Ordering chaos : the Canadian fringe theatre phenomenon
Date
2017-07-31
Authors
Paterson, Erika
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Abstract
In 1982, the Edmonton Fringe began as a low budget experimental
theatre event,and quickly became an annual celebration of performance
that was (and is) a truly popular festival. Today, the Edmonton Fringe
attracts 500,000 spectators, 200 street performers, and 150 theatre
groups from across the country and around the world. Between 1985 and
1991, Fringe festivals were established in Montreal, Toronto,
Saskatoon, Winnipeg, Vancouver and Victoria. These 7 festivals
constituted a 4 month theatre circuit for national and international
travelling theatre and street performance troupes. All of these
festivals continue to receive more applications from Fringe artist to
produce, than they can possibly accommodate. Audience members are
willing to stand in line for up to six hours to see a sell-out
Fringe show. These events have stimulated a remarkable level of
excitement and enthusiasm for theatre. Why ? How? These are the
central questions that this work approaches from a number of
different, and sometimes distinct perspectives.
“Part One," Ordering Chaos. begins with a history of the Fringe that
places the festivals in a larger context concerned with Canadian
theatre, and in particular the historical relations, social and
theatrical, between the alternative theatre movement and the Fringe,
and between the Fringe and the postmodern. It includes a description
and analysis of the Fringe Production model, Fringe performance, and
excerpts from numerous interviews with Fringe producers, artists, and
critics.“Part Two," The Fringe Phenomenon, observes these events from
two different perspectives; one is concerned with festivity, the other
with popular culture; both observe the Fringe as a socio-cultural
event. Depending primarily on Victor Turner’s anthropology of
performance and John Fiske’s observations on popular
culture, I examine the festivals as cultural performances. Linda
Hutcheon’s understanding of the Canadian postmodern provides a context
for conclusionary remarks.
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Keywords
Performing arts, Theaters