Self and Nation: Issues of Identity in Modern Scottish Drama by Women

2001 ◽  
Vol 17 (4) ◽  
pp. 373-390 ◽  
Author(s):  
Adrienne Scullion
Keyword(s):  
Royal Society ◽  
Cultural Policy ◽  
Policy Research ◽  
Television Studies ◽  
Economic Management ◽  
Feminist Analysis ◽  
Film And Television ◽  
Scottish Parliament ◽  
The University ◽  
Scottish Politics

The creation of the devolved Scottish parliament in 1999, argues Adrienne Scullion, has the potential to change everything that has been understood and imagined or thought and speculated about Scotland. The devolved parliament shifts the governance of the country, resets financial provisions and socio-economic management, recreates Scottish politics and Scottish society – and affects how Scotland is represented and imagined by artists of all kinds. The radical context of devolution should also afford Scottish criticism an unprecedented opportunity to rethink its more rigid paradigms and structures. Specifically, this article questions what impact political devolution might have on the rhetoric of Scottish cultural criticism by paralleling feminist analysis of three plays by women premiered in Scotland in 2000 with the flexible, even hybrid, model of the nation afford by devolution, resetting identity within Scottish culture as much less predictable and much more inclusive than has previously been understood. An earlier versions was delivered by the author on 5 March 2001 to the Royal Society of Edinburgh in receipt of the biennial RSE/BP Prize Lectureship in the Humanities. Adrienne Scullion teaches in the Department of Theatre, Film and Television Studies at the University of Glasgow, where she is also the academic director of the Centre for Cultural Policy Research.

‘Picture It If Yous Will’: Theatre and Theatregoing in Rural Scotland

2005 ◽  
Vol 21 (1) ◽  
pp. 61-76 ◽  
Author(s):  
Christine Hamilton ◽  
Adrienne Scullion
Keyword(s):  
Rural Areas ◽  
Cultural Policy ◽  
Policy Research ◽  
Policy Framework ◽  
Television Studies ◽  
Film And Television ◽  
The Arts ◽  
The University

In the following article, Christine Hamilton and Adrienne Scullion review the system of theatre provision and production that exists in the rural areas of Scotland, most especially in the Highlands and Islands, assessing the policy framework that exists in the nation as a whole and in the Highlands and Islands in particular. They highlight the role and responsibilities of volunteers within the distribution of professional theatre in Scotland, challenge the response of locally based theatre-makers and nationally responsible agencies to represent rural Scotland, and raise issues fundamental to the provision of culture nationally. In doing so, they question what we expect theatre policy to deliver in rural areas, and what we expect rural agents to contribute to theatre provision and policy. Finally, they suggest that, in the system of rural arts in Scotland, there are wider lessons for the development of arts in and the arts of other sparsely populated and fragile communities. Christine Hamilton is the director and Adrienne Scullion the academic director of the Centre for Cultural Policy Research at the University of Glasgow, where Adrienne teaches in the Department of Theatre, Film, and Television Studies.

The Citizenship Debate and Theatre for Young People in Contemporary Scotland

2008 ◽  
Vol 24 (4) ◽  
pp. 379-393 ◽  
Author(s):  
Adrienne Scullion
Keyword(s):  
Young People ◽  
Cultural Policy ◽  
Television Studies ◽  
Children And Young People ◽  
Politics And Government ◽  
Transferable Skills ◽  
Film And Television ◽  
New Drama ◽  
The University ◽  
The Impact

In this article Adrienne Scullion reviews the citizenship debate in education policy within contemporary – and specifically post-devolution – Scotland. She identifies something of the impact that this debate has had on theatre-making for children and young people, with a particular focus on projects that are participatory in nature. Her key examples are drawn from TAG Theatre Company's ‘Making the Nation’ project, a major three-year initiative that sought to engage children and young people throughout Scotland in ideas around democracy, politics, and government. Revisiting a classic cultural policy stand-off between instrumental and aesthetic outcomes, she asks whether a policy-sanctioned emphasis on process, transferable skills, and capacity building limits the potential for theatre projects to develop other kinds of theatre skills, such as critical reading and/or spectatorship. With its emphasis on participatory projects rather than plays for children and young people, the article complements her earlier essay, ‘“And So This Is What Happened”: War Stories in New Drama for Children’, in NTQ 84 (November 2005). Adrienne Scullion teaches in the Department of Theatre, Film, and Television Studies at the University of Glasgow.

