Abstract
The opening of a new Scottish Parliament following devolution in 1998 focused a re-articulation of Scotland’s place and position with regard to the United Kingdom and beyond. An already existing inclination to use the poetry of eighteenth-century Ayrshire poet Robert Burns to voice a uniquely Scottish sounding identity served for this critical moment of national self-interpellation. To some, the tendency had caricatured Scottish rustic life with ‘pathos, whimsicality, sentimentality, nostalgia or dialect humour’, but in 1999 the singing of the poet’s ‘A Man’s A Man for a’ That’ at the opening of Parliament seemed to condense, unite and channel a disparate national identity performed through an act of vocal solidarity.1 The act resonated with the Scottish oral tradition, calling to mind post-colonial writer Edward Braithwaite’s claim that the oral exchange of ‘nation language’, being of the ‘breath’, creates a live continuum of meaning between speaker and audience.2 Donald Dewar’s address, with its references to the ‘shout of the welder’, ‘the discourse of the Enlightenment’, ‘the speak of the Mearns’, and ‘the wild cry of the Great Pipes’ carefully selected the sounds and strains of distinctly Scottish voices and traditions, that have resonated within Scotland’s borders and beyond. In so doing, Scotland’s first First Minister suppressed the nation’s internal histories of dialogic tensions that have centred around the use of Scots, Gaelic and standard English, and the sense of fracture in Scottish identity well documented in historical and cultural scholarship.3
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Notes
See Hugh MacDiarmid, ‘Robbie Burns: His Influence’, Selected Essays of Hugh MacDiarmid (Oakland: University of California Press, 1970), pp. 177–82 (p. 180).
Edward Braithwaite, ‘Nation Language’, in The Routledge Language and Cultural Theory Reader, ed. Lucy Bourke, Tony Crowley and Alan Girvin (London and New York: Routledge, 2000) pp. 310–16 (p. 311).
John Macmurray, Persons in Relation (London: Faber & Faber, 1961), p. 15;
John McGrath, Naked Thoughts That Roam About, ed. by Nadine Holdsworth (London: Nick Hern, 2006), p. 210;
Edwin Muir, Scott and Scotland: The Predicament of the Scottish Writer (London: Routledge, 1936), pp. 17–21;
James Kelman, ‘Vernacular’, Brick: A Literary Journal, 51 (1995), pp. 68–9.
Scottish Executive, Creating Our Future … Minding Our Past: Scotland’s National Cultural Strategy (Edinburgh: Scottish Executive, 2000), http://www.scotland.gov.uk [accessed 30 January 2009].
Robert Crawford, Identifying Poets: Self and Territory in Twentieth Century Poetry (Edinburgh: Edinburgh University Press, 1993), p. 13; Christopher Harvie explores the tensions between local and global tendencies in Scottish history in Scotland and Nationalism: Scottish Society and Politics, 1707 to the Present (London: Routledge, 2004) (1977), p. 5.
Scottish Arts Council, Drama Strategy 2002–7 (Edinburgh: Scottish Arts Council, 2002), p. 3.
Philip Howard, in Made in Scotland: An Anthology of New Scottish Plays by Mike Cullen, Simon Donald and Sue Glover (London: Methuen, 1995), pp. xi, xiii.
See Trish Reid, ‘“From Scenes Like These Old Scotia’s Grandeur Springs”: The National Theatre of Scotland’, Contemporary Theatre Review, 17 (2007), 192–201 (p. 192).
Cairns Craig, The Modern Scottish Novel: Narrative and the National Imagination (Edinburgh: Edinburgh University Press, 1999), p. 77.
David Greig, The Cosmonaut’s Last Message to the Woman he Once Loved in the Former Soviet Union in Plays 1 (London: Faber and Faber, 2002), pp. 209–301 (p. 298). Subsequent references to the play are cited in text.
David Greig, Pyrenees (London: Faber and Faber, 2005), p. 13. Subsequent references to the play are cited in text.
