DOCSLIB.ORG

Edinburgh Feast

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Edinburgh Feast The August Feast: A Punter’s Perspective on Edinburgh and its Festivals Brian King The entire book is freely available on the Internet at the following address: http://bkthisandthat.org.uk/ Copyright © Brian King 2005-2015 All rights reserved In Memory of Dick Hixson, whose enthusiastic, intelligent and humorous presence at the Festival breakfast table is much missed. Copyright © Brian King 2005-2015 All rights reserved The August Feast: A Punter’s Perspective on Edinburgh and its Festivals Version dated 7th December 2015 http://bkthisandthat.org.uk/ Contents PREFACE ............................................................................................................................................................................ VI ACKNOWLEDGEMENTS ........................................................................................................................................... VIII THE EDINBURGH FEAST ............................................................................................................................................... 9 A PUNTER’S TALE FROM THE FEAST ...................................................................................................................... 11 CHOOSING SHOWS & FEAST MISCELLANY ........................................................................................................ 20 CHOOSING SHOWS ON THE FRINGE ................................................................................................................................ 20 CHOOSING SHOWS FOR OTHER FESTIVALS ..................................................................................................................... 22 BUSKING / STREET THEATRE .......................................................................................................................................... 23 FEAST ETIQUETTE ............................................................................................................................................................ 23 A HISTORY OF THE EDINBURGH FESTIVALS ...................................................................................................... 25 IN THE BEGINNING … ..................................................................................................................................................... 25 EDINBURGH INTERNATIONAL FESTIVAL ......................................................................................................................... 26 THE EDINBURGH FRINGE ................................................................................................................................................ 32 TRAVERSE THEATRE ........................................................................................................................................................ 38 EDINBURGH INTERNATIONAL BOOK FESTIVAL .............................................................................................................. 40 EDINBURGH INTERNATIONAL FILM FESTIVAL ................................................................................................................ 41 EDINBURGH JAZZ & BLUES FESTIVAL ............................................................................................................................. 42 THE MILITARY TATTOO ................................................................................................................................................... 43 EDINBURGH ART FESTIVAL ............................................................................................................................................. 43 … AND THE FUTURE? ...................................................................................................................................................... 44 FOOD, DRINK AND GETTING AROUND ............................................................................................................... 45 RESTAURANTS AND WATERING HOLES .......................................................................................................................... 45 Valvonna & Crolla ...................................................................................................................................................... 45 VinCaffé ...................................................................................................................................................................... 45 David Bann ................................................................................................................................................................. 45 Fishers in The City ...................................................................................................................................................... 46 Castle Terrace .............................................................................................................................................................. 46 Martin Wishart ........................................................................................................................................................... 46 Kalpna ......................................................................................................................................................................... 46 Coffee Shops ................................................................................................................................................................. 46 Traverse Bar-Café ........................................................................................................................................................ 46 Pleasance Courtyard.................................................................................................................................................... 46 The Assembly Rooms Bars .......................................................................................................................................... 47 The Café Royal............................................................................................................................................................. 47 The Guildford Arms .................................................................................................................................................... 47 The Oxford Bar ............................................................................................................................................................ 47 The Cumberland Bar ................................................................................................................................................... 47 The Bow Bar ................................................................................................................................................................ 48 GETTING AROUND .......................................................................................................................................................... 48 A POTTED HISTORY OF “AULD REEKIE” ............................................................................................................... 50 EARLY HISTORY (UP TO 1100)......................................................................................................................................... 50 THE MIDDLE AGES AND BEYOND (1100 – 1750) ............................................................................................................ 51 The Castle .................................................................................................................................................................... 51 Holyrood & Canongate................................................................................................................................................ 51 Edinburgh – The Layout of the Old Town .................................................................................................................. 53 Notable Buildings ........................................................................................................................................................ 55 Markets........................................................................................................................................................................ 57 iii Copyright © Brian King 2005-2015 All rights reserved The August Feast: A Punter’s Perspective on Edinburgh and its Festivals Version dated 7th December 2015 http://bkthisandthat.org.uk/ Trade............................................................................................................................................................................ 57 The Justice System ...................................................................................................................................................... 58 Charitable Institutions ................................................................................................................................................ 58 MAIN HISTORICAL EVENTS ............................................................................................................................................. 58 John Knox & the Reformation ..................................................................................................................................... 58 Mary Queen of Scots ..................................................................................................................................................
