Theatre in Scotland- an underestimated force Essay Example

saw the establishment of the first Scottish theatres and the production of new Scottish plays such as Allan Ramsay's The Gentle Shepherd. However, in the 19th century, Scottish arts experienced another decline, focusing on Celtic myth, Kailyard literature, and tartan.

In the early 20th century, the wake of the Scottish Literary Renaissance introduced two distinct traditions. Alongside the conventional theatre tradition, a second movement emerged that remains influential today - Scottish popular, political, and working-class theatre companies.

2.2 Contemporary Scottish Drama

The development of Scottish drama, particularly in the 20th century, has been heavily influenced and dominated by two major concerns. These concerns can be understood within the context of the nation's overall development.

The desire for independence, like the Scottish National Theatre, can be seen in the strong need to establish a unique dramatic tradition. This has resulted in two distinct movements: Scottish playwrights, as well as directors, designers, and performers, have both focused on their national culture and looked to international models for inspiration.

A second concern is the lack of Scottish plays, which highlights the need for a collection of Scottish dramatic literature. This effort is evident in the large number of playwrights and plays that characterize Scottish drama.

The encouragement given resulted in the development of 'Scottish historical dramas', which were often referred to as "historically vague and sentimental" and focused on topics of national concern that were being overused. This trend was soon followed by the rise of 'Kailyard dramas', which were described as "rural romances and comedies centering around minor events in the lives of simple, Lowland, village residents". These dramas gained popularity during the 19th century and remained well-liked throughout the 20th century.

As a response to this, popular political working class theater companies began producing plays that portrayed real life in urban, industrial, working class settings as an alternative to prevailing trends. Presently, Scottish playwrights explore a wider range of subjects and are less fixated on national issues.

3. Scottish Theatre

The Scottish theatre tradition has developed in an irregular and intermittent fashion, in addition to Scottish drama. While the destinction between drama and theatre has been made, it can be said that.

Despite this, the use of different theatrical forms has significantly contributed to the growth of Scottish theatre. This can be observed in the enduring enthusiasm of the Scottish people for various popular forms of entertainment, both theatrical and musical.

3.1 The History of Scottish Theatre

Theatrical entertainment has historically played a significant role in Scottish court life. However, the prohibition of plays and banquets by Alexander II in 1214 transformed theatrical performances in the royal household from that time until 1603.

Until the Cromwellian invasion in the 17th century, there were four main types of theatrical performances. Performances at court served as both recreation and entertainment for royal courtiers and also had a diplomatic function. On the other hand, performances of state and national celebrations were grand displays open to the public.

There were two forms of performances during this period: those controlled by the church as part of religious observance and those of a devotional nature, as well as folk plays that were connected to the natural cycles of both rural and urban life at that time.

Despite the Catholic Church's encouragement of religious performances, it attempted to prohibit folk play performances in the churchyard and on Sundays. Although many

members of the clergy had a negative attitude towards theatrical entertainment, folk plays were still accepted after the Reformation. The Scottish nobility and educational institutions even encouraged these productions. While these plays were mostly amateur, there were already professional theatres in Edinburgh at the start of the century. However, the ban on all theatrical diversions from the British Isles in 1640 caused this budding industry to suffer. Consequently, when Charles II returned in 1660 and theatres reopened, there was a need to essentially reinvent them."10.

In 1662, Edinburgh gained recognition as "the Athens of the North" due to the construction of its theater. However, political shifts in the late 17th century posed challenges to the establishment of regular, professional theater. Despite this, amateur and folk theater persisted while touring theater companies gained significance. Edinburgh's status remained dominant until the mid-19th century, thanks to the establishment of a semi-permanent theater in 1715 and the Edinburgh Theatre Royal in 1767.

The increase in desire for professional theatre and the willingness of communities to support it led to the opening of more theatres, particularly in urban areas with working class populations.

The music halls and variety theatres emerged primarily in the overcrowded and impoverished regions of Scottish cities. They paved the way for Scottish pantomime and variety shows, which remain distinct features.

While the city centre theatres mostly represented the 'London taste', smaller towns and the countryside, along with touring companies, produced plays in their own Scottish language, accents, Scottish music, song and dance.

