Kaya is an actress, singer teacher and one of the founding members of the Roy Hart Theatre.
Amongst her aims, Kaya encourages a soulful expression of voice and body that leads to a deeper sensitivity to art, life and relationship.
Kaya inherited an immensely rich experience in the work and ideas of Alfred Wolfsohn and his successor Roy Hart and the Roy Hart Theatre and continues to refine her teaching method through work on music, theatre, Chi Gong, Tai Chi, Yoga and dance disciplines. She speaks English, French, Italian, German and Spanish.
Some of Kaya’s singing and acting roles include:
* Lady Macbeth in “Macbeth” by Shakespeare.
* Ariel in “The Tempest” by Shakespeare.
* A Priestess, a Prostitute and chorus in “The Economist” Roy Hart Theatre creation.
* Concert “Historia de un Sonido” by Maria Escribano
* Concert “Music for Marsyas” Roy Hart Theatre creation
* “Voci d’Albero” a singing play by Kaya Anderson and Albino Bignamini.
* “Canta Kaya” a concert including Shakespeare’s sonnets Directors: Robert Harvey and Kaya Anderson.
* Mrs Knappe and chorus in a singing play based on the story and paintings by Charlotte Salomon (a pupil of Alfred Wolfsohn’s) Play title “FERMATA” Director Barbara Simonsen (DK), music composer Laila Skovmand.
Students are lodged in simple but comfortable shared rooms (called gîtes) with two, three or four beds with bathrooms (showers) and two equipped kitchens. Sheets and blankets are provided.
Please fill in the accompanying enrollment form and include a cheque for 30 euros as a deposit.
You find pictures of the accommodation under this link HERE>>
Price: 20 euros per night, 25 euros (if heating is needed)
1) we do not make or take reservations for participants lodging outside the Centre,
2) we do not have single, private rooms.
For residencies and longer stays it may be possible to rent appartments in the Château – these too also get booked early for the summer.
Special residential flat with piano in the château – for a couple. INFORMATION
I met the ROY HART THEATRE in London when I was twenty, and I performed in this avant-garde company: and what a marvellous adventure it was !
I teach the use of the voice, and I sing with pleasure, accompanied by accordion, piano or guitar.
I dedicate myself more and more to research on the rapport of the human being to it’s health, in the form of movement classes: LA MAISON-CORPS, and workshops of singing songs : LONG LIVE THE SONGS FOR BELOVED ONES !
I have just created, with Olivier Philippson, accordion and guitar player, a new performance of songs: SILK RIVER and the première was in Lisboa, last march.
Thanks to the contact which Carol Mendelsohn had made with Rhine Skanes at the Theatre of Bergen in Norway, I discovered that for 7 years a team of a Norwegian actors has been helping with the reconstruction of the theatre of Kabul, victim of Taliban intolerance.
To help with the autonomy and the passing-on of Afghan art, the team also organises various workshops in theatre arts – acting, directing, make up, fabrication of marionettes etc. The education of young people is at the heart of their work, and was the reason for my two trips to Kabul in 2010.
I first flew over the wild Afghan mountains in March, then again in June. In all I spent 4 weeks there. My mission was to share my work on the voice with students and teachers a the theatre department of the university, and to give voice coaching to the the actors and actresses of the Kabul National Theatre, who were preparing a performance for children, based on ‘The Fire Bird’ an ancient Russian tale – a story which inspired Stravinsky early in the 20th century.
My hair covered with a scarf, and with a long-sleeved tunic over trousers, I was immediately mistaken for an Afghan woman, and was spoken to in Dari (a dialect of Persian), one of the languages spoken in the country, especially in the region of Kabul.
Strangely, and despite not speaking the language, I didn’t really feel as though I were in a foreign country.
Extracts from my notes:
“The Theatre of Kabul seems to be protected by an ‘anthill’ which protects it, like a rediscovered jewel. The director ‘Mister Farouk’ ensures its good functioning in communication with international aid resources, but also has to deal with local struggles. Since my first visit, M Farouk has been ‘replaced’.
My work begins.
