CAIRH - Roy Hart International Arts Center
Chateau de Malérargues
F-30140 Thoiras +33 466 85 45 98

CAIRH intro

The Roy Hart International Arts Centre, in the unspoilt Cévennes hills of southern France, exists to foster the dynamic heritage of Roy Hart Theatre. Roy Hart Theatre is known for its unique work on vocal expression and the extension of the human voice. It has its origins in the work of Alfred Wolfsohn, and his research into the links between the voice and soul. He wrote,

“I live by breathing in and breathing out. I sing by transforming this breath into sound, sound which in turn forms the material for the contents of the soul”.

Many of his pupils continued the work after his death in London, and at the instigation of Roy Hart, they created a radical production of The Bacchae (1968), which drew the attention of Jerzy Grotowski, Peter Brook, Jack Lang, and Jean Louis Barrault (among others) and prompted the creation of Roy Hart Theatre.

Over twenty-five productions toured in Europe, the USA, South America, Israel, and North Africa. Gradually new companies — Panthéâtre, Archipelago et Amadée were formed within Roy Hart Theatre, which led to the creation of the Centre Artistique International Roy Hart (CAIRH)(1991). These companies and other members of the original Roy Hart Theatre company continue to explore the voice, to create, perform, and teach at the Centre and all over the world. To this day, the work of Roy Hart Theatre is recognised as one of the major influences in the field of voice with its artistic and personal applications.

Roy Hart Theatre work is body-oriented, stimulating, and provocative. With emphasis on the uniqueness of each voice, the teaching seeks to inform and strengthen the ‘normal’ vocal range. However, the work also tries to develop in each person’s voice greater height and depth, and even, other voices. All this helps to increase the musical and theatrical ability of each student. The majority of the teachers at the Centre were taught by Roy Hart. Since their move from London to Malérargues in 1974, they have added years of experience in voice, theatre, music, dance, art, movement training, and psychology. Widely known for their sympathetic and professional qualities, each teacher brings special experience and the fruits of their own creative research. Throughout the year invited teachers and scholars bring their particular professional skills and fresh perspectives to the Centre. Most courses are open to everyone. Some are especially designed for beginners who wish to discover RHT work, while others have a particular orientation and are more closely linked to specific disciplines. All courses are accredited by the French government. Participant numbers are limited to ensure that each student receives individual attention.

The voice is the muscle of the soul.

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

19 - 24 JuilletExplore your voice and SingMargaret PIKES / Marie-Paule MARTHE / Gianluca PEZZINO

Directed  by Margaret PIKES, Marie-Paule MARTHE  with Gianluca PEZZINO * (pianist)

33 Hours :  9 h 30 – 12 h 30 & 14 h 30 – 17 h  - Price : 495 €

There will be a presentation at the end of the workshop, open to friends and participants of other the workshops.

You are invited to bring one or two songs with which you are already familiar and would like to work on. Please send a copy of the sheet music before 2th July to CAIRH (C/° Beatrice – workshop Margaret) Château de Malérargues –  30140 THOIRAS –  France

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

24 Mai - 5 JuinVoice – Movement – TextI. MIDDERIGH / M.-P. MARTHE / B. Mc GEE* / J. MILLIGAN

Directed by  Ivan MIDDERIGH with  Marie- Paule MARTHE, Beth Mc GEE* &  Jennifer MILLIGAN* (guest teachers)

72 hours (free day : 30 May) –  Price  : 972 €

This workshop offers a unique opportunity to work with Professor Beth McGee, coming from Cleveland Case Western Reserve University on speech and texts combined with Roy Hart Theatre voice work with Ivan Midderigh and M-P Marthe,  and a technique of improvisation known as Viewpoints as practised by Jennifer Milligan from Cincinnati Conservatory and Naropa University. This workshop is open to all levels, but it can be structured to allow those who know the work or have worked with us before to go deeper into the techniques.

Please bring a song and a text learned by heart.

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Guardian obituary

The programme of workshops for 2012 is now online.

