Cynllun Awdur Preswyl

writing-1560276Cynllun Awdur Preswyl Theatr Clwyd
Rhan o TYFU | GROW – Rhaglen Datblygiad Creadigol Theatr Clwyd
Gyda chefnogaeth hael gan Gladstone’s Library

Mewn Cydweithrediad â Paines Plough

Galw am awduron Cymraeg!

Ceisiadau ar agor tan ddydd Gwener 23 Mawrth 2018

Eleni, mae Theatr Clwyd unwaith eto’n cynhyrchu’r Tymor Roundabout ar y cyd â Paines Plough. Byddwn yn gweld première tair drama newydd sbon ar garreg drws Theatr Clwyd fel rhan o’r theatr untro lwyddiannus, sef Roundabout, cyn mynd i Ŵyl Caeredin ac wedyn ar daith yn y DU.

Fel rhan o raglen TYFU Theatr Clwyd a’n hymrwymiad i ddod yn gartref i awduron yng Nghymru, rydyn ni’n gwahodd tri awdur sy’n ysgrifennu yn y Gymraeg i weithio ochr yn ochr â chwmni Roundabout. Bydd pob awdur yn datblygu sgript 10 munud a fydd yn cael ei pherfformio yn y Roundabout pan fydd y tymor yn agor yn Theatr Clwyd.

Bydd Cyfnod Preswyl Cymraeg Theatr Clwyd Roundabout yn cynnig cyfle i’n tri awdur ddod i adnabod artistiaid eraill, treulio amser yn arsylwi ymarferion a datblygu syniadau mewn amgylchedd cefnogol.

Mae Cyfnod Preswyl 2018 yn cynnwys y canlynol:

  • Llun 16 – Mercher 18 Ebrill: 3 diwrnod yn Llundain wrth i ymarferion Tymor Roundabout ddechrau – cyfarfod y cwmni actio, y tîm creadigol a’r awduron, a phrofi dyddiau cyntaf y gwaith ar y sgriptiau newydd.
  • Yr wythnos yn dechrau ar ddydd Llun 4 Mehefin: 3 diwrnod yn Theatr Clwyd yn arsylwi ymarferion yn y Roundabout ei hun ac amser yn y prif adeilad yn dechrau datblygu sgript.
  • Llun 25 – Sadwrn 30 Mehefin: 6 diwrnod yn Theatr Clwyd i weithio gyda chyfarwyddwr a 3 actor, gan ddatblygu ac ymarfer y sgript ymhellach.
  • Sadwrn 30 Mehefin: Perfformio’r tair sgript 10 munud yn y Roundabout.

Bydd pob awdur yn cael bwrsari i dalu costau teithio, cynhaliaeth a threuliau a ffi o £500.


Sut i Ymgeisio

Os oes gennych chi ddiddordeb, anfonwch e-bost at nerys.edwards@theatrclwyd.com erbyn 5pm ddydd Gwener 23 Mawrth 2018.

Dylai’r neges e-bost gynnwys y canlynol:
•  CV o’ch gwaith fel awdur a manylion am gyflogaeth, hyfforddiant ac addysg arall
•  Disgrifiad byr o ble rydych chi fel awdur
•  Disgrifiad byr o pam fyddech chi’n hoffi ymwneud â’r prosiect hwn
•  Dwy dudalen o sgript rydych chi wedi’i hysgrifennu yn y Gymraeg
•  Cadarnhau eich bod ar gael ar gyfer yr holl ddyddiadau sydd wedi’u rhestru

Byddwn yn rhoi gwybod i’r holl ymgeiswyr yn fuan. Byddwch yn cael mwy o wybodaeth ar ôl cyflwyno eich cais.

 


Past Writers in Residence:

Manon Wyn Jones (Medi’17)

Ers rhai blynyddoedd mae Manon wedi bod yn ysgrifennu’n bennaf ar gyfer y teledu, yn benodol ar gyfresi Pobol y Cwm a Deian a Loli, yn ogystal ag addasu cartŵns fel Paw Patrol a Bear Hunt i’r Gymraeg. Flynyddoedd ynghynt bu’n cyd-awdura’r cynhyrchiadau llwyfan Drws Arall i’r Coed i Sgript Cymru a Dominos i Theatr Genedlaethol, a llwyfanwyd ei drama lawn gyntaf Dau Un Un Dim i’r cwmni hwnnw hefyd. Mae hi’n fam i dri o blant.