Adaptation, Action, Response: ‘Four Horsemen of the Apocalypse’ at the Citizens Theatre, Glasgow

1992 ◽  
Vol 8 (31) ◽  
pp. 203-220
Author(s):  
Ian Craven
Keyword(s):  
Television Studies ◽  
Full Account ◽  
Film And Television ◽  
Four Horsemen ◽  
Adaptation Action ◽  
The University

Several of the novels of the Spanish writer Vicente Blasco Ibanez (1867–1928) have provided the basis for theatrical adaptations: but the version of The Four Horsemen of the Apocalypse (1916) by Peter Granger-Taylor, staged in March 1990 at the Citizens Theatre, Glasgow, was the first for sixty years. In the following feature, Ian Craven, who teaches in the Department of Theatre, Film, and Television Studies at the University of Glasgow, provides a full account of Jon Pope's production, considering questions of adaptation, performance, and response, and also paying special attention to the influence of the screen versions of 1921 and 1962. His analysis is complemented by extracts from an interview with the adapter and director. A study by Margaret Eddershaw of Philip Prowse's production of Brecht's Mother Courage, in which Glenda Jackson took the title role during the same season at the Citizens, appeared in NTQ28 (November 1991).

scholarly journals Building capacity: Science in the developing world

2010 ◽  
Vol 32 (4) ◽  
pp. 44-45
Author(s):  
Rebecca Smith
Keyword(s):  
United Nations ◽  
Science Policy ◽  
Royal Society ◽  
Policy Research ◽  
Research Unit ◽  
Development Studies ◽  
Building Capacity ◽  
Development Decade ◽  
The Social ◽  
The University

On 15 June 2010 Innovation, Sustainability, Development: A New Manifesto was launched at the Royal Society in London. This manifesto was written by the Social, Technological and Environmental Pathways to Sustainability (STEPS) Centre. The STEPS Centre is based in both the Institute of Development Studies and the Science Policy Research Unit at the University of Sussex. The new manifesto, as its name suggests, builds on the work of an ‘old’ manifesto known as the Sussex Manifesto. Commissioned by the United Nations as part of its Plan of Action for Science and Development for the ‘Second UN Development Decade’, i.e. the 1970s, the Sussex Manifesto was published in 1969.

New Women in the New Drama

1990 ◽  
Vol 6 (21) ◽  
pp. 31-42 ◽  
Author(s):  
Jan McDonald
Keyword(s):  
Women Characters ◽  
Early Years ◽  
Recent Book ◽  
Television Studies ◽  
New Women ◽  
Film And Television ◽  
The New Woman ◽  
New Drama ◽  
The University ◽  
Women Dramatists

While considerable attention has been paid in recent years to the work of women dramatists during the wave of proto-feminist activity in the early years of the present century, the way in which women characters – whether created by male or female writers – were presented has been less adequately investigated. Here, Jan McDonald, Head of the Department of Theatre, Film, and Television Studies in the University of Glasgow, explores the work of well-known and largely-forgotten playwrights alike, discussing the ways in which the ‘new drama’ – the subject of Jan McDonald's recent book for the ‘Macmillan Modern Dramatists’ series – reflected the concerns of the ‘new woman’.

Meyerhold and Evreinov: ‘Originals’ at Each Other's Expense

1992 ◽  
Vol 8 (32) ◽  
pp. 321-332
Author(s):  
Tony Pearson
Keyword(s):  
Television Studies ◽  
Film And Television ◽  
The University

Our occasional series of original theatre documents continues with this translation, the first in English, of an article written in 1915 by the Russian director Nikolai Evreinov attacking his contemporary and erstwhile colleague Vsevolod Meyerhold for artistic plagiarism – an attack which, of course, reveals as much about the susceptibilities and private jealousies of its perpetrator as it does about its object. Tony Pearson, who currently teaches in the Department of Theatre, Film, and Television Studies in the University of Glasgow, accompanies his translation with a full introduction and commentary, setting the polemics within the context of the Russian and early Soviet theatre, and the subsequent, separate careers of the two personalities involved.

