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Author Cole, Penelope Rae Walrath
Title Scotland on stage: Images of national identity in the plays of Joanna Baillie, Ena Lamont Stewart and Liz Lochhead
Descript 323 p
Note Source: Dissertation Abstracts International, Volume: 68-03, Section: A, page: 0796
Adviser: James Symons
Thesis (Ph.D.)--University of Colorado at Boulder, 2007
This dissertation focuses on the contribution of three Scottish women playwrights to the discourse on Scottish national identity. The works of Joanna Baillie (1762-1851), Ena Lamont Stewart (1912-2006), and Liz Lochhead (b. 1947) provide the foundation for this discussion
The first chapter is an exploration of theories of nationalism and how national identity is postulated. These theories are then applied to an examination of the history of Scottish theatre and the construction of national identity on the stages of Scotland
Chapter Two is an examination of the 1810 published version of The Family Legend by Joanna Baillie. This exploration of the text focuses on uncovering Baillie's original intent for the piece in order to unlock the meaning found within it for a reader. The play as a performed text delivered the images of Scotland in a potent and immediate manner to the citizens of Edinburgh and the rest of Scotland. In Chapter Three I compare the published text with accounts of the 1810 performance which I reconstructed based on letters between Baillie and Scott and other contemporary sources
In Ena Lamont Stewart's work we find a personal negotiation of the national space and an examination of the gritty and powerful interpersonal relationships of women in the masculine-oriented society of mid-twentieth century Scotland. In the fourth chapter I explore Starched Aprons (1945) and Men Should Weep (1947). A comparison of the two scripts and productions provides insight into the dynamic nature of Scottish national identity
In Chapter Five, Liz Lochhead's Mary Queen of Scots Got Her Head Chopped Off (1987) and Jock Tamson's Bairns (1990), a performance piece created in collaboration with Communicado Theatre Company, are examined. In these two pieces the images of Scotland that were validated in The Family Legend nearly two hundred years earlier are tested and found empty of meaning, seen now to stunt the growth of Scottish culture and identity
The changing images of Scottish national identity found in these works illustrate how these playwrights have influenced what it means to be Scottish over the centuries, both contributing to and subverting the male notions of national identity
School code: 0051
DDC
Host Item Dissertation Abstracts International 68-03A
Subject Theater
Literature, English
0465
0593
Alt Author University of Colorado at Boulder
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