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Papers relating to the Arturius Rex production, including press previews and reviews, publicity material, production information, notes and ideas and a notebook of devising notes.

Reviews of Arturius Rex in Barn magazine and Live Art Magazine.

Correspondence and papers relating to the Arturius Rex production, regarding general arrangements and arrangements for the performances, publicity, publicity material and equipment, and also including information/press releases, photographs (to be used in the publicity material), contracts, work schedule and production timetable, details of production costs and budgets.

Papers and photographs relating to productions that were part of the Auturius Rex Project, including press, marketing and publicity material, production information, notes and ideas, and production texts/scripts.

Various articles, reviews, publications and essays relating mainly to the work of Brith Gof, the company, site-specific theatre and theatre in Wales, including previews and reviews for various productions between 1981 and 1988; interviews with company members; and articles and chapters by Mike Pearson and Clifford McLucas; together with an article regarding Clifford McLucas' visual diary artwork.

Articles, reviews and previews, some of which are translations or copies of original articles, relating to works by Brith Gof, including a seminar with Farfa and Brith Gof, Ymfudwyr, Ann Griffiths and Camlann.

Articles relating to other theatrical companies, theatre traditions, shows, artists and including a number of articles relating to Robert Wilson (b. 1941), an American avant-garde stage director and playwright, and his work.

Copies of Window in Wales and Golwg magazines, which contain articles regarding the Bible banners.

Papers regarding various Brith Gof productions collected for symposiums and presumably in preparation for [presentations] by Lis Hughes Jones; together with an article written by Lis Hughes Jones regarding [native language] with reference to various Brith Gof productions.

Articles and interviews relating to the company, their work and theatre in Wales, in which Brith Gof is mentioned, including articles regarding the funding cuts to the company.

An article written by Lis Hughes Jones regarding [native language] whilst referring to various Brith Gof productions; together with a diagram of Brith Gof productions.

Correspondence and papers relating to the arrangement of the performance of Patagonia at the various venues, including details regarding equipment, technical and production facts and figures, venue plans, and a handbook and information regarding the Sherman Theatre.

Papers relating to the arrangement and promotion of the Patagonia production at the National Eisteddfod, including a work schedule, a poster, and notes and sketches for the promotional material; together with notes relating to the sale of Patagonia t-shirts and a newspaper preview of Patagonia at the Taliesin Arts Centre, Swansea.

Correspondence and papers relating to the arrangement and administration of the Sawl Bywyd performances at the 1996 National Eisteddfod, including stall/set arrangements, a basic performance plan for the week and scenographic designs; together with correspondence relating to financial and sponsorship matters, organising materials for the set, arrangements with performers and a letter of response to the work.

Correspondence and papers relating to general arrangements for the Brith Gof stall during the Eisteddfod and to the planned activities, including correspondence regarding lectures/talks, a paper regarding Brith Gof’s activities at previous eisteddfodau and for the week at this eisteddfod, scenographic designs and an information leaflet.

Correspondence and papers relating to the arrangement and administration of the Tri Bywyd production, including correspondence regarding publicity material, props, sets, equipment, accommodation and general arrangements and information; production budgets, draft and master copies of the project proposal, draft copies of the text for publicity material, research material, contracts and task and budget checklists; together with papers relating to the production including set designs, notes regarding production music, scripts and texts, and details of the performance structure.

Papers relating to the arrangement and administration of the From Memory I production, including an invitation list, a note regarding props, a poster mailing list, a contract between the University of Warwick and Mike Pearson, and a flyer for the performance at the University of Warwick Arts Centre.

Photographs and papers relating to the performance of Ar y Traeth/Patagonia Remics at the National Eisteddfod, including suggestions for the production and papers relating to the arrangement and promotion of the production; together with papers of the production manager Giles Parbery.

An annotated copy of production texts, possibly showing the selections of text from the full version for the shorter televised version.

Photographs of the Ann Griffiths touring production, including photographs of chapels, performances and publicity photographs.