The Afghans that I meet are full of vocal and physical energy. My ‘daring’ as a European woman seems to stir up some astonishment in this group of actors (in which women are in a small minority): they don’t recognise the codes of my work, but their willingness, and the uniting effects of the work on the voice, opens a door to a common language. The voice is a common human faculty which frees peoples from their inter-cultural differences. There may be differences in our genes, but the cells which make up our vocal instrument are identical… Contrast – between the chill of the weather and darkness caused by unexpected electricity cuts, the all-pervading dust – and the warmth of the encounters I experience. The experience of the work, which plunges depths rather than develops form…
Experiences which lead me to draw on inner resources normally unexploited in my comfortable daily life.
I hear my work language take on other forms, I feel connections awakening, ideas become clearer, and understandings emerge spontaneously. I can feel a very close connection between interior and exterior, heart and head…
In retrospect these travel notes make me realise how much this Afghan experience has deeply affected me, both on a human and creative level.
The meaning of my work, of ‘our’ work, became clearer under new skies.
The ‘opening’ potential of the human voice made real sense. All of these women and men have suffered the echoes of decades of total artistic repression..Dancing, singing, playing a musical instrument were all prohibited, along with many other activities of basic daily life, especially for the women.
‘Freeing the voice’ – the vital energy of sound, breath and gestures – allowing individuality to evolve in ‘real space’…. The Afghans I meet have a potential for incredible energy. Their inexhaustible repertoire of songs, specific to the different regions, languages and dialects, are a precious way in or connection for me. The melodies are often melancholic, and the words deeply romantic – surely to compensate for their social reality. When I hear Afghans sing, it’s pure pleasure! Jubilation in the air, in the body, and the voices are naturally resonant and rich in harmonics, not unlike in the Basque country.
In this country where the state of siege is permanently present, I realise how important art and the arts are for society and for the individual. The night before my departure from Kabul in July, a theatre presentation took place – after a performance for the ‘officials’ – in fact censors – who gave the green light for the show to go ahead.
Groups of children in serried ranks arrived, filling the space with laughter, comments and enchanted looks. The feelings of the adults were obvious; it’s one of the first times that a public like this returned to this space. Mr Farouk wrote in the program ‘we hope this performance is a positive message for the new generations of Afghans, and that it will encourage them to fight for their liberty and for a better society’.
The end of the tale calls for nobleness of the heart, for forgiveness: a message of hope for an abused country undergoing painfully difficult reconstruction, where art engenders life.
It’s not surprising that that Arian Mnouchkine and many other artists from the worlds of dance, theatre, song and clowning – (a member of the Bataclown Company is currently working in Afghanistan) – have gone to meet these Afghans who have never given up their commitment to artistic creation. Bridges have been built with other European theatres, and with other cultures.
The paradox? These Afghans who live from day to day with, on the one hand a fatalism at the heart of their daily life, and on the other their amazing impetus as artists towards the collective future of their country. And from this arises an important questioning of our personal priorities and euro-centric preoccupations..
On returning to France I realised that a spark from the soul of this country had slipped into my suitcase. I offer it to you here in the form of the diary of a voice teacher.
Born in Newcastle Upon Tyne in 1945 . Member of the Roy Hart Theatre since 1969.
Music and song have played an important part in my life from a very young age (I sang blues and jazz as when I was a university student). When I met the Roy Hart Theatre in London in 1969, it became clear that the voice had to become my vocation. The intensive use of the voice over its full range of height, depth, expression, and colour, lit lights, woke up demons, and revealed the person in me I had wanted to discover. I shelved my recent university degree in engineering and joined the group. I became actor, singer, speaker, director, and improviser – stage manager, technician, and photographer.
I received a thorough training in the “Roy Hart” approach to the voice and acting and became a voice teacher in 1977. Towards the end of the 80s, I began to be seriously interested in, not only developing the voice as a means of personal development and theatrical expression, but also as the instrument of song. For a number of years I received lessons from a variety of teachers – lyrical, jazz, variety, and improvisation. I then began to forge my own approach to voice teaching, mixing the traditional empirical Roy Hart work with strucutural elements.
From 1969 until this day, the voice has remained my lifeline. My experience within the Roy Hart Theatre has been enriched over the years with teachings from many sources. Today I take a great pleasure in continuing to learn about the voice, and of infecting others with the itch to sing, improvise, explore, and especially with the wish to develop the voice as an ongoing, personal, creative process.
The freeing of the voice through exploration and improvisation, and the development of the singing voice are the central elements of my teaching.
