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Features Published 1 September 2016

An Edinburgh Festival Sketchbook

Artist Beth Iredale pulls focus away from value judgements and towards visual impact with some illustrated responses to performances she saw at the Edinburgh fringe.
Beth Iredale

The summer before I began my degree at the Winchester School of Art, I wrote and directed my first play at the 2010 Edinburgh Fringe Festival. Since then I have returned to the festival every year. Art and theatre have always peacefully co-existed in a variety of roles but it wasn’t until I began my journey into theatre criticism at the Winchester Young Critics Scheme, that I realised what I wanted to do.

The drawings offer a new perspective, an artist’s review. They are an opportunity to archive the work. An effort to fuse the gap between what happens on stage and what is written, which allows the viewer to draw their own conclusion: performers, designers and audience members will deduce different things from the drawings. These visual responses are an opportunity to celebrate design – too few reviews critics tackle design, favouring instead direction or writing. But the design of a show is the gravity in the space, its an intrinsic element of any production. Drawings are an opportunity to record a performance creatively. Ada/Ava by Manual Cinema

The Marked, Theatre Temoin

Measure for Measure by Cheek by JowlLucy, Lucy and Lucy Barfield by Lucy GraceEmergence, Scottish National BalletClub Cumming, by Alan Cumming

 

 

 

 

 

 

 

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