The Origins of Fringe

The concept of the “fringe” festival began in 1947 in Edinburgh, Scotland, when eight theater groups showed up uninvited to perform at the inaugural Edinburgh International Festival. They chose to perform at alternative venues on the “fringe” of the festival, thus birthing the Edinburgh Festival Fringe. Since then, the fringe movement has grown exponentially, with festivals now held in cities across the globe, including Adelaide, Avignon, New York, and many others.

The Spirit of Fringe

The core ethos of Fringe Festivals is to offer an open-access platform for artists—anyone can perform, regardless of their professional or amateur status. This inclusivity fosters a diverse range of performances, from theater, comedy, and dance to music, visual arts, and unclassifiable forms of creative expression. The absence of a selection committee means that the festivals are a hotbed of creativity, where experimental and innovative works can find an audience.

Experiencing a Fringe Festival

Attending a Fringe Festival is an adventure in itself. Audiences can expect a wide array of performances, often occurring simultaneously in various venues throughout a city. From street performances and pop-up theaters to established stages, Fringe Festivals transform cities into vibrant hubs of artistic expression. The unpredictable nature of the performances means that audiences often stumble upon unexpected gems, making each Fringe experience unique and memorable.

The Impact of Fringe

Fringe Festivals have a significant impact on the local and global arts scene. They provide emerging artists with the opportunity to present their work, gain exposure, and develop their careers. Many now-famous performers and shows got their start at a fringe festival. Additionally, these festivals stimulate the local economy by attracting tourists, filling hotels, and increasing patronage at restaurants and bars.

The Future of Fringe

As the world becomes increasingly digital, Fringe Festivals are also exploring new platforms for performance. Online streaming, virtual reality experiences, and digital galleries are becoming part of the fringe experience, making the festivals accessible to a global audience. Despite these changes, the heart of Fringe remains the live, raw, and uncensored performance, celebrating the human capacity for creativity and innovation.

Conclusion

Fringe Festivals embody the spirit of artistic freedom and experimentation. They are a testament to the power of the arts to challenge, entertain, and inspire. Whether you’re an artist looking to break new ground or an audience member in search of something different, Fringe Festivals offer a world of discovery. By pushing the boundaries of conventional performance, they remind us of the endless possibilities of human creativity.

The post Fringe Festival: A Celebration of Unconventional Art first appeared on OahuFringe.com.

Please tell us a bit about your background and/or company you performed with at the Fringe?
I am an assistant professor of physical theatre, movement, and circus arts at Coastal Carolina University. I have an MFA in physical theatre from the Accademia dell’Arte school in Arezzo, Italy and a MFA in directing from the University of Hawai’i at Manoa. Also, I am the founding artistic director of Zany Umbrella Circus, a physical theatre company founded in 2002 that has toured both nationally and internationally.

What inspires you on a personal as well as on an artistic level?
E.E Cummings wrote “Damn everything but the circus! …damn everything that is grim, dull, motionless, unrisking, inward turning, damn everything that won’t get into the circle, that won’t enjoy. That won’t throw it’s heart into the tension, surprise, fear and delight of the circus, the round world, the full existence…”

For me, theatre shows that change, exists in courage and creativity away from the mundane. I was introduced to physical theatre and social circus by Patch Adams and Wavy Gravy, with whom I have had the chance to collaborate with, including fellow performance artists nationally and internationally from Afghanistan, Germany, Italy, Jordan, and Ethiopia. For the last eleven years I have used the circus metaphorically and non-metaphorically to question societal tendencies. I stride to build positive relationships both nationally and internationally by using applied theatre and circus simultaneously. In the theatre we must collaborate and I believe the same is true for life.

Has the show you were in been taken to another Fringe or to another performing arts festival?
Ridente was subsequently performed in Italy and in New York City thanks to support from City Parks Foundation. The performance connected clowning with Sufi poetry and I know that the performance will revive and redevise itself many more times down the road of life.

Where are you now with your performance career?
I’m now wearing lots of different hats. I feel extremely fortunate to be the director of a physical theatre program, a professor, a producer, and a touring artist. I am incredibly excited about what’s on the horizon and am looking forward to a very cool summer touring schedule.