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

10 - 15 MaiVoice & Musicality (pedagogic workshop)I. MIDDERIGH / M.-P. MARTHE / D. GOLDSWORTHY


Directed by Ivan MIDDERIGH, Marie Paule MARTHE & David GOLDSWORTHY

36 hours – Price : 486 €   Cancelled.

« This dangerous and exciting journey into the eight octave voice, that is to say into sound, has been undertaken with the primary aim of discovering the source of the word, to which my theatre is returning. » (Roy Hart)

Voice and Musicality proposes to question, within a teaching frame, the musical relationship between the pre-verbal and the word to which Roy Hart wished to return. With the support of archival material and RHT teachers who originally came from London, the students will learn how to teach the extension of vocal registers (Eight Octave Voice) and the meanings that arise emotionally and artistically in a voice beyond words.

Voice and Musicality is an advanced level , pedagogic workshop designed for registered RHT teacher candidates but is also open to participants who have already a knowledge of the RHT voice work and who are willing to be taught by RHT teacher candidates and veteran RHT teachers.

Reminder : Any person interested in presenting their candidature to the RHT teaching Training Programme must have acquired the RHT General Certificate. This course counts towards the General Certificate for those people interested in earning one.

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn


Policy Revised Dec 18th 2011



This is a structure for candidates to gain the education and experience needed to become a Roy Hart Theatre voice teacher. It is a general statement of principles. Regulations and requirements are set out below. PRINCIPLES Alfred Wolfsohn/Roy Hart/Roy Hart Theatre voice work places the accent on the individual. Many of the human and artistic values arising from this approach are not easily measurable, but are understood to be essential and stand at the centre of the teacher training. The teacher/pupil relationship and personal reflection are important in the work of extending the range of the voice and its expressive capacities. ALL TEACHER TRAINING CANDIDATES MUST:

  • · Have completed the minimum of 300 hours of group training required for a Roy Hart Theatre General Certificate.  They should also be on their way to the 30 hours of individual lessons  required, but these can be completed after beginning teacher training.
  • Have a Roy Hart Theatre teacher as a mentor who is approved by the Teacher Training Committee (TTC).  The mentor proposes the candidate to the TTC, oversees the candidate’s progression towards becoming a teacher and ensures that the candidate maintains an active involvement in the CAIRH.
  • Have an understanding of the vocal work and philosophy of Alfred Wolfsohn, Roy Hart and the Roy Hart Theatre.


  • Complete the 30 hours of individual lessons required for a Roy Hart Theatre General Certificate.
  • Continue to receive singing lessons on a regular basis. The candidate should have experiences with a wide range of RHT teachers.
  • Attend workshops at Malerargues where the notions of pedagogy are studied and discussed or attend alternative teacher training workshops approved by the TTC.
  • Give a minimum of 25 lessons supervised by an approved RHT teacher followed by feedback.

N.B. Hours of Teacher Training Workshops and supervised lessons shall be recorded by the trainee and sent to the mentor and the TTC.  Reports of the Teacher Training workshops shall be sent to the mentor and the TTC.  Any important information from the supervised lessons should also be conveyed to the mentor.

  • Have a physical meeting and discussion with the mentor within the first year of training to ensure that the course is the right one for all parties.  A report of this meeting should be sent by the mentor to the TTC.
  • Begin co-teaching when the mentor considers that they are ready.  Before the end of the probationary period the trainee must have completed a minimum of 30 hours of co-teaching in workshops with an RHT teacher approved by the TTC.

N.B. Co-teaching is defined as: Involvement in the process of a workshop directed by a RHT teacher, including planning, teaching and reflection outside the teaching hours. There should be at least one session where the trainee and the teacher can benefit from working together.  Co-teaching hours do not include the hours when the trainee is watching the approved RHT teacher lead, but are the hours the trainee actually teaches.

  • Prepare and present a performance/piece of theatre in front of a public, or have been involved in such a creation.

