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Paterson Erika Phd 1997.Pdf INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter 6ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. 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Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 Ordering Chaos: The Canadian Fringe Theatre Phenomenon by Erika Paterson BJ.A., University of Victoria, 1989 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the Department of Theatre We accept this dissertation as conforming to the required standard Dr. Peter S qm^upervisor (Dqiartmônt of Anthropology) M ^or Moore, Co-Supervisor (Department of History in Art) _________________________________ Juliana Saxton, Departmental Member (Department of Theatre) Dr. Liane McLarty, Outside Member (Department of îEstoiy in Art) Dr. Alan Filewod, External Examiner (Department of Drama, Guelph University) © Erika Paterson, 1997 University of Victoria All rights reserved. This dissertation may not by reproduced in whole or in part, by photocopying or other means, without the permission of the author. l\ Supervisor: Dr. Peter Stephenson. ABSTRACT In 1982, the Edmonton Fringe began as a low budget experimental theatre evait, and quickly became an annual celebration of performance that was (and is) a truly popular festival. Today, the Edmonton Fringe attracts 500,000 spectators, 200 street performers, and 150 theatre groups from across the country and around the world. Between 1985 and 1991, Fringe festivals were established in Montreal, Toronto, Saskatoon, Winnipeg, Vancouver and Victoria. These 7 festivals constituted a 4 month theatre circuit for national and intanationai travelling theatre and street performance troupes. AH of these festivals continue to receive more applications from Fringe artist to produce, than thQr can possibly accommodate. Audience members are willing to stand in line for up to six hours to see a sell-out Fringe show. These events have stimulated a remarkable level of excitement and enthusiasm for theatre. Why ? How? These are the central questions that diis woik approaches from a number of different, and sometimes distinct perspectives. “Part One," Ordering Chaos. b%ins with a history of the Fringe tiiat places the festivals in a larger context concerned with Canadian theatre, and in particular the historical relations, social and theatrical, between the alternative theatre movement and the Fringe, and between the Fringe and the postmodern. It includes a description and analysis of the Fringe Production model. Fringe performance, and excerpts frrom numerous interviews with Fringe producers, artists, and critics. “Part Two," The Fringe Phenomenon, observes these events from two different perspectives; one is concerned with festivity, the other with popular culture; both observe the Fringe as a socio-cultural event Dq>ending primarily on Victor Turner’s anthropology of performance and John Fiske’s observations on popular culture, I examine the festivals as cultural performances. Linda Hutcheon’s understanding of the Canadian postmodern provides a context for conclusionaiy remarks. Examiners: Peter S^^iensMi, Supervisor (Dq>artment of Anthropology) (I ! Mavor Moore, Co-Supervisor (Department of History in Art) ________________________________ Juliapa Saxton, Departmental Member (Department of Theatre) Dr. Liane McLarty, Outside Number (Department of History in Art) Dr. Æan Filewod, External Examiner (Department of Drama, Guelph University) IV Table of Contents: ABSTRACT......................................................................................................................................................I TABLE OF CONTENTS:.................................................................................................................................... JI ACKNOWLEDGMENTS...................................................................................................................................... V DEDICATION....................................................................................................................................................VI INTRODUCING M!.............................................................................................................................................. 1 Journal Excerpt ............................................................................................................................................. 7 PART 1: ORDERING CHAOS.......................................................... 3 Preface .......................................................................................................................................................... P CHAPTER ONE: TBŒ POLITICS OF IDENTITY IN CANADIAN THEATRE HISTORY............. 13 Introduction .-Framing the Fringe............................................................................................................... 13 The Alternative to Fringe Continuum....................................................................................................... 14 Counter Culture to Fringe Culture.............................................................................................................18 Nationalism ................................................................................................................................................20 The Ex-centric............................................................................................................................................25 Festivals. .....................................................................................................................................................29 Conclusions................................................................................................................................................30 Journal Excerpt ...........................................................................................................................................34 CHAPTER TWO: EXIT SHAKESPEARE - ENTER THE STRATHCONA FRINGE........................42 Before the Fringe........................................................................................................................................ 42 Brian Paisley and Chinook Theatre ............................................................................................................44 The First Fringe: Edmonton 1982 ............................................................................................................ 49 The Festivities Begin................................................................................................................................. 51 The Festival Grows and Grows .................................................................................................................. 53 Cottclusions................................................................................................................................................57 Journal Excerpts. ........................................................................................................................................ 59 CHAPTER THREE: THE FRINGE CIRCUIT.........................................................................................65 PART ONE: THE FESTIVALS........................................................................................................................... 67 The Varwouver Fringe - 1985 .....................................................................................................................67 The Victoria Fringe - 1987......................................................................................................................... 72 The Winnipeg Fringe - 1988......................................................................................................................77 The Toronto Fringe - 1989.........................................................................................................................83 The Saskatoon Fringe - 1990..................................................................................................................... 90 The Montreal Fringe - 1991.......................................................................................................................95 Conclusions..............................................................................................
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