Fully engaged : a senior performer on the Fringe theatre circuit

This project studies the Canadian Fringe theatre circuit through an analysis of my wife, Susan Freedman's, experience of writing, producing, and performing her first show, "Fifty Seven and Still Lying about My Weight."In so doing, the project aims both to offer a descriptive and analytical account of the basic structural requirements involved in mounting and touring a successful Fringe show, and to assess what role, if any, age plays in such a process.In the first chapter, I examine in detail Susan's creative construction of her successful 1999 Vancouver Fringe Festival show, which was autobiographical and clearly broadcast her senior viewpoint in its title.The second chapter outlines the adjustmentsboth performative and personalthat Susan and I, as stage manager, had to make in taking the show on the road to five different festivals across Canada and the United States in 2000.Finally, the third chapter asks if Susan's life experience, and that of other senior participants, was important in creating their Fringe shows and affiliations.I interviewed fifteen seniors to obtain their Fringe stories.The results of these interviews, when analyzed alongside Susan's experiences on the Fringe circuit, elicit important age-related information.For example, the number of seniors attending the festivals as volunteers and audience members is growing.Older audiences are attracted to, and support, senior performers.Also, Susan and other senior performers feel greatly empowered by the freedom and success of their performances.~mportantly, the Fringe welcomes older performers at a time when established theatres no longer employ them because of their age.Their Fringe shows are motivated more by pure enjoyment and less by career ambition than those of younger artists.Older actors incorporate the benefits of their life experiences into their performances, which in turn often helps facilitate mentoring of younger colleagues.In short, just as seniors' good health can benefit from participation in the Fringe phenomenon, so is that participation integral to the continued good health of the Fringe itself. People InterviewedIn order to determine if Susan's experiences on the Fringe circuit were comparable with those of others, I interviewed a number of people about their Fringe affiliations.Twelve of the interviewees were Fringe performers, four of whom, like Susan, fell into the category of solo women performers during their Fringe careers: Mary Fulham, 50, had performed previously as a stand-up comic; in 2003, as a writer, director, and performer, she brought her play to Montreal and acted in it with other cast members.Christine Ueguello, 55, the Executive Director of the San Francisco Fringe festival, was performing her first solo show in 2003, touring in Canada and Scotland.

Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.