National Theatre Wales's Posts - National Theatre Wales Community2024-03-19T01:44:02ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTWhttps://storage.ning.com/topology/rest/1.0/file/get/3475663898?profile=RESIZE_48X48https://community.nationaltheatrewales.org/profiles/blog/feed?user=0lkkjj52qdtvw&xn_auth=noZoom Sharing Account // Rhannu Cyfrif Zoomtag:community.nationaltheatrewales.org,2020-08-13:3152760:BlogPost:2898422020-08-13T15:43:39.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p><span style="font-weight: 400;">We know that having access to a paid for Zoom account is a luxury that not everyone can afford. For this reason, we want to make our account available for people to borrow, much as we would a rehearsal room (if we had one!). </span></p>
<p></p>
<p><b>Purpose</b></p>
<ul>
<li style="font-weight: 400;"><span style="font-weight: 400;">Rehearsals</span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Meetings…</span></li>
</ul>
<p><span style="font-weight: 400;">We know that having access to a paid for Zoom account is a luxury that not everyone can afford. For this reason, we want to make our account available for people to borrow, much as we would a rehearsal room (if we had one!). </span></p>
<p></p>
<p><b>Purpose</b></p>
<ul>
<li style="font-weight: 400;"><span style="font-weight: 400;">Rehearsals</span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Meetings</span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Workshops</span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Read throughs</span></li>
</ul>
<p></p>
<p><span style="font-weight: 400;">Please don’t use the Zoom account for public performances. Any audiences for readings or workshops should be invite only. </span></p>
<p></p>
<p><b>Account</b></p>
<p><span style="font-weight: 400;">The account is a Business account, which means you can: </span></p>
<ul>
<li style="font-weight: 400;"><span style="font-weight: 400;">Have meetings with three or more people without a time limit</span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Record your meetings to the cloud (though once your time using the account is over, we will ask that you download these to your own machine). </span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Use more of Zoom’s functions, such as simultaneous translation. </span></li>
</ul>
<p></p>
<p><span style="font-weight: 400;">This account is for</span> <b>meetings</b> <b>only</b><span style="font-weight: 400;">, not for webinars. </span></p>
<p></p>
<p><span style="font-weight: 400;">We are able to give you a quick crash course if you are unfamiliar with Zoom, but we do not have capacity to provide ongoing technical assistance. </span></p>
<p></p>
<p><b>Terms of Use</b></p>
<p></p>
<ul>
<li style="font-weight: 400;"><span style="font-weight: 400;">Use of the account is on a first come, first served basis. </span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">The account can be booked for half day, full days or weeks. To maximise access, we are unlikely to agree usage for more than a week, but please contact us if you have a specific request as we may be able to help. </span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Please</span> <b>do not</b> <span style="font-weight: 400;">post the meeting links or passwords publicly. </span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">All meetings that you run on the account</span> <b>must</b> <span style="font-weight: 400;">be password protected. </span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Please do not use the room for working with people under the age of 16, as per Zoom’s terms of service.</span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">If you are working with people aged 16 and 17, it is solely your responsibility to have an appropriate safeguarding policy in place. </span></li>
</ul>
<p></p>
<p><span style="font-weight: 400;">To book the account, please email Bethan, Production Coordinator,</span> <a href="mailto:bethandawson@nationaltheatrewales.org"><span style="font-weight: 400;">bethandawson@nationaltheatrewales.org</span></a><span style="font-weight: 400;">. Bethan works Monday - Friday, normally 10am - 6pm. Please try to email at least 48hrs before you would like to use the account.</span></p>
<p><span style="font-weight: 400;">//</span></p>
<p><span style="font-weight: 400;">Rydym yn gwybod bod cael mynediad at gyfrif Zoom y talwyd amdano yn fraint nad yw pawb yn gallu ei fforddio. Am y rheswm hwn, rydym am sicrhau bod ein cyfrif ar gael i bobl ei fenthyg, yn yr un modd ag y byddem yn ei wneud gydag ystafell ymarfer (pe bai gennym un!). </span></p>
<p><span style="font-weight: 400;"> </span></p>
<p><b>Diben</b></p>
<ul>
<li style="font-weight: 400;"><span style="font-weight: 400;">Ymarferion</span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Cyfarfodydd</span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Gweithdai</span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Ymarferion darllen</span></li>
</ul>
<p><span style="font-weight: 400;"> </span></p>
<p><span style="font-weight: 400;">Peidiwch â defnyddio'r cyfrif Zoom ar gyfer perfformiadau cyhoeddus. Dylid gwahodd unrhyw gynulleidfaoedd ar gyfer darlleniadau neu weithdai yn unig. </span></p>
<p><span style="font-weight: 400;"> </span></p>
<p><b>Cyfrif</b></p>
<p><span style="font-weight: 400;">Cyfrif Busnes yw'r cyfrif, sy'n golygu y gallwch: </span></p>
<ul>
<li style="font-weight: 400;"><span style="font-weight: 400;">Cael cyfarfodydd gyda thri neu fwy o bobl heb derfyn amser</span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Recordio eich cyfarfodydd i'r cwmwl (er unwaith y bydd eich amser yn defnyddio'r cyfrif ar ben, byddwn yn gofyn i chi lawrlwytho'r rhain i'ch peiriant eich hun). </span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Defnyddio rhagor o swyddogaethau Zoom, fel cyfieithu ar y pryd. </span></li>
</ul>
<p><span style="font-weight: 400;"> </span></p>
<p><span style="font-weight: 400;">Mae'r cyfrif hwn ar gyfer</span> <b>cyfarfodydd yn unig</b><span style="font-weight: 400;">, nid ar gyfer gweminarau. </span></p>
<p><span style="font-weight: 400;"> </span></p>
<p><span style="font-weight: 400;">Rydym yn gallu rhoi cwrs carlam i chi os ydych yn anghyfarwydd â Zoom, ond nid oes gennym y gallu i ddarparu cymorth technegol parhaus. </span></p>
<p><span style="font-weight: 400;"> </span></p>
<p><b>Rheolau Defnydd</b></p>
<p><span style="font-weight: 400;"> </span></p>
<ul>
<li style="font-weight: 400;"><span style="font-weight: 400;">Bydd defnydd o'r cyfrif ar sail y cyntaf i'r felin. </span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Gellir archebu'r cyfrif am hanner diwrnod, diwrnod llawn neu wythnosau. Er mwyn manteisio i'r eithaf ar fynediad, nid ydym yn debygol o gytuno ar ddefnydd am fwy nag wythnos, ond cysylltwch â ni os oes gennych gais penodol oherwydd efallai y byddwn yn gallu eich helpu. </span></li>
<li style="font-weight: 400;"><b>Peidiwch</b> <span style="font-weight: 400;">â phostio lincs na chyfrineiriau'r cyfarfod yn gyhoeddus. </span></li>
<li style="font-weight: 400;"><b>Rhaid</b> <span style="font-weight: 400;">i bob cyfarfod a gynhelir gennych ar y cyfrif fod wedi'i ddiogelu gan gyfrinair. </span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Peidiwch â defnyddio'r ystafell ar gyfer gweithio gyda phobl o dan 16 oed, yn ôl telerau gwasanaeth Zoom.</span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Os ydych yn gweithio gyda phobl 16 ac 17 oed, eich cyfrifoldeb chi yn unig yw cael polisi diogelu priodol yn ei le. </span></li>
</ul>
<p></p>
<p><span style="font-weight: 400;">I archebu'r cyfrif, anfonwch e-bost at Bethan, Cydlynydd Cynhyrchu,</span> <a href="mailto:bethandawson@nationaltheatrewales.org"><span style="font-weight: 400;">bethandawson@nationaltheatrewales.org</span></a><span style="font-weight: 400;">. Mae Bethan yn gweithio dydd Llun - dydd Gwener, 10am-6pm fel arfer. Ceisiwch e-bostio o leiaf 48awr cyn yr hoffech ddefnyddio'r cyfrif. </span></p>"I believe that we need plays like Wolfie at this time because they challenge the limitations we can put on ourselves in terms of how ‘difficult stories’ are told." - Izzy Rabeytag:community.nationaltheatrewales.org,2020-07-09:3152760:BlogPost:2896162020-07-09T11:00:00.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p><span style="font-weight: 400;">My name is Izzy and I’ll be directing the play-reading of Wolfie by Ross Willis for NTW’s Network series. Wolfie is a play I read last year on a train back from London and I inhaled it, quickly deciding it was the next play I wanted to direct. I had never laughed out loud at stage directions before. As a director, you’re always hungry for the next play which is going to churn up something inside you, and ignite this I-Can’t-Not-Direct-This feeling which is…</span></p>
<p><span style="font-weight: 400;">My name is Izzy and I’ll be directing the play-reading of Wolfie by Ross Willis for NTW’s Network series. Wolfie is a play I read last year on a train back from London and I inhaled it, quickly deciding it was the next play I wanted to direct. I had never laughed out loud at stage directions before. As a director, you’re always hungry for the next play which is going to churn up something inside you, and ignite this I-Can’t-Not-Direct-This feeling which is always a shimmery mix of both fear and excitement.</span></p>
<p><span style="font-weight: 400;">Wolfie is a hilarious and heartbreaking chronicle of twin sisters separated by the care system told through the frame of an absurdist, wild fairytale - we meet talking trees, Wolf mothers, a melting woman in a bath, and a Woodpecker who integrates teens into society. As someone who has worked extensively with young people in the care system, I was amazed by Willis’ ability to articulate childhood trauma in a way which completely resists sentimentality or pity towards the characters. The magical world the writer conjures allows the characters to have complete ownership over sharing their experiences of a world which has been so set against them from day dot. I believe that we need plays like Wolfie at this time because they challenge the limitations we can put on ourselves in terms of how ‘difficult stories’ are told. The teetering of the play between desperate sadness and hysterically funny absurdism is something I find incredibly useful in terms of how we can take ownership of our own narrative. This play is vital for young people who’s lives have been effected by the care system but it is also vital in challenging people’s perception of what that experience is and can be.</span></p>
<p><span style="font-weight: 400;">This is the first time I’ve ever directed over screen and with the limited time and the lack of in-person contact with my actors, I am going to be entirely honest and say that I’m taking my primary inspiration from my teenage years of watching The Mighty Boosh! The Boosh’s genius was how a ‘homemade’ aesthetic could contribute to creating completely absurd new worlds, and so I’m definitely taking inspo from teenage Izzy’s viewing habits! </span></p>
<p><span style="font-weight: 400;">We are in the rare and privileged position where the actors we are working with are under the same roof, and so this has opened up more posibilities for us in terms of playing with framing and contact between performers. This is the first time Wolfie will also be performed by actual real-life twins, which adds another emotional layer to the reading that I’m incredibly excited about. When I first read the play, casting Lowri and Mari Izzard was a no-brainer for me! They are exceptionally talented performers individually, so to have them performing together will be a real treat for viewers. Sound and music composition by Eädyth Crawford is also going to add a really exciting texture to the piece, skilfully interwoven to assist in pulling our audience into Wolfie’s wonderful and wild universe.</span></p>
<p><span style="font-weight: 400;"><strong>Find out more about Wolfie here:</strong> <a href="https://www.nationaltheatrewales.org/ntw_shows/wolfie/">https://www.nationaltheatrewales.org/ntw_shows/wolfie/</a></span></p>
<p><span style="font-weight: 400;"><strong>Listen to one of the tracks created by Eädyth here:</strong> <a href="https://soundcloud.com/eadythofficial/wolfie-track">https://soundcloud.com/eadythofficial/wolfie-track</a></span></p>Go Tell The Bees Digital Procession - Frequently Asked Questionstag:community.nationaltheatrewales.org,2020-06-19:3152760:BlogPost:2892172020-06-19T11:30:00.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p><span style="font-weight: 400;"><a href="https://storage.ning.com/topology/rest/1.0/file/get/6109133299?profile=original" rel="noopener" target="_blank"><img class="align-full" src="https://storage.ning.com/topology/rest/1.0/file/get/6109133299?profile=RESIZE_710x" width="750"></img></a></span></p>
<p></p>
<p><span style="font-weight: 400;">Are you interested in taking part in the procession, but want to know more before you make up your mind? Read on to find out what will happen...</span></p>
<p></p>
<p><b><i>What is the Procession?</i></b></p>
<p><span style="font-weight: 400;">Go Tell the Bees Digital…</span></p>
<p><span style="font-weight: 400;"><a href="https://storage.ning.com/topology/rest/1.0/file/get/6109133299?profile=original" target="_blank" rel="noopener"><img src="https://storage.ning.com/topology/rest/1.0/file/get/6109133299?profile=RESIZE_710x" width="750" class="align-full"/></a></span></p>
<p></p>
<p><span style="font-weight: 400;">Are you interested in taking part in the procession, but want to know more before you make up your mind? Read on to find out what will happen...</span></p>
<p></p>
<p><b><i>What is the Procession?</i></b></p>
<p><span style="font-weight: 400;">Go Tell the Bees Digital Procession is a festival of music, theatre and dance, created in Pembrokeshire to celebrate the summer Solstice. We have been working with local residents for several weeks, giving them a platform to share their talents with you.</span></p>
<p></p>
<p><b><i>How will it work?</i></b></p>
<p><span style="font-weight: 400;">The procession will take place on a Zoom conference call and you will be guided through proceedings by Olwen the Goddess of the Sun and Belenus the Earth’s Gardener. You do not need a Zoom account to take part.</span></p>
<p></p>
<p><b><i>What will I be asked to do?</i></b></p>
<p><span style="font-weight: 400;">You will be asked to wave the sunflowers that you’ve made, or dance around and sing and generally feel like you are in the most exciting festival procession ever.</span></p>
<p><span style="font-weight: 400;">We encourage you to dance, sing, and clap along at home waving your sunflowers throughout - we will go live to your homes several times during the Procession. (When we are about to go live a slide will appear on screen saying ‘Everyone at home get ready 321’ so you know when you will be live.)</span></p>
<p></p>
<p><b><i>What should I wear?</i></b></p>
<p><span style="font-weight: 400;">Please wear bright festival clothing - you can paint your faces, get (ecologically) glittered up, wear a mad hat or a giant sunflower in your hair, whatever will get you in the party vibe! </span></p>
<p></p>
<p><b><i>How long will it be?</i></b></p>
<p><span style="font-weight: 400;">The Procession will be around 35 minutes long. </span></p>
<p></p>
<p><b><i>What access provision is available?</i></b></p>
<p><span style="font-weight: 400;">The Live Broadcast will include BSL interpretation. You will be able to see this as a participant.</span></p>
<p><span>On demand versions with captions and audio description will be available following the live broadcast.</span></p>
<p></p>
<p><b><i>Can I leave the Procession?</i></b></p>
<p><span style="font-weight: 400;">You can leave at any time if you change your mind.</span></p>
<p></p>
<p><b><i>I'd like to take part in the Procession, how do I sign up?</i></b></p>
<p><span style="font-weight: 400;">Please fill in our <a href="https://docs.google.com/forms/d/e/1FAIpQLSdM-utYBfDSeIIZrxF-9aMtsQn9hWvjb09moCd4yizpDFSNkA/viewform" target="_blank" rel="noopener">sign up form</a>, and we'll send you all the details you need to take part. The deadline to sign up is midday on Saturday 20 June.</span></p>
<p></p>
<p><b><i>I’ve decided I don’t want to take part. Can I still watch?</i></b></p>
<p><span style="font-weight: 400;">If you don’t want to take part in the procession, that’s absolutely fine. You can sit back and watch along on our AM channel at 7pm. Head to amam.cymru/nationaltheatrewales</span></p>
<p></p>
<p><span style="font-weight: 400;">Image by Gemma <span>Green-Hope </span></span></p>
<p><span style="font-weight: 400;"><span>-----</span></span></p>
<p>A oes gennych chi ddiddordeb mewn cymryd rhan yn yr orymdaith, ond eich bod eisiau gwybod mwy cyn i chi benderfynu? Darllenwch ymlaen i gael gwybod beth fydd yn digwydd …</p>
<p></p>
<p><strong><em>Beth yw’r Orymdaith?</em></strong></p>
<p>Mae<span> </span><a href="https://www.nationaltheatrewales.org/cy/ntw_shows/gorymdaith-rithwir-go-tell-the-bees/">Gorymdaith Rithwir Go Tell The Bees</a><span> </span>yn ŵyl o gerddoriaeth, theatr a dawns, a grëwyd yn Sir Benfro i ddathlu Heuldro’r Haf. Rydym wedi bod yn gweithio gyda thrigolion lleol ers sawl wythnos, gan roi llwyfan iddynt rannu eu talentau gyda chi.</p>
<p></p>
<p><strong><em>Sut y bydd yn gweithio?</em></strong></p>
<p>Bydd yr orymdaith yn cael ei gynnal ar alwad cynhadledd Zoom a byddwch yn cael eich tywys trwy’r digwyddiadau gan Olwen, Duwies yr Haul a Belenus, Garddwr y Ddaear. Does dim angen cyfrif Zoom i gymryd rhan.</p>
<p></p>
<p><strong><em>Beth fydd gofyn i mi ei wneud?</em></strong></p>
<p>Bydd gofyn i chi chwifio’r blodau haul rydych chi wedi eu gwneud, neu ddawnsio o gwmpas a chanu a theimlo eich bod chi yn yr orymdaith gŵyl fwyaf cyffrous erioed.</p>
<p>Rydym yn eich annog i ddawnsio, canu, a chlapio gartref gan chwifio’ch blodau haul drwy gydol y broses – byddwn yn mynd yn fyw i’ch cartrefi sawl gwaith yn ystod yr Orymdaith. (Pan fyddwn ni ar fin mynd yn fyw bydd sleid yn ymddangos ar y sgrin yn dweud ‘Pawb gartref i fod yn barod 321’ fel eich bod yn gwybod pryd fyddwch chi’n fyw.)</p>
<p></p>
<p><strong><em>Beth ddylwn i ei wisgo?</em></strong></p>
<p>Gwisgwch ddillad gŵyl llachar – gallwch beintio’ch wynebau, defnyddio pefr (yn ecolegol), gwisgo het wyllt neu flodyn haul enfawr yn eich gwallt, beth bynnag fydd yn eich rhoi mewn hwyliau parti!</p>
<p></p>
<p><strong><em>Pa mor hir fydd hi?</em></strong></p>
<p>Bydd yr Orymdaith tua 35 munud o hyd.</p>
<p></p>
<p><strong><em>Pa ddarpariaeth mynediad sydd ar gael?</em></strong></p>
<p>Bydd yr Orymdaith yn cynnwys dehongliad BSL. Byddwch yn gallu gweld hyn fel cyfranogwr.</p>
<p>Bydd fersiynau ar alw â chapsiynau a sain-ddisgrifiad ar gael yn dilyn y darllediad byw.</p>
<p></p>
<p><strong><em>A allaf adael yr Orymdaith?</em></strong></p>
<p>Gallwch adael unrhyw bryd os ydych yn newid eich meddwl.</p>
<p></p>
<p><strong><em>Hoffwn gofrestru ar gyfer yr Orymdaith, sut allaf wneud hynny?</em></strong></p>
<p>Llenwch ein ffurflen gofrestru, a byddwn yn anfon yr holl fanylion atoch er mwyn cymryd rhan. Y dyddiad cau ar gyfer cofrestru yw canol dydd ar ddydd Sadwrn 20 Mehefin.</p>
<p></p>
<p><strong><em>Rydw i wedi penderfynu nad ydw i eisiau cymryd rhan. Alla i ddal i wylio?</em></strong></p>
<p>Os nad ydych chi eisiau cymryd rhan yn yr orymdaith, mae hynny’n iawn. Gallwch eistedd yn ôl a gwylio ar ein sianel AM am 7pm. Ewch i<span> </span><a href="http://amam.cymru/nationaltheatrewales">amam.cymru/nationaltheatrewales</a></p>
<p></p>
<p>Os oes gennych ragor o gwestiynau, e-bostiwch <a href="mailto:team@nationaltheatrewales.org">team@nationaltheatrewales.org</a>, a byddwn yn cysylltu â chi cyn gynted â phosibl.</p>
<p></p>
<p>Llun: Gemma Green-Hope</p>Sometimes we look up and can barely believe we are living through this moment...tag:community.nationaltheatrewales.org,2020-06-10:3152760:BlogPost:2894012020-06-10T13:22:34.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p><em>After nearly three months spent with us so far, all in lockdown, and following more seismic shift in our global, national and local consciousness over the last two weeks – Artistic Director<span> </span><a href="https://www.nationaltheatrewales.org/people/lorne-campbell/">Lorne</a><span> </span>reflects on where we find ourselves, and where we go from here.…</em></p>
<p></p>
<p><em>After nearly three months spent with us so far, all in lockdown, and following more seismic shift in our global, national and local consciousness over the last two weeks – Artistic Director<span> </span><a href="https://www.nationaltheatrewales.org/people/lorne-campbell/">Lorne</a><span> </span>reflects on where we find ourselves, and where we go from here.</em></p>
<p><em><a href="https://storage.ning.com/topology/rest/1.0/file/get/5800059265?profile=original" target="_blank" rel="noopener"><img src="https://storage.ning.com/topology/rest/1.0/file/get/5800059265?profile=RESIZE_710x" width="548" height="289" class="align-center"/></a></em></p>
<p>I, and everyone else who holds any sort of power in this moment, needs to feel the weight of it. The responsibility and the possibility of our power should be felt with a great sharpness. As individuals, as organisations, as nodes and elements of larger systems we must not allow ourselves to grow used to that sharpness. We must not learn to live with it. We must not turn our bodies so that the bite is less painful. We must turn towards it, engage with the difficulty and the pain: examine our behaviour; share our power; widen our reference; demand our accountability; audit our actions.</p>
<p>I have always tried to understand theatre in terms of its usefulness and its porousness. To ask the questions:</p>
<ul>
<li>To whom are we being useful and how?</li>
<li>When ‘we’ say ‘we’ who do ‘we’ mean?</li>
<li>Can the nature, practise and action of the theatre be effectively changed and challenged by those who are not employed by it?</li>
</ul>
<p>For cultural organisations of all kinds, and those with the title of ‘National’ in their names even more so, a historical moment such as this demands that we face the fundamental question we should always be facing. ‘Are we useful?’ For a national theatre the question is not ‘what does the national theatre want to become’ but rather, ‘what kind of tool must we be in this moment to help shape a society that we wish to be part of’.</p>
<p>NTW is 10 years old. Its formation was an act of optimism and ambition. It is an act that speaks to the short term and the long. It says ‘we believe theatre can be an engine of progress in our society, that can hold open crucial spaces for the understanding, evolution, dissection and reimagining of who and what we are’. The critical word in this sentence is ‘can’. Theatre can be these things; it can also fail to be these things. It can also be a dead space, a reactionary space, an exclusionary space, a closed shop, an irrelevant space.</p>
<p>As was shown so powerfully by the toppling and drowning of the statue of Edward Colston on Sunday, symbols are important, history can be retold. Things that appear fixed can be pulled down and their meaning changed. As a sector we are facing incredibly complex and overlapping challenges. It can feel overwhelming. It can feel impossible to know where to start. What small thing to do first to begin to address these vast, systematic issues of racism and inequality. It can feel like the change we seek is impossible. In order to act, it is crucial that we do two things:</p>
<ol>
<li>That we turn towards this painful, dizzying complexity. That we face our urgent problems and when we are overwhelmed, resolve to pick ourselves and each other up and go again.</li>
<li>Always remember that change is not only possible, it is inevitable and we can make the difference between change for the better and change for the worse.</li>
</ol>
<p>As a company we are trying to think and act for the short term and the long. Trying to deploy our resources, share our power and target our actions to where they can help now. At the same time, we are trying to plan for the long term, to interrogate ourselves, our structures, our systems, to offer transparency and invite scrutiny, conversation and challenge as we offer plans and action.</p>
<p>We are part of an industry that can be a powerful force for re-invention, healing and recovery, but there must be no doubt about the scale and immediacy of the crisis we are experiencing. Without decisive and sustained support from government the cultural sector and theatre in particular faces a level of hardship and fundamental damage to our workforce and infrastructure on a scale never experienced before. If our sector cannot support our freelancers through this crisis, there will not be a theatre worth having on the other side. If it cannot address systematic and structural racism in our industry and society, there will not be a theatre worth having on the other side. If it cannot put inclusion of all kinds at the centre of action and thinking there will not be a theatre worth having on the other side. If it cannot protect our theatre buildings and community spaces, large and small then there will not be a theatre worth having on the other side. If we cannot do all of this with sustainable, equitable and ecologically sound models then it is irrelevant anyway.</p>
