The National Theatre of Scotland is a unique, non building-based, commissioning andproducing cultural institution, established in the wake of the devolution of the ScottishParliament. This thesis explores how the NTS responded to its ‘national’ remit withinthe context of both post devolution Scotland and an increasingly globalized world inwhich the significance and boundaries of the ‘nation’ are often ambiguous andcontested. The public sphere in the United Kingdom has always held a tensionbetween the interweaving national identities of its four constituent nations. However,the constitutional changes since 1999, have allowed the possibility for a moredistinctive public sphere to be defined in Scotland. This thesis examines how the NTS,over a relatively short period of time, has played a role in helping to mark out anddefine the nature of this new national public sphere and argues that the company wasparticularly well placed to accommodate and reflect heterogeneous imagining’s ofidentity and respond to contemporary expressions of belonging. However, the thesisalso charts changes to the company during these early years and, most significantly,notes the potential effect that the change from arms length to direct governmentfunding might have on the company’s long-term development. The thesis argues thatdirect funding aligns the arts too closely to political agendas rather than supportingartistic freedom and expression. As such, rather than helping to mark out ademocratically representative and critical public sphere in Scotland, the NTS is indanger of becoming entangled by competing conceptions and perceptions ofnationhood in Scotland.
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From theory to practice : The National Theatre of Scotland, 1999-2009
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