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Live Arts Festival and Philly Fringe (review)

Since the creation of the Edinburgh Fringe Festival in 1947, many imitators have arisen. Taking their cue from subsequent developments in Edinburgh, fringe festival leaders across the globe have tried to create events that maintain local flavor while showcasing genre-bending and challenging work from abroad. Much of this work is derived from historical avantgarde traditions. In Vienna, Austria, where I conduct fieldwork, artists who frequent the festival circuit are sometimes accused by their colleagues of skirting the more complex process of creating vibrant work for a local community, which often provides their initial funding, and instead develop art that showcases a sort of “generic cosmopolitan fringe.” The Live Arts Festival and Philly Fringe (hereafter collectively referred to as the Fringe) is not wholly unlike its counterparts. Like many festivals that feature “innovative” genre-bending works, the Fringe has a small selection of juried pieces, lumped under the title Live Arts Festival, and a much larger, more expansive, and intentionally provocative selection of unjuried genre-bending pieces, presented under the title Philly Fringe. In total, over 400 artists and 180 companies (including companies that are officially recognized and ones that exist in name only, mainly for publicity purposes) presented work for the thirteenth annual Philly Fringe. Many of these productions have thematic links to the contemporary state of Philadelphia’s local community, including ties to the tough, underdog mentality of Philadelphians, which is exemplified in the news media, sports events, and the city’s cultural productions throughout the year.