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237 © the Author(S) 2019 M. Brown, Modernism and Scottish Theatre INDEX1 NUMBERS AND SYMBOLS Aeschylus 7:84 Scotland, 12, 16, 27, 37–40, The Oresteia, 79, 130, 132, 140 88–89, 91, 92, 93n7, 95, 105, The Suppliant Women, 117 109, 120, 121, 123, 125, 126, Aikenhead, Thomas, 111 147, 153, 161–164, 171, 188, Albee, Edward, 24, 78 198, 206–208, 207n6, 219–221, The Goat, or Who Is Sylvia?, 43, 87 226 Allam, Roger, 143n74 The Cheviot, The Stag and The Black Anderson, David, 27n129, 39 Black Oil, 12, 39–40, 105, Andrews, Benedict, 144 207n6 Angel-Perez, Elisabeth, 21 and Wildcat, 12, 16, 37–40, 88–89, Anouilh, Jean, 52, 66 91, 92, 109, 125, 153, Antigone, 21n100 161–164, 171, 188, 198, Anton, George, 221–223 206–208, 219–221, 226 Apollinaire, Guillaume, 20 The Arches, Glasgow, 41, 45, 226–233 A Archibald, David, 65 Abbey Theatre, Dublin, 182n166, Arnold, Andy, 41n83, 44, 48, 227, 205n2 233, 235, 236 Absurdism, 2, 48, 49 Arnott, Peter, 42n93, 114 Adam, Henry, 231 Arrabel, Fernando Adrian, Kane, 218, 218n65 Orison, 38 1 Note: Page numbers followed by ‘n’ refer to notes. © The Author(s) 2019 237 M. Brown, Modernism and Scottish Theatre since 1969, https://doi.org/10.1007/978-3-319-98639-5 238 INDEX Artaud, Antonin, 55–57, 66, 67 Beckett, Samuel, 3n8, 7, 24, 33, 42, Arts Theatre, London, 158n119, 48, 66, 78, 82, 106, 129, 146, 159n122 152, 184, 191, 193, 195, 199 Aurora Nova, 185 Footfalls, 78 Auteurism, 3, 6, 8–12, 17, 27, 59, Happy Days, 176 65–66, 68, 82–85, 132, 180, 187 Krapp’s Last Tape, 78 Ayckbourn, Alan, 75, 76 Waiting for Godot, 45, 60, 132, 159, 210n32 Bee Gees, The B How Deep Is Your Love, 174 Les Ballet C de la B, 182 Behn, Aphra, 32 Balzac, Honoré de, 66 Belgrade Theatre, Coventry, 43n102 Vautrin, 179n160 Bell, Barbara, 34–36 Banham, Martin Benjamin, Walter The Cambridge Guide to Theatre, Understanding Brecht, 12–13 10n48, 17n79, 59 Bentley, Eric Barba, Eugenio, 17 The Brecht Commentaries, 81n141, Barber, Samuel 83 Adagio for Strings, 174 Berg, Alban, 3n12 Barbican Centre, London, 181 Berkoff, Steven, 16n73, 17, 100, Barker, Howard, 1–4, 6, 11, 19–24, 102 27, 42, 78, 82, 114n1, 115, 126, Berne Mime Ensemble, 100 133–138, 141, 148, 167, 170, Best, Adam, 81, 82, 85 190, 194n189, 196, 198, 203 Beuys, Joseph, 184, 202 Arguments for a Theatre, 4n14, Bhabha, Homi 192n185 The Location of Culture, 107n61, The Castle, 192 123n21, 198n197 A Hard Heart, 7n29 Bieito, Calixto, 9, 83, 185 Lot and His God, 7n30 Big Brother, 167 The Power of the Dog: Moments in Billington, Michael, 10–11, 170 History & Anti-History, Binnie, John, 114 194n189 Birds of Paradise, 45 Scenes from an Execution, 7n30, Bissett, Cora, 235 11n53, 20n91, 139 Roadkill, 231 Victory, 22–23, 45 BITEF festival, Belgrade, 71 Bartók, Béla, 3, 19, 21, 195, 219 Blakemore, Michael, 16n73, 67, 68 Bath, Michael Bogarde, Dirk, 175 Reading Poetry: An Introduction, Boilerhouse Theatre Company, 146, 154n108 148 Bausch, Pina, 129, 186, 202 Bolger, Dermot Beaumarchis, Pierre-Augustin Caron Ulysses, 45 de, 66 Bond, Edward, 23n107, 141 INDEX 239 Borštnik Theatre Festival, Maribor, Brown, Ian (academic and poet), 30, 136n62, 144n78, 190n181 34, 35, 42n93, 65, 119 Bowie, David, 234n58 The Edinburgh Companion