🔊 UPDATE on the #CostofEdinburgh survey🔊 We're pleased to announce we are partnering with @CreateInf @edfringe to develop an expanded Performers and Creative Teams survey to launch in 2020, to gather detailed insight into finance, wellbeing and value at the festival. #EdFringe

And with that tightening of the circle, comes a huge impact on diversity. #edfringe is where many arts programmers go to fill their schedule for the coming years; if only a few can afford the risk, will we see that narrowing reflected in our regional theatre/dance/comedy venues?

This is contrary to the original spirit of #edfringe, which was a celebration of performance staged by industry outsiders, in defiance of the rigid, vetted "programme" of the Edinburgh Int Festival. It is becoming ever harder for Fringe artists to make it financially viable.

This is a brilliant insight from Donagh Horgan @UniStrathclyde: "Rather than benefit from @edfringe growth, performers have become its main customers" Have we allowed #edfringe to become a pyramid scheme for artists to pay for the promise of success rarely delivered? @ohrhealy

@clastone started the Cost of Edinburgh project in 2017: “I set it up to ask, ‘What are people paying?’ ... There is no oversight. That is problematic. Nobody really knows where the money is going. It’s not going to the performers" #EdinburghFringe #CostofEdinburgh

65% of respondents to our 2018 survey reported the cost of #EdinburghFringe had a negative impact on their wellbeing. Two reported feeling suicidal. “Ultimately, only certain people can afford to take that risk." @clastone @ohrhealy

‘Someone’s making money but it’s not us’ – the comics spurning the Edinburgh fringe

I spoke to the Guardian about my thoughts on performing at the Fringe. It feels scary saying these things publicly, like I’m betraying an unspoken rule and I’m going to get kicked out of comedy, but this article is important, and Rachael has done a brilliant job of writing it.

Also in @guardiang2 today

Heres my guide to doing the Fringe cheaply, it's so simple! 1. No PR, no billboards/posters 2. Go unexpectedly viral online 3. Be from Edinburgh and sponge off friends and family 4. Eat only discarded chips

“Who is the fringe for? It should be for artists, but it feels like it’s for landlords.” Do comedians still need to do the Fringe to progress their careers? I spoke to some who are skipping it this year, plus the researchers looking at the true costs

Thank you so much to @ohrhealy for taking on this sensitive and complex issue with great insight, and sharing the real impact on performers of #EdinburghFringe It was eye opening to research the @CostEdinburgh and I'm glad it's being raised, but now we need to see progress!

@TheStage This 'showcase might not just respond to the demands of #edfringe but [...] could be a force that helps shape its future development, and contribution to the whole ecology' of UK arts. Great analysis of new @ace_national funding by @lyngardner @TheStage https://t.co/fYpIqj9sPs

@TheStage 'The showcases must embrace those whose work is not going to be immediately exported to venues or festivals across the country, but who will benefit from being seen and the networks and relationships [at #edfringe]. Because they are the ones most in need of help to get here.'

@TheStage 'The new showcase needs to be an opportunity for artists to access proper professional development, and raise the profile of all kinds of work being made in the UK, and not just the kind of work that neatly fits into the present #edfringe model.'

@TheStage 'One of the side effects of the new showcase could be that it increases the divide between the supported and the unsupported, the chosen and the not chosen.' #edfringe

@TheStage 'it confirms the fringe’s unassailable position and while it addresses the issue of supported pathways into Edinburgh, it doesn’t address the pathways out or the significant problems facing touring shows and the wider ecology upon which #edfringe has an impact.'

'The good thing is that some artists based in England will not have to self-exploit to such a degree. The bad thing is that it inevitably strengthens #edfringe's position [and] increases the desperation of artists and companies to get here.' https://t.co/fYpIqj9sPs via @TheStage

I’m on the Edinburgh Fringe Diet. So far I’ve lost ten grand. Etc.

Excellent speech from @itc_arts CEO Charlotte Jones: “It’s not just about making art, it’s about treating people well.”