Manipulate 2015: an introduction

Although 'festival' has become a bit of a buzzword (it gets applied to anything that isn't a one-off event), manipulate has remained loyal to its possibilities as a celebration of a particular strand of performance, and advances the presence of 'visual art' within Scotland. Combining support for local and emerging artists, notably through the free Snapshots programme, and the presentation of internationally acclaimed artists, it encompasses both the eclecticism of the medium and the dynamic curatorial instinctives of artistic director Simon Hart.

Every year, manipulate inspires a discussion around the definition of visual art. Since this year's selections include choreography (The Dance of the Magnetic Ballerina), puppetry (Autumn Portraits) and circus (Unchained), Hart's definition refuses to draw clear limitation. The emphasis on the moving image as the carrier of information (moving, because it is theatre, and image rather than relying more on, say, script or music) becomes the chief characteristic, and one that allows the parallel programme of animated film to sit comfortably within the festival.

Manipulate manages to satisfy audiences unfamiliar with visual theatre (the quality of the photographs advertising each piece is likely to draw in new crowds) by offering an overview of the state of the art: equally, the programme's survey of international companies, and the workshops, brings new experiences for the veteran fan or artist. Unlike the Edinburgh Fringe, which is eclectic but lacks much curation, manipulate is a concentrated burst of specific performance.