As we approach the second year of the Buffalo Infringement Festival it becomes clear that Buffalo really needed an event like this. A “grassroots gathering of eclectic, independent, experimental, and politically charged productions from around the world,” in just one year the festival hasn’t just grown, it has exploded. This year we are promised more than 200 performances over the 11-day period, a thrilling profusion of new work and work selected from well beyond the beaten path.

Historically, theater is at the heart of fringe festivals everywhere. It is inevitable that a strong theater scene will eventually find itself accused of being a closed shop, accessible only to a few individuals. This was the frustration that inspired the original “fringe” festival on the periphery of 1947 Edinburgh International Festival in Scotland. The “Fringe” was a hit right away and became known as a Mecca for daring work by the artistically ambitious.

In time the Fringe Festival rivaled the main event itself with work more innovative and often more interesting than the work on the official festival stages. In time, of course, the Fringe became a victim of its own success. Originally open to anyone who wanted to participate, it became so institutionalized as to become mainstream. More than 30 fringe festivals popped up across the globe, and many now charge an admission fee; some have accepted corporate money and the restrictions that accompany such beneficence. In Canada, the Canadian Association of Fringe Festivals (CAFF) trademarked the word “fringe” and restricts its use.

Enter the “Infringement Festival.”

Started in 2004 as a Canadian phenomenon of artist-conceived, instigated and produced performance, Infringement Festivals are now held in Montreal, Ottawa, Regina, Toronto, New York City and, of course, Buffalo.

The Infringement Festival in Buffalo is not actually a “fringe” festival, in the sense that it does not exist in response to any main festival. Our Infringement Festival is the main event. It does, however, embody the spirit of access, artistic daring and counterculture that is the mainstay of every fringe festival. Moreover, the Infringement Festival exists in response to a generally staid theater community that tends to favor older, wealthier and more conservative audiences. Here then is a chance for performers to cross boundaries and explore their imaginations unfettered by subscription audiences and finicky benefactors. Our Infringement Festival benefits both from the strength of our mainstream theater and from the energy that comes from breaking free from its limitations.

I hesitate to make specific recommendations about the Infringement theater offerings, as the whole idea of the festival is to try something new. My choices would be overly influenced by the familiarity of certain artists—and many of Buffalo’s best performers, writers and directors are actively involved. The most exciting aspect of the festival, however, is the opportunities it offers for brand new artists to showcase their talent, while at the same time it allows seasoned artists the opportunity to spread their wings. You might do well to choose a performer you admire and go see them in a new light; or just choose a time and a venue for convenience and take a chance. But do take time to see something of the Infringement Festival; it is quickly becoming another of the great things that define Buffalo.

Nonetheless, here are a few offerings to consider, as well as a calendar of events for the upcoming week. Check back next week for more listings, and be sure to visit http://infringebuffalo.org.