to Bral, Grzegorz, see Song of the Goat Scottish Drama, 97n26 (Teatr Pieśń Kozła) Scottish Theatre: Diversity, Language, Branagh, Kenneth, 142n71 Continuity, 30, 35 Braque, Georges, 2n5, 4n18, 25, 196 Brown, Ian (theatre director), 145n80 Brecht, Bertolt, 3, 6, 12–17, 27, Brown, Irina, 130n45, 138n64 37–38, 52, 60, 66 Brown, Mark, 11, 19n85, 72n88, and alienation techniques, 12–14 75n103, 77n116, 77n117, The Caucasian Chalk Circle, 16, 82n146, 84n160, 85n162, 16n75 86n168, 96n19, 99n33, 134n58, and gestus, 106 148n93, 191n182, 214n51, The Lindbergh Flight/The Flight Over 219n66, 219n69, 223n84 the Ocean, 16 Howard Barker Interviews Mother Courage and Her Children, 1980–2010: Conversations in 14 Catastrophe, 11, 19n85, and narrative realism, 12–15, 81, 82 134n58, 148n93 The Resistible Rise of Arturo Ui, Brown, Susan M. 16n73 Poems of Fernando Pessoa, 20n93 Señora Carrar’s Rifles, 15n72 Bryden, Bill The Seven Deadly Sins, 16 The Big Picnic, 42 The Visions of Simone Machard, Büchner, Georg, 66, 150, 195, 197 16n73 Danton’s Death, 60, 92–94 Breen, Phillip, 68n68, 76n112, Woyzeck, 142, 151, 195 79n137 Burgess, Anthony Bridie, James, 36 A Clockwork Orange, 76 Briers, Richard, 142 Burke, Gregory, 114 Bristol, University of, 22–23, 115n2, Black Watch, 207, 207n4, 207n5, 116, 124n23, 145, 155 207n6, 235 production of Howard Barker’s Burnett, Cliff, 84–85 Victory, 22–23 Burns, Robert, 31, 35 Britannia Panopticon theatre, Glasgow, Tam o’ Shanter, 98, 101, 110 5n25 Bush Theatre, London, 148n95 British Council, 71, 126 Butlin, Ron Bronovitskaya, Anna, 2n2 The Sound of My Voice, 76 Brook, Peter, 10, 41n81, 178, 181, Butterworth, Jez 202, 226 Mojo, 156 The Mahabharata, 42, 128n43 Byre Theatre, St Andrews, 36 Brown, George Douglas Byrne, John, 114, 127, 154, 156, 160, The House with the Green Shutters, 189, 210 91 Tutti Frutti, 207 240 INDEX C Chamberlain, Franc Cabaret Voltaire, see Dada and Dadaism Jacques Lecoq and the British Theatre, Calder, John, 37n60, 42 18 Callinicos, Alex, 24–25 Charles II, King of England, Scotland Calvinism (and the Scottish and Ireland, 32n19, 34n34 Reformation), 31–36, 107, 109, Cheek by Jowl, 71 123n21, 144, 221 Chekhov, Anton, 21n97, 99, 126, 160 Cameron, Alasdair, 212 Chéreau, Patrice, 66 Cameron, Ian, 17n78, 45 Chetty, Nalini, 48 Campbell, Donald, 30, 33n30, 35, Chin, Unsuk, 200 148, 155, 160 Churchill, Caryl, 24, 79, 82 Playing for Scotland: A History of the A Number, 117, 130 Scottish Stage 1715–1965, 30, Citizens Theatre, Glasgow, 1, 5n20, 6, 33n30, 35 7, 11–12, 15, 16, 27, 29n1, 30, Camus, Albert, 2n8 36–38, 40, 46, 51–92, 94, Cannon, Andy, 45 95n16, 96, 104n52, 109, 111, Carroll, Lewis 113, 119–122, 208n11, 209n27, Alice’s Adventures in Wonderland, 212n40, 213n47, 221n77, 226, 163n133, 167, 174n143, 232, 233, 235 196n193, 199, 233n53 Clark, Michael, 133, 141 Carter, Pamela, 45, 202 Clifford, Jo, 42n93, 114, 117, 155 Interiors, 176n150 The Gospel According to Jesus, Queen Paul Bright’s Confessions of a of Heaven, 155n110 Justified Sinner, 74, 125n33, Inês de Castro, 155n110 176, 187, 208, 209, 213n47, Cocteau, Jean, 66 215, 216, 219–223 Coleman, Mark, 7n29 Saturday Night, 176n150 Collins, Phil Slope, 125n33, 176, 177, 187 Against All Odds, 24n116 Tomorrow, 176n150 Communicado, 