The International Journal of Scottish Theatre and Screen (IJoSTS) is a peer-reviewed journal that over the best part of two decades has engaged with critical paradigms, histories and innovations in Scottish theatre, film and television.  Encompassing a wide variety of topics, forms and practices — from new playwriting to popular entertainments, from Gaelic language theatre and television to contemporary Scottish translations of European stage classics — the journal publishes work by established and emerging scholars. Working in a diverse range of  settings including France, Germany, Italy, Spain, Turkey and the US, as well Scotland and rUK, contributors have produced a rich, textured account of Scottish cultural production in the fields of stage and screen and how it engages with social and political realities both contemporary and historical. As such, the journal is a valuable intellectual resource, and will remain so indefinitely.

During a period when Scottish theatre in particular has attracted significant amounts of international attention, the journal provides a sophisticated and nuanced articulation of the ways in which the Scottish theatre makers have engaged with the post-devolutionary context while drawing on older established traditions. The extent to which popular modes — vernacular and profane language, local references, the mixing of comedy and pathos, audience interactions, incorporation of music and song — continue to influence Scottish cultural production into the twenty-first century is evident across a range of articles including Paul Elliot’s analysis of John Byrne’s use of music and pop culture in his television plays (issue 11:1) and Robin Nelson’s authoritative account of John McGrath’s The Cheviot, the Stag and the Black, Black Oil (issue 3:2).

Published twice yearly, and sometimes annually, IJoSTS issues date between 2000 and 2018, with a hiatus between 2002 and 2011. The archive is comprised of 19 issues in total, each containing an average of four peer-reviewed articles and one forum article. Book reviews are less common. The forum category allows for the inclusion of important interview material — a conversation between the playwright Catriona Lexy Campbell and Muireann Kelly, Artistic Director at Theatre Gu Leòr in issue 9, for instance — and also for significant contributions from journalists and practitioners which do not necessarily benefit from peer-review proper.

The original editors of IJoSTS have now retired, moved into other fields, or in one case are suffering from chronic health conditions which militate against their continuing to curate the journal. IJoSTS remains an important resource, however, for scholars working in Scotland’s theatre, performance and screen cultures. It continues to be cited regularly, for instance in Clare Wallace  The Theatre of David Greig (Bloomsbury, 2013), Ian Brown,   History as Theatrical Metaphor: History Myth and National Identities in Modern Scottish Drama ( Palgrave, 2016) and Trish Reid, Contemporary Scottish Theatre and Performance: Politics and Practice (forthcoming Palgrave, 2022).