In this essay Paul Maloney and Adrienne Scullion investigate the ambitious agenda of theatre internationalism in the context of non-professional theatre making in Glasgow in the mid-twentieth century. For members of the Glasgow Jewish Institute Players, internationalism was represented through a diverse repertoire of classic European texts and contemporary American plays, presented alongside new original plays and sketches drawing on Yiddish and Scottish popular theatre tropes, and experienced through its members’ range of international diasporic networks, specifically with Jewish theatre makers in New York. It is argued that the internationalizing experience of the company and, specifically, its sustained exploration of immigration and of immigrants, achieves an important, even defining, role in the formation of a modern theatre industry and identity in Scotland. Historically interesting in and of itself, this article is also timely given a wider social and cultural ‘fear’ of contemporary migrants. The research encompasses a range of previously unexplored primary material including scripts, reviews, photographs, and company papers, including correspondence with New York-based playwright Sylvia Regan and new interviews with surviving company members. Paul Maloney and Adrienne Scullion work at Queen's University Belfast.

In this article Adrienne Scullion reviews the citizenship debate in education policy within contemporary – and specifically post-devolution – Scotland. She identifies something of the impact that this debate has had on theatre-making for children and young people, with a particular focus on projects that are participatory in nature. Her key examples are drawn from TAG Theatre Company's ‘Making the Nation’ project, a major three-year initiative that sought to engage children and young people throughout Scotland in ideas around democracy, politics, and government. Revisiting a classic cultural policy stand-off between instrumental and aesthetic outcomes, she asks whether a policy-sanctioned emphasis on process, transferable skills, and capacity building limits the potential for theatre projects to develop other kinds of theatre skills, such as critical reading and/or spectatorship. With its emphasis on participatory projects rather than plays for children and young people, the article complements her earlier essay, ‘“And So This Is What Happened”: War Stories in New Drama for Children’, in NTQ 84 (November 2005). Adrienne Scullion teaches in the Department of Theatre, Film, and Television Studies at the University of Glasgow.

In this essay Adrienne Scullion explores the representation of war – and in particular of the Second World War – in contemporary theatre for children, considering how the narrative and performative conventions of drama communicate ideas about the conflict to young audiences. She argues that a taxonomy identified in relation to juvenile war literature – discourses of testimony and documentary, propaganda and escapism, myth and metaphor – resonates just as significantly in drama. This proposition is investigated in readings of three recent plays – Stephen Greenhorn's King Matt (TAG, 2001), David Greig's Dr Korczak's Example (TAG, 2001), and Nicola McCartney's Lifeboat (Catherine Wheels, 2002). She proposes that all three plays make different use of the conventions of telling war stories and those of theatrical performance to represent and describe war and, thereby, to explore contemporary values and expressions of citizenship – a declared goal of public policy-making in the UK. Adrienne Scullion teaches in the Department of Theatre, Film and Television Studies at the University of Glasgow.

In the following article, Christine Hamilton and Adrienne Scullion review the system of theatre provision and production that exists in the rural areas of Scotland, most especially in the Highlands and Islands, assessing the policy framework that exists in the nation as a whole and in the Highlands and Islands in particular. They highlight the role and responsibilities of volunteers within the distribution of professional theatre in Scotland, challenge the response of locally based theatre-makers and nationally responsible agencies to represent rural Scotland, and raise issues fundamental to the provision of culture nationally. In doing so, they question what we expect theatre policy to deliver in rural areas, and what we expect rural agents to contribute to theatre provision and policy. Finally, they suggest that, in the system of rural arts in Scotland, there are wider lessons for the development of arts in and the arts of other sparsely populated and fragile communities. Christine Hamilton is the director and Adrienne Scullion the academic director of the Centre for Cultural Policy Research at the University of Glasgow, where Adrienne teaches in the Department of Theatre, Film, and Television Studies.

The creation of the devolved Scottish parliament in 1999, argues Adrienne Scullion, has the potential to change everything that has been understood and imagined or thought and speculated about Scotland. The devolved parliament shifts the governance of the country, resets financial provisions and socio-economic management, recreates Scottish politics and Scottish society – and affects how Scotland is represented and imagined by artists of all kinds. The radical context of devolution should also afford Scottish criticism an unprecedented opportunity to rethink its more rigid paradigms and structures. Specifically, this article questions what impact political devolution might have on the rhetoric of Scottish cultural criticism by paralleling feminist analysis of three plays by women premiered in Scotland in 2000 with the flexible, even hybrid, model of the nation afford by devolution, resetting identity within Scottish culture as much less predictable and much more inclusive than has previously been understood. An earlier versions was delivered by the author on 5 March 2001 to the Royal Society of Edinburgh in receipt of the biennial RSE/BP Prize Lectureship in the Humanities. Adrienne Scullion teaches in the Department of Theatre, Film and Television Studies at the University of Glasgow, where she is also the academic director of the Centre for Cultural Policy Research.