Pub Date : 2022-10-02DOI: 10.1080/10486801.2022.2118726
Daniel Lynch
Abstract In December 2021, Danielle Lynch interviewed interim director of St. Patrick’s Festival, Anna McGowan about the experiences and challenges faced by the festival in planning Ireland’s largest arts festival during a global pandemic. The discussion details immediate actions taken by festival organisers in the aftermath of the March 2020 cancellation. The interview also provides an insight into how the festival responded to ongoing public health constraints in planning the 2021 national St. Patrick’s Festival.
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Pub Date : 2022-10-02DOI: 10.1080/10486801.2022.2118724
Hilkka-Liisa Iivanainen
Abstract From the point of view of the author Hilkka-Liisa Iivanainen, the co-artistic director of Finland’s Tampere Theatre Festival, the purpose of a performing arts festival is fundamentally challenged by the unforeseen and ongoing COVID-19 pandemic. In Tampere, the festival’s core mission of coming together to celebrate theatre as an art form has almost become secondary to the constantly changing protective measures and regulations. Moreover, the pressure to make a strategic shift into digital or hybrid execution has profoundly changed the practice and goals of curating. After a cancelled festival edition in August 2020 and a downsized festival in August 2021, Iivanainen is rethinking the kinds of paradoxes hidden in the attempt to stay timely as a theatre festival.
{"title":"Evolving into Chameleons: Survival Strategies for Tampere Theatre Festival during the COVID-19 Pandemic","authors":"Hilkka-Liisa Iivanainen","doi":"10.1080/10486801.2022.2118724","DOIUrl":"https://doi.org/10.1080/10486801.2022.2118724","url":null,"abstract":"Abstract From the point of view of the author Hilkka-Liisa Iivanainen, the co-artistic director of Finland’s Tampere Theatre Festival, the purpose of a performing arts festival is fundamentally challenged by the unforeseen and ongoing COVID-19 pandemic. In Tampere, the festival’s core mission of coming together to celebrate theatre as an art form has almost become secondary to the constantly changing protective measures and regulations. Moreover, the pressure to make a strategic shift into digital or hybrid execution has profoundly changed the practice and goals of curating. After a cancelled festival edition in August 2020 and a downsized festival in August 2021, Iivanainen is rethinking the kinds of paradoxes hidden in the attempt to stay timely as a theatre festival.","PeriodicalId":43835,"journal":{"name":"CONTEMPORARY THEATRE REVIEW","volume":"85 8","pages":"240 - 246"},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41312117","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/10486801.2022.2119963
Karen Fricker, Melissa Poll
Abstract In this interview, Karen Fricker and Melissa Poll speak with Martine Dennewald and Jessie Mill, the new co-directors of the Tiohtiá:ke/Montréal-based Festival TransAmériques (FTA), North America’s largest performing arts festival. Dennewald and Mill discuss how COVID-19 and the global racial reckoning have impacted the FTA, particularly through the festival’s approach to artist–producer partnerships and ways of working.
{"title":"Joining a Festival During a Pandemic: Martine Dennewald and Jessie Mill Discuss the Tiohtiá:ke/Montréal-based Festival TransAmériques (FTA)","authors":"Karen Fricker, Melissa Poll","doi":"10.1080/10486801.2022.2119963","DOIUrl":"https://doi.org/10.1080/10486801.2022.2119963","url":null,"abstract":"Abstract In this interview, Karen Fricker and Melissa Poll speak with Martine Dennewald and Jessie Mill, the new co-directors of the Tiohtiá:ke/Montréal-based Festival TransAmériques (FTA), North America’s largest performing arts festival. Dennewald and Mill discuss how COVID-19 and the global racial reckoning have impacted the FTA, particularly through the festival’s approach to artist–producer partnerships and ways of working.","PeriodicalId":43835,"journal":{"name":"CONTEMPORARY THEATRE REVIEW","volume":"32 1","pages":"330 - 335"},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41966742","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/10486801.2022.2118727
J. Varley
Abstract Julia Varley is a long-term artist from the Odin Teatret in Denmark as well as being one of the key actress/directors and founder members of the Magdalena Project. Julia curates numerous international festivals and workshops including Transit (in Denmark) and the International School of Theatre Anthropology (ISTA). She is also a founding member of the Barba Varley Foundation, in support of global artists of Third Theatre. Here, she reflects on the impact of the pandemic on working practice.
