Modernism and Scottish Theatre since 1969: A Revolution on Stage

Description

A Groundbreaking Study of Scottish Theatre

Mark Brown’s Modernism and Scottish Theatre since 1969 charts the remarkable evolution of Scottish theatre from the late 1960s to the present day, focusing on the interplay between modernist aesthetics and a distinctly Scottish cultural identity. Based on doctoral research at the University of Dundee, this book combines rigorous scholarship with firsthand accounts from some of the most influential figures in Scottish theatre.

Voices from the Stage

At the heart of the book are exclusive interviews with ten theatremakers who have shaped the course of Scottish drama: Giles Havergal, Dominic Hill, Gerry Mulgrew, David Greig, Zinnie Harris, David Harrower, Anthony Neilson, Stewart Laing, Vicky Featherstone, and Jackie Wylie. Their insights offer a unique window into the creative processes, challenges, and breakthroughs that have defined Scottish theatre over the past fifty years.

From Avant-Garde to National Stage

Brown examines how modernist ideas took root in Scotland, influencing productions at the Citizens Theatre, the Traverse, and beyond. He traces the emergence of a theatrical language that responded to Scotland’s social and political landscape, culminating in the establishment of the National Theatre of Scotland in 2006. The book considers key productions, such as David Harrower’s Knives in Hens, and explores the work of companies that pushed boundaries and redefined what Scottish theatre could be.

Why This Book Matters

For students and scholars of theatre, Scottish studies, and modernism, this volume provides a vital critical framework. For practitioners, it offers a rich history of experimentation and resilience. And for anyone passionate about Scottish culture, it tells the story of how a small nation’s theatre became a powerful force on the international stage.

About the Author

Mark Brown is a Glasgow-based theatre critic, journalist, and scholar. He completed his PhD at the University of Dundee, and his research has been supported by major theatre organisations across Scotland. His writing combines academic insight with a deep love for the theatre, making this book both informative and engaging.