Papers by Paula M Śledzińska
Journal of Irish and Scottish Studies, 2020
is one of the most prolifi c and successful Scottish playwrights of the last two decades. He co-f... more is one of the most prolifi c and successful Scottish playwrights of the last two decades. He co-founded Suspect Culture theatre company and served as National Theatre of Scotland's fi rst Dramaturg. In 2016 he was appointed as Artistic Director of the Royal Lyceum Theatre. Few contemporary artists match the variety and extent of his contribution to the development cultural scene in Scotland. He is interviewed during last-minute rehearsals at the Citizens Theatre, on the cusp of the National Theatre of Scotland's tenth anniversary season. He speaks on a range of subjects, notably the Scottish stage as well as the politics of language and identity.
International Journal of Scottish Theatre and Screen, Dec 7, 2017
of theatre is the very essence of its complexity and potential. 3 The first ten years of the NTS'... more of theatre is the very essence of its complexity and potential. 3 The first ten years of the NTS's existence have proven that the company places a lot of emphasis on various modes of expression in their innovative, frequently site-specific performances. Music in particular appears as a powerful factor in their work and an exploration of the musical mode, (particularly song), reveals that it is used not only as an amplifier of powerful emotions, but as a mode of communication enabling discursively constructed meanings to be conveyed on the level of sound. Drawing on recent developments in social-semiotics this article explores musical discourses visible in one of NTS's most successful musical plays, Glasgow Girls. It argues that music in this production actively contributes to the theatre's critique of old boundaries and national iconographies, offering a bold take on the global circumstances influencing the formation of 'Scottish' identities today. Discourses surrounding the play are initially explored, highlighting ideological undercurrents shaping its representation of immigration and Scottish identity. The article then moves on to the examination of the musical sphere of the play, revealing discursive meanings conveyed in the piece on the level of sound. Together, the analyses offer an interpretation of the Glasgow Girls musical suggesting that the concepts proposed on the national stage may be more subversive and radical than they initially seem. Glasgow Girls, written by Cora Bissett and David Greig, is a musical play based on real events which attracted public attention in 2005. The play has gained significant critical and popular acclaim with reviewers praising its 'explosive energy and political passion' 4 and referring to it as 'awe-inspiring' 5 as well as 'strong, gritty, street-wise and unashamedly polemical'. 6 Indeed, in the words of Mark Brown, '[n]ot, perhaps, since 1973-when John McGrath and his 7:84 theatre company staged their legendary play The Cheviot, The Stag and the Black Black Oil-has Scottish musical theatre packed a political punch as hard as Glasgow
Studies in Scottish literature, 2018
For centuries, theatre has provided a space for a discussion of social, cultural and political af... more For centuries, theatre has provided a space for a discussion of social, cultural and political affairs. The link between theatre and politics is of a particularly critical kind, as it is often within the dramatic texts, and on the stage, that the turmoil of revolutionary transformations, historical tragedies, and future visions were portrayed or challenged, and the shapes and images of communities, or indeed nations, explored. 1 The urge to engage in drama on a national level is well articulated by Walter Scott himself who argues that "the infancy of nations" is "as prone to this pastime as that of individuals." 2 To paraphrase his words using psychoanalytic theory, the inherent inclination of human beings for playful enactment of early fantasies is reflected in the dramatic exploration of possible political realities. 3 Heroes of the past and champions of the future were thus brought together in a newly imagined national milieu, offering meaningful insights into the long-established reality of the uneasy communal self. Scottish National Drama is a genre based primarily on the adaptations of Scott's Waverley Novels. While most nineteenth-century European national theatres aimed to refine the artistic tastes of the society or incite to a struggle for independence, adaptations of Scott's works became involved in the construction of a new concept of "Scottishness" within the British Empire. 4 Considering the ambiguities surrounding the question of Scottish
In 2016 the National Theatre of Scotland (NTS) celebrated its tenth anniversary. Since its inaugu... more In 2016 the National Theatre of Scotland (NTS) celebrated its tenth anniversary. Since its inaugural performances of Home the company has contributed substantially to the shaping of Scotland’s cultural landscape. Through its structure of a collaborative, touring theatre without walls, the NTS has challenged traditional perceptions of national theatres as elitist monuments of national culture. Nevertheless, although much has been written and said about the political and cultural factors underlying its establishment (Agnew 2000; Hamilton and Scullion 2003); Leach 2007; Reid 2007), messages conveyed in the company’s repertoire have received less scholarly attention. This paper explores the NTS’s discursive treatment of contemporary ‘Scottish’ identities – their character and relevance – in the broader context of the national and transnational imagining. Using methodology grounded in multimodal discourse analysis, it investigates meanings conveyed in the NTS musical, Glasgow Girls (2012...