NB. The Roy Hart Theatre Voice teacher’s diploma is not automatically awarded on the completion of these requirements.  The mentor will request an assessment when they consider the candidate to be ready. PREPARATION FOR ASSESSMENT:

  • The mentor shall request an assessment in writing to the TTC when they consider that the trainee is ready. The TTC shall inform the Conseil d’Administration.
  • The TTC will appoint an assessment panel of three.
  • The TTC shall inform the trainee, panel members, office and Conseil d’Administration of assessment dates.
  • The panel shall inform the mentor, trainee and other relevant teachers of the assessment schedule.


  • The panel will meet with the candidate’s mentor. Any other teacher who has been important in their training could be present.
  • The panel will interview the candidate.  The mentor should be present for part of the trainee’s interview.  Other relevant teachers can be present for part of interview.
  • Candidates will be required to give 2 singing lessons.
  • The mentor should be present for at least one of the lessons.
  • The assessment will be spread over 2 days.
  • The mentor should be present for the final meeting with the candidate.


  • The panel will inform the TTC and the Conseil d’Administration of their recommendations.
  • The Conseil d’Administration will vote on the recommendations and shall inform the TTC and mentor of their decision.
  • The mentor will convey the panel’s recommendations and the vote of the Conseil d’Administration to the candidate.
  • Upon the approval of the Conseil d’Administration, the candidate may begin to teach as a Roy Hart Theatre voice teacher.
  • The new teacher must continue to refer to their mentor, receive lessons, complete their co-teaching hours and follow the recommendations of their assessment panel for a probationary period of at least one year.
  • Just prior to the completion of the probationary period, the head of the panel and the mentor should inform the TTC in writing that the candidate has fulfilled all the requirements of their probation.
  • After probation, with the recommendation of the mentor and approval of the Conseil d’Administration, the trainee will receive their Roy Hart Theatre voice teacher diploma.

GRIEVANCE PROCESS In event of difficulties between the Candidate and the Mentor:

  • The parties discuss the difficulty between themselves.
  • If the dispute is not resolved, the aggrieved party may approach the TTC for resolution.
  • if the aggrieved party is still not satisfied, they can apply to the Conseil d’Administration for resolution.
  • If the candidate believes they have not received a fair assessment process, they may make a written appeal to the TTC and then to the Conseil d’Administration.

EXCEPTIONS Any exception to a policy regulation must be made in consultation with the TTC and the Conseil d’Administration. AMENDMENT PROCESS This policy may be amended by vote of the Conseil d’Administration.          

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

James Hillman and Malérargues

a personal appreciation

In 1974

47 of the Roy Hart Theatre came to Malérargues from London with the high – even mad hopes of being the most profoundly important movement in theatre of the twentieth century. Deep in the mysterious and difficult Cevenol hills we hoped to find the peace necessary to bring soul back to theatre.

Then we were decapitated by a road accident.

We buried our dead, waited, and were confronted with the question, “Do we dare continue without Roy?” The alternative was to return to London, but for most of us that seemed shameful. We voted to persist.

There were then six years of Stalinist communal madness, living on lentils. Half of us went out to work so that the other half could rehearse and perform. It was terrible, but in my life I am proud of those friends and those years.

Then different personalities, different projects began to emerge, leading to what I consider the golden age of Roy Hart Theatre -  Six or eight different shows with entirely different styles and goals, and all great. One element that fed this freedom and multiplicity was Enrique’s discovery of the writings of Charles Boer, James Hillman and Rafael Lopez Pedraza on mythology. James presented us a freedom and seriousness of thought that helped us avoid becoming a sect.

It could be said that at that time we were an orphaned theatre in search of a new father, but they were not fathers, they were friends – bubbly, fun inspiring friends. James was never a father, he was a buddy. They came to us via Enrique’s correspondence with Charles and James, then a chance meeting with “Pagilacci” in Ascona. Our opera, Pagliacci was not overtly psychological, it was a “show” and it was good and they loved it.

