September 7, 2013 Leave a comment
Dan: About halfway through this year’s Edinburgh Fringe, Andrew Haydon tweeted the following:
“I’m writing a piece about critiques versus hope in theatre. Who prefers what?”
Now, this is clearly a false dichotomy and as far as I can tell the vast majority of responders – including myself – suggested that, ideally, we’d like both. Nonetheless, the question sets up an interesting argument: are the two compatible, and, if we had to choose only one, which would we prefer?
It’s a question which seems to have been asked by many of the artists I saw at the festival this year, and as far as I’m concerned most seemed to plump for the latter. We’ll obviously go into more detail, but just as a quick run down, Wot? No Fish?, There Has Possibly Been an Incident, The Bloody Great Border Ballad Project, How To Occupy an Oil Rig, The Islanders, The Events, Bonanza, what happens to the hope at the end of the evening and even L’apres-midi d’un foehn all dealt with hope in some way, either implicitly or explicitly. Read more of this post