This thesis, presented in partial fulfillment of the requirements for the degree of Master of Business Administration/Master of Fine Arts in Theatre Management, investigates the business models used by performing arts festivals known as "fringe festivals." In the United States, there are three basic fringe festival models: the open access or Edinburgh model, the limited access model, and the adjudicated model. Interviews with artists who participated in fringes as producers reveal that the model impacts the participant experience less than the degree of scaffolding the fringe offers and the degree to which the fringe constrains producing choices. This thesis suggests a fringe festival framework, classifying fringes by degree of scaffolding and constraint, which can be used by producers to identify festival settings that will be the best fit for their needs. The framework can also be used by fringe festival organizers as a tool for self-reflection and festival assessment.
|Commitee:||Batchelder, Xela, Genovese, Nicki|
|School:||California State University, Long Beach|
|School Location:||United States -- California|
|Source:||MAI 54/05M(E), Masters Abstracts International|
|Subjects:||Arts Management, Theater, Performing Arts|
|Keywords:||Festivals, Fringe, Producers, Producing, Theater|
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