With this proof that we were not some kind of theatrical weirdos they came to visit Malérargues the following winter. They saw all of our shows including a beautiful and unique performance of Pan by Enrique.

They respected what we had achieved and were working for. They were good friends for many years. Charles introduced the idea of “Myth and Theatre” and he, James and Paul Kugler were star speakers for many of its manifestations. They are great friends of Malérargues and the dreams there.

Years later, just on the pavement outside the Broadway and East 4th street market in New York, I met Margot, James’ most beautiful wife, it was an amazing co-incidence. She immediately invited me to dinner and later to stay with her and Jim in their Chelsea apartment. They were so warm and kind to me that I can never forget. I have dreamt of them regularly over the years since and when I knew that James was dying, that friendship drew me back, without hesitation.

James spent his life facing up to and examining pathologies – for what they could give to life. In the living of his own, ultimate pathology he did not renege.

Thursday 27 October 2011: sitting, smiling, drinking and dining around James’ coffin, wondering about the mystery we had just lived, Nor Hall reminded us of the gate keepers at Dephi who put their finger to their lips as the supplicants left the Oracle – “Ssh, don’t tell”. Or did they mean, “Ssh, don’t try to explain”.

Ian Magilton

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

John Wild


Dip Voice Studies, Central
Roy Hart Voice teacher
PGCE ( Post Grad Cert in Education)
Linklater voice training (finishes Aug 2011)

John has worked extensively as an actor, director and voice coach within theatre, TV, Film and radio, both in the UK and abroad, for the last 30 years. John trained in voice at Central School of Speech and Drama in 1994/5 and then studied to become a Roy Hart voice teacher in 2007. He is currently head of voice at Alra ( The Academy of Live and Recorded Arts), in London. He is in the process of training with Kristen Linklater, which finishes in August 2011. John’s unique experience with the voice and his ongoing passion for awakening an individuals potential, by freeing their voice, continues. He looks forward to many challenging opportunities that lie ahead.

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

14 - 18 Février 2015Vocal Technique, Traditional Song and ImprovisationDavid GOLDSWORTHY, Marianne LE TRON & Benat ACHIARY* register

Hours: 30  (9h30 – 12h45 & 14h30 – 17h30)
Price: €435
Participants: 16

Improvisations, the study of traditional songs, and songs brought by the students, collective body and voice warm up, work on breath, individual vocal training, freeing the voice, exploring the connections between song and poetry, interiority and exteriority.
We will work towards giving life to song and improvisation.
Creativity is at the heart of this work which engages “body and soul”.

For more information : +33 6 72 71 45 96 or e-mail

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

29 March - 8 April 2015Teacher Training Group (Full)Carol MENDELSOHN - Saule RYAN - Edda HEEGregister

Directed by Carol Mendelsohn, Saule Ryan & Edda Heeg

By selection only.
For more information, please contact e-mail

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

7 - 12 April 2015Move Sound Objects in Musical Accompaniment Susanne WEINS & Saso VOLLMAIER*register

Directed by Susanne Weins & Saso Vollmaier*
Hours: 36 (9h30-12h30 & 14h-17h)
Price : €490
Participants : 12
Level : intermediary & advanced

