The Writer

catrin fflur huwswCatrin Fflur Huws has written for Castaway Community Theatre since 2008 including their summer show Rain of Blood. Her monologue Last Night at the London Palladium was performed by Sharon Morgan at Dirty Gifted and Welsh in October.

Catrin was selected for the Sherman Cymru Spread the Word scheme for emerging writers in English language and the Sherman Cymru Gair Ar Led emerging writers scheme in Welsh language.

To Kill a Machine, her first full length play, was originally developed as a 30 minute play and was selected for a script-in-hand reading at Aberystwyth Arts Centre as part of the Spread the Word. Catrin is a lecturer in Law at Aberystwyth University.

She has written academic work on the significance of the mortgage in ‘Love’s Labour’s Lost’ (‘What is the Significance of the Mortgage in Love’s Labour’s Lost? Law and Humanities 5(2) 385-399) and has also published an article on the legal system as a Turing-compliant machine (‘Command Theory, Control and Computing: A Playwright’s Perspective on Alan Turing and the Law.’ Liverpool Law Review, 35 (1), 7-23), as well as presenting a paper at Newcastle University’s Performance and Prejudice symposium. She is currently working on a project on law and verbatim theatre, and recently organised a verbatim theatre workshop with Theatr Arad Goch based on the first case heard in Welsh and English in the High Court.   Catrin draws on court cases as inspiration for her creative writing, and one line of the dialogue in To Kill A Machine does come from a real case.

“The thing about Alan Turing’s life, that stood out for me, were the parallels between his work and personal life . He was asking the question in his computer work, can you tell the difference between a man and a woman?’ as a puzzle for computer science. Within his love life he was also saying, who you fall in love with does not distinguish in terms of social constructed ideas of gender. Your emotions and your feelings can’t distinguish in exactly the same way that, within the computer puzzle, the interrogator in the other room can’t distinguish between a man and a woman. Then Alan Turing went onto write about the question – can machines think?

The social system doesn’t accept people whose behaviour is not what society expects and society as a machine is something that is unable to think in terms of being able to say that’s not what the response we would have given it is nevertheless what we “think”. He also talks about if a person isn’t trying to deceive the interrogator the person could lie but the machine could not, the machine would always tell the truth. In a way Alan Turing’s downfall is because he is not able to deceive the system. His co-defendant at the trial was able to deceive the system by giving the court the answers they wanted to hear whereas Alan Turing sees everything as a genuine query of why would you lie so has no defences to, what he writes about in the abstract is reflected in the way he responds to interrogation.” 

Y mae Catrin Fflur Huws wedi ysgrifennu dramâu ar gyfer Theatr Gymunedol Castaway ers 2008, ac wedi ysgrifennu eu sioe haf gyfredol, sef Rain of Blood. Dewiswyd Catrin i gymryd rhan yn rhaglen Spread the Word Sherman Cymru ar gyfer dramodwyr newydd, ynghyd â’r rhaglen gyfatebol drwy gyfrwng y Gym-raeg, sef Gair ar Led. Datblygwyd To Kill a Machine, ei drama lawn gyntaf, fel drama 30 munud, ac fe’i dewiswyd ar gyfer darlleniad sgript mewn llaw yng Nghanolfan y Celfyddydau Aberystwyth, fel rhan o Spread the Word. Darlithydd yn y gyfraith ym Mhrifysgol Aberystwyth yw Catrin (gan gyflawni yr union yr un swydd ag y gwnaeth John Van Druyten, awdur y ddrama a fu’n sail ar gyfer ffilm Cabaret). Ers To Kill y Machine, y mae wedi ysgrifennu erthygl academaidd ar allu’r gyfraith i feddwl, sydd yn seiliedig ar To Kill a Machine, ac wedi cyflwyno papur cynhadledd ar berfformiad, rhagfarn ar gyfraith.
“Yr hyn am fywyd Alan Turing a ddaliodd fy sylw i oedd sut oedd ei waith yn adlewyrchu ei fywyd personol, ac roedd yr hyn roedd e’n ofyn yn ei waith ‘a ellid gwahaniaethu rhwng dynion a merched?’ fel prawf o ddeallusrwydd hefyd yn gwestiwn yn ei fywyd personol gan nad yw cariad yn gwahaniaethu rhwng cariad ar ddyn a chariad at fenyw. Yna ceir y cwestiwn, a all peiriannau feddwl? Dyw’r system gymdeithasol ddim yn derbyn y sawl nad ydynt yn ymddwyn fel mae cymdeithas yn ddisgwyl, ac felly dyw cymdeithas yn hyn-ny o beth ddim yn gallu dirnad rhwng person a pheiriant. Y mae Turing hefyd yn trafod y ffaith na fyddai’r peiriant yn dweud celwydd, ac oni bai y gellid llunio peiriant a all ddweud celwydd, yna byddai’r peiriant yn methu a thwyllo’r holwr. Mewn gwirionedd trasiedi Alan Turing yw ei fethiant i dwyllo’r system. Roedd ei cyd-ddiffynnydd yn gallu rhoi’r atebion roed y llys eisiau glywed, tra roedd Turing yn gwrthod celu, felly mae’r hyn mae’n drafod mewn egwyddor yn ei waith yn cael ei berfformio yn ei fywyd.”