Local Hero: The Places of David Greig

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Notes

1. See Janelle Reinelt, ‘Performing Europe: Identity Formation for a “New” Europe’, Theatre Journal, 53.3 (2001), 365–87; most of the contributions in Cosmotopia: Transnational Identities in David Greig’s Theatre, ed. by Anja Müller and Clare Wallace (Prague: Litteraria Pragensia, 2011); Nadine Holdsworth, ‘The Landscape of Contemporary Scottish Identity: Place, Politics and Identity’, in A Concise Companion to British and Irish Drama, ed. by Nadine Holdsworth and Mary Luckhurst (Oxford: Blackwell, 2008), pp. 125–45 and the same author’s ‘David Greig’, in Modern British Playwriting 2000–2009: Voices, Documents, New Interpretations, ed. by Dan Rebellato (London: Bloomsbury Methuen Drama, 2013), pp. 169–89; and my own ‘Gestes D’utopie: Le Théâtre De David Greig’, in Dramaturgies Britanniques (1980–2000), ed. by Jean-Marc Lanteri (Paris-Caen: Lettres Modernes Minard, 2002), pp. 125–48 and ‘“And I Will Reach Out My Hand with a Kind of Infinite Slowness and Say the Perfect Thing”: The Utopian Theatre of Suspect Culture’, Contemporary Theatre Review, 13.1 (2003), 61–80.

2. David Greig, ‘Internal Exile’, Theatre Scotland, 3.11 (1994), 8–10 (p. 8).

3. Transcribed from Local Hero. Dir. by Bill Forsyth. (An Enigma Production for Goldcrest Films, 1983).

4. See Ian Goode, ‘Mediating the Rural: Local Hero and the Location of Scottish Cinema’, in Cinematic Countrysides, ed. by Robert Fish (Manchester: Manchester University Press, 2007), pp. 109–26.

5. Martin-Jones also notes that, 13 years later, in the Anglo-American co-production Loch Ness (1996), James Frain plays a Scottish research assistant meeting a visiting American VIP, in almost exactly the same circumstances and using almost exactly the same accent. In other words, James Frain in Loch Ness may be doing an impression of Peter Capaldi in Local Hero, doing an impression of John Gordon Sinclair in Gregory’s Girl. David Martin-Jones, Scotland: Global Cinema, Genres Modes and Identities (Edinburgh: Edinburgh University Press, 2010), p. 99.

6. Keith Farnish, Underminers: A Guide to Subverting the Machine (Gabriola Island: New Society, 2013), p. 321.

7. Better Together, ‘500 Questions’, 6 May 2013 <http://bettertogether.net/blog/entry/500-days-to-go> [accessed 20 March 2014]. Since the Referendum result, the Better Together website has sadly been taken down.

8. National Collective, #500 Questions, 6 May 2013 <http://nationalcollective.com/2013/05/06/500questions/> [accessed 6 February 2015].

9. David Greig, ‘Why the Scottish Independence Debate May be More Interesting Than You Think’, Bella Caledonia, 4 August 2013 <http://bellacaledonia.org.uk/why-the-scottish-independence-debate-may-be-more-interesting-than-you-think/> [accessed 22 March 2014].

10. Pat Kane, ‘Project Don’t-Know-Yet: or, Imagine Scotland’, National Collective, 25 June 2013 <http://nationalcollective.com/2013/06/25/project-dont-know-yet-or-imagine-scotland/> [accessed 22 March 2014].

11. Alasdair Gray, ‘Settlers and Colonists’, Word Power Books, 20 December 2012 <http://www.word-power.co.uk/viewPlatform.php?id=610> [accessed 19 November 2014].

12. All of the Yes/No Plays can be accessed at the Twitter profile https://twitter.com/YesNoPlays and I will refer to individual tweets by their date of online publication; in this case, 14 December 2013.

13. Greig, ‘Why the Scottish Independence Debate’.

14. ‘[P]olitical theatre has at its very heart the possibility of change’. David Greig in David Edgar, State of Play: Playwrights on Playwriting (London: Faber and Faber, 1999), p. 66.

15. David Greig, Lament, in The Suspect Culture Book, ed. by Graham Eatough and Dan Rebellato (London: Oberon, 2013), pp. 247–97 (p. 265).

16. David Greig, Victoria (London: Methuen, 2000), p. 20.

17. Ibid., p. 176.

18. David Greig, The Architect in Plays: One (London: Methuen, 2002), pp. 159–61.

19. David Greig, Timeless (Typescript – Timeless Tour, 1998), p. 44 [author’s collection].

20. Greig, Victoria, p. 167.

21. Greig, The Architect, p. 162.

22. Ibid., p. 165.

23. Ibid., p. 164.

24. Dan Rebellato, ‘Globalization and Playwriting: Towards a Site-Unspecific Theatre’, Contemporary Theatre Review, 16.1 (2006), 97–113 (pp. 109–10).

25. Dan Rebellato, Theatre & Globalization (Basingstoke: Palgrave Macmillan, 2009).

26. Immanuel Kant, ‘Towards Perpetual Peace’ (1795), in Kant: Practical Philosophy, trans. and ed. by Mary J. Gregor (Cambridge: Cambridge University Press, 1996), pp. 311–52 (p. 330). [Ak. 360].

27. David Greig, Observer, 28 August 2011, quoted in Trish Reid, Theatre & Scotland (Basingstoke: Palgrave Macmillan, 2013), p. 68.

28. David Greig, ‘Back to Work’, 24 September 2014 <http://www.front-step.co.uk/2014/09/24/back-to-work/> [accessed 12 December 2014].