Load more

Recommended publications
  • The Commercial & Artistic Viability of the Fringe Movement
    Rowan University Rowan Digital Works Theses and Dissertations 1-13-2013 The commercial & artistic viability of the fringe movement Charles Garrison Follow this and additional works at: https://rdw.rowan.edu/etd Part of the Theatre and Performance Studies Commons Recommended Citation Garrison, Charles, "The commercial & artistic viability of the fringe movement" (2013). Theses and Dissertations. 490. https://rdw.rowan.edu/etd/490 This Thesis is brought to you for free and open access by Rowan Digital Works. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Rowan Digital Works. For more information, please contact [email protected]. THE COMMERCIAL & ARTISTIC VIABLILITY OF THE FRINGE MOVEMENT By Charles J. Garrison A Thesis Submitted to the Department of Theatre & Dance College of Performing Arts In partial fulfillment of the requirement For the degree of Master of Arts At Rowan University December 13, 2012 Thesis Chair: Dr. Elisabeth Hostetter © 2012 Charles J. Garrison Dedication I would like to dedicate this to my drama students at Absegami High School, to my mother, Rosemary who’s wish it was that I finish this work, and to my wife, Lois and daughter, Colleen for pushing me, loving me, putting up with me through it all. Acknowledgements I would like to express my appreciation to Jason Bruffy and John Clancy for the inspiration as artists and theatrical visionaries, to the staff of the American High School Theatre Festival for opening the door to the Fringe experience for me in Edinburgh, and to Dr. Elisabeth Hostetter, without whose patience and guidance this thesis would ever have been written.
    [Show full text]
  • Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland
    Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland a study © Adrienne Clare Scullion Thesis submitted for the degree of PhD to the Department of Theatre, Film and Television Studies, Faculty of Arts, University of Glasgow. March 1992 ProQuest Number: 13818929 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818929 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Frontispiece The Clachan, Scottish Exhibition of National History, Art and Industry, 1911. (T R Annan and Sons Ltd., Glasgow) GLASGOW UNIVERSITY library Abstract This study investigates the cultural scene in Scotland in the period from the 1880s to 1939. The project focuses on the effects in Scotland of the development of the new media of film and wireless. It addresses question as to what changes, over the first decades of the twentieth century, these two revolutionary forms of public technology effect on the established entertainment system in Scotland and on the Scottish experience of culture. The study presents a broad view of the cultural scene in Scotland over the period: discusses contemporary politics; considers established and new theatrical activity; examines the development of a film culture; and investigates the expansion of broadcast wireless and its influence on indigenous theatre.
    [Show full text]
  • British Theatre: Volume 3: Since 1895 Edited by Baz Kershaw Frontmatter More Information
    Cambridge University Press 978-1-107-49709-2 - The Cambridge History of British Theatre: Volume 3: Since 1895 Edited by Baz Kershaw Frontmatter More information the cambridge history of BRITISH THEATRE * volume 3 Since 1895 This volume explores the rich and complex histories of English, Scottish and Welsh theatres in the ‘long’ twentieth century since 1895.Twenty-three original essays by leading historians and critics investigate the major aspects of theatrical performance, ranging from the great actor-managers to humble seaside entertainers, from between-wars West End women playwrights to the roots of professional theatre in Walesand Scotland, and from the challenges of alternative theatres to the economics of theatre under Thatcher. Detailed surveys of key theatre practices and traditions across this whole period are combined with case studies of influential produc- tions, critical years placed in historical perspective and evaluations of theatre at the turn of the millennium. The collection presents an exciting evolution in the scholarly study of modern British the- atre history, skilfully demonstrating how performance variously became a critical litmus test of the great aesthetic, cultural, social, political and economic upheavals in the age of extremes. Baz Kershaw is Chair of Drama at the Department of Drama, University of Bristol. He is the author of ThePolitics of Performance: Radical Theatre as Cultural Intervention (1992) and The Radical in Performance: Between Brecht and Baudrillard (1999), and has published in many journals
    [Show full text]
  • QMUC RR 2002Bb
    Contents Contents 1 Preface 3 Report 2002 Research Introduction 4-5 Speech and Language Sciences Research Area 7 Physical Therapy Research Area 29 Social Sciences in Health Research Area 53 Nutrition and Food Research Area 81 Business and Management Research Area 95 Information Management Research Area 111 Media and Communication Research Area 119 Drama Research Area 133 Queen Margaret University College Research Report 2002 1 Research Report 2002 Research 2 Queen Margaret University College Research Report 2002 Research Report 2002 Research Preface Our Research Report for 2000-2002 reflects an outstanding level of achievement throughout the institution and demonstrates once again our high level of commitment to strategic and applied research particularly in areas that enhance the quality of life. Since our last report in 2000 the RAE results have been published and our achievements reflect an increase in both the quality of our research outputs and also the diversity and range of research undertaken. In RAE 2001 we returned 43% of all our staff as research active which was amongst the highest in the new university sector across the UK. We were also pleased that four of our Research Areas submitted (Speech and Language Sciences, Social Sciences in Health, Physical Therapy and Drama) achieved an improved grade from the last RAE resulting in an overall 27% increase in income compared with our previous allocation. We are increasingly developing our strategies for the commercialisation of research and this is reflected in a significant increase in our CPD activities, the growth of our TCS programmes and successful spin out companies. Research and commercial activities cover a wide variety from highly focused consultancy for external organisations, including leading UK corporate businesses, the NHS, charities and government departments, to definitive academic studies which have won staff international reputations through their publications and presentations at conferences in the UK and abroad.
