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Correspondence and papers relating to the Centre for Performance Research seminars on Devising and Documentation and Performance: Process and Documentation, including administrative papers, Mike Pearson's notes on 'Theatre Archaeology' and a response to the notes, presentation text by [Clifford McLucas], and a prospectus for contributors for the Performance: Process and Documentation seminar.

A certificate to certify that a student had worked with Brith Gof and La Fura Dels Baus as a performer in the show Work in Progress.

Papers relating to the exhibition held at the Chapter Arts Centre relating to the Gododdin production, including a programme, correspondence, with installation designs and a pamphlet.

Copies of programmes for Chapter Arts Centre, some of which contain adverts for Brith Gof productions.

Scenographic and prop designs and sketches by Clifford McLucas relating to the Pax production, including designs for the sets of the performances at Aberystwyth Railway Station, Llanbadarn Church, St David's Hall and Glasgow; together with scenographic artwork and devising work also by Clifford McLucas, relating to the Pax production, a production score, photographs, an information brochure and some of Clifford McLucas' 'ghost' photographs.

A company prospectus for 1995-1999.

Contact lists, details and mailing labels, including mailing lists for press releases, together with a seating schedule and some allocated tickets.

Contact sheet images of various productions, including Ymfudwyr, Rhydcymerau, Lleuad, Lleuad!/Luna, Luna!, Branwen, Blodeuwedd, [Manawydan], Bwyty Bananas, Gwaed neu Fara, Ann Griffiths, Dros Ben Llestri, Pedole Arian, [Du a Gwyn], [Y Gwaelodion], and other unidentified performances; together with images of performances by [Farfa] and Teatr Ósmego Dnia, the Brith Gof Band and publicity shots of company members.

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

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.

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.

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.

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.

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

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.