Studies in Scottish literature, 2018
For centuries, theatre has provided a space for a discussion of social, cultural and political af... more For centuries, theatre has provided a space for a discussion of social, cultural and political affairs. The link between theatre and politics is of a particularly critical kind, as it is often within the dramatic texts, and on the stage, that the turmoil of revolutionary transformations, historical tragedies, and future visions were portrayed or challenged, and the shapes and images of communities, or indeed nations, explored. 1 The urge to engage in drama on a national level is well articulated by Walter Scott himself who argues that "the infancy of nations" is "as prone to this pastime as that of individuals." 2 To paraphrase his words using psychoanalytic theory, the inherent inclination of human beings for playful enactment of early fantasies is reflected in the dramatic exploration of possible political realities. 3 Heroes of the past and champions of the future were thus brought together in a newly imagined national milieu, offering meaningful insights into the long-established reality of the uneasy communal self. Scottish National Drama is a genre based primarily on the adaptations of Scott's Waverley Novels. While most nineteenth-century European national theatres aimed to refine the artistic tastes of the society or incite to a struggle for independence, adaptations of Scott's works became involved in the construction of a new concept of "Scottishness" within the British Empire. 4 Considering the ambiguities surrounding the question of Scottish
Journal of Irish and Scottish Studies, 2020
David Greig is one of the most prolific and successful Scottish playwrights of the last two decad... more David Greig is one of the most prolific and successful Scottish playwrights of the last two decades. He co-founded Suspect Culture theatre company and served as National Theatre of Scotland's first Dramaturg. He has been recently appointed as Artistic Director of the Royal Lyceum Theatre. Few contemporary artists match the variety and extent of his contribution to the development cultural scene in Scotland. He is interviewed during last-minute rehearsals at the Citizens Theatre. On the cusp of the National Theatre of Scotland's tenth anniversary season, he speaks on a range of subjects, notably the Scottish stage as well as politics of language and identity.
Scotland in Europe Conference IV
Institute of English Studies, ul. Hoża 69, Warszawa
26th-28th ... more Scotland in Europe Conference IV
Institute of English Studies, ul. Hoża 69, Warszawa
26th-28th September, 2018
Studies in Scottish Literature: Vol. 44: Iss. 2, 37–50
'Reworking Walter Scott', The Royal S... more Studies in Scottish Literature: Vol. 44: Iss. 2, 37–50
'Reworking Walter Scott', The Royal Society of Edinburgh, The Centre for Scottish Culture, University of Dundee, 31/03 - 02/04/17
National Theatres have since their inception run a certain risk of being appropriated by national... more National Theatres have since their inception run a certain risk of being appropriated by nationalist and xenophobic forces. Globalization and European integration provoke political, economic and cultural nationalism as a counter-reaction, either as a nostalgic cry for safety and predictability, derived from an idealized idea of the past, or as an obsession with the identity that prompts all sorts of exclusivist delineations and ultimately a self-defeating selfenclosure. In some cases (…) [It] appears as cultural conservatism, obsessed with the imposition of national identity despite truncated traditions.
“REGIONAL AND WORLD LITERATURES: NATIONAL ROOTS AND TRANSNATIONAL
ROUTES IN SCOTTISH LITERATURE ... more “REGIONAL AND WORLD LITERATURES: NATIONAL ROOTS AND TRANSNATIONAL
ROUTES IN SCOTTISH LITERATURE AND CULTURE FROM THE 18TH CENTURY TO OUR
AGE”, ESSE Galway 22-26 August 2016
Place and Space in Scottish Literature and Culture, 8-10 October 2015, University of Gdańsk
The Canadian Journal of Irish Studies Vol. 39, No. 1, LANDSCAPES: PLACES OF MEMORY, SUBVERSIVE SPACES, AND BOUNDARY CROSSINGS (2015), pp. 118-141
Drafts by Paula M Śledzińska
Intrenational Journal of Scottish Theatre and Screen, 2017
https://ijosts.ubiquitypress.com/articles/abstract/261/
In 2016 the National Theatre of Scot... more https://ijosts.ubiquitypress.com/articles/abstract/261/
In 2016 the National Theatre of Scotland (NTS) celebrates its tenth anniversary and, since its inaugural performances of Home, the company has contributed substantially to the shaping of Scotland's cultural landscape. Through its structure of a collaborative, touring theatre without walls, the NTS has challenged traditional perceptions of national theatres as elitist monuments of national culture. Nevertheless, although a lot has been written and said about the political and cultural factors underlying its establishment, 1 messages conveyed in the company's repertoire have received less scholarly attention. This paper explores the NTS's discursive treatment of contemporary " Scottish " identities – their character and relevance – in the broader context of the national and trans-national imagining. Using methodology grounded in multimodal discourse analysis, I investigate meanings conveyed in the play arguing that the popular piece is more than an " unashamedly " positive expression of " political populism ". 2 Theatre offers a fusion of various semiotic stimuli which help to convey meanings on various levels. Indeed, in a recent collection of works entitled Theatre, Performance and Cognition: Languages, Bodies and Ecologies, Barbara Dancygier suggests that the multimodality of theatre is the very essence of its complexity and potential. 3 The first ten years of the NTS's
Forthcoming in the Journal of Irish and Scottish Studies/ RIISS, University of Aberdeen
David G... more Forthcoming in the Journal of Irish and Scottish Studies/ RIISS, University of Aberdeen
David Greig is one of the most prolific and successful Scottish playwrights of the last two decades. He co-founded Suspect Culture theatre company and served as National Theatre of Scotland's first Dramaturg. He has been recently appointed as Artistic Director of the Royal Lyceum Theatre. Few contemporary artists match the variety and extent of his contribution to the development cultural scene in Scotland. He is interviewed during last-minute rehearsals at the Citizens Theatre. On the cusp of the National Theatre of Scotland's tenth anniversary season, he speaks on a range of subjects, notably the Scottish stage as well as politics of language and identity.
