What nowadays is known as “Scottish National Theatre” did not exist one hundred years ago. Though there were a high number of theatres in Scotland at this time, the programs performed on their stages were entirely dominated by English companies, English actors, English playwrights and directors. In general they were dominated by “English Theatre” in the broadest sense. Even “traditionally Scottish topics”, such like Rob Roy, The Lady of the Lake and the like were performed on stage as if one would present a kind of a tourist attraction. The Scots could by far not find their history presented, as they understood it in these productions, for they were again London-based. However, through the economical situation in Scotland at that time and the complete lack of a dramatic tradition (like there has been one in England for several centuries), it was nearly impossible for emerging Scottish Playwrights and Companies to establish themselves. That hopeless situation changed in the first decades of the 20th century. Scotland felt a strong need for an independent, national identity and this should affect the theatre as well. Ambitions to follow the example of Ireland and to become theatrically independent lead to a serious effort in creating a national theatre. An important role in the formation of the lively Scottish theatre scene one can find today played the activity of amateur theatre, which was established by working-class communities. An amateur theatre movement had risen in Britain during the second half of the 19th century and it strongly influenced the industrial parts of Scotland (namely Glasgow) in the 1920s, 30s and 40s.
Table of Contents
Introduction
The Scene
The Scottish National Players
Glasgow Unity Theatre 1941-1951
Conclusion
Objectives and Topics
This essay explores the historical development and contribution of amateur theatre movements in Scotland during the mid-20th century, specifically examining how working-class communities utilized theatre as an instrument for social expression and national identity.
- The socio-political context of early 20th-century Scottish theatre
- The emergence and influence of the Scottish Community Drama Association
- Analysis of The Scottish National Players as a pioneer of national drama
- The rise, artistic contribution, and decline of the Glasgow Unity Theatre
- The influence of James Bridie on the professionalization and evolution of Scottish theatre
Excerpt from the Book
The Scottish National Players
The goal of founding the “Scottish National Players” was already set before the first World War through the initiative of a worker’s club, called the St Andrew Society of Glasgow. However, for obvious circumstances, it should take till January 1921, when the Players eventually gave their first performance in the Royal Institute Glasgow. They did well and in their success they saw a chance to fulfil the plans of the St Andrew Society.
The Players worked very hard to achieve their enthusiastic aims. The role of the Players as a supporter of local drama should become a very important one, especially because they claimed, that a national drama could not be restricted to one place, but had to be carried out to the whole country. They did so by touring all around Scotland, visiting Oban in 1922, Bridge of Allan, Perth and Dunoon in 1924, Aberdeen and Fife in 1927, and many other places. The quality of the 131 plays they presented throughout their existence, however, was more or less trivial, as the dramatists were amateurs as well as the actors. The majority of their plays are set in rural places (especially the Highlands) and avoid contemporary, urban issues.
Chapter Summaries
Introduction: This chapter outlines the historical dependency of Scottish theatre on London-based touring companies and introduces the amateur theatre movement as a vital response to the need for a distinct national identity.
The Scene: This section details the founding of the Scottish Community Drama Association and explains how the socio-political climate in Glasgow fostered a unique, working-class driven popular drama tradition.
The Scottish National Players: This chapter examines the objectives and touring efforts of the Scottish National Players, acknowledging their role as a precursor to a national theatre despite the varying quality of their productions.
Glasgow Unity Theatre 1941-1951: This part focuses on the Glasgow Unity Theatre, highlighting its origins in socialist labor groups, its pursuit of stage realism, and the eventual political and financial challenges that led to its closure.
Conclusion: This final chapter synthesizes the findings, arguing that while the movement was a temporary phenomenon, it laid the essential groundwork for contemporary Scottish theatre by creating a space for grassroots cultural expression.
Keywords
Scottish Theatre, Amateur Theatre, Popular Drama, Scottish National Players, Glasgow Unity Theatre, Working-class, National Identity, James Bridie, Theatre History, Social Instrument, Realism, 20th Century, Community Drama, Cultural Development, Scotland.
Frequently Asked Questions
What is the core subject of this paper?
The paper examines the role and significance of amateur theatre movements in Scotland between 1920 and 1951, focusing on how these groups contributed to the development of a national dramatic identity.
What are the primary thematic areas?
The themes include the socio-political influence of the working class, the shift from amateurism to professional theatre, and the impact of nationalistic versus socialist ideals on playwriting and performance.
What is the primary objective of the study?
The objective is to analyze how amateur practitioners shaped the mid-century Scottish theatre landscape and to understand the historical conditions that facilitated both their rise and eventual decline.
Which methodology is employed?
The author employs a historical analysis approach, focusing on the development and organizational history of specific theatre groups rather than providing literary criticism of individual plays or performances.
What is covered in the main body?
The main body details the evolution of the Scottish Community Drama Association, provides in-depth case studies of the Scottish National Players and the Glasgow Unity Theatre, and discusses the influence of industry and politics on these groups.
Which keywords define this work?
Key terms include Scottish Theatre, Popular Drama, National Identity, Working-class, James Bridie, and Theatre History.
How did the Glasgow Unity Theatre differ from previous amateur groups?
Unlike earlier groups that often focused on rural or traditional themes, the Glasgow Unity Theatre embraced realism, political activism, and a socialist philosophy to portray contemporary urban life in industrial Glasgow.
Why does the author argue that these groups were ultimately temporary phenomena?
The author suggests that the groups faced an inherent contradiction: to professionalize would destroy their working-class identity and amateur spirit, while remaining strictly amateur made them financially and structurally vulnerable to political and economic shifts.
- Quote paper
- Guido Böhm (Author), 2001, In what ways did amateur practitioners contribute to the development of mid-century theatre in Scotland?, Munich, GRIN Verlag, https://www.grin.com/document/64807