6, 11, 17–19, 27, 30, Castorf, Frank, 181–182 46, 64, 88–89, 91–113, 123, Catherine Wheels, 11, 45, 111, 233 124, 163, 188, 189, 202, Cavendish, Dominic, 215n56 210n33, 212, 215n57, 221n79, CCA (Centre for Contemporary Arts, 225n2, 233 previously Third Eye Centre), Brave, 97 Glasgow, 41 Carmen – The Play, 91 Celan, Paul, 20 Robotnik, 91 Céline, Louis-Ferdinand, 19 Tam o’ Shanter, 98, 110, 215n57 Central School of Art and Design, Zlata’a Diary, 97 London, 176, 183 Company of Wolves, 5, 23n114, Centre for Contemporary Arts, 106n57 previously Third Eye Centre Constructivism, 2 (CCA), Glasgow, 145n81, 226 Copi Chaillet, Ned, 63 The Homosexual, 176 INDEX 241 Corrie, Joe, 36 Daniels, Jeff, 143n75 Hewers of Coal, 36n51 Davetian, Benet, 62 In Time O’ Strife, 36n51, 215n55 Davis, Bette, 179 Coveney, Michael, 52–54, 57, 58, Dawson Scott, Robert, 97n27 60–62, 66n59, 68, 69, 71, 73, 89 Demarco, Richard, 37n60, 42, 128, The Citz: 21 Years of the Glasgow 129, 184, 202 Citizens Theatre, 52, 53, 57, Diaghilev, Sergei, 69n75, 71 58, 60, 66n59, 68, 69, 71, 73 Dibdin, James, 35 Coward, Noël Dibdin, Thom, 86n166, 217–218 Semi-Monde, 62 Dickens, Charles, 79 The Vortex, 66n60 Dickie, Kate, 217, 218 Cox, Michael, 209n16 Diderot, Denis Cramer, Steve, 42n93, 232 The Nun, 73 Creative Scotland, 98n29, 177, Dight, Angie, 5n24 233n53, 234 Dogstar Theatre Company, 206 Crichton, Mamie, 53 Donald, Simon, 145, 146 Critics’ Awards for Theatre in Scotland Donmar Warehouse, London, 142n72 (CATS), 43n101, 43n102, 49, Donnellan, Declan, see Cheek by Jowl 79n138, 79n139, 81n142, 130 Dostoyevsky, Fyodor, 79 Cromwell, Oliver, 32 Crime and Punishment, 79, 86, Cronin, Anthony, 24n115 103, 105, 210n32 Samuel Beckett: The Last Modernist, DOT Theatre, Istanbul, see Daltaban, 24n115 Murat Crouch, Tim, 221, 227, 228, 230 Downie, Ewan, see Company of Shopping for Shoes, 228n16 Wolves Crystal, Ben, 110 Drennan, George, 111 Crystal, David, 110 Dr Seuss Cubism, 2, 4–5, 218 The Lorax, 116 Cullen, Mike, 114, 210 Drum Theatre, Plymouth, 162n132 Cuneen, Paddy, 84n158 Drummond, Rob, 210, 227, 228, Cuthbertson, Iain, 52 230, 231n34, 232 Bullet Catch, 227, 228, 230 Mr Write, 209, 227, 228 D Dumas, Alexandre, 67, 179 Dada and Dadaism, 2, 5, 7, 197, The Lady of the Camellias, 43, 60, 219–220, 222, 228 179n162 and Cabaret Voltaire, 6, 228 The Three Musketeers, 87 Dafoe, Willem, 10 Dunbar, Karen, 48 Dahl, Roald Dundee Rep Theatre, 16, 40, 79n138, Charlie and the Chocolate Factory, 86, 87, 130 116 Dürrenmatt, Friedrich, 52 Daltaban, Murat, 49 DV8 Physical Theatre, see Newson, DOT Theatre, 130 Lloyd 242 INDEX E Preparadise Sorry Now, 183n169 Eagleton, Terry Featherstone, Vicky, 47, 70n81, 134, The Illusions of Postmodernism, 139n66, 153n104, 205–208, 196n194 210–215, 217, 223 Eatough, Graham, 22–23, 23n114, Fellini, Federico, 8 208n8 Ferguson, Brian (journalist), 214n50 How to Act, 210 Ferguson, Lorna, 176 L’École Internationale de Théâtre Fifth Estate Theatre Company, 148 Jacques Lecoq, 17, 103 Filipovic, Zlata, 97 Edinburgh Festival Fringe, 36, 41, Finborough Theatre, London, 41n85, 41n86, 42n92, 46, 70, 161n127, 161n128 87n170, 93, 99, 124, 129, 133, Findlay, Bill, 30 138n64, 139n66, 140n67, 141, A History
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