|Place of Publication||Old Museum Arts Centre Belfast; Traverse Theatre Edinburgh; Soho Theatre London|
|Publication status||Published - 01 Apr 2004|
Bibliographical noteMedium of Output: DVD of a performance
Brief details of Performance: Protestants built on the research outcomes of Hurricane, to further investigate the actor-director relationship and the performance of gender and identity: Protestants broadens the context of Protestant identities across historical eras and cultures. As with Hurricane, the relationship between director and actor in a solo show is distinct from ensemble work.
However, in Protestants, the division of characters the single male actor (Paul Hickey) had to play were much more varied and disparate; with Hurricane there was one central narrative figure, whereas with Protestants the narrative is split into seven Œstrophes¹, each occupied by a central narrative figure. This meant that more work was done through analysis, for example, in contrast to Hurricane¹s Œrough theatre¹ atmosphere, where every idea was played out on the floor. Between director and actor, both dynamics work. For myself as a practitioner, I favour the kinetic, risk-taking ethos employed in Hurricane; however, it is a director¹s job to respond to both text and the personality and working method of the actor in the room.
Supporting evidence for the submission includes DVD, reviews, and a critical edition of the play. The playtext has been published by Lagan Press (2006,
ISBN: 1 904652-25-5) and includes a 3,000 word article by the director, entitled "The Director's Cut"; an article by the playwright Professor Robert Welch and an article on the play in performance by Ophelia Byrne. In addition to the theatre production, ŒProtestants¹ was the focus of a series of debates with local politicians such as Nelson McCausland, an art exhibition in the producing house, post show talks, round table debate with local artists who are members of the Protestant community such as Glenn Patterson and Tim Loane.