What project(s) are you developing right now?
I just finished directing Mary Zimmerman’s Metamorphoses at Coastal Carolina University. The play brings Ovid’s tales to stunning visual life. Set in and around a 13,000 gallon pool of water onstage, Metamorphoses juxtaposes the ancient and the contemporary in both language and image to reflect the variety and persistence of narrative in the face of inevitable change. I also just co-founded a new company called Albatross Movement with Jil Stifel. Our first piece My DNA explores the hybridity of circus, contemporary dance, and physical theatre.

When and where can we see you perform?
I currently have an installation at the Mattress Factory Museum of Installation Art that will be on display until June 1st, 2015 in Pittsburgh, PA. The museum is a national treasure and the show is amazing.

Albatross Movement will debut the inaugural performance of My DNA on Feburary 12th, 2015 which was selected to be part of the New Hazlett Theatre’s CSA (Community Suported Art) series in Pittsburgh, PA.

What survival tips can you give to emerging as well as seasoned artists working in Hawai’i?
Love the aphorism “a rising tide lifts all boats”. Hold it close on O’ahu because everyone is very connected and the ’aina is extremely powerful.

What resources can you recommend to look into for funding or to support each others work?
This is a very difficult question. O’ahu is amazingly beautiful but in all honesty I wasn’t able to support myself and live as an artist. On O’ahu funding is difficult but with that parameter there is direction and centering. I found myself making work that was pared down, true, and stands on its feet with little production. I also found myself being incredibly resourceful, bartering and trading work so that projects can happen.

How can people contact you for professional work or to collaborate with you on creating an amazing show?
Please feel free to write to [email protected] and I’ll gladly write back.

Finally, if you were given a magic bag what three items would you like to pull out to create your ideal show with? How would you use those items? And what name will you give your show?
I’d like for my circus tent www.zanytent.com to magically appear from a bag, be self assembled complete with seating, stage, and tech! I’d use the venue for physical theatre and in honor of Mary Poppins I am going to call it Carpet Bag Productions and we could all sip tea on the ceiling of the tent!

The post Where Are They Now? – Benjamin Sota first appeared on OahuFringe.com.

Stephen also produces music and film with his company Arctic Voice Productions. One of his albums, Caught In The Act, won Record of the Year at the Native American Music Awards. The Album Verses was nominated for Best World Music Album. Stephen also has produced several groundbreaking projects, like the production of the first ever Alaska Native traditional music album.

He continually performs with Pamyua, and works with his partners to continue the traditions of songs and dances of the north. To find out more, please visit www.pamyua.com.

The post Stephen Blanchett first appeared on OahuFringe.com.

What is improv dance?
Improvised dance is dance that is not pre-planned. It is spontaneous in nature.

Do you need any special dance skills or training to do improv dance? The only think you really need is willingness to move. In any dance form, there is room for improvisation. However, many people who are not traditionally trained dancers do improvised dance with skill. In fact, the roots of contemporary or post-modern improvised dance, which is largely what Spatial Sculptors does, was developed by people other than dancers.

I’ve heard of contact improv- is this the same as dance improv? Is there a difference or are they the same?
Good question. Contact Improvisation is a form of improvised dance, just like the Waltz is a form of ballroom dance. Improvised dance, as we practice it, includes dancing spontaneously, alone or with others, to explore movement. Contact Improvisation involves dancing with one or more people and creating points of physical contact to start exploring movement.

Why did Spatial Sculptors decide to apply for the artists’ residency at the Spalding House?
Each member of Spatial Sculptors probably has many reasons why we are excited for this project. The bottom line is we love moving and we love introducing improv to others. Having an opportunity to play, explore and expand our improvised dance practice, and being able to share our love for improv with people who are new to improv, and to those who love it as well but seldom (are) able to make one of our regular improv jams is a big factor (as) to why we applied to the program.

How special is this residency to the development of Spatial Sculptors?
Like any artistic process, being able to do your art is one of the main ways you develop and progress. For us, we only get to work together twice a month. This residency will allow us to jump into improv in a deeper way than we’ve ever been able to before, as an ensemble and as a local improv community.