<p>In countless zoom meetings over the last two and a half months it has been inspiring to meet so many of the passionate, dedicated and insightful people working for the advancement and survival of Welsh theatre and culture. I am hugely grateful to all those who have helped me begin to understand the specific challenges and opportunities in front of us. The way ahead will undoubtedly be hard but I am more convinced than ever that there is boundless possibility here and I am proud to be part of the collective endeavour to create the thing that comes next. There is great long term thinking and conversation struggling to be made manifest: In the Wellbeing of Future Generations act; In the highly engaged conversations being had in forums large and small across Wales; In attempts to apply thinking such as doughnut economic growth models or the insistence in getting our colonial history properly taught in our curriculum. The challenge, as always, is to ensure that our short-term actions all drive to our long-term goals, to believe that this is a moment in which we can do better.</p>
<p>“To be truly radical is to make hope possible rather than despair convincing” – Raymond Williams</p>
<p>Lorne</p>
<p>-----</p>
<p><em>Ar ôl treulio bron i dri mis gyda ni hyd yn hyn, y cyfan yn ystod y cyfnod o fod dan glo, ac yn dilyn rhagor o newid seismig yn ein hymwybyddiaeth fyd-eang, genedlaethol a lleol dros y pythefnos diwethaf – mae’n Cyfarwyddwr Artistig<span> </span><a href="https://www.nationaltheatrewales.org/cy/people/lorne-campbell/">Lorne</a><span> </span>yn myfyrio ar ble rydym yn canfod ein hunain, ac i ble yr ydym yn mynd o fan hyn.</em></p>
<p>Mae angen i mi, a phawb arall sy’n dal unrhyw fath o bŵer yn y funud hon, deimlo ei bwysau. Dylai’r cyfrifoldeb a phosibilrwydd ein pŵer gael eu teimlo gydag awch. Fel unigolion, fel sefydliadau, fel cydrannau ac elfennau o systemau mwy, rhaid inni beidio â gadael i ni ein hunain dyfu’n gyfarwydd â’r awch hwnnw. Rhaid inni beidio â dysgu byw gydag ef. Rhaid i ni beidio â throi ein cyrff fel bod y brathiad yn llai poenus. Rhaid i ni droi tuag ato, ymgysylltu â’r anhawster a’r boen: archwilio ein hymddygiad; rhannu ein grym; ehangu ein cyfeiriad; mynnu ein hatebolrwydd; archwilio ein gweithredoedd.</p>
<p>Yr wyf bob amser wedi ceisio deall theatr yng nghyd-destun ei defnyddioldeb a pha mor hydraidd ydyw. Ac i ofyn y cwestiynau:</p>
<ul>
<li>I bwy ydym ni’n ddefnyddiol a sut?</li>
<li>Pan fyddwn ‘ni’ yn dweud ‘ni’ pwy ydym ‘ni’ yn eu golygu?</li>
<li>A ellir newid a herio natur, ymarfer a gweithredu theatr yn effeithiol gan y rhai nad ydynt yn cael eu cyflogi ganddi?</li>
</ul>
<p>I sefydliadau diwylliannol o bob math, a’r rhai sydd â’r teitl ‘Cenedlaethol’ yn eu henwau hyd yn oed yn fwy felly, mae moment hanesyddol fel hon yn mynnu ein bod yn wynebu’r cwestiwn sylfaenol y dylem fod yn ei wynebu bob amser. ‘A ydym ni’n ddefnyddiol?’ Ar gyfer theatr genedlaethol nid ‘beth yw’r theatr genedlaethol am fod’ yw’r cwestiwn, ond yn hytrach, ‘pa fath o offeryn y mae’n rhaid inni fod yn y foment hon i helpu i lunio cymdeithas yr ydym am fod yn rhan ohoni?’.</p>
<p>Mae NTW yn 10 mlwydd oed. Roedd ei ffurfio yn weithred o optimistiaeth ac uchelgais. Mae’n weithred sy’n siarad â’r tymor byr a’r hir. Mae’n dweud ‘rydym yn credu y gall theatr fod yn ysgogwr ar gyfer cynnydd yn ein cymdeithas, a all ddal mannau hollbwysig yn agored ar gyfer deall, esblygu, datgysylltu ac ail-ddychmygu pwy a beth ydym ni’. Y gair allweddol yn y frawddeg hon yw ‘gall’. Gall theatr fod y pethau hyn; gall hefyd fethu â bod y pethau hyn. Gall hefyd fod yn fan marw, yn fan adweithiol, yn fan sy’n allgau, yn siop gaeedig, yn fan amherthnasol.</p>
<p>Fel y dangoswyd mor rymus gan dynnu a boddi cerflun Edward Colston ddydd Sul, mae symbolau yn bwysig, gellir ail-ddweud hanes. Gall pethau sy’n ymddangos yn sefydlog gael eu tynnu i lawr a gellir newid eu hystyr. Fel sector, rydym yn wynebu heriau hynod gymhleth sy’n gorgyffwrdd. Gall deimlo’n llethol. Gall deimlo’n amhosibl gwybod ble i ddechrau. Pa beth bach i’w wneud yn gyntaf i ddechrau mynd i’r afael â’r materion enfawr a systematig hyn o hiliaeth ac anghydraddoldeb. Gall deimlo bod y newid a geisiwn yn amhosibl. Er mwyn gweithredu, mae’n hanfodol ein bod yn gwneud dau beth:</p>
<ol>
<li>Ein bod yn troi tuag at y cymhlethdod poenus a dyrys hwn. Ein bod yn wynebu ein problemau brys a phan fydd pethau’n mynd yn drech na ni, ein bod yn penderfynu codi ein hunain a’n gilydd ar ein traed a rhoi cynnig arall arni.</li>
<li>Cofio bob amser bod newid nid yn unig yn bosibl, mae’n anochel a gallwn ni wneud y gwahaniaeth rhwng newid er gwell a newid er gwaeth.</li>
</ol>
<p>Fel cwmni rydym yn ceisio meddwl a gweithredu ar gyfer y tymor byr a’r tymor hir. Yn ceisio defnyddio ein hadnoddau, rhannu ein pŵer a thargedu ein gweithredoedd i’r mannau lle gallant helpu nawr. Ar yr un pryd, rydym yn ceisio cynllunio ar gyfer y tymor hir, i holi ein hunain, ein strwythurau, ein systemau, i gynnig tryloywder ac i wahodd craffu, sgwrs a her wrth i ni gynnig cynlluniau a chamau gweithredu.</p>
<p>Rydym yn rhan o ddiwydiant sy’n gallu bod yn rym pwerus ar gyfer ail-ddyfeisio, gwella ac adfer, ond mae’n rhaid bod dim amheuaeth am raddfa a brys yr argyfwng yr ydym yn ei brofi. Heb gefnogaeth bendant a pharhaus gan y llywodraeth, mae’r sector diwylliannol a’r theatr yn arbennig yn wynebu lefel o galedi a niwed sylfaenol i’n gweithlu a’n seilwaith ar raddfa na welwyd erioed o’r blaen. Os na all ein sector gefnogi ein gweithwyr llawrydd drwy’r argyfwng hwn, ni fydd theatr gwerth ei chael ar yr ochr arall. Os na all fynd i’r afael â hiliaeth systematig a strwythurol yn ein diwydiant a’n cymdeithas, ni fydd theatr gwerth ei chael ar yr ochr arall. Os na all roi cynhwysiad o bob math wrth wraidd gweithredu a meddwl, ni fydd theatr gwerth ei chael ar yr ochr arall. Os na all amddiffyn ein hadeiladau theatr a’n mannau cymunedol, yn rhai mawr a rhai bach, yna ni fydd theatr gwerth ei chael ar yr ochr arall. Os na allwn wneud hyn i gyd gyda modelau cynaliadwy, teg ac ecolegol gadarn, yna mae’n amherthnasol beth bynnag.</p>
<p>Mewn cyfarfodydd zoom di-ri dros y ddeufis a hanner diwethaf ,mae wedi bod yn ysbrydoliaeth i gwrdd â chynifer o’r bobl angerddol, ymroddgar a chraff sy’n gweithio er datblygiad a goroesiad theatr a diwylliant Cymru. Rwy’n hynod ddiolchgar i bawb sydd wedi fy helpu i ddechrau deall yr heriau a’r cyfleoedd penodol sydd o’n blaenau. Bydd y ffordd ymlaen yn ddi-os yn anodd ond rwy’n fwy argyhoeddedig nag erioed fod posibilrwydd di-ben-draw yma ac rwy’n falch o fod yn rhan o’r ymdrech ar y cyd i greu’r peth sy’n dod nesaf. Mae llawer iawn o feddwl a sgwrsio tymor hir sy’n ymdrechu i ddod i’r amlwg: yn Neddf Llesiant Cenedlaethau’r Dyfodol; yn y sgyrsiau hynod frwd a geir mewn fforymau mawr a bach ar draws Cymru; mewn ymdrechion i gymhwyso meddwl megis modelau twf economaidd toesen neu fynnu bod ein hanes trefedigaethol yn cael ei addysgu’n briodol yn ein cwricwlwm. Yr her, fel bob amser, yw sicrhau bod ein camau gweithredu tymor byr i gyd yn anelu at ein nodau tymor hir, i gredu bod hon yn foment lle gallwn wneud yn well.</p>
<p>“To be truly radical is to make hope possible rather than despair convincing” – Raymond Williams</p>
<p>Lorne</p>"The dreams are like ancient scripture, we treat them reverently. These are fragments of peoples subconscious" - Emily Laurenstag:community.nationaltheatrewales.org,2020-05-28:3152760:BlogPost:2889922020-05-28T13:30:00.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p><strong><font face="Calibri, sans-serif"><font size="3"><font color="#222222">Dream a Little Dream For Me by Emily Laurens</font></font></font></strong></p>
<p><font face="Calibri, sans-serif"><font size="3">I have been living with dreams for 3 weeks now. Other peoples dreams. I dream about dreams. Other peoples nightmares have given me nightmares. In Wales May is a time when the veil between worlds is thin, Calan Mai, May Day Eve, is<span> </span><i>ysbryd nos</i>, a spirit night, much like…</font></font></p>
<p><strong><font face="Calibri, sans-serif"><font size="3"><font color="#222222">Dream a Little Dream For Me by Emily Laurens</font></font></font></strong></p>
<p><font face="Calibri, sans-serif"><font size="3">I have been living with dreams for 3 weeks now. Other peoples dreams. I dream about dreams. Other peoples nightmares have given me nightmares. In Wales May is a time when the veil between worlds is thin, Calan Mai, May Day Eve, is<span> </span><i>ysbryd nos</i>, a spirit night, much like it's autumnal opposite Halloween. And while this veil is thin I have been dipping in and out of other people's dreams.</font></font></p>
<p><a href="https://storage.ning.com/topology/rest/1.0/file/get/5451083081?profile=original" target="_blank" rel="noopener"><font face="Calibri, sans-serif"><font size="3"><img src="https://storage.ning.com/topology/rest/1.0/file/get/5451083081?profile=RESIZE_710x" width="350" class="align-center"/></font></font></a></p>
<p><font face="Calibri, sans-serif"><font size="3">When I submitted my idea to National Theatre Wales at the beginning of lockdown I though the idea was quirky and fun. But the more I sink into it the more important and deep it feels. Lorne Campbell (NTW's new artistic director) talked about it functioning like an antenna held up into the static of our collective unconscious, to gauge something deeper than mood or attitude. As so often happens as an artist I had an idea which I didn't fully understand yet. But other people seemed to and it was commissioned as part of NTW's Network series.</font></font></p>
<p></p>
<p><a href="https://storage.ning.com/topology/rest/1.0/file/get/5451092660?profile=original" target="_blank" rel="noopener"><font face="Calibri, sans-serif"><font size="3"><img src="https://storage.ning.com/topology/rest/1.0/file/get/5451092660?profile=RESIZE_710x" width="350" class="align-center"/></font></font></a></p>
<p><font face="Calibri, sans-serif"><font size="3">The title is a slight miss-quote from a 1930's song, I wanted it to have a lyrical feel. Music and sound are important as this is strictly visual storytelling. The shared language of art and dreams. Luckily I am in lockdown with my dear friend Henry Sears who happens to be a fantastic multi-instrumentalist. As dreams started to trickle in via an online form, my studio - usually a very multi-purpose space - began to transform. Right in the centre of this old 19<sup>th</sup><span> </span>century weaving shed in my garden I built a little puppet theatre booth complete with gold proscenium arch and red velvet curtains. Lighting has been installed, microphones, various other pieces of mysterious technical kit and of course a webcam. My studio has been refigured. It feels like a totally different space. A space for dreams to take shape in, it is like walking into the inside of someone else's head.</font></font></p>
<p><font face="Calibri, sans-serif"><font size="3">The dreams are like ancient scripture, we treat them reverently. These are fragments of peoples subconscious. There are personal things: mothers appearing naked, neighbour disputes, jealousy and envy; hilarious things like Neil Kinnock being a modernist poet, penguins for hire, lamb chops getting married to each other; and a lot of anxiety - going on stage unprepared, losing your memory, being chased by scary characters, flooding and even trailer reversing anxiety. And there are truly beautiful things like this:</font></font></p>
<p><font face="Calibri, sans-serif"><font size="3">“<font color="#202124"><span>three winged horses, black, shining black with silver highlights on wing feathers, wading through shallow waters, going deeper, wading and prancing, stunning. Purposeful, playful.”</span></font></font></font></p>
<p><font color="#222222"><font face="Calibri, sans-serif"><font size="3">Our pattern has been this: we choose a dream on Sunday evening and spend a few days talking about it over cups of tea whilst doing our other jobs and looking after our respective children. Then on Thursday I paint all day. Most of the dreams are made up of puppets painted onto cardboard and painted backdrops. For some dreams this has been a real tour-de-force of painting! But I revelled in how it brought together my twin passions of visual art and performance. I tried to pick a different palate of colours for each dream and we followed any hints or clues we could to give the dreams texture and detail. For instance the first dreamer came from Cornwall so I chose Truro as the town in the backdrop, the third dreamer mentioned a Lars von Trier film and the characters from that film became the inspiration for the people in the dream. On Friday and Saturday we put the dream together with help from the wonderful outside eyes of Nigel and Louise of Shunt and a fantastic technical team from NTW. We broadcast live at 9.30pm on Saturday night.</font></font></font></p>
<p><font color="#333333"><font face="Calibri, sans-serif"><font size="3"><font color="#222222">Dreams are considered important by psychologists and psychoanalysts. Freud thought that dreams provided special insight into our deepest selves.<span> </span></font><font color="#292C2F">Jung saw dreams as an attempt by the subconscious communicate and an important part of personality development.</font><font color="#222222"><span> </span>Many modern psychologists believe that dreams consolidate and organise our memories like</font><font color="#2C2D30"><span> </span>a kind of neurological housecleaning, sweeping away trivial memories from the previous day and storing the important ones more securely. It is impossible to say w</font><font color="#222222">hether dreams foretell the future, allow us to commune with the divine, or (most likely) provide a better understanding of ourselves, but this felt like the perfect moment to celebrate our dreams.</font></font></font></font></p>
<p><strong><font face="Calibri, sans-serif"><font size="3"><font color="#222222">The final dream “Sloth” will be broadcast live at 9.30pm on Saturday the 30</font><font color="#222222"><sup>th</sup></font><font color="#222222"> of May.</font></font></font></strong></p>
<p></p>
<p><font color="#222222" face="Calibri, sans-serif" size="3"><b>----</b></font></p>
<p></p>
<p>Dream a Little Dream For Me gan Emily Laurens</p>
<p>Rwyf wedi bod yn byw gyda breuddwydion ers 3 wythnos bellach. Breuddwydion pobl eraill. Rwy'n breuddwydio am freuddwydion. Mae hunllefau pobl eraill wedi rhoi hunllefau i mi. Yng Nghymru, mae mis Mai yn amser lle mae'r llen rhwng bydoedd yn denau, Calan Mai, Noswyl Gŵyl Fai yw ysbryd y nos, yn debyg i'w hafal gwrthwynebol hydrefol, Calan Gaeaf. A thra bod y llen yn denau, rwyf wedi bod yn mynd a dod i mewn ac allan o freuddwydion pobl eraill.</p>
<p>Pan gyflwynais fy syniad i Theatr Genedlaethol Cymru ar ddechrau'r cyfnod clo, roeddwn yn meddwl bod y syniad yn hwyliog ac yn od. Ond po fwyaf rwyf yn suddo i mewn iddo, y mwyaf pwysig a dwfn y mae'n teimlo. Soniodd Lorne Campbell (Cyfarwyddwr artistig newydd TGC) amdano'n gweithredu fel antena a ddelir i fyny i statig ein hymwybod torfol, i fesur rhywbeth dyfnach na hwyliau neu agwedd. Fel sy'n digwydd yn aml fel artist, roedd gen i syniad nad oeddwn yn ei ddeall yn llawn eto. Ond roedd pobl eraill i'w gweld yn hoffi'r syniad ac fe'i comisiynwyd fel rhan o gyfres Rhwydwaith TGC.</p>
<p>Mae'r teitl yn dod o ddyfyniad ychydig yn anghywir o gân o'r 1930au, roeddwn i am iddo gael ymdeimlad telynegol. Mae cerddoriaeth a sain yn bwysig oherwydd ei fod yn ffordd gwbl weledol yn unig o adrodd stori. Yr iaith a rennir gan gelf a breuddwydion. Yn lwcus, rwyf yn treulio'r cyfnod clo gyda fy ffrind annwyl, Henry Sears, sy'n digwydd bod yn aml-offerynnwr gwych. Wrth i freuddwydion dechrau dod i'r fei ar-lein, dechreuodd fy stiwdio - sydd fel arfer yn ofod aml-ddefnydd - drawsnewid. Yng nghanol yr hen sied gwehyddu o'r 19eg ganrif, adeiladais bwth theatr bypedau bach gydag arch prosceniwm aur a llenni felfed coch. Mae goleuadau, meicroffonau, amrywiaeth o offer technegol dirgel eraill ac wrth gwrs gwe-gamera wedi eu gosod. Mae fy stiwdio wedi ei cael ei hail-lunio. Mae'n teimlo fel gofod gwbl wahanol. Rhywle i freuddwydion ffurfio eu siâp, mae fel petai chi'n cerdded i mewn i ben rhywun arall.</p>
<p>Mae'r breuddwydion fel ysgrythurau hynafol, rydym yn eu trin yn ôl-ofalus. Maent yn ddarnau o isymwybod pobl. Mae pethau personol: mamau'n ymddangos yn noeth, anghydfod rhwng cymdogion, cenfigen ac eiddigedd; pethau doniol fel Neil Kinnock yn fardd modernaidd, pengwiniaid i'w llogi, golwythion cig oen yn priodi â'i gilydd; a llawer o bryder - mynd ar y llwyfan heb baratoi, colli eich cof, cael eich erlid gan gymeriadau brawychus, llifogydd a hyd yn oed pryder bacio trelar am yn ôl. Ac mae yna pethau hynod o hardd, fel yma:</p>
<p>“tri cheffyl ag adenydd, du, yn disgleirio'n ddu gyda aroleuadau arian ar blu adenydd, yn cerdded drwy ddyfroedd bas, yn mynd yn ddyfnach, yn cerdded ac yn carlamu, yn syfrdanol. Pwrpasol, chwareus.”</p>
<p>Dyma ein patrwm: rydym yn dewis breuddwyd ar nos Sul a threulio ychydig ddyddiau yn siarad amdani dros paneidiau o de wrth wneud ein swyddi eraill a gofalu am ein plant ein hunain. Yna, ar ddydd Iau, rwy'n paentio trwy'r dydd. Mae'r rhan fwyaf o'r breuddwydion wedi eu gwneud o bypedau ac yn cael eu paentio ar gardfwrdd a chefnlenni wedi eu paentio. Mae wedi bod yn gamp a hanner paentio rhai breuddwydion. Ond roeddwn yn ymhyfrydu yn y ffordd yr oedd yn uno fy angerdd am gelfyddyd weledol a pherfformiad. Roeddwn yn ceisio dewis paled o liwiau ar gyfer pob breuddwyd, ac fe ddilynon ni unrhyw awgrymiadau neu gliwiau i roi gwead a manylder i'r breuddwydion. Er enghraifft, daeth y breuddwydiwr cyntaf o Gernyw felly dewisais Truro fel y dref yn y cefndir, soniodd y trydydd breuddwydiwr am ffilm Lars von Trier a daeth y cymeriadau o'r ffilm honno yn ysbrydoliaeth i'r bobl yn y freuddwyd. Ar ddydd Gwener a dydd Sadwrn rydym yn rhoi'r freuddwyd at ei gilydd gyda chymorth gwych barn allanol Nigel a Louise o Shunt a thîm technegol ffantastig o TGC. Rydym yn darlledu'n fyw am 9.30pm ar nos Sadwrn.</p>
<p>Mae seicolegwyr a seicdreiddwyr yn ystyried breuddwydion i fod yn bwysig. Roedd Freud yn credu bod breuddwydion yn rhoi cipolwg arbennig i'n hunain dyfnaf. Roedd Jung yn gweld breuddwydion fel ymgais gan yr isymwybod i gyfathrebu a rhan bwysig o ddatblygu personoliaeth. Mae llawer o seicolegwyr modern yn credu bod breuddwydion yn atgyfnerthu ac yn trefnu ein hatgofion fel rhyw fath o dacluso niwrolegol, yn ysgubo atgofion dibwys o'r diwrnod blaenorol a storio'r rhai pwysig yn fwy diogel. Mae'n amhosib dweud a yw breuddwydion yn rhagweld y dyfodol, yn caniatáu i ni gyfathrebu gyda'r dwyfol, neu (yn fwyaf tebygol) yn darparu gwell dealltwriaeth o ni ein hunain, ond roedd hyn yn teimlo fel yr amser perffaith i ddathlu ein breuddwydion.</p>
<p><strong>Bydd y breuddwyd olaf, "Sloth" yn cael ei ddarlledu'n fyw am 9.30pm ar nos Sadwrn 30 Mai.</strong></p>"I’m really interested to see how the play sits in the current world" Matthew Bulgo - Constellation Streettag:community.nationaltheatrewales.org,2020-05-15:3152760:BlogPost:2891162020-05-15T12:28:41.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p><b>Please tell us about the play, and what it is about</b></p>
<p></p>
<p><span style="font-weight: 400;">Constellation Street takes place over the course of one night in Cardiff, between midnight and dawn. It follows the story of four characters - a pub landlady, a taxi driver, a school teacher and a young girl - who are all stuck in their own personal purgatories. Their past actions are weighing on them heavily and they’re desperate to find a way of moving forward. This one particular…</span></p>
<p><b>Please tell us about the play, and what it is about</b></p>
<p></p>
<p><span style="font-weight: 400;">Constellation Street takes place over the course of one night in Cardiff, between midnight and dawn. It follows the story of four characters - a pub landlady, a taxi driver, a school teacher and a young girl - who are all stuck in their own personal purgatories. Their past actions are weighing on them heavily and they’re desperate to find a way of moving forward. This one particular night their paths happen to clash and interweave. The play is set during the night because that’s the time when the world is most quiet and still and they have the time and space to pick over the bones of their past actions.</span></p>
<p></p>
<p><b>Has the play changed given the current circumstances? How?</b></p>
<p><span style="font-weight: 400;"> </span></p>
<p><span style="font-weight: 400;">I’m really interested to see how the play sits in the current world. When it was first produced in 2016, I remember it was a remarkably hot spring and there was a real optimism and vibrancy in the air in Cardiff. The national football team were just about to embark on a very successful campaign in the Euros, David Cameron (remember him?) was still Prime Minister and we were still living in a world where Brexit and all the chaos that has followed was yet to happen, and Barack Obama was still the leader of the free world. It felt strange to be staging a dark and brooding play in such relatively upbeat times but people seemed to enjoy it.</span></p>
<p></p>
<p><span style="font-weight: 400;">I re-read an essay by the American theatre practitioner Anne Bogart recently about ‘Context’. It’s an essay that’s really stayed with me over the years. She talks about a production called ‘Radio Play’ which was a staged version of Orson Welles’ ‘War of The Worlds’ produced by her theatre company in the early 2000s. The production was touring and receiving healthy audiences. Then 9/11 happened. Suddenly audiences were watching the play through a totally different lens because of this tragedy that happened on their home soil. The images in Welles’ story - images of smoke filled streets, of citizens running for their lives, of mass panic, of an enemy on domestic soil - resonated in a whole different way. The show continued its tour post-9/11 despite many theatres wanting to pull it for fear its content would be too close to the bone. In fact, audiences flocked in their droves. They wanted to gather together and grieve, they wanted to discuss and understand, they wanted community and they wanted catharsis.</span></p>
<p></p>
<p><span style="font-weight: 400;">In Constellation Street, the characters are all in limbo</span><b>,</b> <span style="font-weight: 400;">they’re in mental ‘lockdown’, their world is quiet and still and that gives them time to reflect on the past and hope for the future. I hope that some of those things resonate at a slightly different frequency for audiences this time around. That said, I’ve been writing long enough to know I should never second guess what an audience is going to make of something!</span></p>
<p></p>
<p><b>How did you approach having to re-stage the play, in our new circumstance? </b><b>What was challenging / easy about this?</b></p>
<p></p>
<p><span style="font-weight: 400;">I’ve not been involved in rehearsals at all this time around. I popped into a little meet-and-greet this week to say hello to the cast and creative team and then left them to their own devices. I’m absolutely thrilled with the team that’s been assembled to work on the reading. I’m a huge fan of all four of the cast members, it’s been great working with the director Dan Jones again and when I heard that Tic Ashfield was going to be rustling up a sonic world for the reading that was the real cherry on the cake. I’m sure finding a way of re-staging it in these current times has come with it’s challenges but I’ve left that to Dan! We’ve worked together quite a few times now and he directs with real clarity, sensitivity and grace. I trust that he’s made some astute choices. I’ve purposely not re-read the play over the past few weeks, in fact I’ve not read it in it’s entirety since we rehearsed it in 2016, so I’m looking forward to sitting down on Saturday night and doing that thing that we’ve all been doing for millennia - gathering around the campfire (for ‘campfire’ read ‘screen’) and listening to some stories.</span></p>
<p></p>
<p><span style="font-weight: 400;">///</span></p>
<p></p>
<p><b>Dywedwch wrthym am y ddrama, a beth yw'r pwnc</b></p>
<p><span style="font-weight: 400;"> </span></p>
<p><span style="font-weight: 400;">Bydd Constellation Street yn digwydd dros un noson yng Nghaerdydd, rhwng hanner nos a gwawr. Mae'n dilyn stori pedwar cymeriad - sef perchennog tafarn, gyrrwr tacsi, athro ysgol a merch ifanc - sydd i gyd yn sownd yn eu purdanau personol eu hunain. Mae eu gweithredoedd yn y gorffennol yn pwyso arnyn nhw'n drwm ac maen nhw'n daer am ddod o hyd i ffordd o symud ymlaen. Ar yr un noson arbennig hon, mae eu llwybrau'n digwydd gwrthdaro a rhyngblethu. Mae'r ddrama wedi'i gosod yn ystod y nos oherwydd dyna'r adeg pan mae'r byd yn fwyaf tawel a llonydd ac mae ganddyn nhw'r amser a'r lle i ddadansoddi eu gweithredoedd yn y gorffennol.</span></p>
<p><span style="font-weight: 400;"> </span></p>
<p><b>A yw'r ddrama wedi newid o ystyried yr amgylchiadau presennol? Sut?</b></p>
<p><span style="font-weight: 400;"> </span></p>
