OVER the course of this month, we have witnessed the obscene charade of “performative warfare” between Israel and Iran, following Israel’s flagrant and reckless bombing of the Iranian consulate in Damascus on April 1.
SCOTTISH culture has a deep love affair with Sunset Song, the first novel in Lewis Grassic Gibbon’s famous trilogy A Scots Quair.
I argued in my column for The National two weeks ago that the Israeli attack on the Iranian consulate in Damascus (which killed seven members of
RONA Munro’s ambitious project to dramatise the reigns of all the Scottish kings named James now stands one tantalising step away from James VI of Scotland and I
THIS revival by Scottish Ballet of David Dawson’s 2016 staging of Tchaikovsky’s great ballet Swan Lake was announced with considerable fanfare.
THE bombing on Monday of the Iranian consulate in the Syrian capital, Damascus – in which seven people were killed, including two generals in Iran’s Islamic Revolutionary Guard Corps – is widely believed to have been perpetrated by Israel.
THE nouveau cirque (or “new circus”) movement, which emerged in the 1970s and 80s, brought together many of the human performance elements of traditional circus.
IT is 13 years since Morag Fullarton’s Casablanca: The Gin Joint Cut (the screen-to-stage homage with the dangerously tongue-twisting title) first played to enraptured audiences at Glasgow’s Òran Mór venue.
‘THIS is the 51st state of the USA” sang Matt Johnson in The The’s 1986 hit Heartland.
THE folkloric myth of Bluebeard – the wealthy man with the azure facial hair and a dark, brutal secret – has been embedded in European culture by the French fairytale writer Charles Perrault and Bluebeard’s Castle, the opera by the Hungarian composer Béla Bartók.