I was the co-Director of the Roy Hart Centre for many years (up until 2005), where I teach regularly. I still maintain an active involvment in the Association even though I now have my own association.
I currently give workshops in different regions of France, in various European countries, and occasionally in the USA.
Since my meeting with the Roy Hart Théâtre in 1978, the voice became my companion of life, my personal and artistic height gauge, my inspiratrice.
With the passing years and meetings (dance, mouvement, traditional singing, clown, painting, writing, fasciatherapy), I build up my own way to put the voice in working, in playing, and in creation, leaning on the priceless heritage of A.W ‘s researchs and of every persons who are coming from it. From the singing voice to the spoken voice, I get in touch with many artistical disciplines and socio-cultural environments. I link to my teaching the lighting of Carl Roger’s person’s listening.
For more informations: www.dia-pason.com
Studied sculpture and painting at Sunderland and Chelsea Schools of Art
Member of Roy Hart Theatre since 1969
Involved in the creation of most Roy Hart Theatre productions either as an actor, director, set / light designer, or simply friendly gofer. Of over twenty-five productions, the most important were:
Directed Roy Hart in Paul Pörtner’s “Ich Bin” – 1972
Producer and director of Leoncavallo’s opera “Pagliacci” – 1983
Played the role of Canio in the version of Pagliacci – O.B.I.E. winner at La Mama, New York – 1985
Played Captain Ahab in Melville’s “Moby Dick” – PRIX JEAN VILAR winner, Printemps des Commèdiens Festival, Montpellier – 1988 Played Basilio in ‘Life is a Dream’ of Calderon de la Barca(2001) and Cotrone in ‘Mountain Giants’ of Pirandello(2002) both for Compagnie Faux Magnifico, Montpellier, and Jack in “And Mary Wept” for ArchipelagoTheatre, Durham, North Carolina (Best Supporting Actor 2003 ©honourable mention!) Producer/director of the opera ‘Wittgenstein and the Soprano’ for Roy Hart Theatre norway – 2009
President and volunteer director of the C.A.I.R.H. from 2009 to 2014.
Works as an actor, director, and set / light designer in Scandinavia, France, and the USA. Currently performing with “Generation”, the most recent Roy Hart Theatre performance.
Ivan was born in Somerset, England. After completing a Rudolf Steiner (Waldorf School) education and an art training at Brighton College of Arts and Crafts he worked as a freelance photographer in London throughout ´60s and met the Roy Hart Theatre in 1971, through attending the first ever Roy Hart Theatre voice workshop. Ivan moved with the company to France in 1974, recording much of the theatre´s history and many performances with his photographs between the years of 1971 – 1986 ( see Picture section), as well as performing and teaching.
In 1986 Ivan moved to the U.S.A. for 10 years where he was trained in, and subsequently taught, ´Active Communicating´, a theatre-based methodology designed for the corporate world. ” For me there is no dichotomy between teaching Roy Hart voice work, or the ´social acting´, presence, voice and communication skills for company employees. Indeed, I have invariably found those working in the corporate world are, in fact, ´artists´ with day jobs.”
Ivan returned to live in Europe in 1997 and was President of the Cairh from 2004 – 2009 working closely with Cairh director Jay Livernois ( 2005 – 2010), to establish the Roy Hart teacher´s training programme and diploma. Ivan now divides his time between his RHT teaching in France and his Corporate training work in the U.S.A.
Ivan can be contacted via e-mail.
Ivan’s website: www.ivanmidderigh.com
Marie-Paule Marthe is an actress, singer, and teacher. She has toured with the Roy Hart Theatre and other French theatre companies throughout Europe. She conducts classes, to both individuals and groups in her specialties of voice (speaking and singing), movement, and acting in Europe, the United States, and Canada. In the U.S., she works in Connecticut and Masschussetts.
She is also a teacher at the Roy Hart International Arts Centre in Malérargues, France. Before working with the Roy Hart Theatre in 1979, Marie-Paule lived in England, the United States, and Spain teaching French and studying contemporary dance and movement. She is fluent in French and English, and can speak and sing in German, Italian, and Spanish.
She has worked extensively with actors, dancers, singers, musicians, storytellers, and circus artists in national centers and institutions in Europe. However, her work is also open to amateurs, who would like to develop their talent in the fields of voice, movement, and acting.