<p><span style="font-weight: 400;">Mae gen i ddiddordeb mewn gweld sut mae'r ddrama'n eistedd yn y byd sydd ohoni. Pan gafodd ei chynhyrchu am y tro cyntaf yn 2016, rwy'n cofio ei fod yn wanwyn hynod o boeth ac roedd optimistiaeth a bywiogrwydd gwirioneddol yn yr awyr yng Nghaerdydd. Roedd y tîm pêl-droed cenedlaethol ar fin cychwyn ymgyrch lwyddiannus iawn yn yr Euros, roedd David Cameron (cofio ef?) yn dal yn Brif Weinidog ac roeddem yn dal i fyw mewn byd lle'r oedd Brexit a'r holl anhrefn sydd wedi dilyn heb ddigwydd eto, ac roedd Barack Obama yn arweinydd y byd rhydd. Roedd yn teimlo'n rhyfedd ein bod yn llwyfannu drama dywyll a meddylgar mewn cyfnod mor gymharol gadarnhaol ond roedd pobl i'w gweld yn ei mwynhau.</span></p>
<p><span style="font-weight: 400;"> </span></p>
<p><span style="font-weight: 400;">Ailddarllenais draethawd gan yr ymarferwr theatr Americanaidd Anne Bogart yn ddiweddar am 'Gyd-destun'. Mae'n draethawd sydd wir wedi aros gyda mi dros y blynyddoedd. Mae'n sôn am gynhyrchiad o'r enw 'Radio Play' a oedd yn fersiwn lwyfan o 'War of the Worlds' gan Orson Welles a gynhyrchwyd gan ei chwmni theatr ar ddechrau'r 2000au. Roedd y cynhyrchiad yn teithio ac yn derbyn cynulleidfaoedd iach. Yna digwyddodd 9/11. Yn sydyn roedd cynulleidfaoedd yn gwylio'r ddrama drwy lens hollol wahanol oherwydd y drasiedi hon a ddigwyddodd ar eu tir hwy. Roedd y delweddau yn stori Welles - delweddau o strydoedd llawn mwg, o ddinasyddion yn rhedeg am eu bywydau, o banig torfol, o elyn ar diroedd domestig - yn eu taro mewn ffordd gwbl wahanol. Parhaodd y sioe ar ei thaith ar ôl 9/11 er bod llawer o theatrau eisiau ei thynnu rhag ofn y byddai ei chynnwys yn rhy gignoeth. Mewn gwirionedd, roedd cynulleidfaoedd yn heidio i'w gweld. Roedden nhw am gasglu ynghyd a galaru, roedden nhw eisiau trafod a deall, roedden nhw eisiau cymuned ac roedden nhw eisiau catharsis.</span></p>
<p><span style="font-weight: 400;"> </span></p>
<p><span style="font-weight: 400;">Yn Constellation Street, mae'r cymeriadau i gyd mewn limbo</span><b>,</b> <span style="font-weight: 400;">maen nhw mewn 'cyfyngiad' meddyliol, mae eu byd yn dawel ac yn llonydd ac mae hynny'n rhoi amser iddyn nhw fyfyrio ar y gorffennol a gobeithio am y dyfodol. Gobeithio bod rhai o'r pethau hynny'n atseinio mewn ffordd ychydig yn wahanol i gynulleidfaoedd y tro hwn. Wedi dweud hynny, rwyf wedi bod yn ysgrifennu'n ddigon hir i wybod na ddylwn byth geisio dyfalu beth fydd barn cynulleidfa am rywbeth!</span></p>
<p><span style="font-weight: 400;"> </span></p>
<p><b>Sut aethoch chi ati i ail-lwyfannu'r ddrama, yn ein hamgylchiadau newydd? </b><b>Beth oedd yn heriol/yn hawdd am hyn?</b></p>
<p></p>
<p><span style="font-weight: 400;">Dydw i ddim wedi cymryd rhan mewn ymarferion o gwbl y tro hwn. Fe wnes i alw heibio seiswn cwrdd a chyfarch yr wythnos hon i ddweud helo wrth y cast a'r tîm creadigol ac yna eu gadael i fwrw ymlaen. Rwyf wrth fy modd gyda'r tîm sydd wedi cael ei gynnull i weithio ar y darlleniad. Rwy'n ffan enfawr o bob un o'r pedwar aelod o'r cast, mae wedi bod yn wych gweithio gyda'r cyfarwyddwr Dan Jones eto a phan glywais fod Tic Ashfield yn mynd i greu byd sonig ar gyfer y darlleniad roedd hynny'n goron ar y cyfan. Rwy'n siŵr bod dod o hyd i ffordd o'i ail-lwyfannu yn yr amseroedd presennol hyn wedi bod yn heriol ond rwyf wedi gadael hynny i Dan! Rydym wedi gweithio gyda'n gilydd sawl gwaith erbyn hyn ac mae'n cyfarwyddo â gwir eglurder, sensitifrwydd a gosgeiddrwydd. Rwy'n hyderus ei fod wedi gwneud rhai dewisiadau craff. Rwyf yn fwriadol wedi peidio ag ailddarllen y ddrama dros yr wythnosau diwethaf, yn wir, dydw i ddim wedi'i darllen yn ei chyfanrwydd ers i ni ei hymarfer yn 2016, felly rwy'n edrych ymlaen at eistedd i lawr nos Sadwrn a gwneud y peth hwnnw yr ydym i gyd wedi bod yn ei wneud ers milenia - casglu o gwmpas y tân gwersylla (ar gyfer 'campfire' gweler 'screen') a gwrando ar straeon.</span></p>The Agency, and how to adapt to the new normal / The Agency, a sut i addasu i'r norm newyddtag:community.nationaltheatrewales.org,2020-04-24:3152760:BlogPost:2890552020-04-24T12:04:05.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p><span style="font-weight: 400;">The Agency is a creative entrepreneurship programme for young people aged 15-25, from the Butetown, Riverside and Grangetown areas of Cardiff with ideas that need to happen. We provide training, support, funding and advice from industry professionals, to develop passions into a project that benefits local communities. <br></br><br></br></span><span style="font-weight: 400;">The programme is led by our Agency Coordinator, Gavin Porter, a film and theatremaker from…</span></p>
<p><span style="font-weight: 400;">The Agency is a creative entrepreneurship programme for young people aged 15-25, from the Butetown, Riverside and Grangetown areas of Cardiff with ideas that need to happen. We provide training, support, funding and advice from industry professionals, to develop passions into a project that benefits local communities. <br/><br/></span><span style="font-weight: 400;">The programme is led by our Agency Coordinator, Gavin Porter, a film and theatremaker from Butetown, Cardiff.<br/><br/></span><span style="font-weight: 400;">Read more from Gavin about how the Agents have adjusted over the last few weeks, and particularly their focus on connecting with fellow Agents in Brazil around action and response to Covid-19 in the favelas and the fundraising they need to do, to support people living there.</span></p>
<p> <strong> </strong></p>
<p>Mae The Agency yn rhaglen entrepreneuriaeth greadigol i bobl ifanc 15-25 oed o ardaloedd Butetown, Glanyrafon a Grangetown yng Nghaerdydd â syniadau sy'n rhaid eu gwireddu. Rydym yn darparu hyfforddiant, cefnogaeth, cyllid a chyngor gan weithwyr proffesiynol y diwydiant, i ddatblygu angerdd yn brosiect sydd o fudd i gymunedau lleol.</p>
<p> </p>
<p>Arweinir y rhaglen gan ein Cydlynydd Agency, Gavin Porter, gwneuthurwr ffilm a theatr o Butetown, Caerdydd.</p>
<p><strong> </strong></p>
<p>Darllenwch fwy gan Gavin am sut mae'r Asiantau wedi addasu dros yr wythnosau diwethaf, ac yn arbennig eu ffocws ar gysylltu gyda chyd-asiantau ym Mrasil ynglŷn â gweithredu ac ymateb i Covid-19 yn y favelas a'r codi arian y mae angen iddynt ei wneud, i gefnogi pobl sy'n byw yno.</p>
<p> </p>
<p><span style="font-weight: 400;">"Just before the lockdown our Agents had been working on their projects for eight weeks. They had developed a plan, budget and schedule for delivering their projects. There were four projects that were about to happen:</span></p>
<p> </p>
<p><span style="font-weight: 400;">Mycelium - enabling young artists from Butetown, Riverside and Grangtown to create work for unexpected spaces in their communities.</span></p>
<p> </p>
<p><span style="font-weight: 400;">Worlds on Water - A cultural experience where an audience take a boat ride down the river Taff, themed around communities that have made Cardiff their home, from Bangladeshi, to Indian, to Somali.</span></p>
<p> </p>
<p><span style="font-weight: 400;">Soldering Sisters - A project that was to encourage young women to pursue a career in engineering. </span></p>
<p> </p>
<p><span style="font-weight: 400;">Baked Words - Combining storytelling and food, Baked Words will sell Somali inspired cakes that are wrapped in short stories. </span></p>
<p> </p>
<p><span style="font-weight: 400;">Since the lockdown the Agents have been working with their producers to reimagine their projects for the new situation that we all find ourselves in. </span></p>
<p> </p>
<p><span style="font-weight: 400;">Through the methodology of the Agency we ask the Agents what change do want to see, be that in their communities or themselves, what is their desire for change. It is that desire that is at the heart of their projects.</span></p>
<p> </p>
<p><span style="font-weight: 400;">The Agents have considered what is at the heart of their projects, what change they want to see and are now figuring out how they can affect this change in a digital space.</span></p>
<p> </p>
<p><span style="font-weight: 400;">More details of the four new incarnations of the Agenst project will emerge over the coming weeks."</span></p>
<p> </p>
<p><span style="font-weight: 400;">NTW deliver the Agency in partnership with Battersea Arts Centre, Contact Theatre and Fablab Belfast. The project originated in the Favelas of Rio in 2011 and was created by Marcus Faustini.</span></p>
<p> </p>
<p><span style="font-weight: 400;">Last we took part in a nationwide Zoom call where 55 people joined. At the beginning of the Call Marcus spoke about the Agency and their response to Covid-19 in the favelas. All funding for the Agency, time and energy has now been directed towards feeding people in the communities that they work in. The situation is precarious in a normal situation, with a lot of people working in the informal economy, so most have to still go to work, despite the risks. This talk was a stark reminder of the comparatively fortunate position we in the UK find ourselves. </span></p>
<p> </p>
<p><span style="font-weight: 400;">Marcus Faustini through Agência de Redes para Juventude along with Peoples Palace Projects will be launching a will be launching a funding raising campaign in the coming days.</span></p>Networktag:community.nationaltheatrewales.org,2020-04-07:3152760:BlogPost:2889152020-04-07T12:30:00.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p><strong><br></br> <a href="https://storage.ning.com/topology/rest/1.0/file/get/4351031585?profile=original" rel="noopener" target="_blank"><img class="align-center" src="https://storage.ning.com/topology/rest/1.0/file/get/4351031585?profile=RESIZE_710x"></img></a> <br></br></strong></p>
<p><span><strong>Sgroliwch i lawr ar gyfer y Gymraeg<br></br> <br></br> National Theatre Wales<br></br> In partnership with BBC Cymru Wales & BBC Arts</strong><br></br><br></br>How do you make and experience theatre in a lock down? </span></p>
<p><span>Remove the obvious form of theatre; people gathering in a particular place, at a particular…</span></p>
<p><strong><br/> <a href="https://storage.ning.com/topology/rest/1.0/file/get/4351031585?profile=original" target="_blank" rel="noopener"><img src="https://storage.ning.com/topology/rest/1.0/file/get/4351031585?profile=RESIZE_710x" class="align-center"/></a><br/></strong></p>
<p><span><strong>Sgroliwch i lawr ar gyfer y Gymraeg<br/> <br/> National Theatre Wales<br/> In partnership with BBC Cymru Wales & BBC Arts</strong><br/><br/>How do you make and experience theatre in a lock down? </span></p>
<p><span>Remove the obvious form of theatre; people gathering in a particular place, at a particular time, to watch others perform – then what are we left with?</span></p>
<p><span>The telling of stories, the sharing of a moment, the performance of fundamental acts of connection and community. S</span><span>tories guide us to make sense of the world around us. They connect us, help us process new realities and what we know to be true. They offer us a safe space to play out new futures, new normals. They help us adjust. </span></p>
<p><span>Network is our new digital programme of work, designed to connect audiences, communities and theatre makers with opportunities to create and experience live, innovative theatre delivered via a digital stage. </span></p>
<p></p>
<p><b>New Digital Commissions<br/></b> <b>National Theatre Wales & Theatr Genedlaethol Cymru<br/></b> <b>with BBC Cymru Wales & BBC Arts</b></p>
<p><span>We’re working in partnership with Theatr Genedlaethol Cymru to invite </span><span>theatre artists of Wales to come up with innovative, exciting and human responses during the ongoing lockdown.</span></p>
<p><span>New Digital Commissions is an open call opportunity for new commissions to make Live Theatre in digital spaces – theatre that will help audiences, communities and theatre makers to come together whilst we are all kept apart.</span></p>
<p><span>Network Creative associates Nigel Barrett and Louise Mari will be working with NTW and Theatr Genedlaethol Cymru to support the development of the commissions.</span></p>
<p><strong><a href="https://www.nationaltheatrewales.org/ntw-projects/network-new-digital-commissions/" target="_blank" rel="noopener">This call for submissions is now open.<br/></a></strong></p>
<p><b>Play Readings</b></p>
<p><span>12 Plays in digital spaces.</span></p>
<p><span>National Theatre Wales and Sherman Theatre </span><span>will work together with a range of independent companies and artists to produce play readings, showcasing the talent of playwrights, companies and creatives across Wales.</span></p>
<p><span>The partnership will enable Welsh directors, actors, and designers to be fully supported and funded to deliver the readings, while providing a platform to share homegrown work, alongside contemporary classic titles that may yet to have been performed here in Wales. </span></p>
<p><strong>More on this soon…</strong></p>
<p></p>
<p><strong>-------</strong></p>
<p></p>
<p><strong>National Theatre Wales<br/></strong> <span><strong>Mewn partneriaeth â BBC Cymru Wales & BBC Arts</strong><br/></span> <span><br/> Sut mae gwneud a phrofi theatr mewn cyfnod o gyfyngiad ar symudiad? </span></p>
<p><span>Tynnwch y ffurf amlwg ar theatr; pobl yn ymgynnull mewn lle penodol, ar adeg benodol, i wylio eraill yn perfformio – yna beth sydd ar ôl?</span></p>
<p><span>Adrodd straeon, rhannu ennyd, perfformio gweithredoedd sylfaenol o gysylltiad a chymuned. Mae</span><span> straeon yn ein harwain i wneud synnwyr o’r byd o’n cwmpas. Maent yn ein cysylltu, yn ein helpu i brosesu gwirioneddau newydd a’r hyn y gwyddom ei fod yn wir. Maent yn darparu lle diogel i ni roi cynnig ar ddyfodol newydd, ar normau newydd. Maent yn ein helpu i addasu. </span><span> </span></p>
<p><span>Network yw ein rhaglen waith ddigidol newydd, a gynlluniwyd i gysylltu cynulleidfaoedd, cymunedau a gwneuthurwyr theatr â chyfleoedd i greu a phrofi theatr fyw, arloesol a gyflwynir drwy lwyfan digidol. </span></p>
<p></p>
<p><b>Comisiynau Digidol Newydd<br/></b> <b>National Theatre Wales & Theatr Genedlaethol Cymru<br/></b> <b>gyda BBC Cymru Wales & BBC Arts</b></p>
<p><span>Rydym yn gweithio mewn partneriaeth gyda Theatr Genedlaethol Cymru i </span><span>wahodd artistiaid theatr Cymru i ddod o hyd i ymatebion arloesol, cyffrous a dynol yn ystod y cyfnod o gyfyngiad ar symudiad sy’n mynd rhagddo.</span></p>
<p><span>Mae Comisiynau Digidol Newydd yn gyfle galwad agored am gomisiynau newydd i wneud theatr fyw mewn mannau digidol – theatr a fydd yn helpu cynulleidfaoedd, cymunedau a gwneuthurwyr theatr i ddod at ei gilydd tra byddwn ni i gyd yn cael ein cadw ar wahân.</span></p>
<p>Bydd cymdeithion creadigol Network Nigel Barrett a Louise Mari yn gweithio gyda NTW a Theatr Genedlaethol Cymu i gefnodi datblygiad y comisiynau.</p>
<p><strong><a href="https://www.nationaltheatrewales.org/cy/ntw-projects/network-comisiynau-digidol-newydd/" target="_blank" rel="noopener">Mae’r alwad hon am gyflwyniadau bellach ar agor.</a></strong></p>
<p></p>
<p><b>Darlleniadau o Ddramâu</b></p>
<p><span>12 Drama mewn mannau digidol.</span><span> Bydd NTW a Theatr y Sherman </span><span> yn cydweithio ag amrywiaeth o gwmnïau ac artistiaid annibynnol i gynhyrchu darlleniadau o ddramâu, gan arddangos talent dramodwyr, cwmnïau a gweithwyr creadigol ar draws Cymru.</span></p>
<p>Bydd y bartneriaeth yn galluogi cyfarwyddwyr, actorion a dylunwyr o Gymru i gael eu cefnogi a’u hariannu’n llawn i ddarparu’r darlleniadau, ac ar yr un pryd yn darparu llwyfan i rannu gwaith brodorol, ynghyd â theitlau clasurol cyfoes sydd efallai heb eu perfformio eto yma yng Nghymru.</p>
<p><strong>Rhagor am hyn yn fuan …</strong></p>A curious hello... | Helo chwilfrydig... From our new Artistic Director | Gan ein Cyfarwyddwr Artistig newyddtag:community.nationaltheatrewales.org,2020-03-27:3152760:BlogPost:2887292020-03-27T18:16:39.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p><span style="font-weight: 400;">Hello.<br></br> <br></br></span> <span style="font-weight: 400;">My name is Lorne and I have the great pleasure and privilege to be the new Artistic Director of National Theatre Wales.<br></br> <br></br></span> <span style="font-weight: 400;">I started in the job last Monday and, as I’m sure you can imagine, it has not been quite the beginning I had envisioned. On that first Monday we had to take the very difficult and painful decision to postpone a whole swathe of work: our…</span></p>
<p><span style="font-weight: 400;">Hello.<br/> <br/></span> <span style="font-weight: 400;">My name is Lorne and I have the great pleasure and privilege to be the new Artistic Director of National Theatre Wales.<br/> <br/></span> <span style="font-weight: 400;">I started in the job last Monday and, as I’m sure you can imagine, it has not been quite the beginning I had envisioned. On that first Monday we had to take the very difficult and painful decision to postpone a whole swathe of work: our upcoming co-production of ‘Frank’, being made in partnership with the Jones Collective; ‘Balloon Girl’, led by the incredible Hannah McPake and perhaps most painfully of all, given that it was in its first day of technical rehearsal, Jon Tregenna’s ‘Hail Cremation’.<br/> <br/> <a href="https://storage.ning.com/topology/rest/1.0/file/get/4247365845?profile=original" target="_blank" rel="noopener"><img src="https://storage.ning.com/topology/rest/1.0/file/get/4247365845?profile=RESIZE_710x" class="align-center"/></a> <br/></span> <span style="font-weight: 400;">Theatre is so deeply geared to overcoming the slings and arrows of outrageous fortune that it feels deeply wrong, counter-intuitive and disturbing to not find the work-around, to not figure out a different way to get the thing done but to hold our hands up and say, ‘the show must not go on’.<br/> <br/></span> <span style="font-weight: 400;">On Tuesday, as government advice rolled out, we closed up the office and moved everyone to home working and began to deal with the implications of how the company can operate over the coming Days? Weeks? Months? Then, as we started that process in consultation with partners, colleagues and our board, I started to get sick and sunk into a few days of fever dreams and aching bones.<br/> <br/></span> <span style="font-weight: 400;">More or less a textbook first week in a new job.<br/> <br/></span> <span style="font-weight: 400;">Through all of this it has been incredibly inspiring to watch colleagues and partners absorb the huge disappointments and anxieties of this moment, and with remarkable resilience begin to plan. To plan not only for how we get these postponed projects in front of audiences at a later date, but for what we can do now. What we can do for our audiences, our communities and our freelance colleagues, for whom this is such an insecure and frightening moment. <br/> <br/></span> <span style="font-weight: 400;">In all sorts of ways this lockdown is stripping away the obvious conventional forms of things; going to work, the shape of our days, our regular social interactions. As these obvious forms are stripped back you are able to see more clearly the essence of things. As we take away the obvious form of theatre; some people gathering in a particular place, at a particular time, to watch others perform, then what are we left with?<br/> <br/></span> <span style="font-weight: 400;">We’re left with the telling of stories, the sharing of a moment, the performance of fundamental acts of connection and community.<br/> <br/></span> <span style="font-weight: 400;">The best theatre has always been made by passionate people trying to do a thing outside of their comfort zone, trying to meet the audience in a new way, struggling to render the complex accessible, managing to live in that terrifying and electrifying moment of ‘I don’t know how to do this, but I’m going to try anyway’.</span> <span style="font-weight: 400;">As we asked ourselves, ‘what is the most useful thing NTW can do in this moment?’, it seemed to us, what we can do is to employ people to try to do exactly this. To share our resources, our expertise and our networks in service of the audiences, communities and theatre makers of Wales alike.<br/> <br/></span> <span style="font-weight: 400;">Over the coming days and weeks we will be rolling out a range of opportunities, offers of commissions and collaborations for audiences and theatre makers to engage with.<br/> <br/></span> <span style="font-weight: 400;">Like everyone else we are making this up as w</span><span style="font-weight: 400;">e go along so please join us, share your ideas and together we will figure out how to do whatever it is that comes next. <br/> <br/></span> <span style="font-weight: 400;">Stay safe<br/></span> <span style="font-weight: 400;">Lorne <br/></span> <span style="font-weight: 400;">x</span></p>
<p></p>
<p><span style="font-weight: 400;">_____<br/> <br/></span></p>
<p>Helo.<br/> <br/> Fy enw i yw Lorne ac mae gen i'r pleser a'r fraint fawr o fod yn Gyfarwyddwr Artistig newydd National Theatre Wales.<br/> <br/> Dechreuais yn y swydd ddydd Llun diwethaf ac, fel yr wyf yn siŵr y gallwch ddychmygu, nid dyma'r dechrau yr oeddwn wedi'i ragweld o bell ffordd. Ar y dydd Llun cyntaf hwnnw bu'n rhaid i ni wneud y penderfyniad anodd a phoenus iawn i ohirio swm mawr o waith: ein cyd-gynhyrchiad o 'Frank' oedd yn cael ei wneud mewn partneriaeth â'r Jones Collective; 'Balloon Girl', dan arweiniad yr anhygoel Hannah McPake ac efallai yn fwyaf poenus oll, o ystyried ei bod yn ei diwrnod cyntaf o'r ymarfer technegol, 'Hail Cremation' gan Jon Tregenna.</p>
<p></p>
<p><a href="https://storage.ning.com/topology/rest/1.0/file/get/4247365845?profile=original" target="_blank" rel="noopener"><img src="https://storage.ning.com/topology/rest/1.0/file/get/4247365845?profile=RESIZE_710x" class="align-center"/></a></p>
<p><br/> Mae theatr mewn sefyllfa mor dda i oresgyn unrhyw heriau sy'n ei hwynebu, mae'n teimlo'n hynod o chwith, yn wrthreddfol ac yn annifyr i beidio â dod o hyd i'r ateb amgen, i beidio â chanfod ffordd wahanol o gyflawni'r peth ond i ddal ein dwylo i fyny a dweud, 'ni all y sioe fynd yn ei blaen'.<br/> <br/> Ddydd Mawrth, wrth i gyngor y llywodraeth gael ei gyflwyno, caewyd y swyddfa a symudwyd pawb i weithio gartref, gan ddechrau ymdrin â goblygiadau gofyn sut y gallai'r cwmni weithredu dros y dyddiau, yr wythnosau, neu'r misoedd nesaf? Yna, wrth inni ddechrau'r broses honno mewn ymgynghoriad â phartneriaid, cydweithwyr a'n bwrdd, dechreuais fynd yn sâl a phrofi ychydig ddyddiau o dwymyn llawn breuddwydion ac esgyrn poenus.<br/> <br/> Glasbrint arbennig felly ar gyfer yr wythnos gyntaf mewn swydd newydd.<br/> <br/> Trwy hyn i gyd, mae wedi bod yn ysbrydoliaeth aruthrol i wylio cydweithwyr a phartneriaid yn amsugno siom a phryderon y sefyllfa sydd ohoni, a chyda chydnerthedd rhyfeddol yn dechrau cynllunio. Cynllunio nid yn unig ar gyfer sut y gallwn roi'r prosiectau gohiriedig hyn o flaen cynulleidfaoedd yn y dyfodol, ond ar gyfer yr hyn y gallwn ei wneud yn awr. Yr hyn y gallwn ei wneud i'n cynulleidfaoedd, i'n cymunedau ac i'n cydweithwyr llawrydd, y mae'r foment hon yn un mor ansicr a brawychus iddynt. <br/> <br/> Ym mhob math o ffyrdd, mae'r cyfyngiadau symud yn cael gwared ar ffurfiau amlwg ar bethau confensiynol; mynd i'r gwaith, siâp ein dyddiau, ein rhyngweithiadau cymdeithasol rheolaidd. Wrth i'r ffurfiau amlwg hyn gael eu dileu, gallwch weld yn gliriach yr hyn yw hanfod pethau. Wrth i ni ddileu'r ffurf amlwg ar theatr; pobl yn ymgynnull mewn lle penodol, ar adeg benodol, i wylio eraill yn perfformio, yna beth sydd ar ôl?<br/> <br/> Yr hyn sydd ar ôl yw adrodd straeon, rhannu eiliad, perfformio gweithredoedd sylfaenol o gysylltiad a chymuned.<br/> <br/> Mae'r theatr orau bob amser wedi'i gwneud gan bobl angerddol yn ceisio gwneud rhywbeth y tu allan i'w parth cysur, gan geisio cwrdd â'r gynulleidfa mewn ffordd newydd, yn ymdrechu i wneud y cymhleth yn hygyrch, yn llwyddo i fyw yn y foment arswydus a thrydanol honno o 'Dydw i ddim gwybod sut i wneud hyn, ond dwi'n mynd i drio beth bynnag'. Wrth inni ofyn i ni'n hunain, 'beth yw'r peth mwyaf defnyddiol y gall NTW ei wneud yn y foment hon?', roedd yn ymddangos i ni mai'r hyn y gallwn ni ei wneud yw cyflogi pobl i geisio gwneud yr union beth hwn. Rhannu ein hadnoddau, ein harbenigedd a'n rhwydweithiau wrth wasanaethu cynulleidfaoedd, cymunedau a gwneuthurwyr theatr Cymru fel ei gilydd.<br/> <br/> Dros y dyddiau a'r wythnosau nesaf byddwn yn cyflwyno ystod o gyfleoedd, cynigion o gomisiynau a phrosiectau cydweithio i gynulleidfaoedd a gwneuthurwyr theatr ymgysylltu â nhw.<br/> <br/> Fel pawb arall rydym yn llunio hyn wrth i ni fynd yn ein blaenau felly ymunwch â ni, rhannwch eich syniadau a gyda'n gilydd byddwn yn penderfynu sut i wneud beth bynnag a ddaw nesaf. <br/> <br/> Arhoswch yn ddiogel<br/> Lorne <br/> x</p>
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<p><span style="font-weight: 400;"> </span></p>Hail Cremation! Cancellation / Canslotag:community.nationaltheatrewales.org,2020-03-17:3152760:BlogPost:2886592020-03-17T10:28:24.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p>In light of the ongoing situation regarding COVID-19/Coronavirus, we have taken the difficult decision to cancel all performances of Hail Cremation! <br></br><br></br>The health and wellbeing of our cast, crew, staff and audiences is our central focus and in the light of current public health guidance we feel it is no longer feasible to go ahead with the run of performances. <br></br><br></br>We will be contacting everyone who has bought a ticket with options to receive a refund or credit for future NTW…</p>