In reading about the description of the work, one word that pops up is interactive – can you please explain what interactive means in the context of improv dance and how it relates to Spatial Sculptors residency?
We want you to join in the fun with us! Every weekend, we will have at least 2 people who can guide you through improv activities, helping you experience on an individual level, what improv looks and feels like. You don’t have to dance; there will be mini performances, and ways that the audience can interact with people who are dancing. How you participate is up to how you are feeling at the moment.

What can visitors expect to see when they observe your work?
You may see people doing what you imagine dance to be. You may see people climbing on each other, on the walls, or stepping, hopping, or twirling in patterns over stones and pathways. You may see people standing still. The joy of improv is that each dancer gets to decide how to move and each audience member gets to decide what it means.

So, can people join in the improv dance? And if yes, what should they do or prepare beforehand?
Please join in. We are eager to share improv with our wonderful Honolulu community. We are dancing at the Surface Gallery at the Honolulu Museum of Art Spalding House, which has a round stone surface over concrete, so clothes that you can move in and that will protect your body from the elements are key. Closed toed shoes, long pants, sunscreen, water, and soft brimmed hats are recommended.

After this residency where can people see more of Spatial Sculptors’ work and how can they join in?
We do jams that are open to the public every 1st and 3rd Wednesdays at Alive Ballet Center in McCully at 8:30 pm. The jams are $6. We also perform in Chinatown every First Friday; we start at Dragon Upstairs at 7:00 pm and then hit the streets and sidewalks. You can also follow our whereabouts by checking https://www.facebook.com/SpatialSculptors/.

Thank you.
For more information please click on the Orvis Residency link. You can also visit the website of Spatial Sculptors for updates on their work. Join them for some improv dancing this summer.

O’ahu Fringe Festival wishes Spatial Sculptors all the very best with their Orvis Residency:Dance Like No One is Watching.

The post Spatial Sculptors Orvis Artist in Residence first appeared on OahuFringe.com.

Please do consider this wonderful opportunity by getting on board for the very first i9 Festival by showing your support of live entertainment in Hawai’i.

The post i9 Festival Sponsorship Opportunity first appeared on OahuFringe.com.

Introducing Bonnie Kim

Tell us a little bit about yourself?   I am an artist/teaching artist. I enjoy gardening and growing fresh veggies and fruits at home.

How did you become involved in the arts?   Since childhood, always loved the arts.

What is your Fringe show about?  Long Long Ago, When Tiger Smoked: Animal Tales from Korea is Korean folktales with shadow & marionette puppets.  Click on this link to purchase tickets – show is suitable for kids and adults.

The arts are big on collaboration. What are the collaborative good things and differences you see in creating and being part of this show?   I just had a friend from New York who came to help me with this project a bit.  She was my project partner last year at the national puppetry conference and although she couldn’t stay longer to be part of this show, she was able to work with me on this project a bit.

What will the audience expect to see at your Fringe show?  Puppet show!

After Fringe what other wonderful productions can audiences expect to see you in next?   More puppet show!

Finally, if you were to choose another career away from the arts, what would it be?  And why?  I can’t think of life without being an artist. 

The post Get To Know You ~ Bonnie Kim first appeared on OahuFringe.com.

As an artist, Abel kindly donated his time during our first year making sure that our technical needs were met and also offered much needed advice on other creative matters. His unselfish love for what he did for us is immeasurable and we could not have seen out our first event without his generous support. For that we are truly thankful.

Not only did he lend a hand to our work, his creative reach was far and wide. As an alumni of the UH Manoa Theatre & Dance Department, Abel fine tuned his craft there and worked tirelessly in the Honolulu theatre community. He was truly a wonderful person who forged a footprint in our arts community and though we will no longer see his work, we know that his influence is felt by many both here and abroad.

To the family and friends of Abel, we send our condolences to you on this very sad day. Saying goodbye to a dear friend is never easy, but know that his good gentle soul touched many and may this connection and love of many bring you some comfort at this time.

Dear Junko may there be peace in your heart during this most difficult time. While we are sad, we cannot fully understand your sorrow but may this little note help as we share in your grief and support you.

Abel was a very good man. We miss you. May the kukui continue to light you on this journey. Farewell friend. Aloha.

The post Farewell Abel Coelho first appeared on OahuFringe.com.

Fringe 5 Questions by Carlynn Wolfe

Who is your “typical”audience?

