Festivals in the Pandemic

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Notes

1. Bernadette Quinn, ‘Arts Festivals, Urban Tourism and Cultural Policy’, Journal of Policy Research in Tourism, Leisure and Events 2, no. 3 (2010): 264–79, https://doi.org/10.1080/19407963.2010.512207.

2. Andrew Smith, Events in the City: Using Public Spaces as Event Venues (London: Routledge, 2015).

3. David Bradby and Maria M. Delgado, ‘Editorial’, Contemporary Theatre Review 13, no. 4 (2003): 1–4 (1).

4. Ric Knowles, ‘The Edinburgh Festival and Fringe: Lessons for Canada?’, Canadian Theatre Review, no. 102 (2000): 88–96; and Ric Knowles, Reading the Material Theatre (Cambridge: Cambridge University Press, 2004).

5. Jen Harvie, Staging the UK (Manchester: Manchester University Press, 2005); Jen Harvie, ‘Cultural Effects of the Edinburgh International Festival: Elitism, Identities, Industries’, Contemporary Theatre Review 13, no. 4 (2003): 12–26; and Jen Harvie, ‘International Theatre Festivals in the UK: The Edinburgh Festival Fringe as a Model Neo-Liberal Market’, in The Cambridge Companion to International Theatre Festivals, ed. Ric Knowles (Cambridge: Cambridge University Press, 2020).

6. Christina S. McMahon, Recasting Transnationalism Through Performance: Theatre Festivals in Cape Verde, Mozambique, and Brazil (Basingstoke: Palgrave Macmillan, 2014); and Denise Varney et al., Theatre and Performance in the Asia-Pacific: Regional Modernities in the Global Era (Basingstoke: Palgrave Macmillan, 2013).

7. Temple Hauptfleisch et al., eds., Festivalising!: Theatrical Events, Politics and Culture (Amsterdam: Rodopi, 2007); and Ric Knowles, ed., The Cambridge Companion to International Theatre Festivals (Cambridge: Cambridge University Press, 2020).

8. For an interdisciplinary approach, see Sarah Thomasson, The Festival Cities of Edinburgh and Adelaide (Cham: Springer, 2022).

9. Keren Zaiontz, ‘From Post-War to “Second-Wave”: International Performing Arts Festivals’, in The Cambridge Companion to International Theatre Festivals, ed. Ric Knowles (Cambridge: Cambridge University Press, 2020).

10. Keren Zaiontz, Theatre & Festivals (Basingstoke: Palgrave Macmillan, 2018), 12.

11. Ric Knowles, International Theatre Festivals and Twenty-First-Century Interculturalism (Cambridge: Cambridge University Press, 2021), 5.

12. Zaiontz, Theatre & Festivals, 4.

13. ‘WHO Director-General’s Opening Remarks at the Media Briefing on COVID-19’, World Health Organisation, March 11, 2020, https://www.who.int/director-general/speeches/detail/who-director-general-s-opening-remarks-at-the-media-briefing-on-covid-19—11-march-2020 (accessed August 9, 2022).

14. Severin Carrell, ‘Edinburgh Fringe Tries to Quell Revolt After Criticism of 2022 Event’, Guardian, July 7, 2022, https://www.theguardian.com/stage/2022/jul/07/edinburgh-fringe-tries-to-quell-revolt-criticism-2022-festival-comedians-open-letter (accessed August 11, 2022).

15. Harvie, ‘International Theatre Festivals in the UK’; Sarah Thomasson, ‘“Too Big for its Boots”?: Precarity on the Adelaide Fringe’, Contemporary Theatre Review 29, no. 1 (2019): 39–55, https://doi.org/10.1080/10486801.2018.1556208.

16. Leyland Cecco, ‘Canada Truckers’ Vaccine Protest Spirals into Calls to Repeal All Public Health Rules’, Guardian, January 28, 2022, https://www.theguardian.com/world/2022/jan/28/canada-truckers-covid-vaccine-mandate-protest-government (accessed August 9, 2022); and ‘Covid-19: 28 Parliament Protesters Believed to Have Tested Positive’, Radio New Zealand, March 7, 2022, https://www.rnz.co.nz/news/national/462884/covid-19-28-parliament-protesters-believed-to-have-tested-positive (accessed August 9, 2022).