<p>In light of the ongoing situation regarding COVID-19/Coronavirus, we have taken the difficult decision to cancel all performances of Hail Cremation! <br/><br/>The health and wellbeing of our cast, crew, staff and audiences is our central focus and in the light of current public health guidance we feel it is no longer feasible to go ahead with the run of performances. <br/><br/>We will be contacting everyone who has bought a ticket with options to receive a refund or credit for future NTW performances. Given the difficult circumstances, refunds may take up to 10 days. Please bear with us, and we will be in touch. <br/><br/>We want to take the opportunity to send our love and thanks to our incredible cast, creatives, team and staff for all their hard work and dedication to this wonderful show. <br/><br/>We’re currently reviewing our planned programme over the coming months and we will do everything we can to support our artists, staff, partners and community, many of whom are freelance, during this unprecedented time. <br/><br/>We would like to offer reassurance that all freelancers for Hail Cremation! and other ongoing projects, will have all contracts honoured and paid in full.</p>
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<p><span style="font-weight: 400;">Yn sgil y sefyllfa barhaus o ran COVID-19/Coronafirws, rydym wedi gwneud y penderfyniad anodd i ganslo pob perfformiad o Hail Cremation! Iechyd a llesiant ein cast, criw, staff a chynulleidfaoedd yw ein ffocws canolog ac yng ngoleuni'r canllawiau presennol ar iechyd y cyhoedd, teimlwn nad yw bellach yn bosibl bwrw ymlaen â'r perfformiadau.</span> <span style="font-weight: 400;"><br/></span><span style="font-weight: 400;"><br/></span><span style="font-weight: 400;">Byddwn yn cysylltu â phawb sydd wedi prynu tocyn gydag opsiynau i dderbyn ad-daliad neu gredyd am berfformiadau NTW yn y dyfodol.</span> <span style="font-weight: 400;">O ystyried yr amgylchiadau anodd, gallai ad-daliadau gymryd hyd at 10 diwrnod. Gofynnwn i chi fod yn amyneddgar os gwelwch yn dda, a byddwn mewn cysylltiad.<br/><br/></span></p>
<p><span style="font-weight: 400;">Rydym am achub ar y cyfle i anfon ein cariad a'n diolch i'n cast, gweithwyr creadigol, tîm a staff anhygoel am eu holl waith caled a'u hymroddiad i'r sioe wych hon.<br/><br/></span></p>
<p><span style="font-weight: 400;">Rydym wrthi'n adolygu ein rhaglen arfaethedig dros y misoedd nesaf a byddwn yn gwneud popeth o fewn ein gallu i gefnogi ein hartistiaid, ein staff, ein partneriaid a'n cymuned, y mae llawer ohonynt yn gweithio yn llawrydd, yn ystod yr amser digynsail hwn. <br/><br/></span></p>
<p><span style="font-weight: 400;">Hoffem gynnig sicrwydd i bob gweithiwr llawrydd ar Hail Cremation! a phrosiectau cyfredol eraill, y byddwn yn anrhydeddu pob contract ac yn eu talu'n llawn.</span></p>
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<p></p>Hyfforddiant Capsiynu NTW / NTW CAPTIONING TRAININGtag:community.nationaltheatrewales.org,2020-01-16:3152760:BlogPost:2882072020-01-16T11:30:00.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<div class="col-md-6 offset-md-5 details"></div>
<p><strong>Hyfforddiant Capsiynu NTW<br></br> National Theatre Wales</strong></p>
<p><strong>Dydd Iau 30 Ionawr, 4-6.30pm<br></br>Dydd Sadwrn 8 Chwefror, 11.00-1.30pm<br></br></strong> <strong>Yn Swyddfa National Theatre Wales, Arcêd y Castell, Caerdydd</strong></p>
<p><strong>Am ddim</strong></p>
<p>Yn National Theatre Wales, mae ein hoffer iPads a Chapsiynu ar gael i’w llogi am ddim, i helpu i roi capsiynau ar berfformiadau ledled Cymru.</p>
<p>Mae’n…</p>
<div class="col-md-6 offset-md-5 details"></div>
<p><strong>Hyfforddiant Capsiynu NTW<br/> National Theatre Wales</strong></p>
<p><strong>Dydd Iau 30 Ionawr, 4-6.30pm<br/>Dydd Sadwrn 8 Chwefror, 11.00-1.30pm<br/></strong> <strong>Yn Swyddfa National Theatre Wales, Arcêd y Castell, Caerdydd</strong></p>
<p><strong>Am ddim</strong></p>
<p>Yn National Theatre Wales, mae ein hoffer iPads a Chapsiynu ar gael i’w llogi am ddim, i helpu i roi capsiynau ar berfformiadau ledled Cymru.</p>
<p>Mae’n bleser gennym bellach gynnig hyfforddiant ar ein system, a roddir gan Buddug James Jones. Bydd yr hyfforddiant hwn yn eich dysgu sut i weithredu’r meddalwedd, mewnbynnu eich cynnwys, a chyflwyno capsiynau effeithiol a phleserus.</p>
<p>P’un a ydych yn creu gwaith, yn rhan o’r tîm y tu ôl i’r llenni, neu’n ceisio dysgu sgil newydd, dewch draw i ddysgu am ddim.</p>
<p><strong>Mae’r lleoedd wedi’u cyfyngu i 7 y sesiwn<br/></strong> <strong>Mae cadw lle yn hanfodol<br/></strong> <strong>E-bostiwch<span> </span></strong><a href="mailto:rhianlewis@nationaltheatrewales.org"><strong>rhianrichards@nationaltheatrewales.org</strong></a><strong><span> </span>i gadw lle</strong></p>
<p></p>
<p><strong>NTW Captioning Training<br/> National Theatre Wales</strong></p>
<p><strong>Thursday 30 January, 4-6.30pm<br/>Saturday 8 February, 11-1.30pm<br/></strong> <strong>At National Theatre Wales office, Castle Arcade, Cardiff</strong></p>
<p><strong>Free</strong></p>
<p>At National Theatre Wales, our iPads and Captioning equipment are available to hire for free, to support captioning of performances across Wales.</p>
<p>We’re delighted to now offer training on our system, delivered by Buddug James Jones. This training will teach you how to operate the software, input your content, and deliver effective, enjoyable captioning.</p>
<p>Whether you create work, are part of the team behind the scenes, or are looking to learn a new skill, come along and learn for free.</p>
<p><strong>Spaces are limited to 7 per session<br/></strong> <strong>Booking essential<br/></strong> <strong>Email<span> </span></strong><a href="mailto:rhianlewis@nationaltheatrewales.org"><strong>rhianrichards@nationaltheatrewales.org</strong></a><strong><span> </span>to book</strong></p>National Theatre Wales // CYFARWYDDWR ARTISTIG / ARTISTIC DIRECTORtag:community.nationaltheatrewales.org,2019-10-21:3152760:BlogPost:2867792019-10-21T09:33:52.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
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<p><strong><a href="https://storage.ning.com/topology/rest/1.0/file/get/3672334333?profile=original" rel="noopener" target="_blank"><img class="align-center" height="541" src="https://storage.ning.com/topology/rest/1.0/file/get/3672334333?profile=RESIZE_710x" width="699"></img></a></strong></p>
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<ul>
<li><strong>NATIONAL THEATRE WALES YN CYHOEDDI HEDDIW PENODIAD LORNE CAMPBELL I RÔL CYFARWYDDWR ARTISTIG</strong></li>
</ul>
<p> </p>
<ul>
<li><strong>AR HYN O BRYD YN GYFARWYDDWR ARTISTIG NORTHERN STAGE, BYDD CAMPBELL YN YMGYMRYD Â'I RÔL NEWYDD YN YSTOD GWANWYN 2020</strong></li>
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<p>Heddiw, cyhoeddodd…</p>
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<p><strong><a href="https://storage.ning.com/topology/rest/1.0/file/get/3672334333?profile=original" target="_blank" rel="noopener"><img src="https://storage.ning.com/topology/rest/1.0/file/get/3672334333?profile=RESIZE_710x" class="align-center" width="699" height="541"/></a></strong></p>
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<li><strong>NATIONAL THEATRE WALES YN CYHOEDDI HEDDIW PENODIAD LORNE CAMPBELL I RÔL CYFARWYDDWR ARTISTIG</strong></li>
</ul>
<p> </p>
<ul>
<li><strong>AR HYN O BRYD YN GYFARWYDDWR ARTISTIG NORTHERN STAGE, BYDD CAMPBELL YN YMGYMRYD Â'I RÔL NEWYDD YN YSTOD GWANWYN 2020</strong></li>
</ul>
<p></p>
<p>Heddiw, cyhoeddodd Clive Jones, Cadeirydd NTW, fod Cyfarwyddwr Artistig newydd wedi'i benodi i olynu Kully Thiarai. Bydd Lorne Campbell, sydd ar hyn o bryd yn Gyfarwyddwr Artistig Northern Stage, yn ymgymryd â'r rôl yn ystod gwanwyn 2020.</p>
<p>Dechreuodd y cyfarwyddwr theatr o'r Alban, Lorne Campbell, ar ei yrfa yn Traverse Theatre yng Nghaeredin ac yn fwyaf diweddar bu'n Gyfarwyddwr Artistig ar Northern Stage. Fe'i penodwyd i'r rôl yn 2013 ac erbyn iddo ymadael bydd wedi gwasanaethu yn y rôl honno ac fel Prif Weithredwr ar y cyd am bron i 7 mlynedd, gan bartneru gyda'r Cyfarwyddwr Gweithredol Kate Denby ers 2015. Mae uchafbwyntiau ei gyfnod yn Northern Stage yn cynnwys The Bloody Great Border Ballad (2015) Get Carter (2016) a The Last Ship (2018), a gwaith arddangos arobryn Northern Stage yng Ngŵyl Ymylol Caeredin. O dan arweinyddiaeth Campbell, mae Northern Stage wedi cynhyrchu mwy o waith, wedi denu mwy o gynulleidfaoedd, wedi datblygu ei ymrwymiad i feithrin talent ledled y gogledd-ddwyrain ac wedi arloesi gyda modelau cyd-greu newydd gyda phobl ifanc a chymunedau dan anfantais economaidd. </p>
<p>Cyn mynd i Northern Stage, gweithiodd Campbell fel cyfarwyddwr theatr llawrydd, gan greu cynyrchiadau ar gyfer theatrau Everyman a Playhouse yn Lerpwl, Birmingham Rep, Theatre Royal Caerfaddon, Traverse Theatre, The Almeida a Hull Truck. Roedd yn Gyfarwyddwr Cyswllt yn Traverse Theatr rhwng 2004 a 2008. Bu'n gweithio fel Cyfarwyddwr Cwrs yn Drama Centre ac fel Cymrawd Creadigol yr RSC rhwng 2011 a 2013 ac fel cyd-Gyfarwyddwr Artistig sylfaenol Greyscale rhwng 2009 a 2013.</p>
<p> </p>
<p>Meddai Clive Jones, Cadeirydd NTW: "Roedd amrywiaeth a dyfnder gwaith artistig Lorne, ei sgiliau arwain amlwg a'i ymrwymiad clir i hyrwyddo a datblygu talent Cymru wedi creu argraff arnom. Bydd yn dod ag egni a bywiogrwydd newydd i'r theatr yng Nghymru."</p>
<p> </p>
<p>Dywedodd Lorne Campbell: "Mae'n argoeli'n hynod o gyffrous i fod yn ymuno â National Theatre Wales fel Cyfarwyddwr Artistig, a hefyd mae yna dristwch mawr i fod yn gadael Northern Stage ar ôl chwe blynedd a hanner. Yr wyf wedi cael y fraint o weithio gyda'r cydweithwyr, yr artistiaid, y cynulleidfaoedd a'r cymunedau mwyaf bendigedig y gallech ddymuno eu cael. Rwy'n falch iawn o'r hyn rydym wedi'i gyflawni gyda'n gilydd ac yn gwybod bod y theatr mewn lle gwych i barhau i esblygu a ffynnu yn y blynyddoedd i ddod.</p>
<p>Mae'r cyfle i weithio gyda thalent, uchelgais ac egni anhygoel theatr Gymreig a thrwy fodel arloesol a hyblyg NTW, i greu cyfleoedd ar gyfer sgyrsiau newydd rhwng cynulleidfaoedd, artistiaid a chymunedau, yn ddomestig ac yn rhyngwladol, yn rhyfeddol ac yn ostyngedig. Mae gwaith gwych yn digwydd yng Nghymru ac ni allaf aros i ymgysylltu â dyfnder ac ehangder y creadigrwydd, y dyhead a'r mynegiant hwn."</p>
<p>Dywedodd Simon Elliott, Cadeirydd Northern Stage, "Mae Lorne wedi dod â'i egni, ei sgil a'i ddawn artistig i bob diwrnod o'i amser gyda Northern Stage. Bydd yn ei adael yn 2020 mewn cyflwr da ar gyfer y dyfodol, gyda gweledigaeth rymus ac enw da ymysg rhanddeiliaid a chynulleidfaoedd. Dymunwn yn dda iddo ar ei benodiad newydd gan wybod y bydd yn defnyddio'r un rhinweddau i gael yr un effaith.". </p>
<p><br/> Meddai Phil George, Cadeirydd Cyngor Celfyddydau Cymru: "Rydym yn llongyfarch NTW ar y penodiad cyffrous hwn ac yn edrych ymlaen at groesawu Lorne i Gymru. Fel y gŵyr, bydd yn canfod sefyllfa theatr fywiog y mae NTW wedi helpu i'w llunio gyda'i dull gweithredu unigryw a'i gylch gwaith cenedlaethol. Mae ystod profiad Lorne yn argoeli'n dda ar gyfer datblygiad parhaus y cwmni, gan gydweithio'n agos ag artistiaid Cymru. A bydd ei brofiad helaeth o ymgysylltu â chymunedau yn y gogledd-ddwyrain yn rhoi nerth ac egni ychwanegol i rwydwaith cymunedol helaeth NTW ledled Cymru."</p>
<p></p>
<p>--</p>
<p></p>
<ul>
<li><strong>NATIONAL THEATRE WALES TODAY ANNOUNCED THE APPOINTMENT OF LORNE CAMPBELL TO THE ROLE OF ARTISTIC DIRECTOR</strong></li>
</ul>
<p><strong><em> </em></strong></p>
<ul>
<li><strong>CURRENTLY ARTISTIC DIRECTOR OF NORTHERN STAGE, CAMPBELL WILL TAKE UP HIS NEW ROLE IN SPRING 2020</strong></li>
</ul>
<p> </p>
<p>Clive Jones, Chair of NTW, today announced the appointment of a new Artistic Director to succeed Kully Thiarai. Lorne Campbell, who is currently Artistic Director of Northern Stage, will take up the role in Spring 2020.</p>
<p> </p>
<p>Scottish theatre director, Lorne Campbell began his career at the Traverse Theatre in Edinburgh and most recently was Artistic Director of Northern Stage. He was appointed to the role in 2013 and by the time of his departure he will have served in that role and as joint Chief Executive for almost 7 years, partnering with Executive Director Kate Denby since 2015. Highlights of his time at Northern Stage include <em>The Bloody Great Border Ballad</em> (2015) <em>Get Carter</em> (2016) and <em>The Last Ship</em> (2018), and Northern Stage’s multi-award winning showcasing work at the Edinburgh Fringe. Under Campbell’s leadership, Northern Stage has produced more work, attracted greater audiences, developed its commitment to nurturing talent across the North East and pioneered new co-creation models with young people and communities of economic disadvantage.</p>
<p> </p>
<p>Prior to Northern Stage, Campbell worked as a freelance theatre director creating productions for Liverpool Everyman and Playhouse Theatres, Birmingham Rep, Theatre Royal Bath, Traverse Theatre, The Almeida and Hull Truck. He was Associate Director at the Traverse Theatre between 2004 and 2008. He worked as a Course Director at Drama Centre and as a Creative Fellow of the RSC between 2011 and 2013 and as founding co-Artistic Director of Greyscale between 2009 and 2013.</p>
<p> </p>
<p>Clive Jones, Chair of NTW said: “We were impressed by the range and depth of Lorne’s artistic work, his obvious leadership skills and clear commitment to promoting and developing Welsh talent. He will bring a new energy and vitality to theatre in Wales.”</p>
<p> </p>
<p>Lorne Campbell said: “It is a profoundly exciting prospect to be joining National Theatre Wales as Artistic Director and also a great sadness to be leaving Northern Stage after six and a half years. I have been privileged to work with the most wonderful colleagues, artists, audiences and communities that you could wish for. I am very proud of what we have achieved together and know that the theatre is in a great place to continue to evolve and thrive in the years ahead.</p>
<p> </p>
<p>The chance to work with the incredible talent, ambition and dynamism of Welsh theatre and through the innovative and flexible model of NTW, to create opportunities for new conversations between audiences, artists and communities, domestically and internationally, is both remarkable and humbling. There is great work happening in Wales and I cannot wait to engage with the depth and breadth of this creativity, aspiration and expression.”</p>
<p> </p>
<p>Simon Elliott, Chair of Northern Stage said, "Lorne has brought his energy, skill and artistic flair to every day of his time with Northern Stage. He will leave it in 2020 in great shape for the future, with a compelling vision and an enhanced reputation amongst stakeholders and audiences. We wish him well for his new appointment and know that he will bring the same qualities to the same effect."</p>
<p> </p>
<p>Phil George, Chair Arts Council Wales said: “We congratulate NTW on this exciting appointment and look forward to welcoming Lorne to Wales. He will find, as he knows, a vibrant theatre scene which NTW has helped to shape with its distinctive approach and its national remit. Lorne's range of experience bodes well for the company's continuing development, working closely with the artists of Wales. And his depth of experience engaging with communities in the North East will give added strength and energy to NTW's extensive community network across Wales.”</p>DEWCH I GYMRYD RHAN YN EIN AROLWG CYNULLEIDFA / TAKE PART IN OUR AUDIENCE SURVEYtag:community.nationaltheatrewales.org,2019-06-24:3152760:BlogPost:2853322019-06-24T09:22:24.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p></p>
<p><span>Rydym yn cynnal arolwg byr ar hyn o bryd er mwyn ein cynorthwyo i ddysgu rhagor ynghylch y bobl sy’n dod i weld ein sioeau, yn cymryd rhan yn ein rhaglenni a’n digwyddiadau ac yn ymwneud â ni ar-lein.</span></p>
<p><span>Fel cwmni theatr cenedlaethol Cymru trwy gyfrwng y Saesneg, rydym eisiau archwilio sut y medrwn ddarparu’r profiad gorau posib ar gyfer ein cynulleidfaoedd.…</span></p>
<p></p>
<p></p>
<p><span>Rydym yn cynnal arolwg byr ar hyn o bryd er mwyn ein cynorthwyo i ddysgu rhagor ynghylch y bobl sy’n dod i weld ein sioeau, yn cymryd rhan yn ein rhaglenni a’n digwyddiadau ac yn ymwneud â ni ar-lein.</span></p>
<p><span>Fel cwmni theatr cenedlaethol Cymru trwy gyfrwng y Saesneg, rydym eisiau archwilio sut y medrwn ddarparu’r profiad gorau posib ar gyfer ein cynulleidfaoedd.</span></p>
<p><strong><a href="https://www.surveymonkey.co.uk/r/NTWCymreig?utm_source=wordfly&utm_medium=email&utm_campaign=Enews20june&utm_content=version_A">Llenwch yr arolwg</a></strong></p>
<p></p>
<p><span>We are carrying out a short survey to help us learn more about the people who come to see our shows, take part in our programmes and events and engage with us online.</span></p>
<p><span>As Wales’ English language national theatre company, we want to explore how we can provide the best possible experiences for our audiences.</span></p>
<p><a href="https://www.surveymonkey.co.uk/r/NTWsurvey?utm_source=wordfly&utm_medium=email&utm_campaign=Enews20june&utm_content=version_A"><b>Take the survey</b></a></p>Are you interested in the arts or feel passionately about north Wales and the impact of climate change?tag:community.nationaltheatrewales.org,2019-04-07:3152760:BlogPost:2841442019-04-07T17:46:32.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p><a href="https://www.nationaltheatrewales.org/ntw-projects/egin/" rel="noopener" target="_blank">Egin</a> is a brand new, international artist residency in Capel Curig, in Gwynedd that places climate change, arguably the biggest issue facing humankind, centre stage.</p>
<p> </p>
<p>The organisers are looking for 13 ‘Local Connectors’ to get involved. Each Local Connector will be paired with an artist participating in the residency in order to help develop their knowledge and connection with…</p>
<p><a href="https://www.nationaltheatrewales.org/ntw-projects/egin/" target="_blank" rel="noopener">Egin</a> is a brand new, international artist residency in Capel Curig, in Gwynedd that places climate change, arguably the biggest issue facing humankind, centre stage.</p>
<p> </p>
<p>The organisers are looking for 13 ‘Local Connectors’ to get involved. Each Local Connector will be paired with an artist participating in the residency in order to help develop their knowledge and connection with the location prior to their arrival. You will also be invited to welcome your artist, to attend talks (programmed around the themes of climate change) and to experience some of the work created by the artists during their time in Snowdonia.</p>
<p> </p>
<p>The organisers will cover reasonable travel expenses.</p>
<p> </p>
<p>For more information, please come along to our Local Connector event to learn more about National Theatre Wales, <a href="https://www.nationaltheatrewales.org/ntw-projects/egin/" target="_blank" rel="noopener">Egin</a> and the role of the Local Connector.</p>
<p> </p>
<p>Venue: Plas Y Brenin, Capel Curig, LL24 0ET</p>
<p>Date: 2 May 2019</p>
<p>Time: 7pm</p>
<p> </p>
<p>Please contact <a href="mailto:gwenfairhawkins@nationaltheatrewales.org" target="_blank" rel="noopener">gwenfairhawkins@nationaltheatrewales.org</a> to confirm your attendance.</p>
<p> </p>
<p>More about:</p>
<p> </p>
<p><strong>EGIN</strong></p>
<p><strong>1-13 July 2019</strong></p>
<p><strong>Snowdonia National Park</strong></p>
<p> </p>
<p>Now more than ever we need the arts and culture to help us respond; to provoke and motivate us by offering ideas that challenge our perceptions and influence our behaviours.</p>
<p> </p>
<p><a href="https://www.nationaltheatrewales.org/ntw-projects/egin/" target="_blank" rel="noopener">Egin</a>aims to kick-start fresh artistic responses to the topic. Taking creative experimentation as its starting point, Egin seeks to inform new practice, imagine possible futures, and inspire sustainable approaches to living.</p>
<p> </p>
<p>Developed by National Theatre Wales in partnership with Natural Resources Wales and with support from the National Trust, British Council Wales and Snowdonia National Park.</p>
<p> </p>
<p><a href="https://www.nationaltheatrewales.org/ntw-projects/egin/">https://www.nationaltheatrewales.org/ntw-projects/egin/</a></p>
<p> </p>A oes gennych ddiddordeb yn y celfyddydau neu’n teimlo'n angerddol dros ogledd Cymru ac effaith newid yn yr hinsawdd?tag:community.nationaltheatrewales.org,2019-04-07:3152760:BlogPost:2837732019-04-07T17:30:00.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p>Mae <a href="https://www.nationaltheatrewales.org/cy/ntw-projects/egin/" rel="noopener" target="_blank">Egin</a> yn gyfnod preswyl rhyngwladol newydd sbon i artistiaid yng Nghapel Curig yng Ngwynedd, sy'n gosod newid yn yr hinsawdd, y gellid dadlau yw'r mater mwyaf sy'n wynebu dynolryw, ar frig yr agenda.</p>
<p> </p>
<p>Mae'r trefnwyr yn chwilio am 13 o 'Gysylltwyr Lleol' i gymryd rhan. Bydd pob Cysylltydd Lleol yn cael eu paru gydag artist sy'n cymryd rhan yn y cyfnod preswyl er mwyn helpu…</p>
<p>Mae <a href="https://www.nationaltheatrewales.org/cy/ntw-projects/egin/" target="_blank" rel="noopener">Egin</a> yn gyfnod preswyl rhyngwladol newydd sbon i artistiaid yng Nghapel Curig yng Ngwynedd, sy'n gosod newid yn yr hinsawdd, y gellid dadlau yw'r mater mwyaf sy'n wynebu dynolryw, ar frig yr agenda.</p>
<p> </p>
<p>Mae'r trefnwyr yn chwilio am 13 o 'Gysylltwyr Lleol' i gymryd rhan. Bydd pob Cysylltydd Lleol yn cael eu paru gydag artist sy'n cymryd rhan yn y cyfnod preswyl er mwyn helpu i ddatblygu eu gwybodaeth a'u cysylltiad â'r lleoliad cyn iddynt gyrraedd. Cewch eich gwahodd hefyd i groesawu eich artist, i fynychu trafodaethau (wedi'u rhaglennu o gwmpas themâu newid yn yr hinsawdd) ac i brofi peth o'r gwaith a grëwyd gan yr artistiaid yn ystod eu hamser yn Eryri.</p>
<p> </p>
<p>Bydd y trefnwyr yn talu costau teithio rhesymol.</p>
<p> </p>
<p>Am ragor o wybodaeth, dewch i'n digwyddiad Cysylltydd Lleol i ddysgu rhagor am National Theatre Wales, <a href="https://www.nationaltheatrewales.org/cy/ntw-projects/egin/" target="_blank" rel="noopener">Egin</a> a rôl y Cysylltydd Lleol.</p>
<p> </p>
<p>Lleoliad: Plas Y Brenin, Capel Curig, LL24 0ET</p>
<p>Dyddiad: 2 Mai 2019</p>
<p>Amser: 7pm</p>
<p> </p>
<p>Cysylltwch â <a href="mailto:gwenfairhawkins@nationaltheatrewales.org" target="_blank" rel="noopener">gwenfairhawkins@nationaltheatrewales.org</a> i gadarnhau y byddwch yn bresennol.</p>
<p> </p>
<p>Rhagor am:</p>
<p> </p>
<p><strong>EGIN</strong></p>
<p><strong>1-13 Gorffennaf 2019</strong></p>
<p><strong>Parc Cenedlaethol Eryri</strong></p>
<p> </p>
<p>Nawr yn fwy nag erioed mae angen y celfyddydau a diwylliant arnom i'n helpu i ymateb; i'n hysbrydoli a'n hysgogi drwy gynnig syniadau sy'n herio ein cysyniadau ac yn dylanwadu ar ein hymddygiad.</p>
<p> </p>
<p>Nod <a href="https://www.nationaltheatrewales.org/cy/ntw-projects/egin/" target="_blank" rel="noopener">Egin</a> yw roi hwb i ymatebion artistig newydd i'r pwnc. Gan ddechrau gydag arbrofi creadigol, mae Egin yn ceisio llywio ymarfer newydd, dychmygu dyfodol posibl, ac ysbrydoli dulliau cynaliadwy o fyw.</p>
<p> </p>
<p>Wedi'i ddatblygu gan National Theatre Wales, mewn partneriaeth â Cyfoeth Naturiol Cymru a gyda chymorth gan yr Ymddiriedolaeth Genedlaethol, y Cyngor Prydeinig a Pharc Cenedlaethol Eryri.</p>
<p> </p>
<p><span><a href="https://www.nationaltheatrewales.org/ntw-projects/egin/">https://www.nationaltheatrewales.org/ntw-projects/egin/</a></span></p>
<p></p>Session Notes: How might digital advancements change the identity of theatre?tag:community.nationaltheatrewales.org,2019-03-06:3152760:BlogPost:2829042019-03-06T13:37:47.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p>Name of session<br></br> How might digital advancements change the identity of theatre?</p>
<p>Name of person who called the session<br></br> Ceriann Williams</p>
<p>Summary of discussion<br></br> Ceriann attended the Edinburgh Fringe last year as part of the Total Theatre network and saw a lot of work which was labelled ‘unconventional’ in style. Much of this work was multiplatform and had a digital element and has raised a question about why we see little of these advancements in Wales:</p>
<p>Why do…</p>
<p>Name of session<br/> How might digital advancements change the identity of theatre?</p>
<p>Name of person who called the session<br/> Ceriann Williams</p>
<p>Summary of discussion<br/> Ceriann attended the Edinburgh Fringe last year as part of the Total Theatre network and saw a lot of work which was labelled ‘unconventional’ in style. Much of this work was multiplatform and had a digital element and has raised a question about why we see little of these advancements in Wales:</p>
<p>Why do we see little little digital theatre/ multiplatform theatre in Wales?</p>
<p>Is it because we’re too purist? <br/> Is it because digital theatre could threaten traditional roles of designers and playwrights? <br/> Is it because we want to preserve the analogue, the immediate, the live element of theatre? Is it down to general lack of knowledge and expertise?</p>
<p>The positives of digital advancements were described as follows:</p>