    [Show full text]
  • 27 March 2020
    Mercury Musical Developments and Musical Theatre Network present in partnership with Royal & Derngate, Northampton 26 - 27 March 2020 Shining a light on new British musical theatre mercurymusicals.com musicaltheatrenetwork.com Welcome Theatres like ours exist to bring people together and we were so looking forward to welcoming such an array of musical theatre talent to Northampton this week from across the country and beyond. Sadly that is not possible right now, but we’re determined to continue to champion all the artists who were to perform on our stages this week, so we’ve taken the decision with Mercury Musical Developments and Musical Theatre Network to still publish this year’s BEAM programme, to salary and continue to support all the artists who were due mercurymusicals.com to perform during this week’s showcase and to encourage all who were due to attend to share and distribute their work with one another online. We are so grateful to those of you who were due to be attending this week who have kindly donated the cost of your ticket towards helping us to pay our artists and freelancers. Many of you who attended the UK Musical Theatre Conference here last year will have heard us talk of our commitment to developing new musical theatre for mid-scale regional venues and tours. We’ve had a thrilling year since in which we’ve hosted dozens of artists in Northampton to create original work in partnership with Perfect Pitch, China Plate, Musical Theatre Network, Mercury Musical Developments, Scottish Opera and Improbable. Thanks to the support of an Arts Council England “Ambition For Excellence” grant and partnerships with several midscale venues nationwide, we’re also excited to be able to announce that five of the projects we’ve developed here this year have been fully commissioned.
    [Show full text]
  • Comedy and Distinction: the Cultural Currency of a ‘Good’ Sense of Humour
    Sam Friedman Comedy and distinction: the cultural currency of a ‘good’ sense of humour Book (Accepted Version) Original citation: Comedy and distinction: the cultural currency of a ‘good’ sense of humour, Abingdon, Oxon: Routledge, 2014, 228 pages. © 2017 The Author This version available at: http://eprints.lse.ac.uk/59932/ Available in LSE Research Online: September 2017 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s submitted version of the book section. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. Introduction: Funny to Whom? In January 2011, the scheduling plans of Britain’s biggest TV station, BBC 1, were leaked to the press. After the recent success of BBC comedies such as Outnumbered and My Family, BBC1 Controller Danny Cohen apparently told his team of producers that BBC Comedy was becoming ‘too middle class’, and failing in its responsibility to appeal to working class viewers (Gammell, 2011; Revoir, 2011; Leith, 2011).