We propose to do a series of workshops (4+), focusing on different theme in each workshop, starting with nature; going from analogue technique, to digital… and coming to the pure human voice. Last workshop will be a combination between all the themes, followed by movement and musical direction. Each workshop is also set as unique. The experimental voice, inspired by the sounds of the theme, will enriched the Dialog of expression. While Sašo Vollmaier will work with your voices through musical and vocal direction, Susanne Weins will open and develop your vocal potential through the energy of body, breathing and movement. This workshop series is open to all, especially those, who like to dive into listening and creating unexpected and new world of soundscapes.
Sašo Vollmaier (1982), pianist, accompanist, arranger, composer.
He graduated from the Academy of Music in Ljubljana in 2008. During his studies, he came to Paris on the
invitation of Izidor Leitinger, a composer, trumpet player and voice teacher who collaborated with the
Pantheatre at that time. Vollmaier started to collaborate with the Pantheatre as a accompanist and assistant from 2005 – .
From 2007- 2013 he joined the Slovenian industrial group, called “Laibach”, as a keyboard player. He did
concerts with them in the Europe and USA. In the same period he started to play with Slovenian accordionist Bratko Bibič & The Maddleys.
In July 2013 he moved to Paris. He is working on a vocal composition called “Regenerations” in collaboration with Roy Hart Theatre (Malérargues), “La Licorne”, electro-acoustic project with Izidor Leitinger and Luka Jamnik, “Peau de tambour” musical and poetic creation with Viviane Gay, based on the texts by Henri Michaux.
He is developing his own way of teaching voice linked with the piano accompaniment (influenced by voice
work with Linda Wise, Susanne Weins, Izidor Leitinger…)
Vollmaier’s accomplishments include theatre and cartoon scores, arrangements for choirs, marching
orchestras, big bands, as well as a studio musician (Laibach, Bratko Bibič, Silence, Funtango, Slovenian radio broadcastings…)

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Ulrik Rømer Barfod


Ulrik Rømer Barfod was born in Denmark in1963. While studying music at the University in Århus (Denmark), he realized that the voice is not only an instrument for speaking and singing, but also a tool which can open doors into imagination and creativity. In his teaching he uses songs and texts to explore the personal and unique voice of each individual. He is a member of the Centre Roy Hart and lives in Hannover, Germany, and in Malérargues. He teaches in France, Switzerland, the Netherlands, Germany, Denmark, Sweden, England, and Greece.

Contact /

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Jonathan Hart-Makwaia (president)


Jonathan Hart Makwaia is the son of Dorothy Hart and stepson of Roy Hart.

He has witnessed multiple phases of the voice work’s evolution, from Alfred Wolfsohn’s last years to the present day. He has been central as a performer, composer and teacher in the Roy Hart Theatre’s history and remains committed to the work’s development as it extends to younger generations.

Photo: © Hanna Lippmann

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Jean-Claude Dufourd


Jean-Claude discovered Malérargues and the Roy Hart Theatre voice teaching in summer 1993, and liked it immediately. He came every summer since then, and some winters too. He was among the first batch of people awarded the RHT General Certificate, during the first members’ week. He has served in the Board of Directors since August 2007, and is treasurer of the association since August 2009. Outside, he is teaching/researching multimedia in a university in Paris. He also acts, sings, writes poetry and even some music. He is also a fan of 5 rhythms dance. You can reach him at e-mail .

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

14 - 18 April 2015Human Voice (Full)Carol MENDELSOHN & Véronique CAUDALregister

Directed by Carol Mendelsohn & Véronique Caudal
20 hours  (9 h – 13 h)
Price : €270
Open to all.
Participants : 12

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Agnès Dumouchel


I was 28 years and teaching French literature in Moscow when chance meetings put me on the path Malérargues. Fascinated by the work of Roy Hart Theatre that mixed voice and body, interior and exterior, the conscious and unconscious mind and emotions, I stayed 12 years in this artistic family. Added to the voice work there was dance with Dominique Dupuy and clowning with Jean Bernard Bonang and Bertil Sylvander’s Bataclown, those long-standing partners of the Roy Hart Theatre.
Thus I became a voice teacher and actress in the troupe.

With all these experiences, I have chosen the path of story telling, thus putting my love of language in the service of performing. I tell stories and teach storytelling, voice, and clowning all over France and abroad. Why this approach? Because finding one’s voice and one’s inner clown gives life to the story.

In my workshops, training and creation are intimately linked. I center my work on the person, what it has to offer, what emanates from it in order to achieve an authentic art form. I direct the work of breath and voice to that of speech, that of the storyteller, of the actor. Some story characters have voices “coded” impressions perceived by the ear that put us immediately in the presence of the archetype: of the witch, the ogre, the princess, the king, of the child. Not to mention the voices and sounds that can be found for different animals or those tales of magical characters and fantasy. It is interesting to look for them through the work of voice and body developed by Roy Hart Theatre in order to incorporate them into the narration. I alternate between the vocal work itself (the pre-verbal, the sung sound or issued or declined in the scale of the piano) and the work of the narrative where the sound is integrated into the narrative, in its raw form or “refined”.

