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Theatr Genedlaethol Cymru

, Welsh National Theatre, brilliantly dramatizes the struggle of the Welsh language and identity - and its ambitions go beyond their own borders

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heady days of summer (all right, the rains of early August), I wrote a piece for G2 on the national theaters in Britain - plural theaters, because we have quite a lot these days: four in total. The piece ends by focusing on the National Theatre of Scotland and National Theatre of Wales, but as some of you have noticed in the thread of comments and Twitter, we have not spent much time in the third "new" National Theatre, Theatr Cymru Welsh Genedlaethol language. In part, it was not for lack of space, in part, I confess, because even though I have heard many good things about TGC, had not come into direct contact with their work

address the readers - and I thank you all for insisting that I was doing. Just before leaving Edinburgh, I managed to catch the renewal of society (the tribe) Llwyth, Dafydd James on the fantastic brand new gay identity and Welshness, produced in collaboration with Sherman Cymru in Cardiff. Production is still finding its feet when I saw him, and sometimes his ambition exceeds its ability to offer, but was completely different from anything I've seen at the festival this year: a game that had a profound question language and sexuality without a hint of preachiness, held in a flow unimpeded Welsh, English and a gloriously rich wenglish often exceeded two. As I wrote on Twitter at the same time, it was the only play I've met so far with two Y Gododdin and Grindr. My understanding of Wales does not extend much beyond "diolch", so I had to keep an eye like pearls on the subtitles, but always. I sold

persistent identity is felt Llwyth, which tells the story of a group of men gays in a variety of sources: some from families who spoke in the Country Wales for generations, others who have been in contact with the language at school (according to recent figures, 99.8 percent of children age children are now taught in Welsh schools, and 99 a high school). The question of who speaks Welsh, and how it is a major concern of the work - like the controversial issue of what exactly Welshness. For many writers choose to write in Welsh Gruffydd said, "there is a secret language, the police, sat on his shoulder. We want to give people the opportunity to write what they want." Llwyth literally takes the glorious freedom: Despite its cast of not discussing the Millennium Stadium and the language changes, you feel that you are pleased to expand in the areas of Starlight Express and Yvette Fielding and the affirmation of a character The Eisteddfod is "like a fascist demonstration" is suspected, unlikely to receive much support in the Gorsedd of Bards. But then one of the boldest suggestions in the book is that the identity is part of what you choose to do so.

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