Stafell B
1.
There is nothing to see
She is not still
She is not ready
The show does not begin

Stafell B Chapter 1

Today’s show features the following ciphers:
Carol Ledoux through the mask of Catherine Deneuve in Repulsion by Roman Polanski.
Owain Williams the free citizen through Owain Williams the Tryweryn bomber at the edge of the precipice of madness.
An anonymous student at Pantycelyn hall during the early 1980s through Jonathan Moyle the freelance intelligence gatherer. According to the most impulsive sources, both were involved in gathering information on Welsh speakers on behalf of Special Branch.

2.
Transfformer
Newidiwr
Dileuwr
Ansefydlogydd
Cyfieithydd
Parablwr
Tafodwr
Tadogwr
Tafolwr
Beirniad
Cofiadur
Archdderwydd
Archangel
Seiberia
Seibernetica
Jean Seburg
Catherine Deneuve

3.
Jonathan Moyle was a ‘Freelancer’ or intelligence gatherer for the Ministry of Defence. He was born in 1961 and raised in Surrey and Dorset. Between 1980 and 1983, he was educated at the University College of Wales Aberystwyth. After graduating, he completed an MSc. His thesis is classified, and is locked in a cupboard in the Hugh Owen Library. He joined the RAF, and later became editor of the publication Defence Helicopter World.

On 31st March 1990, Jonathan Moyle’s body was discovered hanging in a hotel wardrobe in Santiago, Chile.

In February 1963, Owain Williams, Emyr Llywelyn and John Albert Jones were responsible for setting an explosive device under the main transformer on the site of the Tryweryn reservoir at Pentre Celyn in Meirionethshire. Following Emyr Llywelyn’s arrest and imprisonment for his part in this act, Williams and Jones attempted to blow up a pylon carrying electricity to the Tryweryn site. They were arrested shortly afterwards, and Owain Williams subsequently imprisoned for a year in Shrewsbury and Drake Hall near Stafford. In 1979, he published an account of his part in these events, Cysgod Tryweryn.

In Roman Polanski’s film, Repulsion, the main character, Carol, a Belgian manicurist played by Catherine Deneuve. She lives in a flat in London with her sister, who is conducting an affair with a married man. They go away on holiday together for a fortnight, leaving the flat in Carol’s care. During this time, she becomes increasingly delusional and disengaged from reality. On several occasions, she imagines herself being raped by a stranger, and sees the walls of the flat cracking and melting about her. Gradually she becomes catatonic and virtually agoraphobic. She murders her boyfriend and dumps his body in the bath. Later she murders the landlord of the flat after he tries to make a move on her. When the sister and her lover return, they first discover the two bodies, and then find Carol under the bed, utterly debilitated and near death.

Chapter 2
4.
In the process known as ‘mimicry’... the (metropolitan) colonizer requires of the colonized subject that they conform to the external image of the occupying power while identifying with and internalizing its values and norms.
If you don’t look like them, or sound like them, no-one’s even going to think to notice that you’re there.

5.
It’s 3.00pm, and the maid returns for the third time. She sees that someone has begun to tidy the room. The silver wallet and the syringe that were on the desk have gone. She changes the bed linen, checks the minibar and runs the vacuum cleaner over the floor. As she leaves, she notices that the door to the built-in wardrobe is ajar. We see Carol standing by the window in the lounge. She is writing something with her finger on the windowpane. Break.

Four hours earlier. It is 11.15am, and the maid enters the room for the second time. She finds that the room is still in disorder. This time she cleans the bathroom, but leaves the bedroom as it is. She notices the silver wallet and the empty syringe. Outside, the passage has been transformed into a shadowy, long narrow tunnel. Hands emerge from the wall and stretch towards Carol as she passes through. Break.

When she opened the door, she saw the body hanging there.

His neck has been hooked to the clothes rail by a wet shirt which had been twisted into the form of a rope. His legs were crooked under him... A pillow case had been placed over his head. He wore thermal underwear from the waist down, but there was also a plastic nappy-like garment around his genitals. A plastic bag had been tied round his hands.

Three hours earlier, and it is now 8.00am. The whole thing is over. The maid enters the room for the first time, and finds the room in a state of chaos. The guest has evidently not left, she thinks, and therefore she exits again, leaving things as they are. She is both repelled and attracted by the hands and no longer refuses their monstrous, clumsy caresses. She kneels down. Break.

Two hours earlier: 5.45am, and he is still alive, sitting by the table writing a letter to a friend in Belize. Break. Fifteen minutes earlier; he is on the phone, speaking to his parents.

6.
As she loses hold of her sanity in Repulsion, Carol’s actions become increasingly extreme and arbitrary. Something – some deep disjunction – is proceeding inside her. But we are never a party to this experience. We are occasionally invited to regard that which appears on screen as a representation of the world inside her mind. However, this is quite a rare occurrence and we are largely left only with the external features of her behaviour. So we have no authoritative image of her internal state. So, in the space vacated by the contrast between Deneuve’s mask as catatonic doll-child and Carol’s actions as a murderess, the audience has only its own impulses to go on. Our unaided reading of the action replaces the increasingly incoherent internal voice which we try to ascribe to Carol.