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Papers by Paula M Śledzińska
Institute of English Studies, ul. Hoża 69, Warszawa
26th-28th September, 2018
'Reworking Walter Scott', The Royal Society of Edinburgh, The Centre for Scottish Culture, University of Dundee, 31/03 - 02/04/17
ROUTES IN SCOTTISH LITERATURE AND CULTURE FROM THE 18TH CENTURY TO OUR
AGE”, ESSE Galway 22-26 August 2016
Drafts by Paula M Śledzińska
In 2016 the National Theatre of Scotland (NTS) celebrates its tenth anniversary and, since its inaugural performances of Home, the company has contributed substantially to the shaping of Scotland's cultural landscape. Through its structure of a collaborative, touring theatre without walls, the NTS has challenged traditional perceptions of national theatres as elitist monuments of national culture. Nevertheless, although a lot has been written and said about the political and cultural factors underlying its establishment, 1 messages conveyed in the company's repertoire have received less scholarly attention. This paper explores the NTS's discursive treatment of contemporary " Scottish " identities – their character and relevance – in the broader context of the national and trans-national imagining. Using methodology grounded in multimodal discourse analysis, I investigate meanings conveyed in the play arguing that the popular piece is more than an " unashamedly " positive expression of " political populism ". 2 Theatre offers a fusion of various semiotic stimuli which help to convey meanings on various levels. Indeed, in a recent collection of works entitled Theatre, Performance and Cognition: Languages, Bodies and Ecologies, Barbara Dancygier suggests that the multimodality of theatre is the very essence of its complexity and potential. 3 The first ten years of the NTS's
David Greig is one of the most prolific and successful Scottish playwrights of the last two decades. He co-founded Suspect Culture theatre company and served as National Theatre of Scotland's first Dramaturg. He has been recently appointed as Artistic Director of the Royal Lyceum Theatre. Few contemporary artists match the variety and extent of his contribution to the development cultural scene in Scotland. He is interviewed during last-minute rehearsals at the Citizens Theatre. On the cusp of the National Theatre of Scotland's tenth anniversary season, he speaks on a range of subjects, notably the Scottish stage as well as politics of language and identity.
Institute of English Studies, ul. Hoża 69, Warszawa
26th-28th September, 2018
'Reworking Walter Scott', The Royal Society of Edinburgh, The Centre for Scottish Culture, University of Dundee, 31/03 - 02/04/17
ROUTES IN SCOTTISH LITERATURE AND CULTURE FROM THE 18TH CENTURY TO OUR
AGE”, ESSE Galway 22-26 August 2016
In 2016 the National Theatre of Scotland (NTS) celebrates its tenth anniversary and, since its inaugural performances of Home, the company has contributed substantially to the shaping of Scotland's cultural landscape. Through its structure of a collaborative, touring theatre without walls, the NTS has challenged traditional perceptions of national theatres as elitist monuments of national culture. Nevertheless, although a lot has been written and said about the political and cultural factors underlying its establishment, 1 messages conveyed in the company's repertoire have received less scholarly attention. This paper explores the NTS's discursive treatment of contemporary " Scottish " identities – their character and relevance – in the broader context of the national and trans-national imagining. Using methodology grounded in multimodal discourse analysis, I investigate meanings conveyed in the play arguing that the popular piece is more than an " unashamedly " positive expression of " political populism ". 2 Theatre offers a fusion of various semiotic stimuli which help to convey meanings on various levels. Indeed, in a recent collection of works entitled Theatre, Performance and Cognition: Languages, Bodies and Ecologies, Barbara Dancygier suggests that the multimodality of theatre is the very essence of its complexity and potential. 3 The first ten years of the NTS's
David Greig is one of the most prolific and successful Scottish playwrights of the last two decades. He co-founded Suspect Culture theatre company and served as National Theatre of Scotland's first Dramaturg. He has been recently appointed as Artistic Director of the Royal Lyceum Theatre. Few contemporary artists match the variety and extent of his contribution to the development cultural scene in Scotland. He is interviewed during last-minute rehearsals at the Citizens Theatre. On the cusp of the National Theatre of Scotland's tenth anniversary season, he speaks on a range of subjects, notably the Scottish stage as well as politics of language and identity.