Who said growing up in small-town Scotland was going to be easy?Our Bad Magnet is an unashamedly dark and deliciously funny play from one of Scotland's brightest young writing talents, in which the bo
In this cutting-edge text, Trish Reid offers a concise overview of the shifting roles of theater and theatricality in Scottish culture. She asks important questions about the relationship between Scot
McMillan has been writing about theatre in Scotland for more than three decades. During that time she has borne witness to an extraordinary cultural and political renaissance in Scotland. Compiled by
This book examines one of the most influential modern theatre companies, 7:84 (Scotland), under the directorship of John McGrath. 7:84 (Scotland) has been a vital contributor to the place and importance of alternative theatre on the modern British stage. DiCenzo explores the development of this company, the growth of popular theatre in general within the last twenty years and offers a methodology for analysing records and materials found in theatre company archives and illustrates the many issues inherent in running a theatre company, including venues, practitioners and the politics of funding. The book includes valuable primary source material and informative production photographs and company posters.
This book examines one of the most influential modern theatre companies, 7:84 (Scotland), under the directorship of John McGrath. 7:84 (Scotland) has been a vital contributor to the place and importance of alternative theatre on the modern British stage. DiCenzo explores the development of this company, the growth of popular theatre in general within the last twenty years and offers a methodology for analysing records and materials found in theatre company archives and illustrates the many issues inherent in running a theatre company, including venues, practitioners and the politics of funding. The book includes valuable primary source material and informative production photographs and company posters.
Originally published in 2004, Scotland and the Borders of Romanticism is a collection of critical essays devoted to Scottish writing between 1745 and 1830 - a key period marking the contested divide between Scottish Enlightenment and Romanticism in British literary history. Essays in the volume, by leading scholars from Scotland, England, Canada and the USA, address a range of major figures and topics, among them Hume and the Romantic imagination, Burns's poetry, the Scottish song and ballad revivals, gender and national tradition, the prose fiction of Walter Scott and James Hogg, the national theatre of Joanna Baillie, the Romantic varieties of historicism and antiquarianism, Romantic Orientalism, and Scotland as a site of English cultural fantasies. The essays undertake a collective rethinking of the national and period categories that have structured British literary history, by examining the relations between the concepts of Enlightenment and Romanticism as well as between Scottish
This provocative book follows MGM's Gene Kelly musical Brigadoon through the worlds of 1940s Broadway theatre and 1950s Hollywood and documents the contempt the film has elicited, particularly from th
Benjamin West's "The Death of the Stag", a tour de force of pictorial theatre and his own unique Scottish masterpiece, has been the focus of high drama for over two centuries. Painted for the Clan Mac
This Companion, first published in 2000, addresses the work of women playwrights in Britain throughout the twentieth century. The chapters explore the historical and theatrical contexts in which women have written for the theatre and examine the work of individual playwrights. A chronological section on playwriting from the 1920s to the 1970s is followed by chapters which raise issues of nationality and identity. Later sections question accepted notions of the canon and include chapters on non-mainstream writing, including black and lesbian performance. Each section is introduced by the editors, who provide a narrative overview of a century of women's drama and a thorough chronology of playwriting, set in political context. The collection includes essays on the individual writers Caryl Churchill, Sarah Daniels, Pam Gems and Timberlake Wertenbaker as well as extensive documentation of contemporary playwriting in Wales, Scotland and Northern Ireland, including figures such as Liz Lochhe
This volume explores the rich and complex histories of English, Scottish and Welsh theatres in the 'long' twentieth century since 1895. Twenty-three original essays by leading historians and critics investigate the major aspects of theatrical performance, ranging from the great actor-managers to humble seaside entertainers, from between-wars West End women playwrights to the roots of professional theatre in Wales and Scotland, and from the challenges of alternative theatres to the economics of theatre under Thatcher. Detailed surveys of key theatre practices and traditions across this whole period are combined with case studies of influential productions, critical years placed in historical perspective and evaluations of theatre at the turn of the millennium. The collection presents an exciting evolution in the scholarly study of modern British theatre history, skilfully demonstrating how performance variously became a critical litmus test of the great aesthetic, cultural, social, poli
The philosopher David Hume and the economist Adam Smith explore twenty-first century Scotland with their travel companion Eve, a Scottish everywoman, in this extraordinary journey of enlightenment. Jo
This Companion, first published in 2000, addresses the work of women playwrights in Britain throughout the twentieth century. The chapters explore the historical and theatrical contexts in which women have written for the theatre and examine the work of individual playwrights. A chronological section on playwriting from the 1920s to the 1970s is followed by chapters which raise issues of nationality and identity. Later sections question accepted notions of the canon and include chapters on non-mainstream writing, including black and lesbian performance. Each section is introduced by the editors, who provide a narrative overview of a century of women's drama and a thorough chronology of playwriting, set in political context. The collection includes essays on the individual writers Caryl Churchill, Sarah Daniels, Pam Gems and Timberlake Wertenbaker as well as extensive documentation of contemporary playwriting in Wales, Scotland and Northern Ireland, including figures such as Liz Lochhe
Charlotte Carmichael Stopes (1840–1829) is best known as the mother of birth control advocate Marie Stopes. Like her daughter, Stopes forged the way for women seeking academic careers: she was the first woman in Scotland to graduate from university, and was later elected a fellow of the Royal Society of Literature. In this monograph Stopes resolves to settle once and for all whether or not Francis Bacon wrote the plays attributed to William Shakespeare, concluding that the Baconian theory is wholly without foundation. Over nearly 300 pages of erudite argument, Stopes examines the numerous distinctions between the lives and experiences of the two writers, their differing styles of writing, and the evidence provided by Shakespeare's contemporaries. Stopes' book also includes extensive appendices providing background information on Shakespeare and the early modern theatre. For more information on this author, see http://orlando.cambridge.org/public/svPeople?person_id=stopch
