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Correspondence and papers relating to the development and arrangement of the production, regarding matters such as the arrangement of equipment and venue, research, financial assistance and filming; including also contacts details, product brochures, budgets and budget notes, details of contractual and financial conditions, papers relating to ordering/purchasing aerial photographs and ordnance survey maps, a copy of the production update paper, minutes of a meeting between Suzie Boyd and Clifford McLucas and papers relating to the musical aspect of the production.

Correspondence and papers relating mainly to the Bible Festival and the designing and making of the Bible banners for the festival, including design watercolour paintings of the banners, font and script examples, design sketches, devising notes, research material, location designs and production notes and recipes; together with photographs of the banners and banners in location at Llanrhaeadr-ym-Mochnant and a plan of Llanrhaear-ym-Mochnant noting the location of the banners.

Papers relating to the Der Gefesselte production including publicity material and photographs.

Correspondence and papers, mainly regarding arrangements, relating to Brith Gof’s participation in the Institute for Theatrical Experimentation and Research (ITER) festival – Waves – in Copenhagen, where they held two workshops and performed Disasters of War; and also including festival publicity materials, information about ITER, including a copy of their magazine, and reviews, some of which relate to a performance of Disasters of War in Ireland.

Papers relating to the Dead Men's Shoes production including information and publicity material, performance photographs, a book regarding Antarctica and a review of the performance.

Papers relating to the Cusanu Esgyrn production including a copy of production texts/scripts, publicity material, photographs and a file of Giles Parbury's papers containing correspondence and papers relating to administrative and financial matters, the arrangement of the production and including production texts.

A copy of a lecture given by Lis Hughes Jones at Ile Festival Voix de Femmes, Liège.

Correspondence and papers relating to the creation, arrangement and administration of the Haearn production, including drafts, workings and translations of the production scripts; papers regarding scenographic elements such as lighting, equipment and props; research material; workplans and timetables; site plans and scenographic plans; performance structures, scenarios, storyboards and scores; notes for performers; budgets; and negatives and copies of photographs of the venue; together with correspondence and papers regarding the televised version and relating to possible UK and foreign re-stagings.

Correspondence and papers relating to arranging costumes for [Pax], including clothing company brochures, pages from fashion magazines and a list of measurements of cast members.

Two letters of congratulations on the performance of Haearn at Tredegar.

Correspondence relating to the administration and arrangement of the collaboration and production with La Fura Dels Baus, and including information about the Gal.les a la Tardor festival, the video link of the performance, funding, and production details.

Correspondence, including a letter requesting permission to use short extracts from the film 'The Last Days of Dolwyn' in the production and a letter of thanks following a reaction to the production and enquiring as to the possibility of performing a work at the National Eisteddfod of Wales.

Correspondence relating to the Pax production, regarding matters such as promoting Pax and discussing performing Pax at various venues, reactions to performances, and auditions for the production; together with some correspondence relating to Brith Gof activities in general.

Correspondence relating to the Lla’th (Gwynfyd) production, including a letter regarding a tv licence for Bwlchllan, a letter from Eddie Ladd regarding a feature on Y Sioe Gelf; together with a letter from Sean Fletcher of a more personal nature but asking if there is any work with Brith Gof.

Correspondence regarding arrangements for the staging of Prydain at Glasgow and the development of the production.

Correspondence from a member of the Friends of Hafod regarding keeping copies of production material in the Friends of Hafod archive; together with papers regarding a proposed performance at the Ffotogallery, Cardiff and versions of a scenographic diagram relating to the various performances of the production.

Correspondence and papers relating to the Brith Gof archive, including letters regarding the safekeeping and scope of the papers and notes on the contents of the archive.

Photocopies of photographs of a baby and two old people which were used in publicity material, possibly for this production and others; together with a still of test colours which was used on a screen during the performance.

Colour and black and white copies of photographs of various productions including, Gwyl y Beibl performances at St David's Cathedral and Llanrhaeadr-ym-Mochnant, Pandaemonium: The True Cost of Coal, Du a Gwyn (Black and White), Iddo Fe, 8961 - Caneueon Galar a Gobaith, Disasters of War: Part 2/Hiroshima, Disasters of War: Part 3/Bessatt, Disasters of War: Part 7/Displaced Persons, Disasters of War in Venezuela, Disasters of War: Part 5 and Part 6, Patagonia and some other unidentified productions; together with posters for Teatr Ósmego Dnia in Wales, Lleuad, Lleuad!/Luna, Luna! and Ymfudwyr.

Photographs of a workshop in Copenhagen, which was presumably part of the Disasters of War project.