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Read, Watch and Listen

Open Hands, detail from Anti-Racism Mural, Northumberland Street, Belfast,

Northern Ireland, 2011; created by a community group of young adults from both sides of the Belfast interface, coordinated by community relations officer Marion Weir, after Dan Devenny’s New Bedford mural (see image 8) and the original Belfast mural also by Devenny (2006), central image based on a cabinet cardphotograph by Matthew Brady taken in Washington D.C. in 1876, left-side image based on a  daguerreotype made in 1853; CC BY-NC-ND.​

The working script.

Underpinning the project was the concept of ‘practice-based research’: the idea that new forms of knowledge might be generated about texts, ideas, and spaces by recreating historical performances, over and above those created by literary, archival, or archaeological research alone. In this case we aimed to see what additional understandings of Lyndsay’s Satire and the culture which produced and received it could be created by performing a version of the 1540 interlude in its original setting in Linlithgow Palace and in Stirling Castle, and the 1552 text in Linlithgow Palace’s grounds, known locally as the Peel. Intensive rehearsals in Glasgow and Linlithgow brought together academics and theatre professionals to work on the script, set design, and costumes over five months from January to May 2013.