apply: how is ignition prevented, who responds first, and how can everyone leave calmly if an alarm sounds? The answers become especially important in a venue that hosts theatre, music, dance, cinema, circus, opera, school activities and community events.

Safety Starts Before The Curtain Rises

A backstage fire plan begins long before the public enters the building. Staff inspect exits, corridors, fire doors, emergency lighting and access to firefighting equipment. Scenic pieces, cases, costumes and technical equipment must be positioned so they do not narrow escape paths or block access to alarms and extinguishers.

A production load-in can change the building quickly. Touring sets arrive, cables cross work areas, lighting rigs are adjusted and props may involve timber, fabric, foam, paint or other combustible materials. Good theatre safety requires a risk assessment for each event, with particular attention to temporary structures, hot equipment, special effects and anything that creates smoke, heat or flame.

The safest approach is to separate ordinary production activity from high-risk work. Welding, grinding, soldering, pyrotechnics and other heat-producing tasks should follow a formal permit or approval process, with suitable ventilation, protective equipment and a fire watch when required. A venue’s established procedure should always take priority over assumptions made by a visiting company.

People, Roles And Communication

A fire protocol works only when people know their responsibilities. The venue manager, technical director, stage manager, duty manager, ushers and performers need clear lines of authority. Everyone should know who contacts emergency services, who checks backstage areas, who meets firefighters and who supports audience members who need assistance.

Briefings are particularly important when a production includes children, older visitors, large ensembles or performers unfamiliar with the building. ATEB activities, rehearsals and school performances may involve young people who need simple instructions and calm adult supervision. Children should never be expected to manage an emergency independently or return backstage to collect belongings.

Communication also has a human side. Short, direct messages are more useful than improvised announcements filled with technical language. Even the culture of a workplace can affect safety: a team that can raise concerns without embarrassment is more likely to report a hot cable, an obstructed exit or a faulty appliance. For a light-hearted contrast, the enduring appeal of workplace comedy comes from observing office behaviour; in a real backstage environment, however, unclear roles and poor communication can have serious consequences.

Controlling Risks Behind The Scenes

Electrical equipment is a major focus backstage. Power boards, extension leads, lighting fixtures, amplifiers and charging stations should be inspected before use and operated within their rated capacity. Cables need to be secured without creating trip hazards, while damaged plugs, overheating equipment and unusual smells should be taken out of service immediately.

Storage standards matter as much as technical checks. Curtains, costumes, cardboard, paper, foam and cleaning products should be kept away from heat sources and electrical panels. Waste should be removed regularly, especially after construction, painting or packing. Smoking and vaping controls must be enforced in areas where materials, gases or dust could increase the chance of ignition.

Australian visitors may recognise similar expectations under workplace safety systems and Australian Standards such as AS 3745 for emergency planning and AS 2444 for portable fire extinguishers. Requirements vary according to the building, state or territory and local authority, so an Australian touring company should confirm the venue’s Spanish procedures rather than importing its own checklist unchanged. Fire and Rescue NSW, Fire Rescue Victoria and the Queensland Fire Department all emphasise prevention, access and clear evacuation arrangements, principles that translate well to touring theatre.

Evacuation And Audience Care

If smoke or fire is discovered, the first priority is to raise the alarm and notify the responsible person. Staff should not attempt to fight a developing fire unless they are trained, the correct extinguisher is available, the escape route remains clear and conditions are safe. Personal safety comes before protecting scenery, instruments, costumes or technical equipment.

Evacuation routes should lead people away from smoke and the affected area, using the exits identified during the pre-show briefing. Lifts should not be used unless emergency services specifically direct otherwise. Ushers and front-of-house staff have an important role in preventing panic, keeping people moving and directing them to the designated assembly area.

Accessibility must be part of the plan from the beginning. A venue should identify how it will assist wheelchair users, people with reduced mobility, hearing or vision impairments, and visitors who may become distressed by alarms or crowds. A buddy system, accessible route information and trained staff can make a substantial difference. The plan should also account for performers who are changing costumes, working in dressing rooms or located in technical spaces when the alarm sounds.

Teatre El Jardí’s long history gives this subject added resonance. The venue’s past, including El Jardí’s history, reminds audiences that cultural buildings are more than structures: they carry memory, community identity and public trust. Protecting that legacy means treating emergency preparedness as part of the venue’s cultural responsibility, not as paperwork kept in an office.

Practical Checks For Touring Companies

A visiting Australian company should ask for a site briefing before the first rehearsal. The discussion should cover alarm sounds, exit locations, assembly points, emergency contacts, backstage restrictions and the process for reporting equipment faults. Touring managers should also provide the venue with an up-to-date list of staff, performers, contractors and any unusual production hazards.

The checklist below is useful for a touring show, workshop, rehearsal or community event at El Jardí or another performing arts venue:

The most effective protocol is practical, rehearsed and proportionate to the event. A small workshop may need a simpler briefing than a large opera production, but neither should rely on guesswork. The goal is to make safe behaviour ordinary: clear routes, alert staff, controlled equipment and quick reporting.

When you attend a performance at Figueres a Escena, enjoy the artistic work on stage knowing that safety is supported by preparation away from the spotlight. Touring companies, educators and community groups can strengthen that work by requesting a backstage induction, sharing accurate production information and taking part in venue briefings before activity begins. For programme details, workshops and cultural events at Teatre El Jardí and Sala La Cate, visit Figueres a Escena and make fire-aware planning part of every successful visit.