See Neal Ascherson, Stone Voices: The Search for Scotland (London: Granta, 2003), p. 137.
David Murison, ‘The Future of Scots’, Whither Scotland, edited by Duncan Glen (London: Gollancz, 1971), p. 178.
Gregory Burke, Gagarin Way (London: Faber & Faber, 2001), p. 11. Further references will be given in the text.
Pierre Bourdieu, Language and Symbolic Power, ed. by John B. Thompson, trans. by Gino Raymond and Matthew Adamson (Cambridge: Polity, 1991), p. 86.
J. K. Chambers, ‘World Enough and Time: Global Enclaves of the Near Future’, American Speech, 75 (2000), p. 287.
Following its first production at the Traverse in 2001, Gagarin Way transferred to the National Theatre, followed by the West End in 2002. It has had twenty-two subsequent productions worldwide in seventeen languages. See Aaron Kelly and Dan Rebellato for discussion of the globalisation of Scottish literature and voices. Aaron Kelly, Irvine Welsh (Manchester: Manchester University Press, 2005), p. 30;
Dan Rebellato, ‘Playwriting and Globalisation: Towards a Site-unspecific Theatre’, Contemporary Theatre Review, 16 (2006), 97–113 (p. 97).
David McCrone, Angela Morris and Richard Kiely, Scotland the Brand: the Making of Scottish Heritage (Edinburgh: Edinburgh University Press, 1995), p. 5.
Tom Nairn, The Break-Up of Britain (London: Verso, 1981), p. 123.
Tom Devine, The Scottish Nation, 3rd edn (London: Penguin 2012), p. 360.
Rebecca Robinson, ‘The National Theatre of Scotland’s Black Watch’, Contemporary Theatre Review, 22 (2012), 392–9 (p. 393).
See Joanne Zerdy, ‘Fashioning a Scottish Operative: Black Watch and Banal Theatrical Nationalism on Tour in the US’, Theatre Research International, 38 (2013), 181–9 (p. 182).
Gregory Burke, Black Watch (London: Faber & Faber, 2007), p. 3. Further references will be given in the text.
Lib Taylor, ‘The Experience of Immediacy: Emotion and Enlistment in Fact-based Theatre’, Studies in Theatre and Performance, 31 (2011), 223–37.
Vicky Featherstone, ‘Foreword’, in Gregory Burke, Black Watch (London: Faber & Faber, 2007), p. xvi.
Tom Leonard, ‘Introduction’ in James Robertson (ed.), A Tongue in Yer Heid. A Aelection of the Best Contemporary Short Stories in Scots (Edinburgh: B & W Publishing, 1994), p. xiii.
David Greig, Damascus (London: Faber and Faber, 2007), p. 22. Further references are cited in text.
See for instance, Jo Robinson, ‘Becoming More Provincial? The Global and the Local in Theatre History,’ New Theatre Quarterly, 23 (2007), 229–40; Dan Rebellato, ‘Playwriting and Globalisation’; Janelle Reinelt, ‘Performing Europe’.
David Greig, The Bacchae (London: Faber and Faber, 2007), pp. 8–9. Subsequent references are cited in text.
Neil Murray, qtd in Dan Rebellato, ‘National Theatre of Scotland: The First Year’, Contemporary Theatre Review, 17 (2007), 213–18 (p. 213).
Author information
Authors and Affiliations
Copyright information
© 2015 Margaret Inchley
About this chapter
Cite this chapter
Inchley, M. (2015). Migration and Materialism: David Greig, Gregory Burke and Sounding Scottish in Post-devolutionary Voicescapes. In: Voice and New Writing, 1997–2007. Palgrave Macmillan, London. https://doi.org/10.1057/9781137432339_4
Download citation
DOI: https://doi.org/10.1057/9781137432339_4
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-49241-1
Online ISBN: 978-1-137-43233-9
eBook Packages: Palgrave Theatre & Performance CollectionLiterature, Cultural and Media Studies (R0)