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By Ian Brown

This revelatory research explores how Scottish background performs, in particular because the Nineteen Thirties, bring up problems with ideology, nationwide id, historiography, mythology, gender and particularly Scottish language. masking themes as much as the top of global conflict , the ebook addresses the paintings of many key figures from the final century of Scottish theatre, together with Robert McLellan and his contemporaries, and likewise Hector MacMillan, Stewart Conn, John McGrath, Donald Campbell, invoice Bryden, Sue Glover, Liz Lochhead, Jo Clifford, Peter Arnott, David Greig, Rona Munro and others usually overlooked or misunderstood.

environment those writers’ achievements within the context in their Scottish and eu predecessors, Ian Brown bargains clean insights into key features of Scottish theatre. As such, this represents the 1st learn to provide an overarching view of old illustration on Scottish phases, exploring the character of ‘history’ and ‘myth’ and referring to those afresh to how dramatists use – and subvert – them.

attractive and available, this leading edge e-book will allure students and scholars drawn to heritage, ideology, mythology, theatre politics and explorations of nationwide and gender identity.

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Additional resources for History as Theatrical Metaphor: History, Myth and National Identities in Modern Scottish Drama

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For Scotland, PLAYWRIGHTS AND HISTORY 25 the negotiations between different conceptions of national identity on either side of the 1707 Union, while not resulting in a single final resolution of what is ‘Scotland’ and what the ‘United Kingdom’—surely an impossible outcome—have given rise to a long-term, and continuing, debate, a discourse, a conversation with the imagined community in Scotland, about its very nature. Certainly that discourse underlies the achievement of devolution, the partial re-establishment of the Scottish Parliament in 1999, and Scottish playwriting since that year and in the half century before.

Its pedigree back to 1320 is verifiable. In short, it is the deconstructors, not the Declaration, who have a credibility problem. The ‘primordialists’ may overstate their case about the antiquity of nationalism, but it is difficult to deny that recognizable ideas about a relationship between national and individual liberty were around in medieval Scotland. Was this a freakishly ‘precocious’ understanding of freedom? The answer is that it was only precocious if medieval England or France are taken as the norm.

BROWN within the context of the larger Illyrian movement that drove a burgeoning sense of cultural and linguistic identity and resistance to imperialism. In this, his drama and that of his contemporaries parallels artistically the imagined political stance of Schiller’s character ‘Don Carlos’ and Goethe’s ‘Egmont’—and the actual stance of the historical Egmont—with regard to a community’s national self-determination. The historical play and history is here potentially interrelated, the play drawing on ‘history’ and in turn affecting ‘history’, that is, a community’s historical development.

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