Julia Varley是丹麦奥丁剧院的长期艺术家，也是马格达莱纳项目的主要女演员/导演之一。茱莉亚策划了许多国际艺术节和研讨会，包括丹麦的Transit和国际戏剧人类学学院(ISTA)。她也是Barba Varley基金会的创始成员，该基金会支持第三剧院的全球艺术家。在这里，她反思了疫情对工作实践的影响。
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Pub Date : 2022-10-02DOI: 10.1080/10486801.2022.2119225
Helen de Witt, Maria M. Delgado, Aduke King, Sarah Lutton, Leigh Singer
Abstract Five programme advisors from the British Film Institute (BFI) London Film Festival offer reflections on film programming during and post COVID. In addition to a discussion on hybrid festivals, the programme advisors also comment on audiences, Q&As, the engagement with filmmakers, and what it means to programme for both virtual and live festival formats.
{"title":"Sixteen Things We Learned about Programming for Film Festivals under COVID","authors":"Helen de Witt, Maria M. Delgado, Aduke King, Sarah Lutton, Leigh Singer","doi":"10.1080/10486801.2022.2119225","DOIUrl":"https://doi.org/10.1080/10486801.2022.2119225","url":null,"abstract":"Abstract Five programme advisors from the British Film Institute (BFI) London Film Festival offer reflections on film programming during and post COVID. In addition to a discussion on hybrid festivals, the programme advisors also comment on audiences, Q&As, the engagement with filmmakers, and what it means to programme for both virtual and live festival formats.","PeriodicalId":43835,"journal":{"name":"CONTEMPORARY THEATRE REVIEW","volume":"32 1","pages":"305 - 309"},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47779406","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/10486801.2022.2117805
Shimrit Ron
Abstract In this critical reflection, festival director Shimrit Ron discusses the origins of Isra-Drama, the impact of COVID on the showcase, and the new artistic initiatives that responded to the conditions of performance online for an international audience.
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Pub Date : 2022-10-02DOI: 10.1080/10486801.2022.2120278
Sarah Thomasson
2022 marks the 75th anniversary of the two foundational post-war destination festivals of Edinburgh and Avignon. It is also 75 years since eight Scottish theatre companies turned up uninvited to Edinburgh’s festival to protest a lack of local representation in the programme, thus initiating the Edinburgh Festival Fringe. Since that time, international arts festivals have become a global phenomenon championed for their socio-economic impacts and promoted within city branding and tourism campaigns. Festivalisation strategies by local authorities have led to the proliferation of these events worldwide, but have also been resisted for their role in securitising, privatising, and blocking access to public space. Festivals must respond to the needs and priorities of their local communities while also fostering discussions within the live performance community at an international level. These events represent a diversity of locations, size, duration, and histories; are informed by their own values, rationales, and mandates; and reflect different models, organisational structures, and funding arrangements, but all place-based festivals seek to bring performers and audiences together in a shared space and many seek to do so for short intense periods. With this very raison d’être threatened by the global health pandemic, festival bodies have had to reconsider and re-evaluate their core purpose. The context has changed since the onset of the pandemic – not just as a result of COVID-19 and necessary health measures – but due to a renewed focus on diversity and inclusion, accessibility, and environmental sustainability. It has been almost 20 years since Contemporary Theatre Review’s last special issue on Festivals in 2003, edited by David Bradby and Maria M. Delgado. They began their editorial with the observation that, at the time, ‘The social, cultural and economic role that festivals have played in contemporary culture remains largely unexplored territory’. Since then, this gap has largely been redressed by a burgeoning sub-discipline of festival studies that has emerged. Much of this work has been informed by a cultural materialist lens first set out by Ric Knowles’s article on the ‘Edinburgh Festival and Fringe’ for Canadian Theatre Review but later expanded on within Reading the Material Theatre. Jen Harvie, too, has interrogated the cultural work of the Edinburgh festivals, particularly following developments on the Fringe, from commercialisation and Disneyification to the rise of the artepreneur. There have been studies of regional festival circuits, such as Christina McMahon’s focus on the 1. Bernadette Quinn, ‘Arts Festivals, Urban Tourism and Cultural Policy’, Journal of Policy Research in Tourism, Leisure and Events 2, no. 3 (2010): 264–79, https://doi. org/10.1080/ 19407963.2010. 512207. 2. Andrew Smith, Events in the City: Using Public Spaces as Event Venues (London: Routledge, 2015).
