Elements of A Typical Fringe Theatre Production
The limitations and opportunities that the Fringe festival format presents lead to some common features.
Shows are not judged or Juried, but are accepted in the order received until all performance spaces are filled.
Shows are typically technically sparse; they are commonly presented in shared venues, often with shared technicians and limited technical time, so sets and other technical theatre elements are kept simple. Venues themselves are often adapted from other uses.
Casts tend to be smaller than mainstream theatre; since many of the performing groups are traveling, and venues (and thus potential income) tend to be fairly small, expenses must usually be kept to a minimum. One-person shows are therefore quite common at Fringe festivals.
Fringe festival productions often showcase new scripts, especially ones on more obscure, edgy or unusual material. The lack of artistic vetting combined with relatively easy entry make risk-taking more feasible.
While most mainstream theatre shows are two or three acts long, taking two to three hours with intermissions, fringe shows tend to be closer to one hour, single-act productions. The typically lowered ticket prices of a fringe theatre show permit audiences to attend multiple shows in a single evening.
Performers sometimes billet in the homes of local residents, further reducing their costs.
Read more about this topic: Fringe Theatre
Famous quotes containing the words elements of a, elements of, elements, typical, fringe, theatre and/or production:
“A party of order or stability, and a party of progress or reform, are both necessary elements of a healthy state of political life.”
—John Stuart Mill (1806–1873)
“Barbarisation may be defined as a cultural process whereby an attained condition of high value is gradually overrun and superseded by elements of lower quality.”
—Johan Huizinga (1872–1945)
“psychologist
It is through friendships that teenagers learn to take responsibility, provide support, and give their loyalty to non- family members. It is also in teenage friendships that young people find confidants with whom to share thoughts and feelings that they are not comfortable sharing with their parents. Such sharing becomes one of the elements of true intimacy, which will be established later.”
—David Elkind (20th century)
“It is not however, adulthood itself, but parenthood that forms the glass shroud of memory. For there is an interesting quirk in the memory of women. At 30, women see their adolescence quite clearly. At 30 a woman’s adolescence remains a facet fitting into her current self.... At 40, however, memories of adolescence are blurred. Women of this age look much more to their earlier childhood for memories of themselves and of their mothers. This links up to her typical parenting phase.”
—Terri Apter (20th century)
“A lake is the landscape’s most beautiful and expressive feature. It is earth’s eye; looking into which the beholder measures the depth of his own nature. The fluviatile trees next the shore are the slender eyelashes which fringe it, and the wooded hills and cliffs around are its overhanging brows.”
—Henry David Thoreau (1817–1862)
“... in the happy laughter of a theatre audience one can get the most immediate and numerically impressive guarantee that there is nothing in one’s mind which is not familiar to the mass of persons living at the time.”
—Rebecca West (1892–1983)
“The myth of unlimited production brings war in its train as inevitably as clouds announce a storm.”
—Albert Camus (1913–1960)