At the start of the 20th century, touring companies - particularly those from London - held the reigns of what was considered to be 'authentic theatre'. Therefore, the

establishment of Glasgow Repertory Theatre in 1909, which presented its own productions, marked a significant milestone in the evolution of an independent theatre scene. Subsequently, numerous new theatres arose during the 20th century..

The Edinburgh International Festival, which was first held in 1947, played a part in gaining worldwide recognition for Scottish theatre.

In addition to the Scottish conventional theatre tradition, another complementary tradition emerged alongside the increasing significance of popular, political working class theatre companies.

During the 1970s, Scottland witnessed a growth in theatres, companies, and buildings that received funding, which improved the country's theatrical provision and infrastructure. Although this growth declined in the 1980s, the Scottish Arts Council continued to fund theatre and culture, maintaining optimism that persists to this day.

3.2 Contemporary Scottish Theatre

When examining the evolution of Scottish drama and the overall development of Scottish theater, it becomes evident that drama has significantly impacted theater. Moreover, contemporary Scottish theater heavily relies on its theatrical heritage.

Cameron argues in his research on Scottish theatre history that the typical contemporary Scottish play, if there is such a thing, will have a rambling structure and be centered around songs, sketches, and direct audience address. He suggests that these plays draw inspiration more from the national dramas of the early nineteenth century rather than from playwrights like Chekov, Brecht, or Pinter. This emphasizes the significance of both drama and theatre in the evolution of Scottish plays, challenging the notion that theatrical practice has a minimal influence.

All theatres that opened from the beginning of the 19th century were faced with the fact that only a Theatre Royal with governmental permission was allowed to produce spoken drama. Consequently, these new theatres

had to focus on musical theatre, showcasing favorite national airs, dances, Highlanders, bagpipe music, and tartans. They aimed to serve the national sentiment and primarily catered to the new urban working class. In contrast, the Theatres Royal entertained the middle classes and contributed to the so-called "London-taste." As a result, pantomimes and variety programs became Scotland's national theatre. This is evident in the continued dominance of working-class playwrights who have been able to develop a unique and distinctive style without conforming to traditional notions of a well-made play.

4. Theatre and National Inheritance

The understanding that these movements have originated from the Scottish people, who have always had a deep affection for popular forms of theater and music, suggests a strong bond between Scottish theater and culture.

4.1 Theatre and Politics

The arts play a crucial role in education and help shape well-rounded citizens. It is widely acknowledged that theatrical and dramatic elements are found in all societies, regardless of their level of complexity or sophistication.

The geography of the country has been significant in its growth as the sparse population is spread across a vast expanse, mainly in urban centers, but also in remote rural regions. This has led to the practice of touring theater groups throughout the nation. However, any theatrical boom that occurred was short-lived with the advent of cinema.

There are other reasons why drama and theatre should not be the dominant art forms. One reason is that drama is expensive and needs the support of a court or city for full development. In addition, Scottish art has been heavily influenced by English art unlike any other art form.

Not only has the theatrical tradition

in England been highly dependent on the whole country.

Evidence of theatrical entertainment in Scotland dates back to 1214, however, its decline in the 17th century can be attributed to the loss of patronage following the removal of James VI, who had been a supporter of the activities, and the relocation of the Court to London in 1603.

The text emphasizes that the continuous political and religious disputes led to an absence of stable social circumstances essential for consistent professional theatre. In the absence of backing from a prosperous and confident middle and upper class, professional acting troupes were incapable of enduring. Additionally, the prohibition on theatrical shows across the British Isles in 1640, coupled with the enactment of the Licensing Act in 1741, demonstrates how English politics profoundly affected Scottish theatre.

In the 19th century, Scottish cities and towns grew more dependent on England. The British Empire's prevailing English culture caused Scottish arts to retreat into Celtic mythology and other traditional forms of Scottish culture. London emerged as a major center for the theater industry, exporting its productions. As a result, touring London ensembles entertained Scottish audiences in various cities. Because of the dominance of English influence and taste, theatrical entertainment in Scotland was largely influenced by London, with the exception of local amateur and folk theater groups.

Despite the construction of numerous theatres and the establishment of theatre companies over time, there were still calls for a National Theatre. However, it should be emphasized that true independence for London was not achieved until the creation of CEMA in 1940 and the Scottish Arts Council, which acted as a relatively independent committee within the Arts Council of Great

Britain.

