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The Oxford Handbook of Scottish Theatre tells the story of drama and performance in Scotland from the earliest medieval traces of folk plays and royal ceremonies right up to the challenges of the present post-pandemic moment in the professional theatre.
List of contents
- Preface
- Introduction
- SECTION I: HISTORIES
- Medieval to 1700
- 1: Sarah Carpenter: The Theatre Scene I: Stages, Performers, Audiences: Medieval to 1700
- 2: Pamela M. King: The Theatre Scene II: Stages, Performers, Audiences: The Sixteenth and Seventeenth Centuries
- 3: Greg Walker: Major Play I: Sir David Lyndsay, Ane Satyre of the Thrie Estaitis: Renaissance Scotland's Best Kept Secret?
- The Eighteenth Century
- 4: Rebecca Tierney-Hynes: The Theatre Scene III: Stages, Performers, Audiences: The Long Eighteenth Century
- 5: Brianna Robertson-Kirkland: Major Play II: Allan Ramsay, The Gentle Shepherd (1725 and 1729)
- 6: Ian Brown: Major Play III: John Home, Douglas (1756)
- 7: Penelope Cole: The London Scots
- The Nineteenth Century
- 8: Barbara Bell: The Theatre Scene IV: Stages, Performers, Audiences in the early Nineteenth Century
- 9: Alison Lumsden: Major Play IV: Rob Roy
- 10: Clare Brennan: Major Playwright I: Joanna Baillie
- 11: Paul Maloney: The Theatre Scene V: Stages, Performers, Audiences in the late Nineteenth Century
- 12: Penelope Cole: J.M. Barrie and Turn-of-the-Century London
- 1900 to the Mid-Twentieth Century
- 13: Ian Brown: The Theatre Scene VI: Stages, Performers, Audiences, 1900-1950
- 14: David Goldie: Companies and Writers: 1900 to 1940
- 15: Donald Smith: The 1920s and After: The Scottish National Players
- 16: Gerard Carruthers: Major Playwright II: James Bridie and His Theatre
- 17: Linda Mackenney: Popular, Political Theatre in the 1920s, 30s, and 40s
- 18: Linda Mackenney: Major Play V: Ena Lamont Stewart, Men Should Weep
- The Mid-Twentieth Century to 2000
- 19: Ksenija Horvat: The Theatre Scene VII: Stages. Performers, Audiences, c.1950-2000
- 20: Anne Varty: Scottish Playwrights 1950-1970
- 21: David Hutchison: 'Citizens and Studios': The Glasgow Citizens, Traverse, and Close Theatres
- 22: Olga Taxidou: John McGrath and 7:84: 'The Moon Belongs to Everyone'
- 23: Tom Maguire: The Post-1980 (post-Devolution Bill) Scottish Theatre Renaissance
- 24: Randall Stevenson: Major Play VI: Liz Lochhead, Mary Queen of Scots Got Her Head Chopped Off
- The Twenty-First Century
- 25: David Overend: The Theatre Scene VIII: Stages, Performers, Audiences: The Twenty-First Century
- 26: Allan Radcliffe: The National Theatre of Scotland: Theatre Without Walls
- 27: Nicola McCartney: New Playwrights: Plays and Playwriting in Scotland, the 1990s to the 2020s
- SECTION II: THEMES AND VARIATIONS
- 28: John Corbett: Scots Language Drama (including Translation/Adaptation)
- 29: Michelle MacLeod: The Professionalisation of Gaelic Drama
- 30: Paul Maloney: Popular Theatre, Music Hall, Variety and Pantomime
- 31: Ben Fletcher-Watson: Theatre for Young Audiences in Scotland
- 32: Femi Folorunso: Influences from Abroad
- 33: Gerry Mulgrew: Directing
- 34: Bruce Young: Radio Drama
- 35: Brian Hoyle: A Makeshift Bastard . . .': Peter McDougall's Just Your Luck and Just Another Saturday Night and Troy Kennedy Martin's 'New Drama for Television'
- 36: Mark Fisher: Critics and Reviewers
- 37: Michael Billington: Afterword
- Index
About the author
Randall Stevenson is Emeritus Professor of Twentieth-Century Literature in the University of Edinburgh. He began his career in a teacher-training college in North-West State, Nigeria. He has lectured abroad, often for the British Council - in Egypt, Nigeria, South Korea, and Australia, as well as in a dozen European countries - and was a Fellow of the Humanities Research Centre in the Australian National University, Canberra, in 2018. His writing concentrates on twentieth-century fiction and drama and its shaping by the pressures of contemporary history.
Greg Walker is Regius Chair of Rhetoric and English Literature at the University of Edinburgh. He was previously Masson Professor of English Literature at Edinburgh, and also worked at the Universities of Leicester, Buckingham, and Queensland. He began his career as a British Academy Postdoctoral Fellow at the University of Southampton. He writes primarily on the literature and drama of the medieval-to-Renaissance period in England and Scotland.
Summary
The Oxford Handbook of Scottish Theatre tells the story of drama and performance in Scotland from the earliest medieval traces of folk plays and royal ceremonies right up to the challenges of the present post-pandemic moment in the professional theatre.
