Cawn fwynhau cwmni Llinos (Ffion Dafis) a gweddill y tîm rygbi merched mewn tref fechan yng Ngogledd Cymru. Oherwydd rhesymau hawlfraint bydd angen cyfrif Coleg Cymraeg i wylio rhaglenni Archif S4C. Mae modd ymaelodi ar wefan y Coleg Cymraeg Cenedlaethol i gael cyfrif.

Drama lwyfan wedi'i haddasu ar gyfer y teledu gan John Gwilym Jones, awdur y ddrama wreiddiol. Llion Williams sy'n chwarae'r brif rhan. Ffilmiau Bryngwyn, 1987. Oherwydd rhesymau hawlfraint bydd angen cyfrif Coleg Cymraeg i wylio rhaglenni Archif S4C. Mae modd ymaelodi ar wefan y Coleg Cymraeg Cenedlaethol i gael cyfrif.

Cyfres ddrama yn dilyn hanes cwmni lorïau GMJ. Oherwydd rhesymau hawlfraint bydd angen cyfrif Coleg Cymraeg i wylio rhaglenni Archif S4C. Mae modd ymaelodi ar wefan y Coleg Cymraeg Cenedlaethol i gael cyfrif.

Cyfres ddrama yn dilyn hanes cwmni lorïau GMJ. Oherwydd rhesymau hawlfraint bydd angen cyfrif Coleg Cymraeg i wylio rhaglenni Archif S4C. Mae modd ymaelodi ar wefan y Coleg Cymraeg Cenedlaethol i gael cyfrif.

Yr actor Ifan Huw Dafydd, sydd yn ein tywys i dri lle sydd wedi bod yn bwysig yn ei fywyd. Y cyntaf yw bwthyn ei fam-gu a'i dad-cu, Tŷ Poeth ger Llandysul; yr ail le yw Clwyd Theatr Cymru a'r trydydd dewis yw ardal Coedwig Mametz yn Ffrainc, lleoliad brwydr fawr yn y Rhyfel Byd Cyntaf. Apollo, 2010. Oherwydd rhesymau hawlfraint bydd angen cyfrif Coleg Cymraeg i wylio rhaglenni Archif S4C. Mae modd ymaelodi ar wefan y Coleg Cymraeg Cenedlaethol i gael cyfrif.

Cyfres ddrama yn dilyn hanes cwmni lorïau GMJ. Oherwydd rhesymau hawlfraint bydd angen cyfrif Coleg Cymraeg i wylio rhaglenni Archif S4C. Mae modd ymaelodi ar wefan y Coleg Cymraeg Cenedlaethol i gael cyfrif.

This article seeks to interrogate the ways in which the citizens of Wales use the theatrical resources at their disposal to investigate and articulate their national identities and experiences. The discussion will take a recent co-production, entitled Sisters, between National Theatre Wales and Junoon Theatre Mumbai as its starting point. Sisters stimulates discussion of new ways of creating and participating in theatre that respond creatively to the challenges of a twenty-first century global, digital and post-consumerist society. In discussion, this article will use Johannes Birringer’s uncompromising vision of theatre as a transformative activity that focuses on patterns of collaboration between unfamiliar and unrooted individuals, as a measuring yard for the success and significance of Sisters. I will also argue that the social conditions that inspired Birringer’s vision also give fresh importance to Amelia Jones’s argument about the value of responding to a production or performance by means of secondary evidence, or ‘detritus’, as described by Mathew Reason.

This article is a study of the relationship between nationality and national theatre in Wales from the nineteenth century up to the present day. Welsh nationality is considered in the context of contemporary discussion by the pioneering critics Umut Özkirimli and Hans Kohn on concepts of the nation. The article aims to look into the crucial questions which arise from the historical and current relationships between national theatre, as an arts exercise, and a political expression of national identity in Wales. The significance of national theatre as a tool for expressing national identity is assessed and it is questioned whether the new national theatres of the twenty first century refer back to traditional concepts of the nation and nationality or do they instead exercise a new kind of modern nationality which is defined as ‘an interaction of cultural coalescence and specific political intervention’?

Gwybodaeth drylwyr am dair drama allweddol: Siwan gan Saunders Lewis Tair gan Meic Povey Tŷ ar y Tywod gan Gwenlyn Parry

In answer to a call by the Arts and Humanities Research Council, and with the support of the Coleg Cymraeg Cenedlaethol, Anne Marie Carty, Nick Jones and Dafydd Sills-Jones made a poetic/experimental documentary film in 2016, on the subject of Cors Fochno, near Borth. Cors Fochno is one of Western Europe’s major peat bogs, is home to a unique ecology, and also home to important scientific study, not least into climate change. The bog was therefore a useful filmic metaphor for a number of issues and perspectives, including the feelings of the local community towards wilderness, the sustainability of local farming, and more broadly the history and future of human relationship with the environment. The article traces the approaches and concepts behind the film, and by doing so places it in the tradition of ‘practice-as-research’.

Dros y deng mlynedd diwethaf, mae ‘astudiaethau cynhyrchu cyfryngau’ wedi tyfu’n sylweddol fel is-ddisgyblaeth. Yn sgil hyn, mae’r drafodaeth arferol ar y ddynameg rhwng technoleg, economi, ffurfiau diwylliannol, creadigrwydd a gyrfaoedd proffesiynol wedi eu trawsnewid, gan herio hen begynau disgyrsiol economi gwleidyddol ac astudiaethau diwylliannol. Er hynny, mae gogwydd cyfoes i’r datblygiadau hyn, sy’n aml yn anwybyddu hanes y cyfryngau. Mae’r erthygl hon yn ceisio defnyddio agwedd ‘astudiaethau cynhyrchu cyfryngau’ (wrth ddefnyddio fframweithiau cysyniadol Simon Cottle, Pierre Bourdieu ac Eric Berne) er mwyn olrhain hanes un o brif gwmnïau teledu Cymru, Teliesyn.

One of the main themes in the work of John Gwilym Jones is how man is a slave to his chromosomes at the mercy of heredity and his environment. This article focuses on the said theme in his well-known play, Ac Eto Nid Myfi. In order to consider how John Gwilym Jones the author, as opposed to John Gwilym Jones the playwright alone, made use of this theme, due attention is given to a selection of his short stories. The article also discusses the influence of Darwin’s ideas of heredity on Realism as well as on John Gwilym Jones himself.