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It is the contention of this book that, insofar as Scottish theatre has had anything approximating a renaissance, it has occurred over the last five decades. Indeed, the proposition of the work is that the period since 1969 is the strongest in the history of live drama in Scotland, and that most of the country’s finest theatremakers and certainly its best playwrights are alive and working today. These are, of course, contestable assertions. However, it is my hope here to convince the reader, if not of the correctness of my case, then, at least, that my argument has the virtues of being rooted in serious, conceptual thinking and rigorous, largely original research.