Festivals in Dialogue: Bridging Creative Frontiers — Edinburgh Festival Fringe, Festival OffAvignon & FITS

The second discussions of Sibiu International Performing Arts Market delved into an enriching exchange of ideas and experiences that shape three of the most vibrant performing arts festivals in the world: the Edinburgh Festival Fringe in Scotland, the Festival Off Avignon in France, and the International Theatre Festival of Sibiu in Romania. The leaders of these festivals offered a journey about their unique characteristics, challenges, and successes, fostering a dialogue on their pivotal roles in the global arts scene. The event was showcased in the official program as Festivals in Dialogue: Bridging Creative Frontiers — Edinburgh Festival Fringe, Festival OffAvignon & FITS.

Panelists:

Moderated by:

Unfortunately, Harold David could only participate briefly in the conversation via phone. Consequently, Matei Vișniec provided the comprehensive overview of the Festival OFF Avignon.

Matei Vișniec: So, in brief, what is, what does the Avignon Festival represent in the world?

Harold David: The Avignon Festival is one of the most important in the world. We have strong connections with colleagues from the French Festival in Edinburgh. In fact, we are friends and collaborators with all of them, and we're really happy to be present in Sibiu together.

The Avignon Festival is over 60 years old. It was created in 1956 and is one of the most important festivals in France. It is very well known internationally, and I'm really happy that it has gained such recognition.

Matei Vișniec: I will continue to build on what Harold has said. I'm also in love with the festival in Avignon. I discovered it 34 years ago. Ever since 1992, my plays have been staged there. I went to Avignon as a journalist as well, covering the IN and OFF sections.

I will briefly talk about the Avignon Festival, and then I'll give the floor to Shona. The Avignon Festival is like a performing arts market for France. I will discuss the IN section, which is currently a festival in its own right, heavily invested in by the state. The OFF section, which I will focus on primarily, was founded in 1966.

The whole festival was created in 1947 by Jean Vilar. In reaction to the IN section, the official festival, the OFF section was created in 1965 as an alternative. For several years, there was a competition between the official section and the newer companies that wanted to bring something new, not just traditional and old-style shows.

In the 1970s, it is important to mention, there were 14 plays in the OFF section. Gradually, the success of the OFF section increased tremendously, attracting many companies. When I discovered the festival, there were 300 shows, and it felt gigantic. I remember the day I discovered this festival in July 1990, the whole city was covered in posters.

The companies had parades, there were street performances, it was almost impossible to describe. The audience that came to Avignon, particularly for the OFF section, experienced the vibrant life of the city. Investors and theater directors later bought spaces, entering churches and uncovering other performance areas. Now, there are 114 spaces where performances are staged in Avignon. Throughout the year, only 8 or 9 theaters are active.

In the OFF section of Avignon, we can speak of chaos; it is almost like a jungle. There is no strict selection criteria; people just come and stage their shows. In 1982, a director from the festival proposed creating a collective program so each company could have a brief demo performance. Since then, there has been a clear program for the OFF section, which grows each year. This led to the formation of the Village de l'OFF, where performers and directors gather, exchange ideas, and discuss their work.

The OFF section has grown significantly, but there has always been a distinction between the IN and OFF sections. In 2016, for the first time, an IN festival manager, Olivier Py, participated in a press conference in the OFF section. Avignon is a historical city surrounded by about five kilometers of medieval walls. Everything happens inside the old city. Shona will explain more about what happens in Edinburgh, a much larger city. In Avignon, no one plays outside the walls because everyone wants to be inside.

In the IN section, there are performances that extend into the region, but for the OFF section, everything happens inside the walls. About three to four thousand theatre festival managers come to Avignon to see the schedule for the rest of the year, and they watch the OFF section performances, which include theatre, dance, marionette, puppetry theatre for children and adults.

The companies arriving in Avignon aim to sell their performances. Shona will explain more about how this works in Edinburgh. There is an international dimension in Avignon, and we enjoy being there because of the beauty of the city. Many guests have been attending the festival for years.

Often, the inhabitants of Avignon leave during the festival and rent their houses to visitors. The first performance in Avignon starts at half-past nine. The company has two hours to prepare, 15 minutes to perform, and then quickly dismantle. Everything happens very fast, becoming almost like an industry.

In recent years, I've noticed many stand-up comedy performances and TV stars in Avignon. At 2 PM, crowds gather to see a famous TV star with a one-man show. This is a market, and we cannot stop this trend. There is no specific criterion for selection.