Her teaching includes techniques from Roy Hart Theatre, to the physiology and the anatomy of voice, to bel canto, popular singing, and to body movement. One of her keywords is pleasure, which is part of vital emotion, imagination and authenticity.
She also loves a cappella singing and texts in different languages, which for her combine freedom and precision. She is rehearsing an a cappella solo performance « The Music of Orpheus », which is inspired by Alfred Wolfsohn’s work « Orpheus or the Way to a Mask ». She is translating it into French.
Some key figures with whom she has worked, and been influenced by:
Barrie Coghlan, Elizabeth Mayer, Marita Günther and Robert Harvey, artists, teachers, and founding members of the Roy Hart Theatre ; Françoise and Dominique Dupuy, dancers, choreographers, Master teachers, and researchers in Dance and Movement; Charles Boer, Professor Emeritus in Mythology, writer and translator; James Hillman, psychoanalyst, writer; Roberto Caverni, opera singer and Master teacher in Bel Canto; Benoît Amy de la Bretèque, Physician and Speech Pathologist, singer and musician; Ida Kelarova, gypsy singer, musician and composer; Giovanna Marini, Italian singer, composer and researcher of ethnomusicology; Claude Espinassier, Feldenkreis technique; Sophie Daull, French actress and Theatre Director. Contact: e-mail
“Born in London in 1941 and frustrated in my various attempts to discover a means of expression, it was not until 1967 that Roy Hart showed me it was right under my nose – my voice. Through it I have been able to engage creatively with myself and the existential questions that troubled me.
From 1974 I lived in Malérargues until moving to Switzerland in 1991. In 2004 I re-established a base in Malérargues. In the last twenty-five years, as well as continuing to work on my voice, I studied improvised music, movement, clown theatre, psychodrama, archetypal psychology, and contemporary shamanism. All these influences have been synthesised into the way of voice work I call The Whole Voice. This way is an amplification and revisioning of ideas central to Wolfsohn and Hart’s researches. It enables students to experience the whole which contains the many opposites present in both our human nature and in the human voice. This is what I most value in what I have received from their legacy and thus is the motivation for my teaching.”
Noah is a founding member of Roy Hart Theatre and was active in several acclaimed performances in England and Europe until 1985, especially in the musical realm. Since then he took a more solo direction, interweaving singing, texts, vocal sounds, theatre and clown, improvisation and composition, often in the company of improvising musicians.
As a teacher Noah has taught widely in Europe since 1979. He offers introductory and ongoing work for individuals and groups from all backgrounds who are interested to explore and develop their vocal creativity for personal and/or professional reasons. He also offers training to those who wish to integrate aspects of Roy Hart Theatre voice work into their own profession. His teaching is conducted as an ongoing dialogue with the student.
Dark Voices: The Genesis of Roy Hart Theatre by Noah Pikes, was published in English by Spring Journal Books in 2000 with a new and revised edition out in 2005. This is the only published book by a founding member of Roy Hart Theatre. The book can be bought directly from Noah by emailing:
Noah Pikes: e-mail.
I started by studying drama , dance and singing in Turin (Italy) at various schools with different teachers. Some of them were vitally important in helping me decide on my artistic path and make certain life choices. Notably, Zigmunt Molik from the Laboratorium Theater in Wroclaw (Poland ) with whom I discovered a new theatrical and vocal approach, and later with the Roy Hart Theatre with whom I was able to pursue and deepen my research in an enriching context of living and working together.
In 1983, I came to France to join the Roy Hart company , and took part in several performances:
“Cabaret Célestina” conceived and directed by Pascale Ben and Ian Magilton
“L’ABC de notre vie” directed by Robert Harvey
“Les Troyennes” directed by Vicente Fuentes
Along the way other meetings helped me pursue my artistic path: Giovanna Marini, Ida Kelarova, Roberto Caverni
I have been a Roy Hart voice teacher since 1985, giving workshops in France and abroad.
In 1993 I formed and directed over a period of three years, the a capella quartet “Endiablada”, and after that an a capella duo “Les Dames de Chœur” which made the record Amore Amor as a co-production with the Mediterranean sound library.
