Ar ben mynydd anghyfanedd, ynghanol Prydain yr oesoedd Tywyllwch, mae’r brenin Clydog ap Arthwys yn gwynebu Aelor Gawr, cawr olaf y wlad. Mae Clydog yn angen mynyddoedd Aelor i amddiffyn yn erbyn y llu Sacsonaidd sy’n tresmasu.

Ond ni fydd Aelor yn barod i ymadael ei gartref môr rhwydd a hyny, ac felly yn gorfodi Clydog i ddewis rhwng ei anrhydedd a’i deyrnas.

Aelor Gawr gan Mark Lewis Jones

Brenin Clydog gan Glyn Pritchard

Lladarn gan Geraint Rhys

Cafodd ei ysgrifennu a'i gyfarwyddo gan George Pritchard

Gyda dyluniad sain gan Cai Gwilym Pritchard

Cyfieithiad gan Ioan Gwyn

Cherddoriaeth a meistroli gan Ollie McAuley

Oedd Y Cawr Olaf Cynhyrchiad gan Backchat Productions

Atop a desolate mountain, in the midst of Dark Age Britain, King Clydog ap Arthwys confronts Aelor Gawr, the last giant of the land. Clydog seeks Aelor’s mountain range to help defend against the encroaching Saxon hordes. However Aelor will not part with his home so readily, and Clydog is forced to choose between his honour and his kingdom.

Aelor Gawr - Mark Lewis Jones

King Clydog - Glyn Pritchard

Lladarn - Geraint Rhys

Written and directed by George Pritchard.

Sound design by Cai Gwilym Pritchard

Music and mastering by Ollie McAuley.

The Last Giant was a Backchat Production.

Abstract

By looking into alternative listening practices within the context of Modern Scripted

Audio Drama, both as a medium as well as a contemporary sonic culture, this Audio

paper will attempt to analyse the material qualities of Audio Drama and theorise ways

that these practises may be applied. As well as give insight into how the culture of Audio

Drama can be steered in a more open, accessible, experimental and radical direction.

There is not much of a crossover between sound arts and Audio Drama. By making

these analyses and interpretations, This audio paper will attempt to bridge that gap, and

provide some practical directions and ideas.

Much of the research was done through analysis of relevant sources and interviews with

several figures who work within Audio Drama who each provide a different perspective

on the medium.

The ultimate conclusion is an encouragement to the Audio Drama community, both

listeners and producers, to learn to love and intentionally use “bad” audio and to seek

out productions made by newer creators. The hope being that more marginalised voices

will use audio drama to create politically radical productions and audio drama as a

whole will begin to be made in more experimental ways.

This Audio Paper Included audio from interviews with:

Lee Tomaneli

Marisa Ewing

Amber Devereux

Ella Watts

Quotes read by:

Gregory Carrobis

Avalon Willowbloom

Joe Cruz

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