In the salon, Carol is rebuked by Madame Denise for being absent for three days. I was led to the most revolting, the darkest, most disgusting and smallest cell I have ever been in.

Before that, she stood eating a biscuit in the kitchen after having listened to Colin pleading with her over the phone. It was evident, given the stench in there, that someone had puked up his guts all over the place at some time.

The night before, she had been visited by the navvy who appeared previously in the wardrobe mirror. He pressed her down on to the bed and reached under her nightdress.

“You won’t be here for long,” said the screw.
“Thank God for that,” I said to him, “you need a bloody gasmask in here.”

His chest and arms were hairy, and matted with perspiration. He came towards her from the door after she had retreated there from the split which appeared in the living room wall, and the indistinct darkish matter which palpitated within the crack.

I had a chance for a brief conversation with Irene before being removed from there, and also a word with my brother and father. The moment that they left I was bundled through a side door into the back of a Black Maria.

Before this, in the darkness, she had been sitting motionless in the darkened part of the living, staring at the zone struck by the light from the next room. There she could see the table, with the rabbit plate still on it, and Michael’s razor lying nearby.

5.
Tryweryn
Pererin
Dihirin
Dihuno
Diflino
Diraddio
Difwyno
Distyllu
Gwyntyllu
Gwynfydu
Erydu
Eryri
Gweryru
Gwerthuso
Petruso
Petryal
Rhaid dial
Dail tafol
Diafol
Criafol
Crisialu
Dyfalu
Dynodi
Dyrnodi
Byrfoddi
A boddi
Aberthu
Dim gwerthu
Dinoethi
Mae’n poethi
Maen tramgwydd
Dail palmwydd
Sul Blodau
Dyfyn-nodau
Dyfnderoedd
Laweroedd
Llawryfon
Gwyryfon
Gwybedyn
Dail Rhedyn
Dal Gafael
Ymadael
Ymafael
Ymofyn
Gwallgofi
Gwastadu
Gwaredu
Syrffedu
Ymledu
Ymlosgi
Ymlusgo
Dadwisgo
Dadlenni
Sgrifennu
Sgrialu
Ysgathru
Ysgrythyru
Llythyru
Llesteirio
Llesmeirio
Cyweirio
Cyfannu
Diflannu
Diflasu
Tresmasu
Traflyncu
Traddodi
Dynodi
Dynoli
Dynoliaeth
Brawdoliaeth
Bradwriaeth

Chapter 3
6.
Mimicry is an expression of the ‘epic’ project of the civilizing culture.
Its mission: to transform the colonized subject by making them copy or ‘repeat’ the dominant culture.

Operating in the affective and ideological spheres, its coercive function is ameliorated by its contrast to policies of domination through brute force.
Mimicry thus constitutes ‘one of the most elusive and effective strategies of colonial power and knowledge’.

The colonized is nothing, she has only one language, that of her emancipation; the oppressor is everything, her language is rich, multiform, supple, with all possible degrees of dignity at its disposal. So this is how it works, then.

• The urge to mimic gets the better of the subaltern
• But they can’t do the job properly. Ever.
• Because it is the dominant power who makes the rules.
• So the subaltern always attempts to emulate the dominant power but always fails.
• So they never become like the dominant power.
• So they are always removed from the dominant power. And always different from the dominant power.
• So the dominant power always views them as Other.
• So the dominant power attacks them.
• The attack reinscribes the subaltern as Other.
• So the dominant power attacks again.
• And so the subaltern attempts to mimic the dominant power yet again, in order to escape the shame of being Other.

7.
Resume on Carol’s room. Carol’s face is immobile. Se is staring at the ceiling. The inexorable ceiling descends towards her soundlessly.
She can no longer muster the force to slip out of bed; she claws at her as the ceiling continues to descend.

The ceiling is a mere few inches away.
The room seems like a coffin. The dark descends, thicker and thicker, enveloping everything until the entire image is effaced by darkness.

Anweledig! rwy’n dy garu...

7.
Anweledig! rwy’n dy garu,
Rhyfedd ydyw nerth dy ras:
Tynnu f’enaid i mor hyfryd
O’i bleserau penna’i maes;
Gwnaethost fwy mewn un munudyn
Nag a wnaethai’r byd o’r bron –
Ennill it eisteddfa dawel
Yn y galon garreg hon.

‘Chlywodd clust, ni welodd llygad,
Ac ni ddaeth i galon dyn
Mo ddychmygu, chwaethach deall
Natur d’hanfod Di dy Hun;
Eto’r ydwyf yn dy garu’n
Fwy na dim sydd yn y rhod,
A thu hwnt i ddim a glywais,
Neu a welais eto ‘rioed.