Since 1991 I have been working regularly as an actress with the company Amadée, directed by Flavio Polizzy :
La folle nuit, Merlin, Les Troyennes, Comme un nuage la nuit, Mia Thalassa, Aller simple
With the company Amadée, I was musical director for the show “ Béatrice et Francesco” ( music written by Giovanna Marini ) and co-director with Marie-Paule Marthe of “ Les époux épouvantails”.
I am currently performing in the show “Une vie Al Dente” directed by Flavio Polizzy, and am also working on an improvised music piece “ Paysage de Fantaisie” for two voices and percussion with Denis Fournier, director of the project and drummer, and Pascale Labbé , singer.
I give training courses “Yoga and Voice” with Maïténa Dinguirard ,yoga teacher ,and continue to teach voice and give theatre courses in schools.
Malérargues has a wireless internet connection, which you may connect to for free during your stay. You need a laptop with the ability to connect to a wifi system. Please learn how to connect your laptop to wifi before you come as the office staff are often too busy to give a lot of help with this, especially in summer.
La Salindre / Soudorgues (8 km from the Center)
Tansen R. Mundt, Maria Bernhold, Tel. (+33) 4 66 85 23 51 / www.lasalindre.eu
Le Mas de Prades / (2 km from the Center)
Patrick and Sophie Auvray, Tel. (+33) 4 66 85 09 00 / (+33) 6 20 72 28 31 (with swimming pool)
Les Jardins de Valaurie / Anduze (12 km from the Center)
Tel. (+33) 4 66 61 62 85
Gîte rural Calviac / (3 km from the Center)
Mr Jacques SOULIER Tel : (+33) 4 66 85 12 48 / 06 77 79 59 11 / e-mail
“Au Ruisseau de Rose’ (Chambres d’hôtes) St Jean du Gard (10 km from the Center) Tel : (+33) 4 66 54 51 07 or e-mail or www.ruisseauderose.fr
La ferme ‘Le Martinet’ (Chambres d’hôtes) Thoiras (3 km from the Center) Tel : (+33) 6 07 54 61 57 or e-mail or www.masdumartinet.fr
‘La Cure’ Gite d’étape/ Lasalle (5 km from the Center) Tel : (+33) 6 30 47 82 62 or e-mail
La Pommeraie (2 km) – Tél: (+33) 4 66 85 20 52
La Salendrinque (Lasalle 4 km) – Tél: (+33) 4 66 85 24 57 / fax (+33) 4 66 85 41 50
Le Campement (3 km) Calviac – Tél. (+33) 4 66 85 13 58 Email : e-mail
Les Hauts de Labahou, RD907, 30140 Anduze- Tél : (+33) 04 66 61 77 90 / 06 03 93 38 88
Le Mas de l’Eglise (camping à la ferme) – Corbès – 30140 Anduze – Tél : (+33) 04 66 61 80 80
Copyright 2010 Ian Magilton et al, all rights reserved
The General Attestation
gives recognition to the training and work which students have had with approved Roy Hart Theatre teachers. To earn this attestation, the student is required to have completed 300 hours of group work and 30 hours of individual voice lessons (defined as lessons either alone with a teacher or with one or two other students and a teacher) anywhere in the world. A list of dates, places, and teachers submitted to the Centre’s administration is required to be credited.
(Details about upcoming recommended, intensive courses in Malérargues are on the website.)
There are no food shops at Malérargues. So, if you are staying at Malérargues, please bring food (or eat before you arrive) for the evening and / or breakfast on your first day. In the south of France, lunch time is real. Most shops and services are closed from 12 to 2 or 3pm for lunch. Most shops are open every day until 7pm (except Wednesdays and Sundays), and some close at noon on Saturday: Intermarché is the nearest supermarket (on the way from Anduze to Malérargues) with good fresh fish, and it has a bakery. They are open on Sunday morning until midday and they also sell petrol. SuperU in Anduze is also an another supermarket, has better meat than Intermarché, and also has a bakery. They sell petrol, and are open all day on Friday and Saturday, but closed on Sundays. Utile in Lasalle is a smaller grocery, which offers great service, the family that runs it is friendly, and they often have good local produce. They are open Sunday mornings. Terroir des Cévennes sells local produce in Thoiras, about 5 minutes by car from Malérargues. Here you can buy best quality cheeses, wines, bread, meat, spices and fruits and vegetables produced in the area. They also sell locally produced art and handicrafts; a great place to buy gifts. Open on Sundays but closed for lunch hours (1 to 3pm). Boucherie Chardenon is what a local butcher should be. Located in Lasalle, this butcher shop roasts its own local chickens, and almost all their meats come from surrounding farms and local hunters. They produce a delicious series of game patés (wild boar, venison, and wild rabbit), which when eaten with a loaf of the local sourdough bread and the famous Lasalle goat cheese and washed down with a good bottle of local red wine (Pic Saint Loup for example), you will wonder why you would ever want to do anything else! Dietétique au Bien-être in Anduze is the nearest health-food store. The manager is a friendly Danish woman who speaks English, French, German, and of course, Danish. There is a Market in Lasalle every Monday morning until noon and in Anduze on Thursday.
