25 August 2015 - The Edinburgh Festival
A love letter to the Edinburgh fringe
Léonie Higgins (The Guardian)
I’ve been going to the Edinburgh fringe for the best part of 15 years: first as a student, then with flyering jobs, and more recently as a professional performer. For me, summer – a time traditionally spent on a beach Instagramming one’s own knees – doesn’t feel complete without a month of cowering in drizzle, attempting to brightly sell a show through the grime of a tequila hangover.
Performers from around the world arrive armed with jazzy flyers and a winning smile in a bid to sell their wares. Perhaps, we hope, someone will like it. Perhaps, we dare to dream, they will tweet about it. Perhaps then, we continue – possibly getting a bit ahead of ourselves – they will invest in it and book it for a major international tour
Organizing the Edinburgh International Festival
Rupert Christiansen (The Telegraph)
Is the Edinburgh International Festival a busted flush? In recent years, its glamour has certainly diminished, outdone in creative éclat by Manchester’s more innovative International Festival and swamped on home territory by the anarchic Bacchanalia of the Fringe.
Audiences for Edinburgh’s “highbrow” programme look ever more grey-haired and middle-class. Its classical concerts may remain a worthy match for the Proms or Salzburg Festival, but its staged opera has been poor overall and its drama offering is dominated by the esoteric and interminable. A contractual obligation with the city to rent its series of old-fashioned tiered theatres means that much site-specific and “immersive” work that might attract an edgier public cannot be accommodated. And it doesn’t help that the Festival’s centre, standing at the head of the Royal Mile, is a sooty converted Victorian Gothic church of depressing hideousness.
The tough market place of the Edinburgh Festival
Pauline McLean (BBC News)
You don't have to be a mind reader on the Royal Mile in festival time - but it helps.
With thousands of shows competing for audiences, and only seconds to convince them, it is one of the toughest marketplaces in the world.
Scots performer Colin Cloud knows better than most.
His show Colin Cloud Kills is one of the 3,314 shows from 49 countries in 313 different venues taking place at the Edinburgh Fringe.
However, he is also a self-styled forensic mind reader, whose heightened senses (like his hero Sherlock Holmes) make him the perfect companion for a stroll down the Royal Mile.
The cost of the venues
Brian Ferguson (The Scotsman)
Edinburgh's flagship year-round cultural venues are worth almost £200 million a year to the nation’s economy, a new study has found.
That equates to more than £500,000 every day.
Research commissioned for the first time into the value of the capital’s permanent arts infrastructure has found that it supports more than 5,100 jobs.
Some 6.2 million visitors were attracted into the capital’s main performing arts spaces, museums and galleries in 12 months, according to the Scottish Enterprise-funded study.
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"25 August 2015 - The Edinburgh Festival", La Clé des Langues [en ligne], Lyon, ENS de LYON/DGESCO (ISSN 2107-7029), août 2015. Consulté le 22/09/2023. URL: https://cle.ens-lyon.fr/anglais/key-story/archives-revue-de-presse-2015/25-august-2015-the-edinburgh-festival