Aplicável à economia, esse grande palco de teatro...

""In the arts, everyone wants to be the curator or the creative director. At the Fringe, we have to be the exact opposite. Our job is to get the circumstances absolutely right, to sell the whole experience, to make it as inviting as possible to anybody who could possibly contribute. We can't curate new ideas into existence.""
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"So what makes the Fringe function? A carefully designed "architecture of participation" that blends wild-eyed creativity with the spirit of unblinking competition. The organizers curate the largest and one of the most influential arts gatherings in the world by making the festival as compelling as possible to as many participants as possible--and then letting the participants themselves decide what happens."
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"Essentially, the Fringe is a self-organizing system governed by the self-interested calculations of four key constituencies: the performers, the venues, the audience, and the press. Any troupe or individual artist is eligible to perform; the challenge is to persuade one of the 250-plus venues to host your show. There is a well-understood hierarchy of venues in Edinburgh--certain theaters have more status than others--and different venues use different criteria to evaluate performers. Once you're in, the challenge is to persuade visitors to attend your show as opposed to one of the hundreds of others taking place at the same time, and to persuade the critics that yours is a show worth reviewing."
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"The job of the Fringe staff "is to do the absolute minimum necessary to make this event happen," Gudgin says emphatically. "The worst thing we could do is to decide what kind of festival Edinburgh should be, to engage in what I call programming through the back door. My most important responsibility is to make sure that the people who decide what the festival should be are the artists and the audience. What we have to do at all times is to make as few rules as possible.""
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Trechos retirados de "How The Seemingly Chaotic But Wildly Successful Fringe Festival Makes It Work"
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Recordar "The Experience Economy - Work Is Theatre & Every Business a Stage" de Pine e Gilmore.
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Por que é que os governos têm receio da confiança caórdica?
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Um dia vão perceber o sentido de "to gain control you must lose control". (Mateus 6, 25-34)