2022年是爱丁堡和阿维尼翁两个战后重要节日的75周年纪念。75年前，8家苏格兰剧团未经邀请就出现在爱丁堡艺术节上，抗议该节目缺乏本地代表，从而发起了爱丁堡边缘艺术节(Edinburgh festival Fringe)。从那时起，国际艺术节已成为一种全球现象，因其社会经济影响而受到推崇，并在城市品牌和旅游活动中得到推广。地方当局的节日化策略导致了这些活动在世界范围内的扩散，但也因其在证券化、私有化和阻止进入公共空间方面的作用而受到抵制。音乐节必须回应当地社区的需求和优先事项，同时在国际层面上促进现场表演社区的讨论。这些事件代表了地点、规模、持续时间和历史的多样性;由他们自己的价值观、基本原理和授权告知;并反映出不同的模式、组织结构和资金安排，但所有以地方为基础的音乐节都寻求将表演者和观众聚集在一个共享的空间里，许多音乐节都寻求在短时间内进行激烈的表演。由于这一être理由受到全球卫生大流行的威胁，节日机构不得不重新考虑和重新评估其核心目的。大流行爆发以来，背景发生了变化，这不仅是因为COVID-19和必要的卫生措施，还因为人们重新关注多样性和包容性、可及性和环境可持续性。自2003年《当代戏剧评论》上一期《节日特刊》(由大卫·布拉德比和玛丽亚·m·德尔加多编辑)以来，已经过去了近20年。他们在社论的开头写道，当时，“节日在当代文化中所扮演的社会、文化和经济角色在很大程度上仍是未开发的领域。”从那以后，这一差距在很大程度上被一个新兴的节日研究分支学科弥补了。里克·诺尔斯(Ric Knowles)在《加拿大戏剧评论》(Canadian Theatre Review)上发表的《爱丁堡艺术节与边缘》(Edinburgh Festival and Fringe)一文首先提出了文化唯物主义的视角，后来在《阅读物质剧院》(Reading the Material Theatre)一书中得到了扩展。珍·哈维(Jen Harvie)也对爱丁堡艺术节的文化工作提出了质疑，尤其是在边缘艺术节的发展之后，从商业化、迪士尼化到企业家的崛起。有一些关于地区节日巡回的研究，比如克里斯蒂娜·麦克马洪(Christina McMahon)关注的1。Bernadette Quinn，“艺术节、城市旅游和文化政策”，《旅游、休闲和活动政策研究杂志》第2期。3 (2010): 264-79, https://doi。org/10.1080/ 19407963.2010。512207. 2. 安德鲁·史密斯，《城市中的活动:将公共空间用作活动场所》(伦敦:劳特利奇出版社，2015)。
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Pub Date : 2022-10-02DOI: 10.1080/10486801.2022.2118266
J. Rowson
Abstract Roman Dolzhanskiy speaks to James Rowson about the challenges of organising international theatre festivals in Russia during the COVID-19 pandemic and discusses how the New European Theatre (NET) Festival and Territory Festival have navigated the complex and frequently changing public safety restrictions in Russia.
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Pub Date : 2022-10-02DOI: 10.1080/10486801.2022.2118732
A. Tiatco
Abstract On 16 March 2020, then Philippine President Rodrigo Duterte imposed the Enhanced Community Quarantine putting the main island of Luzon – where Manila, the National Capital Region, is located – on a total lockdown to protect the spread of COVID-19. The lockdown restricted mobility, social gatherings were prohibited, and everyone was mandated to stay inside their homes. Moreover, there was a temporary closure of what were considered as non-essential establishments, including religious institutions. Being a predominantly Roman Catholic nation, religious rituals and festivals were heavily affected by the lockdown. Many of its ritualistic and festive performances involve human contact, which serves as the faithful’s direct and intimate relationship to the heavens. This essay interrogates how cultural festivals in the Philippines, mostly organised by the Church, adapted to the global health crisis. It reflects how the adaptations challenged and recontextualised the understanding of the live vis-à-vis the context of the digital or the virtual. Finally, a preliminary speculation on the future of the religious festivals in the Philippines is provided as a concluding reflection.
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Pub Date : 2022-10-02DOI: 10.1080/10486801.2022.2118728
Maggie Gale
Abstract John McGrath is Artistic Director and Chief Executive of Manchester International Festival (MIF) and The Factory, Manchester, UK. The festival is biennial and commissions new work by artists from all over the globe, presenting the work over an 18 day period in July. Here, John talks in an interview with Maggie B. Gale about the impact of the pandemic on the planning season for the festival, as well as on the festival itself, which took place in July 2021.
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