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

28 Avril - 3 Mai 2015A l’écoute de nos voix : l’art de l’accordageMarianne LE TRON & Isabelle MARIE-BAILLY * (Phoniatre/Musicothérapeute)register

Directed by Marianne Le Tron & Isabelle Marié-Bailly* (phoniatre/musicothérapeute)
33 hours   – Price : 445 € – Participants : 12
Open to all

Stage exclusivement en français

Autour d’une progression pédagogique, ce stage alliera l’approche Roy Hart de la voix parlée /chantée mise en jeu créativement, avec les bases de fonctionnement de l’anatomo-physiologie de l’appareil phonatoire dans ces grands axes :
1er : attitudes, axes et postures
2ème : énergie, inspiration et souffle
3ème : vibration laryngée et poses de voix
4ème : résonance et harmoniques
5ème : émotions, accordage vocal et relationnel
Apportez textes et chansons qui pourront servir de support au cours du stage. Si la météo nous le permet, nous irons chanter dans la nature. Prévoir des chaussures adaptées S.V.P.

Pour plus de renseignements, vous pouvez contacter Marianne Le Tron (e-mail) ou Isabelle Marié-Bailly (e-mail)

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Albino Bignamini


Albino Bignamini was born in Italy in 1955. He is a Italian actor, director and voice teacher.

He studied theatre in Italy in Milan. He began the work with the Roy Hart Theatre in 1978 with Kaya Anderson. He has been teaching voice and theatre since 1994. He became a Roy Hart Teacher in 2009.

He lives in Italy where encourage people to explore and develop there special individual voice.
Albino Bignamini : e-mail

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

7 - 12 July 2015Moving your Sound within Musical ShapeSusanne WEINS & Saso VOLLMAIER*register

Directed by Susanne Weins & Saso Vollmaier*

Hours: 36 (9h30–12h30 & 14h-17h)
Participants: 12
Price: €540
Level : intermediary & advanced

Voice, supported by movement is very powerfully connected to expression. First Susanne Weins will follow the creation of origin and personal sources for free soundscapes in movement. Careful listening will already bring the quality of your potential towards expressing, repeating and developing free and structured musical approaches. Saso Vollmaier will lead your awareness for your proposals through his musical knowledge into a creative structure/shape, which will connect to your very personal feeling. Through his accompaniment you will also find new and rich possibility to develop even more vocal ability. In this way, together we will find your creation of the week, which may be inspired by words, text, songs (sent to both of us at least 2 weeks in advance) or a theme of the heart and your interest. If there is a collective wish, this can take place in an open presentation. Sharing our experiences with  students in this specific is also as part of our own personal research.

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Kevin Crawford


Kevin Crawford is a founding member of the Roy Hart Theatre company, whose ground-breaking influence on contemporary Voicework for theatre is internationally recognized. He toured extensively with the company for over twenty years, during which time the company received several prestigious prizes including an OBIE award in New York and the Prix Jean Vilar at The Printemps des Comédiens.

Kevin was a director of the troupe for a four-year period before moving to Ireland in 1993, where he was a full-time member of faculty at the School of Drama, Trinity College, on the Professional Actor Training program. In Ireland he taught and collaborated with a large number of theatre, dance and musical groups, and has been a guest facilitator at the Abbey (National Theatre). In 2001 he was awarded an MA in Voice Studies from Central School of Speech and Drama (London).