Our typical audience consists of people who are looking fora good time, read our synopsis, and think it would be hilarious. There’s a time and a place for serious theatre work that uplifts and edifies (and, sometimes,makes you cry). We deal with a lot of serious issues in our shows, but we do this through the medium of comedy – the fact that there’s deep stuff is almost incidental to our audiences, who come first and foremost looking to be entertained while watching something new.

What do you like best about Fringe performances?

The best thing about Fringe performances is the audience –people who are looking for something new, something different, something that probably wouldn’t play in a big theatre for a six-week run. So many large theatres around the United States program all or mostly classics for business reasons – you have a large space, and you need to know that you will sell lotsof tickets so that you can pay staff. The growth of Fringe festivals around the United States shows that there’s a lot of pent-up demand for shows that haven’t been around for 20+ years – and for the sort of “let me try something new”spirit that a lot of people get at a dinner buffet.

The second best thing about Fringe performances is that fast load-in and load-out schedules (15 minutes in/10 minutes out) require you to be very efficient about what you choose to bring and use. As the saying goes,necessity is the mother of invention; we’ve come up with more than a few running gags and throwaway visual jokes that came from this!

Where do you rehearse?

Really Spicy Opera is based in the Twin Cities, where we did the preliminary rehearsals at our affectionately named Spice House, which has not one but two kitchens to feed our cast during long rehearsals! When we were staging in earnest, we were graciously given access to spaces at Bethel University in St. Paul and Augsburg College in Minneapolis.

I’d love to say that we’re going to do all our outdoor rehearsals in Hawaii on the beach, but when you take a bunch of pale mainlanders and stick them in the Hawaiian sun in January, you’re liable to end up with a bunch of red lobsters. Our in-town rehearsals on Oahu and Maui will be at some local churches that I know.

When do you know the show is ready?

When we’re developing a comedy like Game of Thrones:The Musical, the answer is “when changing things will make it less funny.” You never want a movement or action to become so contrived that you’re fishing for a laugh – you want things to be innately funny so that the audience can’t help but laugh, while still caring about your main story and your characters. One of the more unexpected things about this show is that it actually has a lot of very serious monologues in it about things like women’s rights, appropriation of native lands, and stereotyping. These scenes resonated with the cast (and our audiences) in such a way that I rewrote the show with those scenes as the central narrative.

Every comedy springs from some moment or kernel of truth;when we found those truths in criticisms of our own world, we knew that the show was ready for the public – the rest was just refinement and a lot of puppet building.

Why the Hawaii Fringe Circuit?

There’s the organizational reason and the personal reason.First, Really Spicy Opera celebrated its 10th Anniversary Season in 2016 and we wanted to do something new – to mix things up by taking a few shows on the road. In the coming year, we’ll also tour around the Midwest and take excursions to Montreal, Orland, and Iceland, but it feels especially good to start in Hawaii. Game of Thrones: The Musical did amazingly well in Minnesota – our recordings were often unusable because people were laughing so loud – so we knew we wanted to do it again!

On a personal note, as the artistic director, Hawaii is where ohana is for me. My grandparents live in Honolulu, my mother went to St. Andrew’s Priory, and I spent many a summer on Oahu while I was growing up and in graduate school. I’ve wanted for a long time for my family and friends on the islands to see some of the work that this hapa boy has been doing on the mainland! (Hint: The terrible Minnesota winter means we have lots of time to rehearse indoors.)

Bonus – How does it feel to be selected as “Editor’s Choice” and“Critic’s Pick” at the 2016 Minnesota Fringe Festival by the Twin Cities Arts Reader?

Minneapolis is a pretty heavy arts town. The Twin Cities of Minneapolis and St. Paul have an amazing theatre scene, with more than 300 theatre companies in the metro area, so it was very flattering to receive the awards and see what good company we were in. Critical success isn’t always the same thing as box office success – but it is such a great validation when you sell lots of tickets, get great reviews, and your friends and colleagues love the show. Since we got into the festival, Game of Thrones: The Musical was also nominated for two Broadway World-Minneapolis awards (for Best Actress in a Musical and Best Director of a Musical), so we’ve been feeling the love even when it was (without exaggerating) 100 degrees colder in Minneapolis than Honolulu last week.

The post Basil Considine at Fringe 2017 first appeared on OahuFringe.com.