“Roedd penderfyniad Theatr Clwyd i gynnig y cynllun preswyl arbennig hwn i awdur benywaidd, Cymraeg ei hiaith, yn teimlo fel pe bai wedi ei greu ar fy nghyfer i. O’n i’n ysu am ysgogiad i fentro’n ôl i fyd theatr ers tro – a hwn oedd o. Yn wir, bu’n gyfle amhrisiadwy. Roedd y fraint o gael gweithio o fewn muria’ theatr brysur, â sawl cynhyrchiad ar waith, yn creu cynnwrf a chymhelliad i sgwennu, yn ogystal â’r cyfle i gael picio i mewn ac allan o’u hymarferion. Roedd Llyfrgell Gladstone yn encil hyfryd gyda’r nos, yn ddihangfa prin o brysurdeb arferol bywyd! Roedd yr holl brofiad yn wych. Diolch, Theatr Clwyd, am y cyfle.”


Tracy Harris (Awst’17)

Tracy Harris is a writer, performance artist and filmmaker. Her plays include Past Away (Sgript Cymru) The Cloak Room (Sherman Cymru/ Mighty Theatre, Washington) and No Vacancies (Sherman Cymru) which has been commissioned by spinning head films as a feature film that is being produced in 2018. Along with Chris Rushton, she produced BBC Bafta nominated documentaries Swansea Living on the Streets and Selling Sex to Survive. Her first one-woman show Lost, Found, Stolen was developed through NTW’ WalesLab programme and was performed at Sprint Festival at Camden’s People’s Theatre and Volcano Theatre. Her second show Bottled developed with Greg Wohead and Justin Cliffe was at Experimentica, Chapter and Bristol Ferment. She was the recipient of the 2015 Creative Wales award and recently devised and created Twenty16 with Theatre Iolo and her recent play came runner up in the Richard Carne playwriting award at Sherman Theatre.

I loved having a week at Theatr Clwyd and Gladstone’s library. I felt very lucky to have the time and space to work on a new play and be completely open to new ideas. I felt inspired by a caring and welcoming team. Being free to be able to go in and out of rehearsals for Uncle Vanya was a real privilege and the creativity and buzz really influenced my writing. A brilliant scheme – loved every minute!


Keiran Lynn (Ebr’17)

Kieran Lynn’s play AN INCIDENT AT THE BORDER was performed at the Finborough Theatre, before transferring to the West End. It has subsequently been performed around the world and broadcast on BBC Radio 4. His other plays include BUNNIES (Bike Shed Theatre), THE RECURRING RISE AND FALL (Hampstead Theatre), PUSHING POPPIES (Theatre 503) BREAKING THE ICE (Traverse Theatre/Oran Mor Theatre) and THE TRAP (Omnibus Theatre). His plays are published by Oberon Books.

Theatr Clwyd is a theatre with big ambitions and it was an incredible experience to see this up close and to begin a relationship that I hope will have a bright future. I loved my time as Writer in Residence, which was part spent writing at (possibly the most perfect place for it) Gladstone’s Library and part at the theatre, a bustling, multidisciplinary hub for the arts. Both parts were equally inspiring and exciting, and I left full of new ideas for plays and beyond. Even now as I meet with theatre producers and artistic directors around the country, everyone always asks about my engagement with Theatr Clwyd and I’m more than happy to tell them how much I enjoyed my time there and respect it as a theatre. Wherever you’re at in your writing career, I can’t recommend this programme enough.”


Ben Norris (Ion ’17)

Ben Norris (Ionawr’16) Mae Ben yn actor, awdur a’r arlunydd llafar-air, wedi hyfforddi yng Ngholeg Brenhinol Cerdd a Drama Cymru. Mae ei waith wedi cael ei ddarlledu ar draws radio BBC, ai ffilm fer gyntaf ar gyfer Channel 4 ar y rhestr fer Gwobr Deledu Frenhinol Chymdeithas, ac mae ei sioe unigol gyntaf, ‘Guide The Hitchhiker i’r Teulu’, a enillodd y Wobr Underbelly IdeasTap yng Edinburgh Fringe 2015 yn teithio i’r DU blwyddyn yma. Ers hynny, mae wedi cael ei enwebu ar gyfer Gwobr Ted Hughes. Llawer oi waith wedi cael ei ddarllen yn Nottingham Playhouse, Theatr 503, Leicester Curve, Derby Theatr, a’r Royal Court.

“Being writer-in-residence at Theatr Clwyd was an incredibly restorative experience for me, both as an artist and as a human being. Having the time and space to write and to think, away from the pressures and distractions of everyday freelance life, is such a rare and special gift, and evidence of Clwyd’s genuine commitment to the development of new writers. Working without the obligation to produce something ironically meant that I had one of the most productive fortnights of my professional life so far, facilitated no end by the quiet focus of both the writers’ room at the theatre and the beautiful Gladstone’s library. Having access to the rehearsal room was also very inspiring, especially on the days when I felt my focus slide a little; I would pop in for an hour, or half a day, and leave feeling re-energised by Tamara and the ‘Skylight’ cast, and attack my writing with renewed vigour.