    [Show full text]
  • O'casey, Sean List 75
    Leabharlann Náisiúnta na hÉireann National Library of Ireland Collection List No. 75 Sean O’Casey Papers (MS 37,807 - MS 38,173, MS L 93) Accession No. 5716 Correspondence between Sean O’Casey and academics, agents, writers, theatre producers, actors, friends, fans and others. Also; copy articles, notes, sketches and proofs, along with press cuttings and production programmes from Ireland, Britain, Europe and North America. Compiled by Jennifer Doyle, 2003 Table of Contents Introduction 4 Select Bibliography 8 I. Correspondence 9 I.i. Academics, Students & Librarians 9 I.ii. Actors 39 I.iii. Agents & Publishers 45 I.iv. Artists, Designers & Musicians 66 I.v. Awards and Honours 70 I.vi. Business and Financial Affairs 72 I.vi.1. Domestic 72 I.vi.2 Royalties & Tax 73 I.vii. Clerics 77 I.viii. Critics 82 I.ix. Family 90 I.x. Fan Mail and Unsolicited Letters 92 I.xi. Friends 104 I.xii. Gaelic League and St Laurence O’Toole Pipe Band 111 I.xiii. Invitations and Requests 114 I.xiii.1. Political 114 I.xiii.2. Charitable 124 I.xiii. 3. Literary 126 I.xiii. 4 Social 137 I.xiv. Labour Movement 140 I.xv. Magazines and Periodicals 150 I.xvi. Newspapers 166 I.xvii. Theatre, Film and other Productions 181 I.xvii.1 Theatre Producers & Directors (alphabetically by individual) 198 I.xvii.2. Film & Recording 220 I.xvii.3. Television and Radio 224 I. xviii. Translations 232 I.xix. Women 236 I.xx. Writers - Aspiring 240 I.xxi. Writers 241 I.xxi.1. Union of Soviet Writers 257 II.
    [Show full text]
  • Glasgow Unity Theatre and the Significance of Robert Mitchell's Scottish Adaptation of the Lower Depths
    'By Policy a Native Theatre': Glasgow Unity Theatre and the Significance of Robert Mitchell's Scottish Adaptation of The Lower Depths Bill Findlay Glasgow Unity Theatre was established in 1940 and staged its first production in January 1941. It was formed through the amalgamation of a number of left-wing amateur companies in the city: the Workers' Theatre Group, the Clarion Players, the Glasgow (formerly Scottish Labour College) Players, the Transport Players, and the Jewish Institute Players.1 For the first few years Unity functioned as an amateur company but at the end of the war in 1945 it decided to form a professional company as London Unity had done. Thereafter there were two Unity companies, one amateur, whose productions were mainly directed by Donald MacBean formerly of the Transport Players and one professional under the directorship of Robert Mitchell of the Glasgow Players.2 In keeping with its roots in socialist amateur theatre groups with a strong working-class base, such as those from which MacBean and Mitchell came, Unity's personnel were, as stated in the company's magazine Scots Theatre, 'drawn from the ranks of ordinary working people, whose background and everyday life is identical with the masses who form its audience'.3 Robert Macauley Mitchell exemplified this, being an electrician by trade, 'and during the war a [trade union] convenor in one of Scotland's largest factories'.4 Mitchell has been credited with leading Glasgow Unity to turn professional and, through his appointment as full-time director of the professional wing of the company, with winning for it 'an outstanding reputation that surpassed momentarily the standing of its London counterpart'.5 The first production in the début professional season at the Athenaeum Theatre in Glasgow in April 1945 was Maxim Gorki's The Lower Depths, adapted and directed by Mitchell.
    [Show full text]
  • The Establishment of the National Theatre of Scotland Karalee Dawn, Master Of
    ABSTRACT Title of Document: Searching for Home: The Establishment of the National Theatre of Scotland Karalee Dawn, Master of Arts, 2007 Directed By: Prof. Franklin J. Hildy Director of Graduate Studies Department of Theatre The National Theatre of Scotland (NTS) was established by an act of the Scottish Parliament on September 11, 2003. Scottish finance minister Andy Kerr proclaimed that the NTS would be based in Glasgow, but that it would not be defined as a single company or building. Instead it would be a commissioning body working with the help of Scotland’s existing theatre companies to develop productions that would showcase the best of Scottish theatre to the nation and the world. Without a dedicated theatre space around which to build an identity, how will this new national theatre-commissioning concept work? My thesis traces the ways in which the concept of a “national theatre” has changed in Scotland over the past one hundred years, and how the shifting meanings and uses of the concept of a “national theatre” have served a series of initiatives to establish an independent Scottish cultural identity. Keywords: National Theatre of Scotland, National Theatres, Nationalism, Cultural Identity, Abbey Theatre SEARCHING FOR HOME: THE ESTABLISHMENT OF THE NATIONAL THEATRE OF SCOTLAND By Karalee Dawn Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2007 Advisory Committee: Professor Franklin J. Hildy, Chair Professor
    [Show full text]
  • Rebecca Robinson Phd 290909
    Robinson, Rebecca Charlotte (2009) From theory to practice : The National Theatre of Scotland, 1999-2009. PhD thesis. http://theses.gla.ac.uk/2915/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] From Theory to Practice: the National Theatre of Scotland, 1999 – 2009. Rebecca Charlotte Robinson M.A., L.L.M. Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy University of Glasgow Faculty of Arts and Humanities Department of Theatre, Film and Television May 2009 © Rebecca Robinson 2 Abstract The National Theatre of Scotland is a unique, non building-based, commissioning and producing cultural institution, established in the wake of the devolution of the Scottish Parliament. This thesis explores how the NTS responded to its ‘national’ remit within the context of both post devolution Scotland and an increasingly globalized world in which the significance and boundaries of the ‘nation’ are often ambiguous and contested. The public sphere in the United Kingdom has always held a tension between the interweaving national identities of its four constituent nations.