French food is rightly considered one of the great five cuisines of the world. Near Malérargues there are several restaurants where you can find out why this is – and at a reasonable price. The best deal often is to order a “menu” (usually the most interesting and least expensive option at lunchtime during the week) rather than ordering separate dishes, unless you are really not hungry. If possible, call ahead and reserve a table. Doing this is a courtesy to the restaurant, and one almost always receives better service (and you are certain of a table) even if you do this in bad French. La Grange de Labahou is the best, closest restaurant to Malérargues, located on the way to Anduze in Anduze’s version of an industrial park. The interior is done in a kind of French country kitsch (with a working fireplace in the winter). In the summer, La Grange serves meals in an outdoor bamboo garden with a refreshing fountain and pool. The food is very good and moderate in price (24 euro menu). The wine list isn’t large, but they have a good selection of regional wines for reasonable prices. Service can be slow if they get crowded, so do not go if you are in a hurry. Tel. (+33) 4 66 61 98 25 Go to Le Riche if you want to know what’s all the hollering about in relation to French food. Le Riche is where you should lose your gourmet virginity. Simply put, this is the best restaurant with the best value (a 3 course 22€ menu) with the best decor (original art nouveau 1907) in the region, with a reasonable and good wine list. It is located in the nearby town of Alès (25 minutes away) opposite the train and bus station. Le Riche is also a hotel (50€ a night), so a plan could be to come to the area a day early from Nîmes to Alès by train or bus, eat at Le Riche, stay there overnight, and then make your way to Malérargues having sipped at the fountain of Epicurus. You will not regret it. Tel. (+33) 4 66 86 00 33 www.leriche.fr . There is another excellent restaurant besides Le Riche near Malérargues. Les 3 Barbus is a delightful country inn in the small town of Générargues perched on the side of a cliff overlooking a river gorge traversed by a still functioning 19th century steam train railroad bridge. The food is excellent, although somewhat expensive, and they have the best wine list in the area. You can also use their cliffside swimming pool if you come there for lunch in the summer. They are closed in the winter months. Tel. (+33) 4 66 61 72 12 www.aubergeles3barbus.com . La Ballade Gourmande is up in the mountains in Soudorgues (a 15 minute car ride from Malérargues). It has good French country food. Over the years this has been one of the favorite places of students who have come to Malérargues. Tel. (+33) 4 66 85 43 94
Go for a walk in the beautiful mountains. There are trails throughout the Cévennes and all around Malérargues.
Drink and eat well. This is France.
Most towns are ready for tourists, and there are many shops to visit and events to attend especially in the summer. Check in the office for forthcoming events. There are quite a few museums and historical sites in the area.
Set aside time to visit Nîmes and Montpellier. The south of France has some of the best Roman remains in Europe, and some, like the arena in Nîmes, are still in use.
And remember that the Mediterranean is less than an hour and a half away. The coast here is rather undiscovered compared to other parts of France.
You can go horseback riding near Malérargues.
General medecine: Irène Lafont de Cazenove in Lasalle (opposite post office). Tél. (+33) 4 66 85 47 75 ; Christian Flaissier (Lasalle) Tél. (+33) 4 66 85 20 98
Dentist : Mercier Jean Pierre (Anduze) Tél : (+33) 4 66 61 70 03
Taxi : Lasalle : Mr Thérond-Flavier Tél : (+33) 4 66 85 21 84
Taxis : Alès : Mr Christian Dunis TAXI ALES : Tél : (+33) 4 66 52 39 39 or Mr ENJOLRAS Daniel Tél : (+33) 06 63 66 63 73