Opportunities like this are increasingly rare, and increasingly vital. I am very grateful for the time I spent in Mold, and hope many more writers have the chance to do the same.”


Matthew Bulgo (Tach ‘16)

Matthew is an actor and playwright. His debut play, Last Christmas, was originally co-produced by Dirty Protest and Theatr Clwyd before receiving critical acclaim at the Edinburgh Fringe and the Soho Theatre. It will be returning for a run at the Traverse Theatre in Edinburgh in December ’16. Other work includes Constellation Street (The Other Room) and #YOLO (National Theatre Connections). He was the recipient of the Best Playwright (English Language) award at the Wales Theatre Awards 2015.

I wouldn’t be exaggerating if I said that I got more work done during my time as Theatr Clwyd’s Writer in Residence than I did during the previous three months. The scheme provided me those two things that are so often lacking – time and space in which to create – whilst at the same time removing the immediate pressures of a deadline or having to share work at the end of the attachment. I’m massively grateful for the opportunity given to me by both Theatr Clwyd and Gladstone’s library.”


Catrin Fflur Huws (Medi ’16)

Catrin yw awdur To Kill A Machine (a enwebwyd am 4 Gwobrau Theatre Wales yn 2016), Glaw y Gwaed yn ogystal â dramâu byrach ar gyfer Scriptography Productions EarCandy, playpen a phrosiectau Amser Ymateb.

“Theatr Clwyd and Gladstone’s Library’s writer in residence scheme is an excellent initiative. I learned such a lot during my two weeks there, and having the opportunity to talk to so many of the people who make a show what it is was extremely enlightening and helpful. I was very privileged to be able to see what happens when you put Wales Drama Awards 2016’s best director, best actor and best actress together in rehearsals – it has really raised the bar for me in terms of what good theatre ought to look like, and what I want to aspire to. Gladstone’s Library was a lovely, quiet place to work – that’s a very rare and precious thing these days where so many libraries have become places for talking. The staff at both venues were extremely helpful and kind and very welcoming. I had a very good time indeed. Thank you ever so much Theatr Clwyd. Thank you ever so much Gladstone’s Library.”


Neil Bebber (Mehefin- Gorffennaf ’16)

Ar ôl ennill Script Slam gyda SAITH POBL yn Sherman Cymru, aeth Neil ymlaen i dderbyn adolygiadau gen y Guardian am ei ddramâu CUL ACA DE (Caerwysg Bikeshed) a STRAIGHT (Tactile Bosch, Caerdydd). Ers hynny mae wedi cael gwaith gyda’r Sherman Cymru, Yr Ystafell Arall, Chapter a Dirty Protest, Caerdydd, yn ogystal ag yn Riverside Studios, Old Vic Twneli a Almeida Theatre, Llundain.

“Somewhere between inspiring visits to two different plays in rehearsal and regular visits to the designated Writer’s Room, I was able to fashion a new play which felt different to anything I’ve written previously. All this provided by an incredibly friendly, encouraging and accommodating team. When can I come back?”


Alun Saunders (Ebrill-Mai ’16)

A Good Clean Galon, oedd darn cyntaf ‘The Other Room’ o ysgrifennu newydd – y cynhyrchiad newydd ar gyfer 2016 o ymweliadau Edinburgh Fringe cyn lleoliadau teithiol ledled Cymru.

“Writing time is precious, and is impossible to put a ‘price’ on. The opportunity given to me by Theatr Clwyd, the time and space to write for a week on an unspecified piece, with no pressure to deliver on a commission, or ‘performance’ was utterly invaluable. Diolch yn fawr iawn.”


Kelly Jones (Mawrth-Ebrill ’16)
Enillydd Gwobr Drama BBC Cymru 2014, yn wreiddiol o Fwrdeistref Llundain Barking a Dagenham ac wedi bod yn gweithio yng Nghymru ers 2007.

“Time and space to write without the pressure of a deadline is a luxury. It’s the main reason that this program is integral to writer development. I had a very productive time at Theatr Clwyd and felt supported by all the core team and the JUMPY Company.”


Lucy Rivers (Chwefr-Mawrth ’16)
Mae Lucy yn awdur, cyfansoddwr, actor a cherddor, ac yn gyd-sylfaenydd y cwmni aml-arobryn Gagglebabble.

“I was lucky enough to spend a week at Theatr Clwyd early this year as their Writer in Residence. It gave me a great opportunity to start working on a new gig-theatre idea and since then I’ve continued to develop this show with the help of Arts Council of Wales funding and The Other Room. Staying at the beautiful Gladstone Library and having a room to write in, away from everything but surrounded by other artists working in the theatre, was a valuable experience.”