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Experimental Theatre in Scotland

  • Alasdair Cameron

Abstract

Philip Prowse, the distinguished designer and director and member of the triumvirate that runs the Glasgow Citizens’ Theatre, once quipped that he only went to the theatre in London to keep ‘au courant with what is deja vue’ (Prowse). Until recently this could have been dismissed as bravado; certainly not an accurate reflection of the state of British Theatre, as London had always been, indisputably, the centre of British Theatre. Anyone wishing to sample a whole range of new theatre work, or to experience fresh approaches to staging would have needed to stir no further north than London’s Round House or further south than the Oval House. While it is true that some theatre companies like Impact or Welfare State chose to create highly-acclaimed work outside London, in Leeds and in the Lake District respectively, even they needed to show their work in the capital in order to secure funding and critical recognition. Very occasionally a company like the Royal Exchange in Manchester or the Glasgow Citizens’ would forge a distinctive style which set it apart from the amorphous mass of ‘provincial’ theatres.

Keywords

Performance Artist Experimental Theatre National Review Mainstream Theatre Dangerous Theatre 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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References

Unpublished

  1. Havergal, Giles. A talk at the International Federation for Theatre Research Conference in Glasgow, August 1985.Google Scholar
  2. Interviews and conversations with Christine Hamilton, Deputy Director of the Scottish Arts Council; Nikki Milican; Roberta Doyle, Press and Publicity Director of Scottish Ballet; Christopher Reece-Bowen, Press and Publicity Director Tramway; Neil Wallace, Director of Tramway; Alan Lydiard Artistic Director of TAG Theatre Company; Mary Brennan, Dance and Performance Art Critic of The Glasgow Herald.Google Scholar
  3. Milican, Nikki. Quoted in an unpublished report on the Third Eye’s commissioning policy undertaken in 1991.Google Scholar

Publications

  1. Myerscough, John. The Economic Importance of the Arts In Glasgow. London: Policy Studies Institute, 1989.Google Scholar
  2. Prowse, Philip. Quoted in Michael Coveney, The Citz, p. 120. London: Nick Hern Books, 1990.Google Scholar
  3. Scottish Arts Council. The System Three poll on attitudes to the Arts in Scotland. Glasgow: Scottish Arts Council, October 1991.Google Scholar

Copyright information

© Theodore Shank 1996

Authors and Affiliations

  • Alasdair Cameron
    • 1
  1. 1.University of GlasgowUK

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