The Edinburgh Fringe trades on the hopes of artists and companies and its image of pop-up spontaneity, while those at the top make the money, says Pippa Bailey.
In August 2012 I hosted my last ceremony as producer of the Total Theatre Awards and explained to the assembled crowd of artists and managers why I had lost faith in the world’s largest theatre festival. Several people asked me to write these thoughts down. They echo sentiments articulated last summer by UK comedian Stewart Lee and, more recently, by Scotsman reporter, Brian Ferguson. It’s about time we talked more openly about the injustices of this particular showcase festival model that is propagating across the world. For six years I held a highly privileged position, saw hundreds of shows and talked to hundreds of participants. As people are busy analyzing various cultural systems, I believe there is an appetite for change and hope those in positions of power will listen and act.
In August 2012 I hosted my last ceremony as producer of the Total Theatre Awards and explained to the assembled crowd of artists and managers why I had lost faith in the world’s largest theatre festival. Several people asked me to write these thoughts down. They echo sentiments articulated last summer by UK comedian Stewart Lee and, more recently, by Scotsman reporter, Brian Ferguson. It’s about time we talked more openly about the injustices of this particular showcase festival model that is propagating across the world. For six years I held a highly privileged position, saw hundreds of shows and talked to hundreds of participants. As people are busy analyzing various cultural systems, I believe there is an appetite for change and hope those in positions of power will listen and act.