<p>• Enhanced aural, visual and sensory storytelling<br/> • Greater access, connectivity, interaction<br/> • Geographically enabling- can reach rural areas, hard to reach audiences<br/> • Huge potential for audience development via social platforms<br/> • More of an audience sharing experience via digital platforms where you can connect, for example, via a Twitter hashtag<br/> • Created a bedroom theatre experience<br/> • Legacy</p>
<p>The barriers were to digital advancement were as follows:</p>
<p>• Lack of knowledge and expertise – are Yellobrick the only established digital theatre storytellers? <br/> • NTW have a Digital Located Residency scheme running with 3 companies, Yellobrick, Lisa Heledd Jones, Swansea Laptop Orchestra and Angela Davies <a href="https://www.nationaltheatrewales.org/ntw-projects/digi-located-residencies-new/">https://www.nationaltheatrewales.org/ntw-projects/digi-located-residencies-new/</a><br/> • Who are the app makers? <br/> • Add ons versus integrated digital – the former can feel contrived so we always need to ask ourselves why do we want a digital platform? What purpose will it serve? How will it develop audiences? Is it to do with artistic vision, audience development or both? <br/> • The DIY approach is possible but how?<br/> • Who do we know in Wales who can share knowledge? <br/> • How will ACW feel about applications from artists who want to develop digital knowledge and implement into their practice? <br/> • What are the cost implications of digital enhancements? <br/> • It feels like a lot of R&D time would be required for learning and testing and building new collaborations and relationships</p>
<p>Melin Edo spoke in length about a piece of work she was involved with. Mi Minör was the first play of its kind in the world, where a Role Playing Game was played by both online and in-house audiences, integrated into a live performance. The show was live streamed and online audiences could influence the action as much as the in-house audience.</p>
<p>Mi Minör was premiered on December 1st 2012 in Istanbul. It was performed 23 times, to an audience of more than 10,000. Each night was different, was hashtagged, retweeted and evolved online with participants from all over the world. It was a real example of using theatre and social media for social change.</p>
<p>Action</p>
<p>Ceriann and Melin Edo will try to arrange a further discussion group around digital versus analogue theatre and the wider use of social media in theatre.</p>
<p>In attendance</p>
<p>Ceriann Williams<br/> Samuel Jones<br/> Paul Thomas<br/> Lucy Rivers<br/> Melin Edo</p>Session Notes: NTW - A Fringe-Festival on the West-End of Wales:tag:community.nationaltheatrewales.org,2019-03-05:3152760:BlogPost:2830032019-03-05T16:52:21.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p>Title: NTW - A Fringe-Festival on the West-End of Wales:<br></br> Person who called Session: Thomas Millenium Falcon Morgan Mallitte - NTW TEAM PANEL Member and Actor/Poet from Pembrokeshire.<br></br> Who attended the session: 9 people.<br></br> Only got 4 people’s details at end. T MFM Mallitte, Naomi Chiffi, Nicole Allard & Mari Hullett + 5 others attended.<br></br> Potential Fringe-Festival locations:<br></br> Beaches.<br></br> ● Coastal cruiser already in place to transport people between beaches.<br></br> ●…</p>
<p>Title: NTW - A Fringe-Festival on the West-End of Wales:<br/> Person who called Session: Thomas Millenium Falcon Morgan Mallitte - NTW TEAM PANEL Member and Actor/Poet from Pembrokeshire.<br/> Who attended the session: 9 people.<br/> Only got 4 people’s details at end. T MFM Mallitte, Naomi Chiffi, Nicole Allard & Mari Hullett + 5 others attended.<br/> Potential Fringe-Festival locations:<br/> Beaches.<br/> ● Coastal cruiser already in place to transport people between beaches.<br/> ● Free venue, but perhaps long-discussion with Council would be an obstacle.<br/> ● Celebrations taking place on the principal tourist-attractions in Pembrokeshire - ensuring<br/> positive tourist numbers. (Like Boardmasters - Cornwall’s beaches).<br/> Castles along the Landsker-Line.<br/> ● Use of prime-placed heritage centres might massively encourage local economy as they<br/> are in the centre of most large towns in Pembrokeshire.<br/> ● The heritage centres are also symbols of the colonial oppression of the Welsh.<br/> ● Perhaps attempt to set up bus-links between each location.<br/> ● Both the various Castles and the various Bus-Companies have different and even<br/> conflicting agendas.<br/> ● Castles already have effective advertising schemes and are set to have even greater<br/> advertisement following their affiliation in 2019 with the Tanyard Youth Centre’s<br/> ‘PODCASTS AND POSTCARDS’ project.<br/> ● Start with one castle to limit initial costs and also to avoid agenda.<br/> ● Put on a different art form in each castle? Music/Stand-up/Puppetry/Poetry/Playwriting &<br/> Acting/Dancing, et al.<br/> Buses in between sites. - Art/Stand-up/Music/Poetry/Play on the bus itself to ensure travel isn’t boring.<br/> N.B. Please don’t respond to this point with the counter-argument that includes vague glimpses of gorse and often-not-sheep-filled fields.<br/> Example of On-Bus Stand-Up at Edinburgh. There was an act in Copenhagen where people were unexpectedly treated to an immersive performance, where-in they were told the bus had been hijacked.<br/> Carmarthen - Trinity St.Davids University - Production Design Students Mari Hullett and Nicole Allard expressed a determined will to help set this up and said they could sway many other members of their course to help in setting this up as it seemed like a cool idea to them.<br/> Perhaps the collaboration with or the presence of those from e stablished theatrical organisations such as the RWCMD YAS Outskirt Programme in Pembrokeshire College,<br/> the Torch Theatre, The OtherRoom would be an amazingly efffective way to draw attention to both this Festival and such institutions work?<br/> Thank you very much for reading this. It is close to my heart and far from being achieved without people like yourself reading this initial conversation summary.<br/> To offer advice, your services or donations - if that is your way - please contact:<br/> Thomas MFM Mallitte - A Pembrokeshire NTW TEAM PANEL Member, Actor, Writer, Activist & Poet - on 07436 111952<br/> - thomasmallitte@hotmail.com</p>Session Notes: What does NTW getting it right look like in 2029?tag:community.nationaltheatrewales.org,2019-03-05:3152760:BlogPost:2841492019-03-05T16:30:00.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p>Name of session</p>
<p>What does NTW getting it right look like in 2029?</p>
<p>Name of person who called the session<br></br> Lisa</p>
<p>Summary of discussion</p>
<p>TEAM Model. It works. It’s sick. <br></br> Successful in engaging people who don’t ordinarily connect with theatre in its traditional model, people who don’t necessarily think that theatre is for them. <br></br> Make it a bigger part of what NTW does.</p>
<p>I’d like NTW to better acknowledge other languages that exist in Wales, beyond…</p>
<p>Name of session</p>
<p>What does NTW getting it right look like in 2029?</p>
<p>Name of person who called the session<br/> Lisa</p>
<p>Summary of discussion</p>
<p>TEAM Model. It works. It’s sick. <br/> Successful in engaging people who don’t ordinarily connect with theatre in its traditional model, people who don’t necessarily think that theatre is for them. <br/> Make it a bigger part of what NTW does.</p>
<p>I’d like NTW to better acknowledge other languages that exist in Wales, beyond English and Welsh. For me, Welsh Language Standards are sometimes problematic when trying to collaborate with and serve particular communities in Wales. Lots of people / communities speak several languages, with English as a second or third. It’s more difficult to share with and elevate communities when Welsh has to be given equal or preferential treatment. It makes your messaging to those communities seem misjudged or inauthentic. The implementation of the standards is not intuitive, it doesn’t give organisations the agency to decide when it is important and useful to use Welsh and when it makes your engagement seem impersonal, bureaucratic or creates another barrier. We need more flexibility.</p>
<p>We have to ask ourselves where that attitude to the Welsh language comes from, why Welsh is framed as an inconvenience to us. <br/> We’ve been so oppressed, trained, socialised to understand Welsh as negative and useless. In colonising, the English stripped us of our relationship to our language and imposed new structures, new hierarchy of language, in which Welsh is not as valuable and vital. This is a very deep and complex issue, beyond what NTW can redress. It effects our (in Wales) relationship to everything; power, education, racism… etc</p>
<p>How does multilingualism (more than just Welsh and English) pertain to a vision for the company?</p>
<p>The company has to get its messages right and tell its story clearly. Visually as well as linguistically.</p>
<p>I’m just saying we need more flexibility re. Welsh language, in order to best connect with communities to whom it’s not really relevant.</p>
<p>But it should be relevant. So why aren’t we making the right offer to people to learn and engage with Welsh. When people come to Wales, why do they learn English first. There are lots of good answers, of course, but the question is important.</p>
<p>Shouldn’t using Welsh signify that you’re being more inclusive, not less? I don’t think it’s a problem.</p>
<p>Is / should the Welsh language community be our priority when we think about inclusion? Should we be more or just as concerned with reaching European or Asian communities in Wales. Do they need more of a genuine invitation?</p>
<p>There’s the issue of language as an actual barrier to access and then there’s the issue of people feeling genuinely invited and part of something.</p>
<p>NTW should be about MULTIPLICITY</p>
<p>NTW getting it right is being pioneers of multidisciplinary work.</p>
<p>Having a better relationship with TGC.</p>
<p>I worked on SISTERS. (SISTERS was a Wales Arts Int. supported NTW R&D project, in collaboration with Junoon theatre company, Mumbai. Explored the lived experiences of women of South Asian heritage, here and in India.) Someone said to me that SISTERS wasn’t “Welsh enough”. People who think that need to interrogate the idea.</p>
<p>Coming from a place (in North Wales) where language doesn’t segregate by class it’s frustrating to be assumed to be middle class or to have a particular privilege or life experience for speaking my mother tongue.</p>
<p>NTW getting it right is about unity. A united sector and a national theatre to be proud of.</p>
<p>NTW making work that blows your mind. That makes you think, ‘there’s no other company that could make this’.</p>
<p>TEAM is flagship, in Wales and internationally. It has to be ensured that the energy and funds for TEAM don’t come at the expense of productions.</p>
<p>Both TEAM and productions should have that flagship quality. <br/> They could inform each other, thematically, but be structurally separate. Funded and resourced separately so that they are both strong and focus isn’t drawn to one over the other.</p>
<p>At the moment, TEAM and NTW’s community work is excellent. The productions don’t currently reach excellence. NTW should be creating extraordinary work that’s internationally recognisable, like TEAM is.</p>
<p>NTW should be INTERNATIONAL</p>
<p>I think it’s a signifier of an exciting company. To be outward looking and outwardly connected is a signifier of healthy peoples and culture. It strengthens your work, company and offer. Puts minority people on global stage.</p>
<p>Bringing artists from elsewhere in the world. Extraordinary talent brought to Wales. And that could be more about looking to Europe than to England. Finding companies with whom NTW has a connection. Exchange of artists for development.</p>
<p>Shows that have had international success from Wales – why have they been successful? <br/> Are we just capable of touring small scale work?</p>
<p>We should take artists out of Wales to create work elsewhere. Export the artists and their process rather than the product.</p>
<p>How do we / how can NTW create an opportunity for established artists to pass on their expertise and knowledge?</p>
<p>Mid-career artists. How can we continue to develop these artists and facilitate exchange and conversation between the levels of experience?</p>
<p>It feels that in Wales there’s not trust in artists to create stuff beyond small scale work. On behalf of funding orgs and producing orgs. <br/> Enable Welsh artists to make ambitious work.</p>
<p>The most exciting thing I’ve been involved with re. NTW was a model where the community was invited to bring stories to develop in a playwrighting workshop. If we’re representing Wales, broaden that base, source ideas from communities and give them ownership.</p>
<p>NTW’s USP is connection to community. Separating that too much from production downgrades it, risks making it surface level or tokenistic engagement.</p>
<p>TEAM and NTW democratises the communities and stories that are seen on stage.</p>
<p>Community choruses, at their best, are an expression of a healthy relationship to inclusion.</p>
<p>Think about audiences as well as creators.</p>
<p>National theatres look different. NTW looks like it does because it recognises the long history of participation in Wales. We want excellence, ambition and to be internationally connected. But the company was created in this form so as not to impose an existing more traditional, hierarchical model from elsewhere and overwrite the tradition and history of theatre and performance in Wales.</p>
<p>NTW needs to remain innovative and work where there are gaps. I don’t think it should replicate Sherman or tour small scale plays. It needs to play to its strengths, do what it is uniquely placed, skilled and resourced to do, do what other companies cannot.</p>
<p>TYP and touring work was once really strong in Wales. Those companies were cut, where is that work?</p>
<p>I think it’s worth noting that the money that came for the creation of NTW didn’t come from or at the expense of existing arts funding, it was new money to the arts.</p>
<p>A sector question; where is the opportunity for mid-scale, mid-career artists?</p>
<p>Is a national theatre the right place for those artists? Where they’ll be exposed to enhanced scrutiny and responsibility.</p>
<p>Part of the criticism of NTW was for bringing in mediocre artists from elsewhere. NTW must show faith in Welsh artists.</p>
<p>Is it NTW’s role of ACW’s role?</p>
<p>NTW must have a vision that includes and develops artists for its main stages.</p>
<p>I’ve grown up on the doorstep of TGC and had no support from them. I’ve been developed and encouraged by NTW. There is not equal scrutiny on all of the national organisations.</p>
<p>Because NTW started from a place of inclusion, they get the scrutiny. What is TGC’s plan for the future of theatre in Wales and sustainable Welsh language theatre?</p>
<p>TGC are developing playwrights but it’s true to say there is a higher level of scrutiny on NTW because people were so hopeful and excited by its beginnings.</p>
<p>Calibre of artists is of course subjective. Rimni Protokol were mentioned as world class earlier and they have a great reputation but in my experience of working with them they weren’t very collaborative, they didn’t let collaborators here into their process in a genuine and productive way, whereas Louise Wallwein was really collaborative.</p>
<p>The criticism of the company isn’t just a critique of NTW not doing plays.</p>
<p>Lots of people don’t know enough about the great stuff that NTW is doing. By 2029, higher profile.</p>
<p>£1.7m is not enough money. It would be great for the company to have more resources. Create bigger more commercial ideas. World class productions that are seen by loads of people.</p>
<p>Selling Wales outside Wales.</p>
<p>Perspective from NTS: NTW is so significantly less funded than the other national companies. There’s a question around sustainability and to what extent it can/should be thought about as a business.</p>
<p></p>Nodiadau o’r sesiwn: Sut fydd NTW yn gwneud y peth iawn yn edrych yn 2029?tag:community.nationaltheatrewales.org,2019-03-05:3152760:BlogPost:2837832019-03-05T16:30:00.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<div>Enw’r sesiwn</div>
<div>Sut fydd NTW yn gwneud y peth iawn yn edrych yn 2029?</div>
<div>Enw’r person a alwodd y sesiwn<br></br>Lisa</div>
<div>Crynodeb o’r sgwrs</div>
<p>Y Model TEAM. Mae'n gweithio. Mae'n anhygoel.</p>
<p>Mae'n llwyddo wrth ennyn diddordeb pobl nad ydynt fel arfer yn cysylltu â'r theatr ar ei ffurf draddodiadol, pobl nad ydynt o reidrwydd yn tybio bod y theatr ar eu cyfer nhw.</p>
<p>Ei wneud yn rhan ehangach o'r hyn y mae NTW yn ei wneud.</p>
<p> </p>
<p>Rwyf am i NTW…</p>
<div>Enw’r sesiwn</div>
<div>Sut fydd NTW yn gwneud y peth iawn yn edrych yn 2029?</div>
<div>Enw’r person a alwodd y sesiwn<br/>Lisa</div>
<div>Crynodeb o’r sgwrs</div>
<p>Y Model TEAM. Mae'n gweithio. Mae'n anhygoel.</p>
<p>Mae'n llwyddo wrth ennyn diddordeb pobl nad ydynt fel arfer yn cysylltu â'r theatr ar ei ffurf draddodiadol, pobl nad ydynt o reidrwydd yn tybio bod y theatr ar eu cyfer nhw.</p>
<p>Ei wneud yn rhan ehangach o'r hyn y mae NTW yn ei wneud.</p>
<p> </p>
<p>Rwyf am i NTW gydnabod yr ieithoedd eraill sy'n bodoli yng Nghymru'n well, y tu hwnt i'r Gymraeg a'r Saesneg. I mi, mae Safonau'r Gymraeg yn drafferthus weithiau wrth geisio gwasanaethu a chydweithio â chymunedau penodol yng Nghymru. Mae llawer o bobl / gymunedau'n siarad nifer o ieithoedd gyda'r Saesneg fel ail neu drydedd iaith. Mae'n anos rhannu gyda chymunedau a'u dyrchafu pan fydd rhaid rhoi triniaeth gyfartal neu ffafriol i'r Gymraeg. Mae'n gwneud i'ch negeseuon i'r cymunedau hynny ymddangos wedi'u camfarnu neu'n annilys. Nid yw gweithrediad y safonau'n sythweledol, nid yw'n rhoi'r dewis i sefydliadau benderfynu pryd y bydd yn bwysig ac yn ddefnyddiol defnyddio'r Gymraeg a phryd y mae'n gwneud i'ch ymgysylltu ymddangos yn amhersonol, biwrocrataidd neu'n creu rhwystr arall. Mae angen mwy o hyblygrwydd arnom.</p>
<p> </p>
<p>Mae angen i ni holi'n hunain o ble mae'r agwedd honno tuag at y Gymraeg yn dod, pam mae'r Gymraeg wedi'i fframio fel anghyfleustra i ni.</p>
<p>Rydym wedi cael ein gormesu, ein hyfforddi a'n cymdeithasu i'r fath raddau i ddeall bod y Gymraeg yn negyddol ac yn ddiwerth. Wrth wladychu, bu i'r Saeson ein hamddifadu o'n perthynas i'n hiaith a gosod strwythurau newydd, hierarchaeth ieithoedd newydd nad yw'n gweld y Gymraeg fel rhywbeth gwerthfawr a hanfodol. Dyma fater dwfn a chymhleth iawn, y tu hwnt i'r hyn y gall NTW ei gywiro. Mae'n effeithio ar ein perthynas (yng Nghymru) â phopeth; pŵer, addysg, hiliaeth...etc</p>
<p> </p>
<p>Sut mae amlieithrwydd (mwy na'r Gymraeg a'r Saesneg yn unig) yn ymwneud â gweledigaeth ar gyfer y cwmni?</p>
<p> </p>
<p>Mae'n rhaid i'r cwmni gyfleu ei negeseuon yn iawn ac adrodd ei stori'n glir. Yn weledol yn ogystal ag yn ieithyddol.</p>
<p> </p>
<p>Y cyfan yr wyf yn ei ddweud yw bod angen mwy o hyblygrwydd arnom parthed y Gymraeg, er mwyn cysylltu orau â chymunedau nad yw'n berthnasol iddynt.</p>
<p> </p>
<p>Ond fe ddylai fod yn berthnasol. Felly pam nad ydym yn gwneud y cynnig iawn i bobl o ran dysgu'r Gymraeg ac ennyn diddordeb ynddi. Pan ddaw pobl i Gymru, pam y maent yn dysgu'r Saesneg yn gyntaf. Mae llawer o atebion da, wrth gwrs, ond mae'r cwestiwn yn bwysig.</p>
<p> </p>
<p>Oni ddylai defnyddio'r Gymraeg ddangos eich bod yn fwy cynhwysol, nid llai? Dydw i ddim yn meddwl ei fod yn broblem.</p>
<p> </p>
<p>Ydy / a ddylai'r gymuned Gymraeg fod yn flaenoriaeth i ni pan fyddwn yn meddwl am gynhwysiad? A ddylem bryderu gymaint neu'n fwy am gyrraedd cymunedau Ewropeaidd neu Asiaidd yng Nghymru. Oes angen gwahoddiad mwy diffuant arnynt?</p>
<p> </p>
<p>Un mater yw iaith fel rhwystr gwirioneddol i fynediad ac wedyn mater arall yw bod pobl yn teimlo bod ganddynt wahoddiad diffuant a'u bod yn rhan o rywbeth.</p>
<p> </p>
<p>Dylai NTW anelu at <strong>LUOSOGRWYDD</strong></p>
<p> </p>
<p>NTW yn gwneud y peth iawn yw bod yn arloeswyr gwaith amlddisgyblaeth.</p>
<p> </p>
<p>Cael perthynas well gyda TGC.</p>
<p> </p>
<p>Gweithiais ar SISTERS. (SISTERS oedd prosiect Ymchwil a Datblygu NTW a gefnogwyd gan Gelfyddydau Rhyngwladol Cymru, mewn cydweithrediad â chwmni theatr Junoon, Mumbai. Fe ymchwiliodd i brofiadau byw menywod o dras De Asiaidd, yma ac yn India.) Dywedodd rywun wrthyf nad oedd SISTERS yn “ddigon Cymreig”. Mae angen i bobl sy'n meddwl hynny groesholi'r syniad.</p>
<p> </p>
<p>A minnau'n dod o rywle (yng Ngogledd Cymru) lle nad yw iaith yn arwahanu fesul dosbarth cymdeithasol, mae'n rhwystredig cael eich tybio'n ddosbarth canol neu feddu ar fraint neu brofiad bywyd penodol gan i mi siarad fy mamiaith.</p>
<p> </p>
<p>Mae gwneud y peth iawn i NTW yn ymwneud ag undod. Sector unedig a theatr genedlaethol i fod yn falch ohoni.</p>
<p> </p>
<p>NTW yn creu gwaith sy'n gwneud argraff anhygoel arnoch. Sy'n gwneud i chi feddwl, 'does dim cwmni arall a allai wneud hyn'.</p>
<p> </p>
<p>Fflaglong yw TEAM, yng Nghymru ac yn rhyngwladol. Mae'n rhaid sicrhau nad yw'r egni a'r cyllid ar gyfer TEAM ar draul cynyrchiadau.</p>
<p> </p>
<p>Dylai fod gan TEAM a chynyrchiadau fel ei gilydd y rhinwedd fflaglong honno.</p>
<p>Gallent gyfeirio ei gilydd, yn thematig, ond ar wahân yn strwythurol. Wedi'u cyllido a gydag adnoddau ar wahân fel bod y ddau'n gryf ac nad yw ffocws yn cael ei dynnu at yr un dros y llall.</p>
<p> </p>
<p>Mae gwaith cymunedol presennol TEAM a NTW yn rhagorol. Nid yw'r cynyrchiadau'n cyrraedd rhagoriaeth ar hyn o bryd. Dylai NTW fod yn creu gwaith anhygoel sy'n adnabyddus yn rhyngwladol, yn yr un modd ag y mae TEAM yn ei wneud.</p>
<p> </p>
<p>Dylai NTW fod yn <strong>RHYNGWLADOL</strong></p>
<p><strong> </strong></p>
<p>Rwy'n credu ei fod yn arwydd o gwmni cyffrous. Mae edrych tua'r tu allan a chael cysylltiadau allanol yn arwydd o bobl a diwylliant iach. Mae'n cryfhau eich gwaith, eich cwmni a'ch cynnig. Mae'n rhoi pobl leiafrifol ar lwyfan fyd-eang.</p>
<p> </p>
<p>Mae'n dod ag artistiaid o rannau eraill o'r byd. Deuir â doniau rhyfeddol i Gymru. A gallai hynny ymwneud ag edrych yn fwy tuag at Ewrop na Lloegr. Dod o hyd i gwmnïau y mae gan NTW gysylltiad â hwy. Cyfnewid artistiaid er mwyn eu datblygu.</p>
<p> </p>
<p>Sioeau o Gymru sydd wedi cael llwyddiant rhyngwladol - pam y buont yn llwyddiannus?</p>
<p>Ai dim ond gwaith raddfa fach yr ydym yn gallu mynd â hi ar daith?</p>
<p> </p>
<p>Dylem fynd ag artistiaid y tu allan i Gymru i greu gwaith rhywle arall. Allforio'r artistiaid a'u proses yn hytrach na'r cynnyrch.</p>
<p> </p>
<p>Sut ydym ni'n / sut all NTW greu cyfle i artistiaid sefydledig drosglwyddo eu harbenigedd a gwybodaeth?</p>
<p> </p>
<p>Artistiaid yng nghanol eu gyrfa. Sut allwn barhau i ddatblygu'r artistiaid hyn a hwyluso cyfnewid a sgwrs rhwng y lefelau profiad?</p>
<p> </p>
<p>Yng Nghymru mae'n teimlo nad oes ffydd mewn artistiaid i greu sdwff y tu hwnt i waith graddfa fach. Ar ran sefydliadau cyllido a sefydliadau cynhyrchu.</p>
<p>Galluogi artistiaid yng Nghymru i greu gwaith uchelgeisiol.</p>
<p> </p>
<p>Y peth mwyaf cyffrous yr wyf wedi ymwneud ag ef o ran NTW oedd model a wahoddodd y gymuned i ddod â storïau i'w datblygu mewn gweithdy dramodi. Os ydym yn cynrychioli Cymru, ehangwch y sylfaen honno, dewch o hyd i syniadau cymunedau a rhowch berchnogaeth iddynt.</p>
<p> </p>
<p>Pwynt gwerthu unigryw NTW yw cysylltiad â chymunedau. Mae gwahanu hynny'n ormodol rhag cynhyrchu'n ei ddiraddio, gan beri'r risg y bydd yr ymgysylltiad yn arwynebol neu'n docynistaidd.</p>
<p> </p>
<p>Mae TEAM a NTW yn democrateiddio'r cymunedau a storïau a welir ar y llwyfan.</p>
<p> </p>
<p>Ar eu gorau, mae corysau cymunedol yn fynegiad o berthynas iach â chynhwysiad.</p>
<p> </p>
<p>Ystyriwch gynulleidfaoedd yn ogystal â'r rhai sy'n creu.</p>
<p> </p>
<p>Mae theatrau cenedlaethol yn edrych yn wahanol. Mae NTW yn edrych fel y mae oherwydd ei bod yn cydnabod hanes hir cyfranogiad yng Nghymru. Rydym eisiau rhagoriaeth, uchelgais a chysylltiadau rhanbarthol. Ond crëwyd y cwmni ar y ffurf hon er mwyn peidio â gosod model mwy traddodiadol a hierarchaidd sydd eisoes yn bodoli rhywle arall a throsysgrifo traddodiad a hanes theatr a pherfformio yng Nghymru.</p>
<p> </p>
<p>Mae angen i NTW barhau i fod yn arloesol a gweithio ar y bylchau. Dydw i ddim yn meddwl y dylai efelychu Sherman neu fynd â dramâu graddfa fach ar daith. Mae angen iddo fanteisio ar ei chryfderau, gwneud yr hyn y mae ganddi'r lleoliad, medrau ac adnoddau unigryw i'w wneud, yr hyn na all gwmnïau eraill ei wneud.</p>
<p> </p>
<p>Ar un adeg roedd gwaith TYP a theithio'n gryf iawn yng Nghymru. Cwtogwyd ar y cwmnïau hynny, ble mae'r gwaith hwnnw?</p>
<p> </p>
<p>Rwy'n credu bod e'n werth nodi nad oedd yr arian a ddefnyddiwyd er mwyn creu NTW wedi dod o neu ar draul cyllid celfyddydau a fu'n bodoli eisoes, roedd yn arian newydd ar gyfer y celfyddydau.</p>
<p> </p>
<p>Cwestiwn i'r sector; ble mae'r cyfle ar gyfer artistiaid graddfa ganolig yng nghanol eu gyrfa?</p>
<p> </p>
<p>Ai theatr genedlaethol yw'r lle iawn ar gyfer yr artistiaid hynny? Ble y byddant yn agored i graffu a chyfrifoldeb cynyddol.</p>
<p> </p>
<p>Rhan o'r feirniadaeth o NTW oedd dod ag artistiaid gweddol i mewn o leoedd eraill. Mae'n rhaid i NTW ddangos ffydd mewn artistiaid o Gymru.</p>
<p> </p>
