Recordiadau sain o gynhadledd gydweithredol Astudiaethau Theatr a Drama 2014/15. Cynhaliwyd y gynhadledd ar 30-31 Ionawr 2015 yn yr Atrium, Prifysgol De Cymru, dan nawdd y Coleg Cymraeg Cenedlaethol.

This paper examines the background and underlying assumptions involved in a public debate between Dr Kate Roberts and Dr Thomas Parry which was conducted in the columns of the Genedl newspaper in the early nineteen thirties. The subject of the debate was the policy governing the selection of plays for the annual performance of the Bangor students’ Welsh Drama Society. Since its ground breaking production of Ifor Wiliams’s translation of A Dolls House in 1926 the annual Bangor drama production had come to be seen as an event of considerable importance in the programme of the Drama Movement in Wales. However, the author of the article suggests that analysis of the aesthetic and cultural assumptions of the two authors – themselves figures of central importance at the time – raises issues of wider importance than the Drama movement itself, which continue to affect academic and cultural debate today.

This article uses theatre as a lens in order to examine the cultural exchange between Wales and the Khasi and Jaiñtia Hills that is rooted in the history of the Welsh Calvinistic Methodist Overseas Mission present in north-east India between 1841 and 1969. Focusing on Khasi plays from the colonial period as well as an example of Welsh missionary performance staged in Wales in 1929, the article considers the extent to which Welsh conceptions of theatre and drama influenced native performances in the Khasi Hills, and correspondingly, to what extent the missionaries’ perception of India influenced the idea and the representation of the country in Welsh performative portrayals.

Cyfweliadau gyda chyfarwyddwyr theatr blaenllaw a ffilmiwyd yn ystod Penwythnos Cyfarwyddo Theatr 2013 a 2014. Dyma brosiect cydweithredol a drefnir gan Brifysgol De Cymru.

The core argument of the essay is that it would be worth setting Saunders Lewis’ important early play, Gwaed yr Uchelwyr, in the context of several anglophone Welsh novels published at the turn of the nineteenth century that sought to assess the relevance of the culture of the indigenous gentry of Wales to the new nation celebrated by the Cymru Fydd movement. It is argued that familiarity with these texts could assist us to grasp the subtlety and rich ambivalence of the play’s ideological stance.

In this article Myfanwy Miles Jones analyses Büchner’s portrayal of the central character’s developing psychosis in the light of R. D. Laing’s existential psychiatric theory. Observing the progressive nature of Büchner’s dramatisation of the depth and coplexity of the human mind in turn reveals the formal limitations of drama in the Nineteenth Century. Setting Woyczeck in the context of Szondi’s formal analysis of modern drama, the article argues that Büchner’s treatment of madness casts new light on the formal development of modernist drama and argues that the fact that the play is unfinished is an inevitable consequence of the project itself, given that the formal resolution of the dramatic situation required the existence of conditions which had not at that time come into being.