5. The Struggle for Independence

No matter how complex or unsophisticated a society is, theatrical and dramatic elements are always present 24.

Throughout its history, the theatre has served as a social institution, originating in ancient Greece. In Scotland, it has been utilized to convey national identity despite facing challenges in various realms such as society, economy, and politics.

5.1 The Concept of a National Theatre

When considering the rich history of Scottish theatre, it is remarkable that the aspiration to establish a national theatre in Scotland, with the purpose of developing, presenting, and touring exceptional performances while also showcasing Scottish theatre globally, was not realized until the 21st century.

Schiller had advocated for a national theatre in Germany, believing that the formal conventions of Greek tragedy were used to distance spectators from the events of the play and perceive ideal patterns behind everyday reality. Both Goethe and Schiller argued that drama should transform ordinary experience rather than create an illusion of real life. This idea of illusion was distant from the reality experienced by the Scottish audience through the plays presented by London companies.

The absence of a native drama tradition in Scotland led to the recognition that pantomimes and variety programmes served as the national theatre. It is a paradox that can be explained by the cultural dominance of England.

The Theatres Royal had exclusive permission to produce spoken drama, meaning all other forms of theatrical entertainment focused on musical theatre, dances, tartan, etc. This led to a series of plays with a Scottish theme or element. In contrast, the English theatre preferred wild romantic plays set in Scottish landscapes. They adopted and modified the Scottish cultural heritage, presenting

their versions to Scottish audiences through touring companies. This dominance also meant that Scots who wanted to act or write had to go to London instead of Edinburgh or Glasgow.

As a result, attempts to establish a National Theatre in Scotland failed, resulting in various forms of community or working-class theatre instead. These plays often reflected political concerns, particularly from a left-wing perspective.

The repeal of the Theatres Act in 1968 removed censorship on the stage, providing new opportunities that were particularly utilized by political theatre groups.

According to Maria DiCenzo, the power of popular political theatre lies in the connections formed between performers and audiences through indirect communication, comedy, music, and song. These features have evolved from early Scottish theatre endeavors and are now defining characteristics of modern Scottish theatre.

In the 1990s, confidence in Scotland's nation, society, and culture increased alongside economic growth. This boost in self-identification as an independent Scottish nation peaked with the reopening of the Scottish Parliament. In July 1999, Edinburgh welcomed its first parliamentary gathering since 1707.

This significant development has allowed Scotland to pursue cultural autonomy, as stated by Donald Dewar:

"In order to thrive in the 21st century, Scotland must nurture the creativity and resourcefulness of its entire population"32. This emphasizes the recognition of the vital role that arts and creativity play in a nation's progress.

According to the Scottish Arts Council, cultures are evaluated based on their arts. It is valued by society for its ability to not only create arts but also to interpret, understand, and appreciate them. As a result, the council has supported ongoing efforts to establish a National Theatre for Scotland. This includes commissioning, producing, and touring high-quality performances,

with the aim of representing Scottish theatre internationally.

The National Theatre was established in Glasgow in September 2003, fulfilling a vision. However, it is not confined to one place or organization. Instead, its focus is on touring productions that bring Scottish theatre to different cities, rural areas, and international venues. The emphasis is on creating an independent Scottish model, showcasing that the National Theatre of Scotland operates differently from London's South Bank model. This demonstrates pride in a country that has achieved political autonomy and cultural independence within the theatrical sector.

6. Conclusion

The growth of Scottish theatre has been closely linked to the growth of the nation, highlighting its role as a platform for expressing the desire for independence and exploring it within its own limitations.

There is evidence showing that the relationship between culture and politics is genuine and recognized.

Throughout its history, Scottish theatre has shown that it may not always have had a significant impact or importance. Nevertheless, it is undeniable that Scottish theatre does indeed exist. The present government's policies indicate their acknowledgment and adoption of the idea that theatre should engage with social and political issues.

Amidst periods of oppression and resignation, the arts and theatre have functioned as a source of diversion and distraction. Moreover, they have played a crucial role in fostering optimism and confidence, instilling the belief that the nation's theatrical history reflecting idealism has aided in the emergence of an independent Scotland or had a substantial impact.