<p>Ai rôl NTW ydyw ynteu rôl Cyngor Celfyddydau Cymru (CCC)?</p>
<p> </p>
<p>Mae'n rhaid bod gan NTW weledigaeth sy'n cynnwys ac yn datblygu artistiaid ar gyfer ei phrif lwyfannau.</p>
<p> </p>
<p>Rwyf wedi tyfu i fyny ar garreg drws TGC a heb dderbyn unrhyw gefnogaeth ganddynt. Rwyf wedi cael fy natblygu ac fy annog gan NTW. Nid yw'r holl sefydliadau cenedlaethol yn cael eu craffu'n gyfartal.</p>
<p> </p>
<p>Gan i NTW ddechrau gyda safbwynt ar gynhwysiad, nhw sy'n cael eu craffu. Beth yw cynllun TGC ar gyfer dyfodol theatr yng Nghymru a theatr Gymraeg gynaliadwy?</p>
<p> </p>
<p>Mae TGC yn datblygu dramodwyr ond mae'n wir dweud y craffir NTW yn fanylach gan y bu pobl mor gyffrous a gobeithiol wrth iddi ddechrau.</p>
<p> </p>
<p>Mae safon artistiaid yn oddrychol wrth gwrs. Crybwyllwyd yn gynharach bod Rimni Protokol o safon fyd-eang ac mae ganddynt enw gwych ond yn fy mhrofiad i o weithio gyda nhw nid oeddent yn barod iawn i gydweithio, ni wnaethant adael i gydweithwyr yma gyrchu eu proses mewn ffordd ddiffuant a chynhyrchiol, mewn cyferbyniad roedd Louise Wallwein yn barod iawn i gydweithio.</p>
<p>Nid yw'r feirniadaeth o'r cwmni yn feirniadaeth dim ond o'r ffaith nad yw NTW yn gwneud dramâu.</p>
<p>Mae llawer o bobl nad ydynt yn gwybod am y gwaith gwych y mae NTW yn ei wneud. Erbyn 2029, proffil uwch.</p>
<p>Nid yw £1.7m yn ddigon o arian. Byddai'n wych i'r cwmni gael mwy o adnoddau. Creu syniadau mwy a mwy masnachol. Cynyrchiadau o safon fyd-eang sy'n cael eu gweld gan lawer o bobl.</p>
<p> Gwerthu Cymru y tu allan i Gymru.</p>
<p>Safbwynt NTS: Mae cyllid NTW yn sylweddol is na'r cwmnïau cenedlaethol eraill. Codir cwestiwn ynglŷn â chynaladwyedd ac i ba raddau y gellir/dylid ystyried ei bod yn fusnes.</p>
<p>O ystyried y cyd-destun dwi'n cymryd mai ystyr gwrthgyferbyniol trendi 'sick' yw hwn.... Teimlo bod e'n well jest amlygu fe rhag ofn.</p>Session Notes: How can more established artists pass on the baton to the next generation?tag:community.nationaltheatrewales.org,2019-03-05:3152760:BlogPost:2828842019-03-05T09:43:47.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p>Creative Conversation Session Notes</p>
<p>Title of session</p>
<p>How can more established artists pass on the baton to the next generation?</p>
<p>What is the name of the person who called the session?</p>
<p>Marc Rees</p>
<p>Who attended the session?</p>
<p>Sorry didn’t note their names</p>
<p>Summary of discussion</p>
<p>Funding for some-kind of mentoring scheme</p>
<p>Part of Project funding should be allocated to include a mentor(s) (I think this is already a requirement ?) problem is…</p>
<p>Creative Conversation Session Notes</p>
<p>Title of session</p>
<p>How can more established artists pass on the baton to the next generation?</p>
<p>What is the name of the person who called the session?</p>
<p>Marc Rees</p>
<p>Who attended the session?</p>
<p>Sorry didn’t note their names</p>
<p>Summary of discussion</p>
<p>Funding for some-kind of mentoring scheme</p>
<p>Part of Project funding should be allocated to include a mentor(s) (I think this is already a requirement ?) problem is if the grant is small then tricky to stretch, should be another pot for mentors as they definitely need to be paid as many are free lancers different if the mentor is part of an organisation <br/> In the Welsh language theatre scene asking for a mentor is taboo as it shows weakness - ( surprised at this as it should be seen as a strength and an eagerness to learn )<br/> Training for mentors, ( a scheme does exists through Cult Cymru ) <a href="http://www.cultcymru.org/">http://www.cultcymru.org/</a><br/> NTW not as porous as before in terms of offering advice on personal development <br/> NTW emerging directors program seen as a very positive thing but what happens then, the next steps to get commissioned. <br/> A mentor and mentee relationship should be a over a number of years to see genuine developmental growth.<br/> Can NTW create some kind of skill exchange platform</p>Session note: Sustainable Backstage Careers. Volunteering / unpaid work vs Class. “if they help get it made, they should be fairly paid”tag:community.nationaltheatrewales.org,2019-03-03:3152760:BlogPost:2828522019-03-03T18:30:00.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p>What is the name of the person who called the session?</p>
<p>Fiona and Sian</p>
<p>Who attended the session? (You can pass this piece of paper round and ask people to write their name on it.)</p>
<p>Summary of discussion: (Notes, ideas, further questions, conclusions, recommendations for actions to take, contact details of relevant people / organisations etc)</p>
<p>We talked a lot about some of the issues we face</p>
<p>• An expectation to work for free – regardless of age<br></br> • Always…</p>
<p>What is the name of the person who called the session?</p>
<p>Fiona and Sian</p>
<p>Who attended the session? (You can pass this piece of paper round and ask people to write their name on it.)</p>
<p>Summary of discussion: (Notes, ideas, further questions, conclusions, recommendations for actions to take, contact details of relevant people / organisations etc)</p>
<p>We talked a lot about some of the issues we face</p>
<p>• An expectation to work for free – regardless of age<br/> • Always being told to gain more training <br/> • Chasing payments for small sums of money is not on – any other industry you would have gone to court<br/> • Placements when subsidised are fine but when it excludes people it’s a problem – There is no responsibility on the employer to train people.<br/> • Still seen as a graduate after 2 years out of Uni<br/> • Volunteers are taken advantage of<br/> • FEAR - of saying no or calling a company out on bad behaviour – as they will always find someone to who wants to do it!<br/> • Freelancers and Employees don’t know rights<br/> • Universities do not ready people for the world of work – whether that’s how to file a tax return or how to present yourself as a freelancer<br/> • Not enough work to sustain a freelance career<br/> • Often freelancers are told a fee – but that the reality of what that will cover is not seen by the company or producer.<br/> • Predominantly white industry – due to opportunity and Class.</p>
<p>Solutions / Actions</p>
<p>• Could ACW help subsidise some opportunities<br/> • Traineeships are great idea<br/> • Apprenticeships becoming popular in industry – but smaller companies cannot afford to have them – Shared apprentices would be a way of solving this. There is no Levy in Wales for Apprenticeships so they are more accessible for employers<br/> • Welsh Gov go by the ‘Fair Work Nation’ scheme – in which fair work for fair pay is encouraged.<br/> • We recognised that freelancers must acknowledge their transferable skills so that they can be more flexible and responsive to where the work is. The TV industry in Cardiff will bring in works from outside of Wales if don’t present ourselves to have the right workforce. (NB – risk here is that TV pays much better so people may not want to come back to Theatre)<br/> • Freelancers should brush up on their research skills to enable them to find where the work is and knowing what the gaps are.<br/> • CULT Cymru is a great resource for training and events<br/> • Noting the difference between Career Development and Career Management. Lots of freelancers in later stages of career who need advice on how to sustain the career; how to go and have a family; how to diversify work.<br/> • What Next Cardiff is great tool open to ALL (every wednesday morning at 8.30am) <br/> • Recruitment needs to be diversified – more jobs advertised rather than just giving to the usual suspects<br/> • Use Social Media more to promote roles and opportunities<br/> • Could there be a Fair Employment Charter – which would allow companies to sign up to say they will adhere to basic rules – ie living wage per hour, overnight break and what dates it covers. And/or producers need to break down what they think a fee equates to per day/per hour and stick to it. It would help to set standards for those in a grey area of being covered by a Union or not.<br/> • Getting into schools early to reach young people so that they believe it can be a career for them.<br/> • Use creativetoolkit.org.uk<br/> • Mentoring schemes are available</p>
<p></p>
<p></p>
<p>Rhai syniadau ynghylch cofnodi eich sesiwn</p>
<p>Beth yw teitl eich sesiwn?</p>
<p>Gyrfaoedd Cefn y Llwyfan Cynaliadwy Gwirfoddoli / gwaith di-dâl vs Dosbarth. “Os byddant yn helpu gwneud e, dylent gael eu talu'n deg”</p>
<p>Beth yw enw'r person a alwodd y sesiwn?</p>
<p>Fiona a Sian</p>
<p>Pwy ddaeth i'r sesiwn? (Gallwch basio'r darn hwn o bapur o gwmpas a gofyn i bobl ysgrifennu eu henwau arno.)</p>
<p></p>
<p></p>
<p>Crynodeb o'r drafodaeth: (Nodiadau, syniadau, cwestiynau, casgliadau, argymhellion ar gyfer camau i'w cymryd, manylion cyswllt pobl/sefydliadau perthnasol ac ati)</p>
<p>Siaradom lawer am rai o'r materion rydym yn eu hwynebu</p>
<p>• Disgwyliad o weithio am ddim - beth bynnag eu hoedran<br/>• Dywedir bob amser iddynt gael mwy o hyfforddiant <br/>• Nid yw hela taliadau am symiau bychain o arian yn dderbyniol - mewn unrhyw ddiwydiant arall byddech wedi mynd i'r llys<br/>• Mae lleoliadau a gymorthdelir yn iawn ond mae'n broblem pan fydd yn diarddel pobl - nid oes rhwymedigaeth ar y cyflogwr i hyfforddi pobl. <br/>• Fe gaiff eich gweld fel graddedig o hyd 2 flynedd ar ôl y Brifysgol<br/>• Cymerir mantais ar wirfoddolwyr<br/>• OFN - dweud na neu alw cwmni allan ar ymddygiad gwael - gan y byddant bob amser yn dod o hyd i rywun sydd eisiau gwneud e!<br/>• Nid yw Gweithwyr Llawrydd a Chyflogeion yn gwybod beth yw eu hawliau<br/>• Nid yw Prifysgolion yn paratoi pobl ar gyfer y byd gwaith - ni waeth p'un a yw'n ymwneud â ffeilio dychweliad treth neu sut i gyflwyno'ch hun fel gweithiwr llawrydd<br/>• Dim digon o waith i gynnal gyrfa lawrydd<br/>• Yn aml dywedir beth yw'r ffi i weithwyr llawrydd - ond nid yw realiti yr hyn y bydd hynny'n talu amdano'n cael ei weld gan y cwmni neu'r cynhyrchydd. <br/>• Diwydiant croenwyn yn bennaf - oherwydd cyfle a Dosbarth Cymdeithasol.</p>
<p>Atebion / Camau gweithredu</p>
<p>• A allai Cyngor Celfyddydau Cymru (CCC) helpu cymorthdalu rhai cyfleoedd<br/>• Mae hyfforddeiaethau'n syniad gwych<br/>• Mae prentisiaethau'n mynd yn boblogaidd o fewn y diwydiant - ond ni all cwmnïau llai fforddio cael nhw - byddai rhannu prentisiaid yn ffordd o ddatrys hyn. Nid oes gan Gymru Ardoll Brentisiaethau felly maent yn fwy hygyrch i gyflogwyr<br/>• Mae Llywodraeth Cymru'n dilyn y cynllun 'Cenedl Gwaith Teg' - sy'n annog gwaith teg am dâl teg. <br/>• Cydnabuwyd bod yn rhaid i weithwyr llawrydd gydnabod eu sgiliau trosglwyddadwy fel y gallant fod yn fwy hyblyg ac ymatebol i ble mae'r gwaith. Bydd y diwydiant teledu yng Nghaerdydd yn dod â gwaith i mewn o'r tu allan i Gymru os nad ydym yn cyflwyno ein hunain fel bod â'r gweithlu iawn. (DS – y risg yma yw bod y teledu'n talu llawer yn well felly mae'n bosib na fydd pobl eisiau dychwelyd i Theatr)<br/>• Dylai gweithwyr llawrydd fireinio eu sgiliau ymchwil i'w galluogi i ddod o hyd i'r gwaith a gwybod beth yw'r bylchau. <br/>• Mae CULT Cymru'n adnodd gwych ar gyfer hyfforddiant a digwyddiadau<br/>• Nodi'r gwahaniaeth rhwng Datblygu Gyrfa a Rheoli Gyrfa. Mae llawer o weithwyr llawrydd yng nghamau diweddarach eu gyrfa sydd angen cyngor ar sut i gynnal yr yrfa; sut i fynd a magu plant; sut i amrywiaethu eu gwaith. <br/>• Mae What Next Cardiff yn offeryn gwych sy'n agored i BAWB (bob bore dydd Mercher am 8.30am) <br/>• Mae angen amrywiaethu recriwtio - hysbysebu mwy o swyddi yn hytrach na'u rhoi dim ond i'r bobl arferol<br/>• Defnyddio cyfryngau cymdeithasol yn gynyddol i hyrwyddo rolau a chyfleoedd<br/>• A allai fod Siarter Cyflogaeth Deg - a fyddai'n galluogi cwmnïau i ymrwymo i ddweud y byddant yn glynu wrth reolau sylfaenol - h.y. cyflog byw yr awr, egwyl dros nos a pha ddyddiadau y mae'n ymdrin â nhw. Ac/neu mae angen i gynhyrchwyr dorri i lawr beth mae ffi'n cyfateb iddo fesul dydd/fesul awr yn eu tyb hwy a glynu wrth hynny. Byddai'n helpu i bennu safonau ar gyfer y rhai sydd mewn lle ansicr o gael eu gwarchod gan Undeb ai beidio. <br/>• Mynd i mewn i ysgolion mewn cam cynnar i gyrraedd pobl ifanc fel eu bod yn credu y gallai fod yn yrfa ar eu cyfer. <br/>• Defnyddio creativetoolkit.org.uk<br/>• Mae cynlluniau mentora ar gael</p>
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<p><br/>DS - Cyhoeddir yr adroddiad hwn ar wefan NTW (gan gynnwys unrhyw gyfeiriadau e-bost a manylion cyswllt yr ydych yn eu cynnwys ynddo). Os hoffech chi i NTW drosglwyddo unrhyw gwestiynau y cânt am yr adroddiad hwn, nodwch eich cyfeiriad e-bost yma (ni fydd eich cyfeiriad yn cael ei gyhoeddi na'i ddefnyddio at unrhyw ddiben arall).</p>Session note: What do we want from a theatre festival, as makers audiences and as a communitytag:community.nationaltheatrewales.org,2019-03-03:3152760:BlogPost:2826612019-03-03T18:30:00.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p>What is the name of the person who called the session?<br></br> Alice Downing</p>
<p>Who attended the session? (You can pass this piece of paper round and ask people to write their name on it.)</p>
<p>Lots of fab people, I didn’t get everyones names I'm sorry!</p>
<p>Tasha borton<br></br> Pete<br></br> Jennifer<br></br> Claire bottomly <br></br> And more!</p>
<p>( we combined with people wanting to make a west wales fringe fest half way through the discussion)</p>
<p>Summary of discussion: (Notes, ideas,…</p>
<p>What is the name of the person who called the session?<br/> Alice Downing</p>
<p>Who attended the session? (You can pass this piece of paper round and ask people to write their name on it.)</p>
<p>Lots of fab people, I didn’t get everyones names I'm sorry!</p>
<p>Tasha borton<br/> Pete<br/> Jennifer<br/> Claire bottomly <br/> And more!</p>
<p>( we combined with people wanting to make a west wales fringe fest half way through the discussion)</p>
<p>Summary of discussion: (Notes, ideas, further questions, conclusions, recommendations for actions to take, contact details of relevant people / organisations etc)</p>
<p>A safe place for experiment and failure. <br/> Safe financially NOT as in free from criticism.</p>
<p>A place for development<br/> Opportunity for collaboration</p>
<p>Is Cardiff fringe insular? – look outwards.<br/> LINKS BEYOND – west and north wales</p>
<p>A celebration of welsh work, making arts in wales recognised on a wider platform.<br/> Engage with non-arts communities – be in venues that pull in these people.<br/> Improved marketing to expand audiences – creating exposure. Digital exposure, before and after the process. More social media presence.</p>
<p>What is ‘fringe’?</p>
<p>Hold conversations between artists and audiences for development.</p>
<p>Financial accessibility.</p>
<p>Create a whole experience, not just people attending for one show.</p>
<p>Tap into existing cultural events.</p>
<p>Variety!</p>
<p>LINKS WITH THE REST OF WALES.<br/> CO-OPS with other arts events. A wales fringe fest that pops up in different regions?<br/> Awards that promotes and support the touring of shows.</p>
<p>Make volunteering easy and accessible – volunteer register – conversation with the 3rd sector</p>
<p>Make it accessible.</p>
<p>Development of welsh language work?</p>
<p>For anyone reading this – there IS a Cardiff fringe theatre festival currently in development. Please give us a google and get in touch if you want to be involved ALSO if you know it exists and have ways you want us to do better, be better – please tell us, we want to learn.</p>
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<p>Rhai syniadau ynghylch cofnodi eich sesiwn</p>
<p>Beth yw teitl eich sesiwn?</p>
<p>Beth ydym ei eisiau gan ŵyl theatr, fel crewyr, cynulleidfaoedd ac fel cymuned</p>
<p>Beth yw enw'r person a alwodd y sesiwn?<br/>Alice Downing</p>
<p><br/>Pwy ddaeth i'r sesiwn? (Gallwch basio'r darn hwn o bapur o gwmpas a gofyn i bobl ysgrifennu eu henwau arno.)</p>
<p>Llawer o bobl hyfryd, ces i ddim enwau pawb mae'n ddrwg 'da fi!</p>
<p>Tasha Borton<br/>Pete<br/>Jennifer<br/>Claire Bottomly <br/>A mwy!</p>
<p>(daethom ynghyd â phobl sydd eisiau creu gŵyl ymylol Gorllewin Cymru hanner ffordd trwy'r drafodaeth)</p>
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<p>Crynodeb o'r drafodaeth: (Nodiadau, syniadau, cwestiynau, casgliadau, argymhellion ar gyfer camau i'w cymryd, manylion cyswllt pobl/sefydliadau perthnasol ac ati)</p>
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<p><br/>DS - Cyhoeddir yr adroddiad hwn ar wefan NTW (gan gynnwys unrhyw gyfeiriadau e-bost a manylion cyswllt yr ydych yn eu cynnwys ynddo). Os hoffech chi i NTW drosglwyddo unrhyw gwestiynau y cânt am yr adroddiad hwn, nodwch eich cyfeiriad e-bost yma (ni fydd eich cyfeiriad yn cael ei gyhoeddi na'i ddefnyddio at unrhyw ddiben arall).</p>
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<p>Lle diogel i arbrofi a methu. <br/>Diogel yn ariannol NID rhydd rhag beirniadaeth.</p>
<p>Lle i ddatblygu<br/>Cyfle i gydweithio</p>
<p>Ydy gweithgareddau ymylol Caerdydd yn ynysol? – edrych tua'r tu allan.<br/>CYSYLLTIADAU Y TU HWNT – gorllewin a gogledd Cymru</p>
<p>Dathliad o waith Cymreig, gan gynyddu cydnabyddiaeth o'r celfyddydau yng Nghymru ar lwyfan ehangach. <br/>Ennyn diddordeb cymunedau nad ydynt yn y celfyddydau - bod mewn lleoliadau sy'n tynnu'r bobl hyn i mewn. <br/>Gwella marchnata i ehangu cynulleidfaoedd - creu amlygiad. Bod yn amlwg yn ddigidol, cyn ac ar ôl y broses. Mwy o bresenoldeb mewn cyfryngau cymdeithasol.</p>
<p>Beth yw 'ymylol'?</p>
<p>Cynnal sgyrsiau rhwng artistiaid a chynulleidfaoedd er mwyn datblygu.</p>
<p>Hygyrchedd ariannol.</p>
<p><br/>Creu profiad cyffredinol, nid pobl sy'n mynd i un sioe yn unig.</p>
<p>Manteisio ar ddigwyddiadau diwylliannol sydd eisoes yn bodoli.</p>
<p>Amrywiaeth!</p>
<p><br/>CYSYLLTIADAU GYDA GWEDDILL CYMRU.<br/>CYDWEITHFEYDD gyda digwyddiadau celfyddydau eraill. Gŵyl ymylol Cymru sy'n ymddangos mewn rhanbarthau gwahanol?<br/>Dyfarniadau sy'n hyrwyddo ac yn cefnogi sioeau teithiol.</p>
<p>Gwneud gwirfoddoli'n hawdd ac yn hygyrch - cofrestr wirfoddolwyr - sgwrs gyda'r 3ydd sector</p>
<p>Gwneud e'n hygyrch.</p>
<p><br/>Datblygu gwaith Cymraeg?</p>
<p><br/>I unrhyw un sy'n darllen hwn - MAE gŵyl theatr ymylol Caerdydd yn cael ei datblygu ar hyn o bryd. Chwiliwch amdanom ni a chysylltwch â ni os ydych eisiau cymryd rhan HEFYD os ydych yn gwybod ei bod yn bodoli a bod gennych ffyrdd rydych eisiau i ni wneud yn well, bod yn well - dywedwch wrthym, rydym eisiau dysgu.</p>Session notes: How can we create a culture of honest and timely criticism?tag:community.nationaltheatrewales.org,2019-03-03:3152760:BlogPost:2825712019-03-03T18:30:00.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p>What is the name of the person who called the session?<br></br> Chelsey Gillard</p>
<p>Who attended the session? (You can pass this piece of paper round and ask people to write their name on it.)<br></br> Jeremy Linnell<br></br> Othneil Smith<br></br> Sherrall Morris<br></br> Rob Hale<br></br> Catriona James<br></br> Mawgaine Tarant-cornish<br></br> Kully Thuari<br></br> Yvonne Murphy<br></br> Julia Tomas<br></br> And others</p>
<p>Summary of discussion: (Notes, ideas, further questions, conclusions, recommendations for actions to…</p>
<p>What is the name of the person who called the session?<br/> Chelsey Gillard</p>
<p>Who attended the session? (You can pass this piece of paper round and ask people to write their name on it.)<br/> Jeremy Linnell<br/> Othneil Smith<br/> Sherrall Morris<br/> Rob Hale<br/> Catriona James<br/> Mawgaine Tarant-cornish<br/> Kully Thuari<br/> Yvonne Murphy<br/> Julia Tomas<br/> And others</p>
<p>Summary of discussion: (Notes, ideas, further questions, conclusions, recommendations for actions to take, contact details of relevant people / organisations etc)</p>
<p>As artists/companies we must learn how to be less reactive to criticism. We can do this by:<br/> - openly asking for criticism more often, making it central to our methodology<br/> - -invite feedback from early points but avoid decision by community<br/> - learn how to listen to criticism from individuals and know they are often airing the views of a wider group<br/> - know that professional criticism isn’t a personal attack<br/> - find ways to build your own resilience<br/> - holding regular open spaces<br/> - put feedback as part of our every day conversations<br/> - know that it’s ok to have different opinions/taste<br/> - know that criticism from reviews, audiences, the public and other artists is a fundamental part of our artform<br/> - inviting criticism from audiences and other artists openly<br/> - share not so positive reviews alongside good ones<br/> - have workshops about how to give useful feedback and share our best practice<br/> - know that everyone who gives you feedback is an expert in their own way, this doesn’t always mean they are right but still listen<br/> - learn to ignore feedback that isn’t useful to you<br/> - learn how to frame your requests for feedback – know what questions you want to ask and how you like to receive feedback<br/> - think about how feedback can affect change in your long term career not just your current/most recent project<br/> - find some mentors whether formal or informal <br/> - set up networks of critical friends – like NTW emerging directors, JMK groups at Sherman<br/> - learn how to talk openly about what didn’t work for you within a project, whilst allowing yourself time for objectivity and assess your own work methodology<br/> - get audience feedback from your projects, pay real attention to the not positive feedback, take work in development into schools – children are very honest, remember we make the work for the audiences<br/> - if you are a lead artist on a project encourage feedback sessions with everyone involved in the project<br/> - encourage open rehearsal processes – if I’m doing something wrong, let me know<br/> - when opening yourself to criticism have a peer mentor who can help you look after your wellbeing<br/> - perform an “autopsy” after every project to assess what went well, what didn’t go well and what you can do differently next time.</p>
<p>Online conversations are not always helpful, they are combative by form and don’t allow for nuance/complexity. So how do we as artists chose to engage, or not, with that?<br/> Is there room for a research project that explores artists’ relationships to social media and criticism?</p>
<p>Theatre reviews<br/> -is there room for more reflective pieces?<br/> - we need more professional, PAID reviewers<br/> -what is the point of them in Wales? They are often a précis of the show, is that useful?<br/> - is there room for a Welsh version on Exuent?<br/> - is there room for longer view/ term cultural pieces?<br/> - is there room for long form criticism?</p>
<p>When giving feedback / airing dissatisfaction we must:<br/> - learn the difference between creative criticism and destructive criticism. <br/> - -acknowledge why we are criticising the piece, where do we want the criticism to lead?<br/> - Acknowledge your personal agenda<br/> - Avoid the culture of kindness and fear of offending <br/> - Acknowledge the difference between private and public criticism<br/> - Remember we are making work for audiences, not other artists<br/> - Not give unsolicited criticism unless it has a constructive outcome<br/> - Set ourselves goals for how we give feedback – give feedback to writers who have sent you a script within a certain timescale – be accountable to yourself<br/> - Know that timely relates to how quickly change can be affected<br/> - We need to give criticism at the right time rather than quickly<br/> - Be respectful and robust – no one can listen to an attack<br/> - Discourage private groups (whatsapp, facebook) especially where the issues being discussed on them are not being aired publically/to the relevant people</p>
<p>Why aren’t we more honest?<br/> - we are often friends with the artists, proximity problem<br/> - awarenesses of other people’s personal sensitivities<br/> - we often coddle each other<br/> - disagreeing / criticising can feel like a betrayal</p>
<p>How does gathering feedback relate to NTW?<br/> - this open space<br/> - can NTW act as a model of best practice for us all<br/> - NTW’s door is always open as a sounding board for you to talk about how to develop your own work and critical methodology</p>
<p>We need to remember spaces for inclusion. There are big rebalances of power at the moment, we must remember to include those whose power has diminished.</p>
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<p>Rhai syniadau ynghylch cofnodi eich sesiwn</p>
<p>Beth yw teitl eich sesiwn?<br/>Sut gallwn greu diwylliant o feirniadaeth onest ac amserol?</p>
<p><br/>Beth yw enw'r person a alwodd y sesiwn?<br/>Chelsey Gillard</p>
<p><br/>Pwy ddaeth i'r sesiwn? (Gallwch basio'r darn hwn o bapur o gwmpas a gofyn i bobl ysgrifennu eu henwau arno.)<br/>Jeremy Linnell<br/>Othneil Smith<br/>Sherrall Morris<br/>Rob Hale<br/>Catriona James<br/>Mawgaine Tarant-cornish<br/>Kully Thuari<br/>Yvonne Murphy<br/>Julia Tomas<br/>Ac eraill</p>
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<p><br/>Crynodeb o'r drafodaeth: (Nodiadau, syniadau, cwestiynau, casgliadau, argymhellion ar gyfer camau i'w cymryd, manylion cyswllt pobl/sefydliadau perthnasol ac ati)</p>