‘And So This Is What Happened’: War Stories in New Plays for Children

2005 ◽  
Vol 21 (4) ◽  
pp. 317-330
Author(s):  
Adrienne Scullion
Keyword(s):  
Second World War ◽  
Television Studies ◽  
Young Audiences ◽  
Contemporary Theatre ◽  
Film And Television ◽  
Theatrical Performance ◽  
The Uk ◽  
The University ◽  
War Stories ◽  
Second World

In this essay Adrienne Scullion explores the representation of war – and in particular of the Second World War – in contemporary theatre for children, considering how the narrative and performative conventions of drama communicate ideas about the conflict to young audiences. She argues that a taxonomy identified in relation to juvenile war literature – discourses of testimony and documentary, propaganda and escapism, myth and metaphor – resonates just as significantly in drama. This proposition is investigated in readings of three recent plays – Stephen Greenhorn's King Matt (TAG, 2001), David Greig's Dr Korczak's Example (TAG, 2001), and Nicola McCartney's Lifeboat (Catherine Wheels, 2002). She proposes that all three plays make different use of the conventions of telling war stories and those of theatrical performance to represent and describe war and, thereby, to explore contemporary values and expressions of citizenship – a declared goal of public policy-making in the UK. Adrienne Scullion teaches in the Department of Theatre, Film and Television Studies at the University of Glasgow.

scholarly journals Watching Politics: An Interdisciplinary Symposium on the Impact of Visual Cultures on Politics, University of Warwick, 31 May 2013

2013 ◽  
Vol 1 (1) ◽  
pp. 82-85
Author(s):  
Adam Gallimore ◽  
Adam Gallimore
Keyword(s):  
Media Culture ◽  
Television Studies ◽  
Diverse Range ◽  
Holistic View ◽  
Film And Television ◽  
Interdisciplinary Approaches ◽  
The Social ◽  
The University ◽  
The Impact ◽  
Visual Cultures

Jointly hosted by the Institute of Advanced Study and the Department of Film and Television Studies at the University of Warwick, the Watching Politics symposium brought together a range of disciplines to explore the social, cultural, aesthetic, historical, theoretical and political impacts of visual cultures on politics - and vice versa.  With such a wide remit, it was interesting to identify how links between the various papers were established, frequently relating to this interdependence of influence and transmission between the two systems.  Devoting attention across a diverse range of contemporary and past media, culture and politics opened up the event to consider a variety of interdisciplinary approaches and methodologies, encouraging a more holistic view of the relationship between visual cultures and politics.

Discourse Mapping

2019 ◽  
Vol 2 (1) ◽  
Author(s):  
Joanna BOEHNERT
Keyword(s):  
Environmental Politics ◽  
Technology Policy ◽  
Policy Research ◽  
Mapping Method ◽  
Science And Technology Policy ◽  
Design Practice ◽  
Analysis Method ◽  
Environmental Sciences ◽  
University Of Colorado ◽  
The University

This workshop will create a space for discussion on environmental politics and its impact on design for sustainable transitions. It will help participants identify different sustainability discourses; create a space for reflection on how these discourses influence design practice; and consider the environmental and social implications of different discourses. The workshop will do this work by encouraging knowledge sharing, reflection and interpretative mapping in a participatory space where individuals will create their own discourse maps. This work is informed by my research “Mapping Climate Communication” conducted at the Centre for Science and Technology Policy Research (CSTPR) in the Cooperative Institute for Environmental Sciences (CIRES), the University of Colorado, Boulder. With this research project I developed a discourse mapping method based on the discourse analysis method of political scientists and sustainability scholars. Using my own work as an example, I will facilitate a process that will enable participants to create new discourse maps reflecting their own ideas and agendas.

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