In 2004, 30 theatres from Avignon tried to create a special program to prove that art only happens within certain criteria. They attempted to organize a parallel festival, but it didn't work. Now, there are about 1,600 performances.

The Avignon Festival continues to inspire me. Vicentiu, you will tell us how Constantin Chiriac was inspired by the Avignon Festival to organize a new festival and how you did the same. I think you have learned to take the good aspects from both Avignon and Edinburgh. This is what I wanted to say. Shona, now you have the floor.

 

Shona McCarthy, Chief Executive of the Edinburgh Festival Fringe, Scotland.

Edinburgh has a story similar to Avignon. You heard earlier about the Edinburgh International Festival, which started in 1947 to rejuvenate the human spirit after World War II. However, that festival didn't include everyone. Six local Scottish companies and two English companies wanted to participate in the first Edinburgh International Festival but didn't fit the curator's vision. Rejected, they found their own venues and performed anyway. This act of defiance and demand for inclusion sparked the Edinburgh Fringe.

The Edinburgh Fringe began as a call for local companies to participate in the cultural revival. In 1956, there were 34 shows, which was considered enormous, leading to the creation of the Edinburgh Festival Fringe Society, where I serve as chief executive. However, no single person controls or runs the Fringe. With 3,500 shows in this year's program, it remains a testament to inclusion and access. About 30% of the program is comedy, 32% is theatre, and there are also cabaret, circus, street performances, and spoken word. Both emerging artists and world-class professionals participate, creating a vibrant mix.

I moved from Ireland to Scotland nine years ago to work on this project. I’m not a festival-hopper; I specifically chose Edinburgh because the Fringe embodies cultural democracy, inclusion, and the right for every artist to have a voice. Professionals and emerging artists alike share the stage, and the audience decides what they want to see. This creates a level playing field where every show gets the same space in the program, regardless of the artist's fame.

I realize I’ve spoken a lot, but it’s hard not to smile when talking about something so special.

Matei Vișniec to Shona McCarthy: I have a special question for you. Have you learned something from other festivals over all this time?

Shona McCarthy: Absolutely, every single time. Every festival I attend teaches me something new. From Avignon, I've learned about the beautiful setups of outdoor spaces and how their arts market operates. We constantly learn from each other. Here in Sibiu, I've already learned a lot just by talking to Constantin about the education program and the volunteers. Sophia, the volunteer who has been by my side the entire time, exemplifies this. Thank you, Sophia. The volunteer program here allows local young people to get directly involved. Sophia shared with me that she’s been eagerly waiting to turn 16 to participate in this festival. She started dreaming about it at age 12, which I find really inspiring. Sibiu has created something truly special, and I’ll carry that inspiration with me.

When I attended the first performing arts market in Busan last November, it was all about friendship. It was my first time meeting Vicentiu in person.

Matei Vișniec: So, that spirit of friendship is present at every festival you attend. When you come to this city, you know it’s the best festival. Vicentiu can attest to that. It’s not about size.

I'm very happy to be here with you, talking about these bridges, because before learning from other festivals, it's about learning from friends. As Shona mentioned, we met with Harold in Busan, and our friendship extends beyond the festivals we represent. This is also an important aspect of the Sibiu festival. To answer your question, yes, we are the biggest festival in the world because we select everything. This selection process is crucial, particularly for the educational dimension of the festival.

Constantin Chiriac started with a student festival 30 years ago, emphasizing education. I joined the team 13 years ago and quickly learned the importance of developing the audience. For us, this is more significant than featuring the biggest stars or contemporary works. The community is our priority. Everything we do here is for the community first, then for managers and the broader audience.

A festival is a festivity of place, and Constantin Chiriac has created a celebration where everyone is welcome, featuring contemporary and traditional works, large audiences, outdoor and indoor events, educational parts, discussions, and conferences. We focus on three key dimensions: high-quality performances, educational programs, and bringing together masters and emerging artists. It's important for us to have a balance of large and small performances, experimental works, and traditional acts.

We continuously learn from festivals like Avignon and from Shona. We discuss our roles as managers and leaders, which extend beyond artistic works and performances. It's crucial to grow the audience and foster dialogue. I'm thrilled when I see volunteers having the opportunity to work closely with leaders like Shona. These experiences are invaluable and lasting.

We must also consider what lies behind our selections. It's not just about the theme but also about ensuring all dimensions are covered. In big festivals, it's fundamental to cater to diverse interests. We aim to create an inclusive environment where everyone can find something meaningful.