<p>Fel artistiaid/cwmnïau mae'n rhaid i ni ddysgu sut i fod yn llai adweithiol i feirniadaeth. Gallwch wneud hyn trwy:<br/>- ofyn yn agored am feirniadaeth yn amlach, gan ei wneud yn rhan ganolog o'n methodoleg<br/>- - gwahodd adborth o bwyntiau cynnar ond osgoi penderfyniad trwy gymuned<br/>- dysgu sut i wrando ar feirniadaeth gan unigolion a gwybod eu bod yn aml yn lleisio barn grŵp ehangach<br/>- gwybod nad yw beirniadaeth broffesiynol yn ymosodiad personol<br/>- dod o hyd i ddulliau o adeiladu eich gwydnwch eich hun<br/>- cynnal mannau agored rheolaidd<br/>- rhoi adborth fel rhan o'n sgyrsiau bob dydd<br/>- gwybod ei fod yn iawn caen barn/chwaeth wahanol<br/>- gwybod bod beirniadaeth o adolygiadau, cynulleidfaoedd, y cyhoedd ac artistiaid eraill yn rhan hanfodol o'n ffurf celf<br/>- gwahodd beirniadaeth gan gynulleidfaoedd ac artistiaid eraill yn agored<br/>- rhannu adolygiadau nad ydynt mor gadarnhaol ochr yn ochr â rhai da<br/>- cynnal gweithdai ar sut i roi adborth defnyddiol a rhannu ein harfer gorau<br/>- gwybod bod pawb sy'n rhoi adborth i chi'n arbenigwr yn eu rhinwedd eu hunain, nid yw hyn bob amser yn golygu eu bod yn iawn, ond gwrando arnynt o hyd<br/>- dysgwch anwybyddu adborth nad yw'n ddefnyddiol i chi<br/>- dysgu sut i fframio'ch ceisiadau am adborth - gwybod pa gwestiynau rydych eisiau eu gofyn a sut rydych yn hoffi derbyn adborth<br/>- meddwl am sut y gall adborth effeithio ar newid yn eich gyrfa hir dymor nid dim ond eich prosiect cyfredol/mwyaf diweddar<br/>- dod o hyd i rai mentoriaid boed yn ffurfiol neu'n anffurfiol <br/>- sefydlu rhwydweithiau o gyfeillion beirniadol - fel egin gyfarwyddwyr NTW, grwpiau JMK yn Sherman<br/>- dysgu sut i siarad yn agored am yr hyn na weithiodd i chi o fewn prosiect, ac ar yr un pryd rhoi amser i'ch hun ar gyfer gwrthrychedd ac asesu eich methodoleg gwaith eich hun<br/>- derbyn adborth cynulleidfaoedd o'ch prosiectau, rhoi sylw go iawn i'r adborth nad yw'n gadarnhaol, mynd â gwaith sy'n cael ei ddatblygu i mewn i ysgolion - mae plant yn onest iawn, cofiwch ein bod yn creu'r gwaith ar gyfer cynulleidfaoedd<br/>- os ydych yn artist arweiniol ar brosiect annog sesiynau adborth gyda phawb sy'n ymwneud â'r prosiect<br/>- annog prosesau ymarfer agored - os wyf yn gwneud rhywbeth yn anghywir, rhowch wybod i mi<br/>- wrth agor eich hun i fyny i feirniadaeth, cael mentor cymheiriaid a all helpu chi i ofalu am eich lles<br/>- perfformio "awtopsi" ar ôl pob prosiect i asesu'r hyn a weithiodd yn dda, yr hyn na weithiodd yn dda a'r hyn y gallwch ei wneud yn wahanol y tro nesaf.</p>
<p><br/>Nid yw sgyrsiau ar-lein bob amser yn ddefnyddiol, yn rhinwedd eu ffurf maent yn ornest ac nid ydynt bob amser yn darparu ar gyfer cynildeb/cymhlethdod. Felly sut ydym ni fel artistiaid yn dewis ymwneud â hynny ai beidio?<br/>Oes lle ar gyfer prosiect ymchwil sy'n ymchwilio i berthnasoedd artistiaid â chyfryngau cymdeithasol a beirniadaeth?</p>
<p>Adolygiadau theatr<br/>- oes lle ar gyfer darnau mwy myfyriol?<br/>- mae angen mwy o adolygwyr proffesiynol  THÂL arnom<br/>- beth yw'r pwynt ohonynt yng Nghymru? Maent yn aml yn grynodeb o'r sioe, ydy hynny'n ddefnyddiol?<br/>- oes lle ar gyfer fersiwn Cymraeg ar Exeunt?<br/>- oes lle ar gyfer darnau diwylliannol tymor hwy?<br/>- oes lle ar gyfer beirniadaeth ffurf hir?</p>
<p><br/>Wrth roi adborth / lleisio anfoddhad mae'n rhaid i ni:<br/>- ddysgu am y gwahaniaeth rhwng beirniadaeth greadigol a beirniadaeth ddinistriol. <br/>- - cydnabod pam rydym yn beirniadu'r darn, ble ydym eisiau i'r feirniadaeth arwain?<br/>- Cydnabod eich agenda bersonol<br/>- Osgoi'r diwylliant o garedigrwydd ac ofn troseddu <br/>- Cydnabod y gwahaniaeth rhwng beirniadaeth breifat a beirniadaeth gyhoeddus<br/>- Cofio ein bod yn creu gwaith ar gyfer cynulleidfaoedd, nid artistiaid eraill<br/>- Peidio â rhoi beirniadaeth nas gofynnir amdani oni bai bod ganddi ganlyniad adeiladol<br/>- Pennu nodau i'n hunain ar sut rydym yn rhoi adborth - rhoi adborth i awduron sydd wedi anfon sgript atoch o fewn graddfa amser benodol - bod yn atebol i'ch hun<br/>- Gwybod bod amserol yn gysylltiedig â pha mor gyflym y gellir gweithredu newid<br/>- Mae angen i ni roi beirniadaeth ar yr amser iawn yn hytrach na'n gyflym<br/>- Dangos parch a bod yn gadarn - ni all neb wrando ar ymosodiad<br/>- Annog peidio â defnyddio grwpiau preifat (whatsapp, facebook) yn enwedig os nad yw'r materion sy'n cael eu trafod arnynt yn cael eu lleisio'n gyhoeddus/i'r bobl berthnasol</p>
<p>Pam nad ydym yn bod yn fwy gonest?<br/>- yn aml rydym yn ffrindiau i'r artistiaid, problem agosrwydd<br/>- ymwybyddiaeth o sensitifrwydd pobl eraill<br/>- yn aml rydym yn maldodi ein gilydd<br/>- gall anghytuno/beirniadu deimlo fel bradychu</p>
<p>Sut mae cywain adborth yn ymwneud â NTW?<br/>- y man agored hwn<br/>- all NTW weithredu fel model arfer gorau i ni i gyd<br/>- Mae drws NTW bob amser yn agored fel seinfwrdd i chi siarad am sut i ddatblygu eich gwaith a methodoleg feirniadol eich hun</p>
<p>Mae angen i ni gofio lleoedd ar gyfer cynhwysiad. Mae ailgydbwyso pŵer mawr yn mynd ymlaen ar hyn o bryd, mae'n rhaid i ni gofio'r rhai y mae eu pŵer wedi cilio.</p>
<p><br/>DS - Cyhoeddir yr adroddiad hwn ar wefan NTW (gan gynnwys unrhyw gyfeiriadau e-bost a manylion cyswllt yr ydych yn eu cynnwys ynddo). Os hoffech chi i NTW drosglwyddo unrhyw gwestiynau y cânt am yr adroddiad hwn, nodwch eich cyfeiriad e-bost yma (ni fydd eich cyfeiriad yn cael ei gyhoeddi na'i ddefnyddio at unrhyw ddiben arall).</p>Session notes: OLD PEOPLE, YOUNG PEOPLE, THEATRE AS A VEHICLE?tag:community.nationaltheatrewales.org,2019-03-03:3152760:BlogPost:2825692019-03-03T18:30:00.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p>What is the name of the person who called the session?</p>
<p>PERI THOMAS</p>
<p>Who attended the session? (You can pass this piece of paper round and ask people to write their name on it.)</p>
<p>8 PEOPLE</p>
<p>Summary of discussion: (Notes, ideas, further questions, conclusions, recommendations for actions to take, contact details of relevant people / organisations etc)</p>
<p>NTW Before I leave- dementia, Manics. (an example of theatre and dementia)</p>
<p>Definition of theatre may have…</p>
<p>What is the name of the person who called the session?</p>
<p>PERI THOMAS</p>
<p>Who attended the session? (You can pass this piece of paper round and ask people to write their name on it.)</p>
<p>8 PEOPLE</p>
<p>Summary of discussion: (Notes, ideas, further questions, conclusions, recommendations for actions to take, contact details of relevant people / organisations etc)</p>
<p>NTW Before I leave- dementia, Manics. (an example of theatre and dementia)</p>
<p>Definition of theatre may have changed power the years so older people may have different views on what it should be and what it should look like.</p>
<p>Perhaps we should continue expanding theatre and making it more experimental between young people and old people.</p>
<p>Kevin talked about his Waleslab project regarding life as an older artist (in the very early stages).</p>
<p>There are lots of intergenerational funding opportunities at the moment for example Traveline Cymru.</p>
<p>Lots of people referred to the tv programme where nursery children attend care homes and old people visit schools and the benefits of that.</p>
<p>Reminiscence Theatre/ helping the characters to solve problems with residents’ personal stories in care homes.</p>
<p>There is also a theatre project regarding nursery age children and an over 50s lunch club in Cardiff.</p>
<p>There appears to be massive future potential within inter-generational projects in the arts and health.</p>
<p>Age Cymru, Gwanwyn festival and Cartrefi- examples of companies already working in this.</p>
<p></p>
<p></p>
<p>Rhai syniadau ynghylch cofnodi eich sesiwn</p>
<p>Beth yw teitl eich sesiwn?</p>
<p>HEN BOBL, POBL IFANC, Y THEATR FEL CYFRWNG?</p>
<p>Beth yw enw'r person a alwodd y sesiwn?</p>
<p>PERI THOMAS</p>
<p>Pwy ddaeth i'r sesiwn? (Gallwch basio'r darn hwn o bapur o gwmpas a gofyn i bobl ysgrifennu eu henwau arno.)</p>
<p>8 O BOBL</p>
<p></p>
<p>Crynodeb o'r drafodaeth: (Nodiadau, syniadau, cwestiynau, casgliadau, argymhellion ar gyfer camau i'w cymryd, manylion cyswllt pobl/sefydliadau perthnasol ac ati)</p>
<p>NTW Before I leave- dementia, Manics. (enghraifft o theatr a dementia)</p>
<p>Mae'n bosib bod y diffiniad o theatr wedi newid dros y blynyddoedd felly gallai fod gan bobl hŷn farn wahanol ynglŷn â beth y dylai fod a sut y dylai edrych.</p>
<p>Efallai y dylem barhau i ehangu theatr a'i wneud yn fwy arbrofol rhwng pobl ifanc a hen bobl.</p>
<p>Siaradodd Kevin am ei brosiect Waleslab ynglŷn â bywyd fel artist hŷn (yn y camau cynnar iawn).</p>
<p>Mae llawer o gyfleoedd ariannu rhwng y cenedlaethau ar hyn o bryd, er enghraifft Traveline Cymru.</p>
<p>Cyfeiriodd llawer o bobl at y rhaglen deledu lle mae plant meithrin yn mynd i gartrefi gofal a bod pobl hŷn yn ymweld ag ysgolion a'r manteision a ddaw o hynny.</p>
<p>Theatr Hel Atgofion/ helpu'r cymeriadau i ddatrys problemau gyda storïau personol trigolion mewn cartrefi gofal.</p>
<p>Ceir prosiect theatr hefyd ynglŷn â phlant oedran meithrin a chlwb cinio dros 50 oed yng Nghaerdydd.</p>
<p>Ymddengys fod potensial enfawr yn y dyfodol mewn prosiectau rhwng y cenedlaethau yn y celfyddydau ac iechyd.</p>
<p>Age Cymru, Gŵyl y Gwanwyn a Chartrefi - enghreifftiau o gwmnïau sydd eisoes yn gweithio ar hwn.</p>
<p>DS - Cyhoeddir yr adroddiad hwn ar wefan NTW (gan gynnwys unrhyw gyfeiriadau e-bost a manylion cyswllt yr ydych yn eu cynnwys ynddo). Os hoffech chi i NTW drosglwyddo unrhyw gwestiynau y cânt am yr adroddiad hwn, nodwch eich cyfeiriad e-bost yma (ni fydd eich cyfeiriad yn cael ei gyhoeddi na'i ddefnyddio at unrhyw ddiben arall).</p>Session notes: Queer Theatre?tag:community.nationaltheatrewales.org,2019-03-03:3152760:BlogPost:2828482019-03-03T18:00:00.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p>What is the name of the person who called the session?</p>
<p>Jennifer Lunn</p>
<p>Who attended the session? (You can pass this piece of paper round and ask people to write their name on it.)</p>
<p>Jack Hammett, Chelsey Gillard, Catriona James, Daniel S, Ken Griffin, Mari H, Ceriann Williams</p>
<p>Summary of discussion: (Notes, ideas, further questions, conclusions, recommendations for actions to take, contact details of relevant people / organisations etc)</p>
<p>• Doesn’t seem to have…</p>
<p>What is the name of the person who called the session?</p>
<p>Jennifer Lunn</p>
<p>Who attended the session? (You can pass this piece of paper round and ask people to write their name on it.)</p>
<p>Jack Hammett, Chelsey Gillard, Catriona James, Daniel S, Ken Griffin, Mari H, Ceriann Williams</p>
<p>Summary of discussion: (Notes, ideas, further questions, conclusions, recommendations for actions to take, contact details of relevant people / organisations etc)</p>
<p>• Doesn’t seem to have been much Queer Theatre, especially growing up in the last 25 years.<br/> • Queer Arts Collective set up last year and one of the big discussions was around whether there was much Queer work being made. The answer seemed to be that there was more than we thought but there was no listings for it and therefor a lack of visibility which led to a lack of attendance which led to a feeling from venues that there is no audience for Queer work.<br/> • Story told about a trans show which had had its copy changed by a venue (without permission) to remove the trans aspect of the storyline. (Not in Wales)<br/> • There is a sense that Queer histories don’t get held onto and so young queer people and artists often feel they are reinventing the wheel as there is very little celebration of Queer work.<br/> • Queer work is often thought of or labelled as about sex. Why? Is it because the Queer work that is being produced is made by those who have found a way to be loud and empowered and that tends to be the lavish and grungy, more sexualised work? Where is the nuanced understated stuff which just happens to feature queer characters. <br/> • Is it okay to be quiet and shy about being Queer? <br/> • Recognition that much of the Queer/ LGBTQ+ work is mainly G. The gay man’s story of shame to acceptance. The Lesbians are unattractive and the Bisexuals have been erased and Trans is too difficult, complicated??<br/> • Writers have written characters who just happen to be gay but then been asked by venues or producers “Why does that character have to be gay?” “Having a gay character is one thing too many” There is a sense that by having a queer character, the play then needs to tackle a queer issue. Are producers wary of getting it wrong and so choose not to represent those characters at all.<br/> • What is Queer Theatre?? Is it work with a queer focus, work made about queer issues or storylines, work made by queer artists?<br/> • If a show is made by a queer team of artists, how does anyone know? Do I need to somehow announce it? How much of my identity do I need to be bringing to my work?<br/> • There is sometimes a pressure on Queer artists to make predominantly queer work. We feel that pressure ourselves to represent. We feel responsible for improving representation but does that mean we compromise our own creativity?<br/> • How do we better represent the fluidity and spectrum that LGBTQIA+++ now covers. LGB and/or Trans. Gender and sexuality are different things. <br/> • Recognition that WMC are proving to be an incredibly positive force in Queer programming. How can we use that as a springboard to encourage others?</p>
<p></p>
<p></p>
<p>Rhai syniadau ynghylch cofnodi eich sesiwn</p>
<p>Beth yw teitl eich sesiwn?</p>
<p>Theatr Cwiar?</p>
<p>Beth yw enw'r person a alwodd y sesiwn?</p>
<p>Jennifer Lunn</p>
<p>Pwy ddaeth i'r sesiwn? (Gallwch basio'r darn hwn o bapur o gwmpas a gofyn i bobl ysgrifennu eu henwau arno.)</p>
<p>Jack Hammett, Chelsey Gillard, Catriona James, Daniel S, Ken Griffin, Mari H, Ceriann Williams</p>
<p></p>
<p><br/>Crynodeb o'r drafodaeth: (Nodiadau, syniadau, cwestiynau, casgliadau, argymhellion ar gyfer camau i'w cymryd, manylion cyswllt pobl/sefydliadau perthnasol ac ati)</p>
<p><br/>• Nid yw'n ymddangos y bu llawer o Theatr Cwiar, yn enwedig wrth dyfu i fyny dros y 25 mlynedd ddiwethaf. <br/>• Sefydlwyd Queer Arts Collective y llynedd ac un o'r trafodaethau mawr fu a oes llawer o waith Cwiar yn cael ei greu. Mae'n ymddangos mai'r ateb yw bod mwy nag yr oeddem yn credu ond does dim rhestr ar ei gyfer ac felly diffyg gweladwyedd sy'n golygu diffyg presenoldeb ac felly teimlad ar ran lleoliadau nad oes cynulleidfa ar gyfer gwaith Cwiar. <br/>• Adroddwyd stori am sioe draws y newidiwyd ei chopi gan y lleoliad (heb ganiatâd) i ddileu agwedd traws y stori. (Ddim yng Nghymru)<br/>• Ceir teimlad na delir gafael ar hanesion Cwiar ac felly yn aml mae pobl ifanc ac artistiaid cwiar yn teimlo eu bod yn dechrau o'r dechrau gan y ceir ychydig iawn o ddathliad o waith Cwiar. <br/>• Yn aml ystyrir neu labelir gwaith Cwiar yng nghyd-destun rhyw. Pam? Ydyw oherwydd bod y gwaith Cwiar sy'n cael ei gynhyrchu'n cael ei wneud gan y rhai sydd wedi dod o hyd i ffordd o fod yn uchel ac wedi eu grymuso ac mai dyna'r gwaith afradlon, grynji a mwy rhywiol? Ble mae'r sdwff mwy cynnil a phroffil isel sy'n cynnwys cymeriadau cwiar fel mater o drefn. <br/>• Ydyw'n iawn bod yn dawel ac yn swil am fod yn Gwiar? <br/>• Cydnabyddiaeth bod llawer o'r gwaith Cwiar / LHDTC+ yn H yn bennaf. Hanes y dyn hoyw o gywilydd i gael ei dderbyn. Mae'r Lesbiaid yn anatyniadol ac mae'r bobl Ddeurywiol wedi eu dileu ac mae Traws yn rhy anodd, cymhleth??<br/>• Mae awduron wedi llunio cymeriadau sy'n digwydd bod yn hoyw ond wedyn mae lleoliadau'n gofyn iddynt "Pam bod yn rhaid i'r cymeriad hwnnw fod yn hoyw?" "Mae cael cymeriad hoyw yn un peth yn ormod" Mae ymdeimlad os oes gan ddrama gymeriad cwiar y mae angen iddi daclo mater cwiar. Ydy cynhyrchwyr yn gofidio am gael pethau o chwith ac felly yn dewis peidio â chynrychioli'r cymeriadau hynny o gwbl. <br/>• Beth yw Theatr Cwiar?? Ydyw'n waith sydd â ffocws cwiar, gwaith a wneir am faterion cwiar neu linellau stori, gwaith a wneir gan artistiaid cwiar?<br/>• Os caiff sioe ei chreu gan dîm o artistiaid cwiar, sut mae unrhyw un yn gwybod? Oes angen i mi gyhoeddi'r ffaith rhywsut? Faint o fy hunaniaeth y mae angen i mi ddod â hi at fy ngwaith? <br/>• Weithiau mae pwysau ar artistiaid cwiar i wneud gwaith sy'n gwiar yn bennaf. Rydym yn teimlo'r pwysau hynny ein hunain i gynrychioli. Rydym yn teimlo'n gyfrifol am wella cynrychiolaeth ond a ydy hynny'n golygu ein bod yn cyfaddawdu ein creadigrwydd ein hunain? <br/>• Sut ydym ni'n cynrychioli'r hylifedd a sbectrwm y mae LHDTCRhA+++ bellach yn ymdrin â nhw. LHD a/neu Draws. Mae rhywedd a rhywioldeb yn bethau gwahanol. <br/>• Cydnabyddiaeth bod Canolfan Mileniwm Cymru'n profi i fod yn rym anhygoel o gadarnhaol mewn rhaglenni Cwiar. Sut allwn ddefnyddio hynny fel sbardun i annog eraill? <br/>•</p>
<p>DS - Cyhoeddir yr adroddiad hwn ar wefan NTW (gan gynnwys unrhyw gyfeiriadau e-bost a manylion cyswllt yr ydych yn eu cynnwys ynddo). Os hoffech chi i NTW drosglwyddo unrhyw gwestiynau y cânt am yr adroddiad hwn, nodwch eich cyfeiriad e-bost yma (ni fydd eich cyfeiriad yn cael ei gyhoeddi na'i ddefnyddio at unrhyw ddiben arall).</p>Session notes: Playwriting is Dead! Long Live Playwrights!tag:community.nationaltheatrewales.org,2019-03-03:3152760:BlogPost:2826582019-03-03T18:00:00.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p>What is the name of the person who called the session?</p>
<p>Peter Cox</p>
<p>Who attended the session? (You can pass this piece of paper round and ask people to write their name on it.)</p>
<p>Jenny, David, Conor, Nick, Louise, Elke, David.</p>
<p>Summary of discussion: (Notes, ideas, further questions, conclusions, recommendations for actions to take, contact details of relevant people / organisations etc)</p>
<p>Issues with Plays in Education.</p>
<p>Plays taught badly in many schools.…</p>
<p>What is the name of the person who called the session?</p>
<p>Peter Cox</p>
<p>Who attended the session? (You can pass this piece of paper round and ask people to write their name on it.)</p>
<p>Jenny, David, Conor, Nick, Louise, Elke, David.</p>
<p>Summary of discussion: (Notes, ideas, further questions, conclusions, recommendations for actions to take, contact details of relevant people / organisations etc)</p>
<p>Issues with Plays in Education.</p>
<p>Plays taught badly in many schools. Means there is no advocacy for the craft of the playwright or the broad cultural importance and influence of playwriting.</p>
<p>Plays often taught as literature not drama for performance.</p>
<p>Plays often only studied piecemeal: eg only looking at one scene, one speech or one character.</p>
<p>We noted that we are never asked to write plays or drama at school but we will get asked to write poetry, prose and even songs.</p>
<p>Some concern was expressed about the trend to publish scripts before the final production script is settled on.</p>
<p>Issues connected to Being a Playwright.</p>
<p>Anyone can be a playwright. No training or qualification required. Just the will or desire to write drama. But is this genuinely a ‘good thing?’</p>
<p>Some questions were raised about this comparing it to being a ‘painter’ or a ‘composer’ where there would be some expectation that the artist would have studied the core / craft skills involved.</p>
<p>Some discussion also about the difference between being a ‘Theatre Maker’ and a Playwright.</p>
<p>Also about some of the pitfalls of Devising Theatre. For example allowing too much democracy to rule the final script – so everyone involved has to get a decent role. Also that work can become muddled due to too many voices trying to be heard.</p>
<p>Some discussion around ‘When do you call yourself a Playwright?’ Is it when you join the Union? Or when you’ve been commissioned? Or produced? Or feel financially rewarded enough to call yourself a ‘professional playwright’? Or when someone other than yourself calls you a playwright?</p>
<p>Why do we Want / Need / Love / Value Playwrights?</p>
<p>Some discussion around what Playwrights the group members have been inspired by / identified with / gone on to seek out more of their work. Playwrights cited included: Samuel Beckett, Edward Bond, Duncan McMillan, Stephen Berkoff, Stephen Jeffries. (Scribe’s note: interesting that all named were male!)</p>
<p>Our top reasons for loving plays written by Playwrights centred around language and use of words.</p>
<p>We highly valued plays as they used crafted language / had poetic qualities / didn’t take language for granted / where the language & playwright ‘nailed it’ / where we connected with the words on the page / where there was great strength in the words on the page / that used clever word play / that were fluid and flowing / where the language is beautiful / where the words take you on a unique journey.</p>
<p></p>
<p></p>
<p>Rhai syniadau ynghylch cofnodi eich sesiwn</p>
<p>Beth yw teitl eich sesiwn?</p>
<p>Mae Dramodi Wedi Marw! Hir Oes i Ddramodwyr!</p>
<p>Beth yw enw'r person a alwodd y sesiwn?</p>
<p>Peter Cox</p>
<p>Pwy ddaeth i'r sesiwn? (Gallwch basio'r darn hwn o bapur o gwmpas a gofyn i bobl ysgrifennu eu henwau arno.)</p>
<p>Jenny, David, Conor, Nick, Louise, Elke, David.</p>
<p></p>
<p>Crynodeb o'r drafodaeth: (Nodiadau, syniadau, cwestiynau, casgliadau, argymhellion ar gyfer camau i'w cymryd, manylion cyswllt pobl/sefydliadau perthnasol ac ati)</p>
<p>Problemau gyda Dramâu mewn Addysg.</p>
<p>Addysgir dramâu'n wael mewn llawer o ysgolion. Mae'n golygu nad oes eiriolaeth dros grefft y dramodydd na phwysigrwydd a dylanwad diwylliannol eang dramodi.</p>
<p>Yn aml addysgir dramâu fel llenyddiaeth nid drama i'w pherfformio.</p>
<p>Yn aml astudir dramâu mewn ffordd fratiog yn unig: e.e. edrych dim ond ar un olygfa, un araith neu un cymeriad.</p>
<p>Nodwyd na gofynnir byth i ni ysgrifennu dramâu neu ddrama yn yr ysgol ond gofynnir i ni ysgrifennu barddoniaeth, rhyddiaith a hyd yn oed caneuon.</p>
<p>Mynegwyd peth pryder am y duedd i gyhoeddi sgriptiau cyn y penderfynir ar y sgript gynhyrchu derfynol.</p>
<p>Materion sy'n gysylltiedig â Bod yn Ddramodydd.</p>
<p>Gall unrhyw un fod yn ddramodydd. Nid oes angen hyfforddiant na chymhwyster. Dim ond yr ewyllys neu ddyhead am ysgrifennu drama. Ond ydy hyn yn wirioneddol yn 'rhywbeth da?'</p>
<p>Codwyd rhai cwestiynau am hyn gan ei gymharu â bod yn 'arlunydd' neu 'gyfansoddwr' pan geir rhywfaint o ddisgwyliad y byddai'r artist wedi astudio'r sgiliau craidd / crefft gofynnol.</p>
<p>Cafwyd rhywfaint o drafodaeth hefyd am y gwahaniaeth rhwng bod yn 'Greawdwr Theatr' a Dramodydd.</p>
<p>Hefyd am rai o'r maglau wrth Ddyfeisio Theatr. Er enghraifft caniatáu gormod o ddemocratiaeth i reoli'r sgript derfynol - fel bod yn rhaid i bawb sy'n cymryd rhan gael rôl dda. Hefyd y gall gwaith fynd yn ddryslyd o ganlyniad i wrando ar ormod o leisiau.</p>
<p>Rhywfaint o drafodaeth am ‘Pryd ydych chi'n galw eich hun yn Ddramodydd?’ Ar ôl ymuno â'r Undeb? Neu pan fyddwch wedi cael eich comisiynu? Neu eich cynhyrchu? Neu'n teimlo eich bod wedi derbyn digon o gydnabyddiaeth ariannol i alw eich hun yn 'ddramodydd proffesiynol'? Neu pan fydd rhywun heblaw chi'n eich galw chi'n ddramodydd?</p>
<p>Pam ydym Eisiau / Angen / Caru / Gwerthfawrogi Dramodwyr?</p>
<p>Cafwyd rhywfaint o drafodaeth am ba Ddramodwyr y mae aelodau'r grŵp wedi cael eu hysbrydoli ganddynt / uniaethu â nhw / mynd ymlaen i chwilio am ragor o'u gwaith. Bu'r dramodwyr a nodwyd yn cynnwys: Samuel Beckett, Edward Bond, Duncan McMillan, Stephen Berkoff, Stephen Jeffries. (Nodyn yr ysgrifennydd: mae'n ddiddorol bod pob un a enwyd yn wrywaidd!)</p>
<p>Canolbwyntiodd ein rhesymau pennaf dros garu dramâu a lunnir gan Ddramodwyr o gwmpas iaith a'r defnydd o eiriau.</p>
<p>Gwerthfawrogom ddramâu'n fawr iawn gan iddynt ddefnyddio iaith gywrain / meddu ar rinweddau barddonol / peidio â chymryd iaith yn ganiataol / lle roedd y dramodydd 'yn llygad ei le' / lle cysylltom â'r geiriau ar y dudalen / pan gafwyd cryfder mawr yn y geiriau ar y dudalen / a ddefnyddiodd chwarae geiriau clyfar / a oedd yn llyfn ac yn llifo / lle mae'r iaith yn brydferth / lle mae'r geiriau'n mynd â chi ar daith unigryw.</p>
<p><br/>DS - Cyhoeddir yr adroddiad hwn ar wefan NTW (gan gynnwys unrhyw gyfeiriadau e-bost a manylion cyswllt yr ydych yn eu cynnwys ynddo). Os hoffech chi i NTW drosglwyddo unrhyw gwestiynau y cânt am yr adroddiad hwn, nodwch eich cyfeiriad e-bost yma (ni fydd eich cyfeiriad yn cael ei gyhoeddi na'i ddefnyddio at unrhyw ddiben arall).</p>Session Notes: Experimental, radical and like no one's ever seen before.tag:community.nationaltheatrewales.org,2019-03-03:3152760:BlogPost:2827602019-03-03T16:02:00.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p>Some thoughts about recording your session</p>
<p>What is the title of your session?</p>
<p>Experimental, radical and like no one’s ever seen before.</p>
<p>What is the name of the person who called the session?</p>
<p>Rhiannon White</p>
<p>Who attended the session? (You can pass this piece of paper round and ask people to write their name on it.)</p>
<p>Summary of discussion: (Notes, ideas, further questions, conclusions, recommendations for actions to take, contact details of relevant…</p>
<p>Some thoughts about recording your session</p>
<p>What is the title of your session?</p>
<p>Experimental, radical and like no one’s ever seen before.</p>
<p>What is the name of the person who called the session?</p>
