Abstract
This peer reviewed article examines a range of performances staged across the group of festivals known collectively as the Edinburgh Festival in August 2015. Using scenography as a frame of reference it focuses on five performances in venues ranging from a small cabaret bar on The Free Fringe to the Edinburgh International Conference Centre with a seating capacity of over one thousand. It argues that despite the immense differences in scale, financial investment, technology and ticket prices across this range of work, certain common motifs could be identified. By close analysis of the materiality of these productions it reveals how these themes, including a form of nostalgia for an imagined more ‘stable’ past, were manifested through the scenography.
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