Now, I'd like to invite Liviu Jicman, the president of ICR, to say a few words on this important aspect. Shona, who works extensively in the UK, understands the importance of cultural institutes and collaborations. These institutions are vital for securing funding and building future connections between festivals, countries, and artists. Please, Liviu, take the microphone.

Liviu Jicman, president of ICR

Thank you, Vicențiu. As you said, we don't have much funding, but we focus on the future, starting with a smile and maintaining seriousness. It's crucial for us to support this program and encourage participation in the festival. The Cultural Market program has been an important part of our mission for many years, bringing partners together during the festival.

We will have a discussion on cultural diplomacy later, but for this panel, it's vital to explore how we can cooperate and collaborate through co-productions in a globalized world. Each festival and place has unique characteristics, and it's impressive how all three festivals respond to the objective of being both local and global.

This spirit is what we should strive for, and supporting this panel is key. I won't speak for long, but I want to emphasize the importance of working together to build networks. It's not just about promoting the international presence of Romanian theater troupes or artists but about encouraging collaboration and building common networks. All three festivals are working towards this goal. Thank you, Vicentiu.

Shona McCarthy: Matei asked me earlier if I’ve learned from other places, and I just wanted to congratulate you. Someone told me last night that about 14% of this city's budget is invested in the arts. I don't know if this is true, but in Edinburgh, I don't think it’s even 2%.

Listening to people talk about how Edinburgh was formed as the ideal festival city in 1947 after the horrors of war is inspiring. However, we've just been through the horrors of Covid, and there's so much else happening in the world right now. We’re facing a huge economic crisis in the UK, and what's the first thing that gets cut? The arts. We need to rediscover our flowering of the human spirit in Edinburgh.

I’m here with this incredible program, and there are five other festivals happening simultaneously in August—the art festival, the book festival, the tattoo, and the international festival. It’s an incredible moment in the city, but every single one of those organizations is severely under-resourced and under-supported.

I don't want to give the impression that everything where we are is brilliant and wonderful. It’s probably the most challenging time in my 35 years working in the arts to keep everything afloat and maintain these amazing melting pots of international relations.

And let’s find a smile again, just to bring a bit of positivity. Thank you for your intervention. It’s true what you said, but it’s not my role here to speak about the local administration.

Vicentiu Rahău: Maybe we can talk about the collaboration between the festival and local authorities. It's important to note that in Romania, the International Theatre Festival has successfully convinced authorities to invest in culture and demonstrated how this investment benefits the city's development. While there are many places in Romania with significant festivals or cultural activities, Sibiu stands out as a prime example where cultural investment, including participation as the European Capital of Culture in 2007, has proven successful.

This initiative to secure funding from authorities has shown a return on investment. I did my PhD on the festival and found that around 18% of the local budget goes towards culture, supporting structures and festivals throughout the year. What Constantin Chiriac has learned, especially from other global examples, is the importance of a cultural agenda. In Sibiu, independent artists can apply to organize cultural events year-round, creating a continuous flow of cultural activities.

Sibiu has four or five major festivals, including a cinema festival, a documentary festival, and a visual arts festival. This strategy ensures that cultural activities surround these key events, maintaining momentum. As a result, over 20% of the local budget now comes from cultural activities, proving that culture can generate revenue for the community.

Constantin Chiriac often shares a story about applying for the European Capital of Culture in 2004. At that time, Sibiu had no five-star hotels, only one three-star hotel, and no airport. Yet, the necessity of culture drove the community to develop the required infrastructure. As managers, we have a responsibility to emphasize the importance of culture to authorities.

During your stay in Sibiu, you'll see that culture is present everywhere, creating a festive atmosphere. It's the happiest moment of our professional lives when we see everyone enjoying the festival. We value feedback, even when it’s critical, because it shows a professional appreciation of the performances.

When selecting indoor performances, I think of three people: George Banu, a renowned theater critic; my father, a peasant from the Carpathian Mountains; and Constantin Chiriac, from whom I've learned so much. If all three would appreciate the performance, it’s right for the Sibiu Festival. Our goal is to be a popular festival offering culture for everyone, especially in these challenging times.

I'm particularly happy that the Kiev National Theater is here. When we met a few weeks ago in Florence, they expressed hope to join us in Sibiu. Their journey from Kiev took 40 hours, underscoring the importance of our role in providing support and opportunities for those who need us.