<p>Rhiannon White</p>
<p>Who attended the session? (You can pass this piece of paper round and ask people to write their name on it.)</p>
<p>Summary of discussion: (Notes, ideas, further questions, conclusions, recommendations for actions to take, contact details of relevant people / organisations etc)</p>
<p>There needs to be ways that allow experimental, radical work to flourish – through education, funding and breaking the idea of waiting to be asked for permission.</p>
<p>The words radical & experimental mean different things to different people – no one should be excluded in these definitions. The lines should be blurred between art forms.</p>
<p>Its all about who is willing to take a risk. From the audiences, to the producers, to the funding streams – we need to be prepared to allow risk to happen, for things to fail – for things to get better.</p>
<p>We have to challenge traditions and ways of creating – ways of being. We need to see more work that challenges these traditions.</p>
<p>In turn we need a brave curriculum that celebrates risk taking as a way of creating – we want to see work championed by NTW and other radical theatre companies, see it embedded in the curriculum, in schools and universities.</p>
<p>We also have to celebrate and remember our theatre/ cultural heritage the work of radical theatre companies/ minds that have come before. This isn’t new, find a way to adapt and build on the work of Joan Littlewood, 7:84.</p>
<p>TEAM is in danger of acting as a barrier – as it could be seen as a paternalistic way to nurturing talent. It needs to be different.</p>
<p>If we don’t change the voices who have power that we won’t change anything. Those who speak the loudest, have the networks are the ones calling the shots.</p>
<p>DISSENT is positive.</p>
<p>NTW is not the first to be experimental or radical, experimental work has been happening in Cardiff for years.</p>
<p>Could NTW support a fund for new talent development? A fuck it and do it fund – or a it doesn’t matter fund where artists are given time and space to be creative?</p>
<p>Young artists should not wait for permission. You don’t have to wait for funding to be an artists – its about how you use your time, people work and create as a hobby this is seen as amateur – how do we support those coming through? Is it a conversation with employers to support those in employment to take time off? Times have changed, societies changed – you can’t be on the dole anymore and be an artist – that means only a certain type of person gets to enter the arts. What can replace this? Can NTW have an equivalent that allows people to have support?</p>
<p>The ecology of funding reinforces who gets to be an artist, who gets to experiment. There’s a lack of fight – instead the fight becomes about fitting into someone else’s funding objectives – how we bend to fit into the funders aims.</p>
<p>ACW should look at a more equitable way of distributing funds.</p>
<p>Radical has become a set of rules – you have to break things – you have to fail. If you say the wrong thing you are shut down, excluded from the conversation. Remove judgement. We have been dampened down, people are too afraid to say the wrong thing.</p>
<p>Scrap all the touring restrictions between Wales & England it’s not working, its too hard – we want interesting work to come here. We want the new Growtoski’s to visit Cardiff we want to learn from them. Can we invite International artists to work with us – workshops, residencies, shows. Collboration is at the heart of Radical/experimental. A twinnig with other countries/ cities with British Council – without having an outcome and then finding a way to pass it on to others.</p>
<p>NB- This report will be published on the NTW website (including any e-mail addresses and contact details you include in it). If you would like NTW to pass on any questions they get about this report, please write your e-mail address here (your address will not be published or used for any other purpose).</p>Session notes: Welsh Language Theatre – Preservation Vs Evolutiontag:community.nationaltheatrewales.org,2019-03-03:3152760:BlogPost:2825582019-03-03T16:00:37.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p>What is the name of the person who called the session?</p>
<p>Gethin Evans</p>
<p>Who attended the session? (You can pass this piece of paper round and ask people to write their name on it.)</p>
<p>Elen <br></br> Michelle Perez<br></br> Sion Pritchard<br></br> Raidene Carter <br></br> Julia Barry<br></br> Rebecca Harris<br></br> Gwennan Jones</p>
<p>Summary of discussion: (Notes, ideas, further questions, conclusions, recommendations for actions to take, contact details of relevant people / organisations…</p>
<p>What is the name of the person who called the session?</p>
<p>Gethin Evans</p>
<p>Who attended the session? (You can pass this piece of paper round and ask people to write their name on it.)</p>
<p>Elen <br/> Michelle Perez<br/> Sion Pritchard<br/> Raidene Carter <br/> Julia Barry<br/> Rebecca Harris<br/> Gwennan Jones</p>
<p>Summary of discussion: (Notes, ideas, further questions, conclusions, recommendations for actions to take, contact details of relevant people / organisations etc)</p>
<p>How can Welsh Language Theatre evolve and ensure that it isn’t an academic thing in theatre but a representation of a living language. <br/> Everyone agreed that in the last couple of years there has been an exciting thematic shift in Welsh Language Theatre, but that isn’t the same about the form / style of the work. <br/> When considering what could change, or what we would like it to look like in 10 years, the following was discussed: <br/> - The development of a Welsh language canon of plays. <br/> - Rigour and quality in the work. <br/> - A varied programme, meaning more needs to be produced by a variety of organisations and artists. <br/> - A quota for organisations to create a certain amount in Welsh as a marker for us to hit. <br/> - Acceptance of failure and honesty – so often we refuse to criticise Welsh language work because we ‘should be grateful its on’. <br/> - Embrace taking risks with the work, to allow for less conservative theatre and process. <br/> - International ambition… compare to places other that England and English. <br/> - Mentorship, with individuals from all over the world working in all languages, to ensure quality and development of artists and work. <br/> Things to be done: <br/> - More conversations and collaboration<br/> - Relationships between venues and venues and Theatr Gen. <br/> - Measured risk taking!<br/> - The development of an alternative structure to Theatr Gen, creating new work in the Welsh Language, in collaboration with organisations across Wales.</p>Session notes: No longer emerging, what next?tag:community.nationaltheatrewales.org,2019-03-03:3152760:BlogPost:2828452019-03-03T16:00:00.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p>What is the name of the person who called the session?</p>
<p>Hannah McPake</p>
<p>Who attended the session? (You can pass this piece of paper round and ask people to write their name on it.)</p>
<p>Othneil Smith<br></br> Pete Rodgers<br></br> Duncan Hallis<br></br> Yvonne Murphy<br></br> Lucy Rivers<br></br> Clare Turner<br></br> Julia Thomas<br></br> Claire Bottomley<br></br> Laura Drane<br></br> Jennifer Lunn<br></br> Daniel<br></br> Allie Downing</p>
<p>Summary of discussion: (Notes, ideas, further questions, conclusions,…</p>
<p>What is the name of the person who called the session?</p>
<p>Hannah McPake</p>
<p>Who attended the session? (You can pass this piece of paper round and ask people to write their name on it.)</p>
<p>Othneil Smith<br/> Pete Rodgers<br/> Duncan Hallis<br/> Yvonne Murphy<br/> Lucy Rivers<br/> Clare Turner<br/> Julia Thomas<br/> Claire Bottomley<br/> Laura Drane<br/> Jennifer Lunn<br/> Daniel<br/> Allie Downing</p>
<p>Summary of discussion: (Notes, ideas, further questions, conclusions, recommendations for actions to take, contact details of relevant people / organisations etc)</p>
<p>- We are stuck in Cycles - theatre, bands, acting<br/> - Often artists wear many hats<br/> - It’s assumed that if you’re not the “young cool” thing you don’t need help.<br/> - There is a ceiling of support, you reach a certain level<br/> - Career Progression – what’s the path? Where do we ant to be?<br/> - Where are you heading towards, aiming for?<br/> - Do I still want to be here in 20 years.<br/> - Where are the development opportunities and support structures?<br/> - If you’re not emerging and not established you’re stuck somewhere in the middle.<br/> - Opposite of emerging Submerging<br/> - It’s about survival, we diversify into facilitating, producing – stop making art<br/> - Become a jack of all trades<br/> - “we have more that 100 years combined experience, don’t hold it against us”<br/> - If you wear lots of hats people don’t know where to put you. They think you don’t care enough.<br/> - People who are all -rounders should be the exec directors and artistic leaders – they have view of the bigger picture.<br/> - Where are we heading?<br/> - There are. A handful of opportunities – portfolio careers.<br/> - There is no clear career path/trajectory<br/> - People think once you’ve started a company you’ve made it.<br/> - Companies created because of ACW funding requirements.<br/> - Grant ceilings impact the quantity and quality for work.<br/> - Where is the support for people who run project funded companies with finance and compliance etc. Is there responsibility to support companies receiving public money. There should be accountability.<br/> - When are we going to have Welsh Artistic Directors?<br/> - You’re an underdog or you’ve made it.<br/> - There is a lack of honesty with earnings<br/> - There is a lack of honesty with Critique of Work. How do you do that? A culture that can nurture and push the work forward.<br/> - Proximity Problem – we all know each other. Positives – you can get to someone very quickly and there is a solidarity of closeness.<br/> More honest critique would lead to better work. Better work means audience trust.</p>
<p>- Is there too much work being made?<br/> - Is the work too similar, similar work for a similar audience?<br/> - There is not enough work?<br/> - AUDIENCE DEVELOPMENT – if there’s no audience, what are we doing? Show’s should stand on their own merit. Create work people want to watch.<br/> - What Next? – Die?<br/> - Venues could help companies to sustain themselves.<br/> - Longer runs of shows.<br/> - How do you get past the gate keepers? The taste makers? Back to the proximity. Accountability for public money and audience development questions.<br/> - Taste Makers/Gate keepers have responsibility, if they don’t like you you are f***ed!<br/> - In London it is harder to emerge.<br/> - Economy of scale and geography of wales.<br/> - Level of venues/infrastructure.<br/> - There are audiences WMC and the circus companies pack out.<br/> - Kill the word emerging<br/> - There should be jobs not emerging schemes<br/> - We should have a pact not to work for free.<br/> - Why do we work for free – learning, personal gain.<br/> - Fringe theatre is only for “rich kids”<br/> - In North Wales there are fewer opportunities.<br/> - It’s not a e system.<br/> - It’s connected with TAKING RISKS<br/> Platforms for risk taking<br/> - There is a difference between confidence and bull shitting<br/> - What do you call yourself? That’s what other people will call you?<br/> - Is emerging different to assisting?<br/> - Where has the emerging phrase come from, has it replaced young.<br/> - In other industries you’re a junior doctor, apprentice plumber. We associate apprenticeships with trade.<br/> - Emerging suggests you’re not very good, yet.<br/> - Why don’t funding bodies support anything beyond emerging? Do they?<br/> - There should be opportunities for development at all levels.<br/> - “We’re all emerging from Wales”<br/> - If you change what you do within the arts do you have to begin again?<br/> - How do we describe and value ourselves?<br/> - WHAT NEXT?<br/> - How do you make the next level happen?<br/> - It’s easier to make that next step happen in England, Welsh companies looking to England for funding not ACW.<br/> - How can we connect artists and producers with buildings?</p>
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<p>Rhai syniadau ynghylch cofnodi eich sesiwn</p>
<p>Beth yw teitl eich sesiwn?</p>
<p>Ddim yn ddatblygol mwyach, beth nesaf?</p>
<p><br/>Beth yw enw'r person a alwodd y sesiwn?</p>
<p>Hannah McPake</p>
<p>Pwy ddaeth i'r sesiwn? (Gallwch basio'r darn hwn o bapur o gwmpas a gofyn i bobl ysgrifennu eu henwau arno.)</p>
<p>Othneil Smith<br/>Pete Rodgers<br/>Duncan Hallis<br/>Yvonne Murphy<br/>Lucy Rivers<br/>Clare Turner<br/>Julia Thomas<br/>Claire Bottomley<br/>Laura Drane<br/>Jennifer Lunn<br/>Daniel<br/>Allie Downing</p>
<p></p>
<p><br/>Crynodeb o'r drafodaeth: (Nodiadau, syniadau, cwestiynau, casgliadau, argymhellion ar gyfer camau i'w cymryd, manylion cyswllt pobl/sefydliadau perthnasol ac ati)</p>
<p><br/>- Rydym yn sownd mewn Cylchoedd - theatr, bandiau, actio<br/>- Yn aml mae artistiaid yn gwneud amrywiaeth o dasgau<br/>- Tybir nad oes angen cymorth arnoch os nad chi mo'r person "cŵl ifanc".<br/>- Mae nenfwd o gefnogaeth, rydych yn cyrraedd lefel benodol<br/>- Cynnydd Gyrfaol - beth yw'r llwybr? Ble ydym eisiau bod?<br/>- At beth ydych chi'n anelu?<br/>- Ydw i dal eisiau bod yma ymhen 20 mlynedd.<br/>- Ble mae'r cyfleoedd datblygu a strwythurau cefnogi?<br/>- Os nad ydych yn dod i'r amlwg nac yn sefydledig rydych yn sownd rhywle yn y canol. <br/>- Y gwrthwyneb i ddod i'r amlwg yw Suddo<br/>- Mae'n ymwneud â goroesi, rydym yn amrywiaethu i hwyluso, cynhyrchu - rhoi'r gorau i greu celf<br/>- Mynd yn Siôn bob swydd<br/>- “mae gennym fwy na 100 mlynedd o brofiad cyfunedig, peidiwch â dal hynny yn ein herbyn”<br/>- Os ydych yn gwisgo sawl het nid yw pobl yn gwybod ble i'ch rhoi chi. Maent yn meddwl nad oes digon o ots gennych. <br/>- Dylai pobl sy'n gwneud popeth yn dda fod yn gyfarwyddwyr gweithredol ac arweinwyr artistig - nhw sydd â throsolwg o'r darlun ehangach. <br/>- At beth ydym ni'n anelu?<br/>- Mae. Llond llaw o gyfleoedd - gyrfaoedd portffolio.<br/>- Nid oes llwybr/taflwybr gyrfa clir<br/>- Mae pobl yn meddwl, os ydych wedi dechrau cwmni, eich bod wedi llwyddo.<br/>- Crëir cwmnïau oherwydd gofynion cyllido Cyngor Celfyddydau Cymru (CCC). <br/>- Mae nenfydau grant yn effeithio ar faint ac ansawdd y gwaith. <br/>- Ble mae'r gefnogaeth ar gyfer pobl sy'n rhedeg cwmnïau a ariennir gan brosiect o ran cyllid a chydymffurfio etc. A oes cyfrifoldeb i gefnogi cwmnïau sy'n derbyn cyllid cyhoeddus. Dylai fod atebolrwydd. <br/>- Pryd ydym ni'n mynd i gael Cyfarwyddwyr Artistig o Gymru?<br/>- Rydych o dan ormes neu rydych wedi llwyddo.<br/>- Mae diffyg gonestrwydd o ran tâl<br/>- Mae diffyg gonestrwydd o ran Beirniadaeth o'r Gwaith. Sut ydych chi'n gwneud hynny? Diwylliant a all feithrin a gwthio'r gwaith ymlaen. <br/>- Problem Agosrwydd - rydym i gyd yn nabod ein gilydd. Y pethau cadarnhaol - gallwch gyrraedd rhywun yn gyflym iawn ac mae undod mewn agosrwydd. <br/>Byddai beirniadaeth fwy gonest yn arwain at waith gwell. Mae gwaith gwell yn golygu ymddiried mewn cynulleidfaoedd.</p>
<p>- Oes gormod o waith yn cael ei greu?<br/>- Ydy'r gwaith yn rhy debyg, gwaith tebyg ar gyfer cynulleidfa debyg?<br/>- Does dim digon o waith?<br/>- DATBLYGU CYNULLEIDFAOEDD - os nad oes cynulleidfa, beth ydym ni'n ei wneud? Dylai sioeau sefyll ar eu teilyngdod eu hunain. Creu gwaith y mae pobl eisiau ei wylio. <br/>- Beth Nesaf? – Marw?<br/>- Gallai lleoliadau helpu cwmnïau i gynnal eu hunain. <br/>- Rhedeg sioeau am gyfnod hwy. <br/>- Sut ydych chi'n mynd heibio i warchodwyr y gât? Y rhai sy'n pennu chwaeth? Yn ôl at yr agosrwydd. Atebolrwydd dros arian cyhoeddus a chwestiynau datblygu cynulleidfaoedd. <br/>- Mae cyfrifoldeb gan y Pennwyr Chwaeth/Gwarchodwyr y Gât, os nad ydynt yn eich hoffi chi rydych chi'n ff**d!<br/>- Mae'n anos dod i'r amlwg yn Llundain. <br/>- Darbodion maint a daearyddiaeth Cymru.<br/>- Lefel lleoliadau/isadeiledd. <br/>- Mae cynulleidfaoedd yn bodoli, mae Canolfan Mileniwm Cymru â'r cwmnïau syrcas dan eu sang.<br/>- Lladd y geiriau dod i'r amlwg<br/>- Dylai fod swyddi nid cynlluniau datblygol<br/>- Dylai fod gennym gyfamod i beidio â gweithio am ddim. <br/>- Pam ydym ni'n gweithio am ddim - dysgu, budd personol.<br/>- Mae theatr ymylol ar gyfer y “plant cyfoethog” yn unig<br/>- Mae llai o gyfleoedd yng Ngogledd Cymru. <br/>- Nid yw'n system e.<br/>- Mae'n ymwneud â CHYMRYD RISGIAU<br/>Llwyfannau ar gyfer cymryd risgiau<br/>- Mae gwahaniaeth rhwng hyder a brolio<br/>- Beth ydych chi'n galw eich hun? Dyna'r hyn y bydd pobl eraill yn eich galw chi?<br/>- Ydy datblygol yn wahanol i gynorthwyo?<br/>- O ble mae'r ymadrodd datblygol wedi dod, ydyw e wedi disodli ifanc.<br/>- Mewn diwydiannau eraill rydych yn feddyg dan hyfforddiant, prentis plwmio. Rydym yn cysylltu prentisiaethau â chrefftau. <br/>- Mae dod i'r amlwg yn awgrymu nad ydych yn dda iawn, eto.<br/>- Pam nad yw cyrff ariannu'n cefnogi unrhyw beth y tu hwnt i ddatblygol? Ydyn nhw?<br/>- Dylai fod cyfleoedd ar gyfer datblygu ar bob lefel. <br/>- “Rydym i gyd yn datblygu o Gymru”<br/>- Os ydych yn newid yr hyn a wnewch o fewn y celfyddydau a oes angen i chi ddechrau o'r dechrau eto?<br/>- Sut ydym ni'n disgrifio ac yn gwerthfawrogi ein hunain? <br/>- BETH NESAF?<br/>- Sut ydych chi'n gwneud i'r lefel nesaf ddigwydd?<br/>- Mae'n haws gwneud i'r cam nesaf hwnnw ddigwydd yn Lloegr, mae cwmnïau yng Nghymru'n edrych i Loegr am gyllid nid CCC. <br/>- Sut allwn ni gysylltu artistiaid a chynhyrchwyr ag adeiladau?</p>
<p></p>
<p>DS - Cyhoeddir yr adroddiad hwn ar wefan NTW (gan gynnwys unrhyw gyfeiriadau e-bost a manylion cyswllt yr ydych yn eu cynnwys ynddo). Os hoffech chi i NTW drosglwyddo unrhyw gwestiynau y cânt am yr adroddiad hwn, nodwch eich cyfeiriad e-bost yma (ni fydd eich cyfeiriad yn cael ei gyhoeddi na'i ddefnyddio at unrhyw ddiben arall).</p>Session Notes: How can we tell stories that all people want to go to the theatre for and let's stop making theatre for ‘theatre makers’ and start making theatre for people?tag:community.nationaltheatrewales.org,2019-03-03:3152760:BlogPost:2828412019-03-03T16:00:00.000ZNational Theatre Waleshttps://community.nationaltheatrewales.org/profile/NTW
<p>What is the title of your session?<br></br> How can we tell stories that al people want to go to the theatre for and lets stop making theatre for ‘theatre makers’ and start making theatre for people?</p>
<p>What is the name of the person who called the session?</p>
<p>Sarah jones and Alison John</p>
<p>Who attended the session? (You can pass this piece of paper round and ask people to write their name on it.)<br></br> Various students, freelancers, Beth House taking flight, Raidin theatre…</p>
<p>What is the title of your session?<br/> How can we tell stories that al people want to go to the theatre for and lets stop making theatre for ‘theatre makers’ and start making theatre for people?</p>
<p>What is the name of the person who called the session?</p>
<p>Sarah jones and Alison John</p>
<p>Who attended the session? (You can pass this piece of paper round and ask people to write their name on it.)<br/> Various students, freelancers, Beth House taking flight, Raidin theatre Centre,</p>
<p>Summary of discussion: (Notes, ideas, further questions, conclusions, recommendations for actions to take, contact details of relevant people / organisations etc)</p>
<p>Telling stories, we can connect with.<br/> Creating escapism.<br/> Thinking about the audience<br/> Practical and less abstract<br/> Cross sector communication<br/> Making theatre safe- how do we create a comfortable space?/Why would people go to something outside of comfort zone?<br/> Choosing the stories, we tell: look outwards not inwards, real people, the way we tell the stories<br/> We can be snobby in theatre<br/> Is the medium at fault<br/> Venues: make assumptions, poor marketing, unwelcoming, elitist<br/> Experience; how do we embrace the thing audiences want?<br/> Cost: free can make people think it’s cheap and therefore not worthwhile, pay what you think it’s worth, what will the ticket buy me? Need to build trust with audience that it is a worthwhile spend<br/> By creating escapist art built on audiences’ interests are we going to create plays that will last the test of time? Does that matter?<br/> You are there and part of the experience- have a level of agency and your presences makes a contribution in that space<br/> I was there! I saw it!<br/> In the moment-live. Theatre is reactive.<br/> Stories can be told in multiple ways.<br/> How can we compete with Netflix? Sell the intangibles! Redefine proper theatre, shared social experience, what can we learn from other artforms/genre?<br/> Need to break down the divide, increase confidence in those that don’t go, be more inclusive, more accessible, put more resources into advertising that might reach across the divide, how can we connect with new audiences? how can we find these audiences? How can we sell what is special about theatre?<br/> Discussed how change in funding for TIE means children not all getting 1st experience at school<br/> Bringing theatre into people’s homes, having a shared experience that could include the digital to make that happen<br/> If people don’t want to come why should we keep doing it.<br/> Be more welcoming, improve access, give early positive experiences, takes a lot of effort to develop audiences, theatre is too inward and should connect out, need to find ways to measure the value of the work.</p>
<p>NB- This report will be published on the NTW website (including any e-mail addresses and contact details you include in it). If you would like NTW to pass on any questions they get about this report, please write your e-mail address here (your address will not be published or used for any other purpose).</p>
<p></p>
<p></p>
<p>Rhai syniadau ynghylch cofnodi eich sesiwn</p>
<p>Beth yw teitl eich sesiwn?<br/>Sut allwn adrodd straeon y bydd pawb eisiau mynd i'r theatr ar eu cyfer, gadewch i ni stopio creu theatr ar gyfer 'crewyr theatr' a dechrau creu theatr ar gyfer pobl?</p>
<p><br/>Beth yw enw'r person a alwodd y sesiwn?</p>
<p>Sarah Jones ac Alison John</p>
<p>Pwy ddaeth i'r sesiwn? (Gallwch basio'r darn hwn o bapur o gwmpas a gofyn i bobl ysgrifennu eu henwau arno.)<br/>Myfyrwyr amrywiol, gweithwyr llawrydd, Beth House o Taking Flight, Canolfan Theatr Raidin.</p>
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<p><br/>Crynodeb o'r drafodaeth: (Nodiadau, syniadau, cwestiynau, casgliadau, argymhellion ar gyfer camau i'w cymryd, manylion cyswllt pobl/sefydliadau perthnasol ac ati)</p>
<p>Adrodd storïau y gallwn gysylltu â nhw.<br/>Creu dihangdod.<br/>Meddwl am y gynulleidfa<br/>Ymarferol ac yn llai haniaethol<br/>Cyfathrebu ar draws sectorau<br/>Gwneud theatr yn ddiogel - sut ydym yn creu lle cyfforddus?/Pam fyddai pobl yn mynd at rywbeth sydd y tu hwnt i'w parth cysur? <br/>Dewis y straeon a adroddwn: edrych tua'r tu allan, nid y tu mewn, pobl go iawn, y ffordd yr ydym yn adrodd y straeon<br/>Gallwn fod yn snobyddlyd yn y theatr<br/>Ai'r cyfrwng sydd ar fai?<br/>Lleoliadau: gwneud tybiaethau, marchnata gwael, ddim yn groesawgar, elitaidd<br/>Profiad; sut ydym ni'n cofleidio'r hyn y mae cynulleidfaoedd ei eisiau? <br/>Cost: gall am ddim wneud i bobl feddwl ei fod yn rhad ac felly ddim yn werth chweil, talu'r hyn rydych yn tybio yw ei werth, beth fydd y tocyn yn ei brynu i mi? Angen adeiladu ffydd y gynulleidfa ei fod yn werth gwario arian arno<br/>Trwy greu celf ddihangfaol yn seiliedig ar ddiddordebau cynulleidfaoedd, a ydym yn mynd i greu dramâu a fydd yn sefyll prawf amser? Ydy hynny o bwys?<br/>Rydych chi yno ac yn rhan o'r profiad - cael lefel o asiantaeth ac mae eich presenoldeb yn gwneud cyfraniad yn y gofod hwnnw<br/>Roeddwn i yno! Gwelais i fe!<br/>Ar y pryd - yn fyw. Mae theatr yn adweithiol.<br/>Gellir adrodd straeon mewn ffyrdd lluosog.<br/>Sut gallwn gystadlu â Netflix? Gwerthu'r agweddau anniriaethol! Ailddiffinio theatr go iawn, profiad cymdeithasol a rennir, beth allwn ei ddysgu o ffurfiau celf/genres eraill? <br/>Angen pontio'r gagendor, cynyddu hyder y rhai nad ydynt yn mynd, bod yn fwy cynhwysol, mwy hygyrch, neilltuo mwy o adnoddau i hysbysebu a allai estyn ar draws y gagendor, sut allwn gysylltu â chynulleidfaoedd newydd? sut allwn ddod o hyd i'r cynulleidfaoedd hyn? Sut allwn werthu'r hyn sy'n arbennig am theatr? <br/>Trafodwyd sut mae newidiadau cyllido Theatr mewn Addysg yn golygu nad yw'r holl blant yn cael eu profiad cyntaf yn yr ysgol<br/>Dod â theatr i mewn i gartrefi pobl, cael profiad a rennir a allai gynnwys digidol i beri i hynny ddigwydd<br/>Os nad yw pobl eisiau dod pam dylem barhau i'w wneud. <br/>Bod yn fwy croesawgar, gwella mynediad, rhoi profiadau cynnar cadarnhaol, mae'n cymryd llawer o ymdrech i ddatblygu cynulleidfaoedd, mae theatr yn edrych yn ormod i'r tu mewn a dylai gysylltu allan, mae angen dod o hyd i ddulliau mesur gwerth y gwaith.</p>
<p><br/>DS - Cyhoeddir yr adroddiad hwn ar wefan NTW (gan gynnwys unrhyw gyfeiriadau e-bost a manylion cyswllt yr ydych yn eu cynnwys ynddo). Os hoffech chi i NTW drosglwyddo unrhyw gwestiynau y cânt am yr adroddiad hwn, nodwch eich cyfeiriad e-bost yma (ni fydd eich cyfeiriad yn cael ei gyhoeddi na'i ddefnyddio at unrhyw ddiben arall).</p>