Forest Fringe, I Breathe Better Doing Something I Don’t Know How To Do, Edinburgh Fringe Festival, pamphlet detailing artists and performances for 2011
| Artist / Author | Forest Fringe |
|---|---|
| Reference | P1698 |
| Date | 2011 |
| Type | Publication |
An anthology of critical essays that draw on a decade of the authors thinking, writing about and working within contemporary performance as critics, producers, dramaturgs, makers, archivists and more.
A collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2015 and December 2017. Selected through recommendations and an open call for submissions, Volume 5 reflects the dynamic, international contexts that Live Art and radical performance practices occupy.
Part of Library of Performing Rights (P3041).
Combines extracts from over 70 international practitioners, companies, collectives and makers from the fields of dance, theatre, music, live and performance art, and activism to form a sourcebook for students, researchers and practitioners.
Recording a series of events held in London and Edinburgh in July and August 2016 celebrating the work of women using walking in their practice.
An article dissecting how arts interfere and engage with politics.
In misc folder 7.
Two reviews of IMBT 15.
Andy Field, Deborah Pearson and Ira Brand began Forest Fringe as a totally independent, not-for-profit space in the midst of the Edinburgh Festival. Since then they have built a community of artists and playwrights, and are consistently rated as being a festival highlight. This collection collates the best of their work from the past decade.
A pop song designed to raise money for, and awareness of, Live Art in the UK.
A limited edition set of thirteen beautifully designed cards, each by a different artist. The thirteen artists have come together to create a programme of imaginary events for the Battersea Arts Centre’s Grand Hall, destroyed in a major fire in march 2015, to help contribute to the rebuilding process and to celebrate the building itself.
The author reviews the performances presented at PuSh Festival 2014, Vancouver.
Special issue on ono-to-one encounters, desire, reciprocity and ethics.
Aims to articulate and contextualise an ethos and practice within contemporary art called “DIY” theatre and performance.