    [Show full text]
  • By Allan Sutherland Chronology of Disability Arts by Allan Sutherland 1977 - April 2017 an Ongoing Project
    Chronology of Disability Arts 1977 - 2017 by Allan Sutherland Chronology of Disability Arts by Allan Sutherland 1977 - April 2017 An ongoing project Sources: Allan Sutherland’s personal archives Disability Arts in London magazine (DAIL) Disability Arts magazine (DAM) Shape Arts Disability Arts Online Commissioned by NDACA Timeline cover design and text formating by Liam Hevey, NDACA Producer 1976 1984 • SHAPE founded. • Fair Play ‘campaign for disabled people in the arts’ founded. 1977 • Strathcona Theatre Company, ‘Now and Then’. • Basic Theatre Company founded by Ray Harrison • Graeae Theatre Company, ‘Cocktail Cabaret’. Graham. Devised by the company. Directed by Caroline Noh. • Graeae Theatre Company, ‘Practically Perfect’. 1980 Theatre in Education show. Written by Ashley Grey. • Graeae (Theatre group of Disabled People) Directed by Geoff Armstrong. founded by Nabil Shaban and Richard Tomlinson. • ‘Choices’. Central TV Programme about the First production: ‘Sideshow’, devised by Richard Theatre In Education work of Graeae Theatre Tomlinson and the company. Company. • British Council of Organisations of Disabled People founded. 1985 • GLC funds 7 month pioneer project for ‘No 1981 Kidding’, a ‘project using puppets to increase • International Year of Disabled People. awareness of disability in Junior Schools’. Company • ‘Carry On Cripple’ season of feature films about of four performers with and without disabilities. disability at National Film Theatre, programmed by • Ellen Wilkie, ‘Pithy Poems’ published. Allan Sutherland and Steve Dwoskin. • Strathcona Theatre Company, ‘Tonight at Eight’ • Artsline founded. 25th October • Path Productions founded, ‘then the only • Samena Rama speaks on Disability and company to integrate the able-bodied, physically Photography as part of Black Arts Forum weekend and mentally disabled performers’.
    [Show full text]
  • Edinburgh Research Explorer
    Edinburgh Research Explorer Cultural interactions at the Edinburgh Festivals, C. 1947-1971 Citation for published version: Bartie, A 2017, 'Cultural interactions at the Edinburgh Festivals, C. 1947-1971', Arts and International Affairs, vol. 2, no. 2. https://doi.org/10.18278/aia.2.2.2 Digital Object Identifier (DOI): 10.18278/aia.2.2.2 Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: Arts and International Affairs General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 20. Oct. 2019 LONGFORM CULTURAL INTERACTIONS AT THE EDINBURGH FESTIVALS, C1947–1971 JULY 19, 2017 Angela Bartie Angela Bartie is a Senior Lecturer in Scottish History at the University of Edinburgh. She is the author of The Edinburgh Festivals: Culture and Society in Post-war Britain (Edinburgh, 2013) and, with Eleanor Bell, editor of The Writer’s Conference Revisited: Edinburgh, 1962 (Glasgow, 2012). She has interests in a range of areas of modern social and cultural history, in both Scotland and in Britain more widely, and has published a number of articles and chapters on the arts in the 1960s, Glasgow youth gangs, the policing of youth in post-war Britain, historical pageants in twentieth century Britain, and on oral history, as both theory and method.
    [Show full text]