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The Cheviot The Stag And The Black Black Oil Pdf

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Qty :. Written during the s, John McGrath's winding, furious, innovative play tracks the economic history and exploitation of the Scottish Highlands from the post-Rebellion suppression of the clans to the story of the Clearances: in the nineteenth century, aristocratic landowners discovered the profitability of sheep farming, and forced a mass emigration of rural Highlanders, burning their houses in order to make way for the Cheviot sheep. The play follows the thread of capitalist and repressive exploitation through the estates of the stag-hunting landed gentry, to the s rush for profit in the name of North Sea Oil.

The Cheviot, the Stag and the Black, Black Oil

From April , beginning at a venue in Aberdeen Aberdeen Arts Centre , [1] [2] it was performed in a touring production in community centres on Scotland by and other community theatre groups. A musical drama, Cheviot recounts the history of economic change in the Scottish Highlands , from the Highland Clearances in the early 19th century through to the contemporary oil boom at the time of its first production.

The stage play is mixed with filmed reconstructions of documented events in the Highland Clearances, darkly humorous songs and sketches and, later, interviews with those participating and affected by the North Sea Oil industry in Scotland from miles above the Earth. Castle from helicopter. Land mixes with water, seabirds, fiddle music; people enter the presentation in a community hall.

Images of giant earth-moving equipment, sheep, stag, gas flare, then the faces of the locals watching the play — some baffled, some sceptical, some participating, particularly in a song sung in Scottish Gaelic Each sketch and reconstruction is supported by a continuous narration of facts and statistics, presenting an account of Scottish history from to Scenes describe 60 years of poverty, abuse and small scale eviction endured by the crofting tenants of the Highlands from — " Culloden and all that" — when speaking, singing or writing Scottish Gaelic and the wearing of the plaid were forcibly forbidden by the government.

The sudden expansion of English and Scottish capital and estate enlargement — "more money to buy more land" — at the beginning of the 19th century is outlined next. Patrick Sellar , a factor of the Duke of Sutherland , is introduced.

His systemised evictions of the Highlanders were the broadest and most brutal of all the Clearances, and he is evoked as representative of the issues of land ownership in the Highlands and Islands and the north of Scotland. With frequent shots of the audience the play gives dispassionate readings of the equally dispassionate contemporary accounts of the brutality involved in evicting Highland crofting tenants to make way for the more profitable Cheviot , and later Blackface , sheep.

The reasons for the Clearances are explained and how they were enabled for the 'ruling classes' with the connivance of the church, the Law, the police and the military. It details where the people went: often to allotments on the seashore with wretched soil and conditions, where they were supposed to fish and gather kelp for the soda ash industry.

It details the economic reasons why the men were often away south for much of the year, trying to find work to pay the rents on their crofts, or in the Highland regiments defending the British Empire. It also details the emigrations to the Victorian slums of Glasgow and to the rest of the world. The few, but hugely important, successful instances of organised resistance to the evictions feature.

It lists political resistance to the evictions such as the Land Leagues of the s, which are contrasted with the Victorian landed gentry's passion for stag hunting ; this and the sheep industry now having taken over many millions of acres. The land raids by crofters in the early 20th century are mentioned. The play briefly mentions the modern day exploitation of the Highlands by the tourist industry then makes political comparisons between the past and McGrath explained in "At the first sniff of oil off the east coast of Scotland, things began to jump.

First in Aberdeen and the North-East. Then all over. Suddenly villages that did not merit even an advance factory for workers are being taken over by thousands of men in labour camps building oil-rigs, and oil-production platforms. Oilmen at Aberdeen are interviewed about conditions, health and safety at work and wages.

These are followed by interviews with American oil bosses and members of the population of Aberdeen and on issues such as the inaffordability of housing after the oil boom.

The play details the political history of North Sea oil from the North Sea Gas explorations of , and explores issues of shore and village destruction and pollution, accompanied by shots of refineries and plant. It explains that exploration is now looking to the West and has in fact already started off the Butt of Lewis.

With a final montage of images from to the Aberdeen riggers, the performers tell audience members that this is their land and urges them to resist exploitation, warning them that they will find the oil corporations even more insensitive than Patrick Sellar. From Wikipedia, the free encyclopedia. The Glasgow Herald. Retrieved 22 October Films directed by John Mackenzie. The Play for Today series.

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The Cheviot, the Stag and the Black, Black Oil review – a raucous five-star revival

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JavaScript is disabled for your browser. Some features of this site may not work without it. Metadata Show full item record. The expression of Scottish culture is analysed through these two themes. This dissertation considers and analyses different definitions of culture. In consideration of the original production and the new production, the context of politics is analysed in relation to the text, and the style and aesthetics of both productions. This dissertation explores Gaelic culture and the detrimental effects the Highland Clearances had upon its role in Scottish culture.

Parody, satire and intertextuality in the songs of The Cheviot, the Stag and the Black Black Oil

Please note that ebooks are subject to tax and the final price may vary depending on your country of residence. Strathoykel, Sutherland. The first blow was struck by a woman with a stick. The gentry leant out of their saddles and beat at the women's heads with their crops. John McGrath's great play will reach out to a new generation, and continue to evolve, develop, and live, along with the story of Scotland itself.

It stretches from the Highland clearances of the 18 th century to the North Sea oil boom that was in full swing when the show premiered in In the hands of director Joe Douglas, it is rousing, raucous, polemical, plangent, communal and fun; the theatrical equivalent of a gig by the Proclaimers. Douglas allows himself a few light-touch updates to make connections to today, but mostly treats the Cheviot as the history play it is. For all that, it is no less cogent in its political analysis. It is timely not only because it is unashamed in its socialist politics back in favour as of last weekend , but also because it reminds us that there are other stories, alternative ways to interpret the world and the narratives that those in power would sooner repress.

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The Cheviot, the stag, and the black, black oil

From April , beginning at a venue in Aberdeen Aberdeen Arts Centre , [1] [2] it was performed in a touring production in community centres on Scotland by and other community theatre groups. A musical drama, Cheviot recounts the history of economic change in the Scottish Highlands , from the Highland Clearances in the early 19th century through to the contemporary oil boom at the time of its first production. The stage play is mixed with filmed reconstructions of documented events in the Highland Clearances, darkly humorous songs and sketches and, later, interviews with those participating and affected by the North Sea Oil industry in Scotland from miles above the Earth. Castle from helicopter.

Skip to search form Skip to main content You are currently offline. Some features of the site may not work correctly. DOI: Brown and S. Brown , S.

Еще только начинало светать, но движение уже было довольно оживленным: молодые жители Севильи возвращались после ночных пляжных развлечений.

Трудно было даже пошевельнуться: события вчерашнего дня вычерпали все ее силы без остатка. - Дэвид… - тихо простонала. Ответа не последовало. Она открыла глаза, не в состоянии даже протянуть руку. Простыня на его половине кровати была холодной.

Просто все привезти. Абсолютно. Ничего не упустив. Беккер еще раз обвел глазами кучу вещей и нахмурился. Зачем АНБ вся эта рухлядь.

Там тоже были группы из четырех знаков. - Потрясающе, - страдальчески сказал директор.  - У вас, часом, нет такой же под рукой.

Его уже выставили сегодня из больницы, и он не хотел, чтобы это случилось еще. - Nimm deinen FuB weg! - прорычал немец.  - Уберите ногу. Взгляд Беккера упал на пухлые пальцы мужчины.

 Отпусти меня! - попросил Хейл.  - Я ничего не сделал. - Ничего не сделал? - вскричала Сьюзан, думая, почему Стратмор так долго не возвращается.

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