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- W4380925611 abstract "To borrow a term from David van Belle’s contribution to this issue, Canadian theatre has been pervasively “festivalized” in recent decades. To most readers, Robertson Davies’s 1980 reminiscence would now sound quaint. We are offered festivals almost all year long and almost everywhere. True, not everyone would agree that this is an improvement on the remoteness (both geographic and cultural) of Davies’s enchantments. When Patrice Pavis came to revise his 1980 Dictionnaire du théâtre in 1996, he added an entry on “Festival,” in which he draws a rather damning distinction between “such traditional events” as the Athenian festivals of the fifth-century BCE and the proliferating festivals of today, lamenting that the ancient “solemnity of celebration” is too often “rendered meaningless by the proliferation and trivialization of modern festivals” (148). This issue of CTR presents a group of articles that collectively argue for a more flexible model of what a festival can be than that of Pavis, highlighting the varying functions of festivals in twenty-first-century theatre culture. While most aim emphatically at celebration, their “solemnity” may not be so obvious, if only because festivals tend to thrive on what is new and unexpected. A more important issue is one clearly articulated by van Belle in relation to festivals of performance work, but which applies to all: “[W]hile we are gathering information on what festivals are, we need to ask the question of what it is that festivals, as performance entities in and of themselves, do.”" @default.
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- W4380925611 date "2009-03-01" @default.
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- W4380925611 title "Editorial" @default.
- W4380925611 doi "https://doi.org/10.3138/ctr.138.fm" @default.
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