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Contemporary Scottish playwright David Greig’s dramaturgy has beenconcerned with the massive changes wrought across the world byneoliberal globalization in the last two decades. A political triple turncomprising ethics, the media and the spectator, and a shift between thenotion “‘mediatized’ reiterative ‘expectator’” to “mediated performingspectator” within the “polethic” frame of ‘relationality’ in Greig’s worksare argued in this article. It is further argued that the plays examined(Damascus, The American Pilot, Brewers Fayre and Fragile) useproductive strategies like diffusion, reversibility and interchangeability,which foreground the asymmetries of the global/technologized age“polethically” mediating the global performing spectator
