The Oxford Handbook of Scottish Theatre
The Oxford Handbook of Scottish Theatre
Randall Stevenson is Emeritus Professor of Twentieth-Century Literature at the University of Edinburgh. During the 1990s, and occasionally since, he has reviewed Scottish theatre for Times Literary Supplement, BBC Radio Scotland, and The Independent newspaper. He has been a member of the Traverse Theatre script-reading panel, and of the Royal Lyceum Theatre's artistic policy committee. With Gavin Wallace, he edited Scottish Theatre Since the Seventies (Edinburgh University Press, 1995), and with Cairns Craig, Twentieth-Century Scottish Drama: An Anthology (Canongate, 2000). Critical studies include The Oxford English Literary History, vol. xii: 1960-2000 (Oxford University Press, 2004), Literature and the Great War (Oxford University Press, 2013), and Reading the Times: Temporality and History in Twentieth-Century Fiction (EUP, 2018). He is General Editor of the Edinburgh History of Twentieth-Century Literature in Britain series (EUP).
Greg Walker is Regius Chair of Rhetoric and English Literature at the University of Edinburgh. He writes on the literature and drama of the medieval-to-Renaissance period in England and Scotland. His first book was John Skelton and the Politics of the 1520s (Cambridge University Press, 1988), his most recent, John Heywood: Comedy and Survival in Tudor England (Oxford University Press, 2020). Among other publications are Writing Under Tyranny: English Literature and the Henrician Reformation (Oxford University Press, 2005), Medieval Drama: An Anthology (Blackwell, 2000), and Imagining Spectatorship from the Mysteries to the Shakespearean Stage (Oxford University Press, 2016), co-written with John J. McGavin. He co-edited The Oxford Handbook of Medieval Literature in English (Oxford University Press, 2010) with Elaine Treharne and The Oxford Handbook of Tudor Drama (Oxford University Press, 2012) with Thomas Betteridge. With Tom, Eleanor Rycroft, and Gregory Thompson, he was responsible for the production of Lyndsay?s Satyre of the Thrie Estaitis at Linlithgow Palace in 2013.
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Abstract
The Oxford Handbook of Scottish Theatre tells the story of drama and performing in Scotland from the earliest traces of folk plays, performances, and royal ceremonies in the medieval period right up to the challenges of the present post-pandemic moment in the professional theatre. It brings together distinguished scholars, theatre professionals, critics, and reviewers to share their experiences of studying and in some cases producing the most significant landmarks of Scottish stage history, discussing pivotal plays and productions (Lyndsay’s Ane Satyre of the Thrie Estaitis, Ramsay’s The Gentle Shepherd, Home’s Douglas, adaptations of Rob Roy and the ‘National Drama’, Lamont Stewart’s Men Should Weep, Lochhead’s Mary Queen of Scots Got Her Head Chopped Off), writers (including Joanna Baillie, J. M. Barrie, James Bridie, John McGrath, and the writers of the radical post-millennium generation), and companies (including the Scottish National Players, the Glasgow Citizens, 7:84, Wildcat, Communicado, and the National Theatre of Scotland) alongside incisive accounts of the cultural contexts (from the Reformation to the Thatcher government and beyond) that produced and challenged them.
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Front Matter
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Part I Histories
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Medieval to 1700
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1
The Theatre Scene I: Stages, Performers, Audiences: Medieval to 1600
Sarah Carpenter
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2
The Theatre Scene II: Stages, Performers, Audiences in the Sixteenth and Seventeenth Centuries
Pamela M. King
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3
Major Play I: Sir David Lyndsay, Ane Satyre of the Thrie Estaitis: Renaissance Scotland’s Best-Kept Secret?
Greg Walker
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1
The Theatre Scene I: Stages, Performers, Audiences: Medieval to 1600
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The Eighteenth Century
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The Nineteenth Century
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8
The Theatre Scene IV: Stages, Performers, Audiences in the Early Nineteenth Century
Barbara Bell
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9
Major Play IV: Rob Roy
Alison Lumsden
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10
Major Playwright I: Joanna Baillie
Clare Brennan
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11
The Theatre Scene V: Stages, Performers, Audiences in the Late Nineteenth Century
Paul Maloney
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12
J. M. Barrie and Turn-of-the-Century London Scots
Penelope Cole
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8
The Theatre Scene IV: Stages, Performers, Audiences in the Early Nineteenth Century
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1900 to the Mid-Twentieth Century
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13
The Theatre Scene VI: Stages, Performers, Audiences, 1900–1950
Ian Brown
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14
Companies and Writers, 1900–1940
David Goldie
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15
The 1920s and After: The Scottish National Players
Donald Smith
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16
Major Playwright II: James Bridie and His Theatre
Gerard Carruthers
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17
Popular Political Theatre in the 1920s, 1930s, and 1940s
Linda Mackenney
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18
Major Play V: Ena Lamont Stewart, Men Should Weep
Linda Mackenney
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13
The Theatre Scene VI: Stages, Performers, Audiences, 1900–1950
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The Mid-Twentieth Century to 2000
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19
The Theatre Scene VII: Stages, Performers, Audiences, c.1950–2000
Ksenija Horvat
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20
Scottish Playwrights, 1950–1970
Anne Varty
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21
‘Citizens and Studios’: The Glasgow Citizens, Traverse, and Close Theatres
David Hutchison
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22
John McGrath and 7:84: ‘The Moon Belongs to Everyone’
Olga Taxidou
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23
The Post-1980 (Post-Devolution Bill) Scottish Theatre Renaissance
Tom Maguire
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24
Major Play VI: Liz Lochhead, Mary Queen of Scots Got Her Head Chopped Off
Randall Stevenson
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19
The Theatre Scene VII: Stages, Performers, Audiences, c.1950–2000
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The Twenty-First Century
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Part II Themes and Variations
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28
Scots Language Drama (Including Translation and Adaptation)
John Corbett
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29
The Professionalization of Gaelic Drama
Michelle Macleod
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30
Popular Theatre, Music Hall, Variety, and Pantomime
Paul Maloney
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31
Theatre for Young Audiences in Scotland
Ben Fletcher-Watson
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32
International Influences: Experimental Theatre Around the Millennium
Femi Folorunso
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33
Directing
Gerry Mulgrew
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34
Radio Drama: Voices in the Air
Bruce Young
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35
‘A Makeshift Bastard …’: Peter McDougall’s Just Your Luck and Just Another Saturday Night and Troy Kennedy Martin’s ‘New Drama For Television’
Brian Hoyle
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36
Critics and Reviewers
Mark Fisher
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37
Afterword
Michael Billington
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28
Scots Language Drama (Including Translation and Adaptation)
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End Matter
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