On his return to France in 2002 Kevin was appointed Visiting Lecturer at the Université d’Artois at Arras in the north of France, before joining Accademia dell’Arte as a founding member of faculty. Directorial credits include “Savage Love”, “Tongues” and “War in Heaven” for Hendrix College (Arkansas) , “Wolf’s Bride” for Kuopio City Theatre (Finland) as well as “The Bacchae” and “Oedipus” for the Samuel Beckett Centre (Dublin), “Racines dans l’Air” for Théâtre du Renard (Paris) and “Merlin” for Compagie Amadée (Strasbourg). Recdently he directed “The Persians” for Teatro Pietro Aretino, Arezzo.

Currently Kevin directs the MFA in Physical Theatre Program at the Accademia dell arte, Arezzo, Italy in collaboration with Professor William Biddy, Head of Graduate Studies in Theatre at MUW. He is a contributor to Professional Actor Training programs in Sardinia, Holland and France, and has been a guest teacher for the International Workshop Festival, The Vastavox Congress and Myths of the Voice.

Contact : e-mail

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

7 - 12 July 2015Personal Presence – Voice & Communication Skills For Business ProfessionalsIvan MIDDERIGHregister

Directed by Ivan Midderigh
Hours: 36 (9 h 30 – 13 h & 14 h 30 – 17 h)
Participants: 12
Price: €540

Based upon the actor’s discipline of effective, engaging, and heightened communication, this workshop, focuses on the person as a communicator, addressing voice, body, heart, spirit, imagination, and emotion. Participants develop their natural ability to express feeling, inspire others, and build trust among teams.
Participants learn powerful language, active listening, how to give and receive feedback, empathy towards others and presentation skills. Through the programme, effective communication and compelling dialogue become intrinsic life skills.

The Skills
The actor has to be clear on the meaning of the text, so that it will come across to the audience. They have to use their voices with enough volume and colour to ensure the audience will listen and also behave in a way that supports their words, as well as having the self-confidence to face the audience and be able to improvise – to think and act quickly under pressure – if something unexpected happens.
All these ‘actor’ skills are also required by business people, and, indeed, anyone who is required to address an audience. The audience may be one person, a group meeting, or a large corporate gathering
Storytelling is also an essential aspect of the work. Everyone has stories which are gathered from their life experiences. The connection between one person and another, between a presenter and the audience, is firmly established by the telling of a personal story.

Ivan Midderigh

A founder member of the Roy Hart theatre and senior facilitator for Corporate Scenes since 1992, Ivan has led seminars with wit and style for major international companies including AT&T, Pacific Bell, Nortel Networks, The Gap, Sandia National Lab, Levi Strauss, MacKinsey and Co, is a guest lecturer at The Olin School of Business at Washington University, St Louis, and is senior faculty with the annual Executive Coaching Institute at the Center for Executive Education, University California Berkeley Haas School of Business.
He also spent 5 years (2004 – 2009) in South Africa as a master facilitator of the Brand Ambassador programme for Avis Corporation of Southern Africa and the Brand Champion programme for the Kelly Group and Transnet.
Ivan creates a fusion of humour, honesty, compassion and energy in his work, helping business professionals expand their ‘presence’, and communicate more effectively while developing their interpersonal relationship building skills.

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Jonathan Hart-Makwaia


Jonathan Hart Makwaia, son of Dorothy Hart and Chief David Kidaha Makwaia, and stepson of Roy Hart, was born in London in 1957.  He has been close to the voice work since he was a baby, with memories of Alfred Wolfsohn and the early Roy Hart Theatre. When he was 12, watching the company perform And, he had the revelation that the human voice could redefine music.  He began to attend meetings and rehearsals and at age 14 started singing lessons with Vivienne Young.   In 1975 he moved with the company to France and composed and performed in L’Economiste.   Over the next decade he served as composer, musical director and performer for many landmark Roy Hart Theatre productions, including La Tempête, De Vive Voix (chosen by the Ministry of Culture to represent France on a tour of Latin America), Pagliacci (OBIE award, New York), Kaspar (1st prize, Rencontres Charles Dullin – Villejuif, Paris), Music For Marsyas, and Moby Dick (Jean Vilar Prize, Montpellier).   During this period he also spent a year in Tanzania, visiting his father, chief of the Sukuma tribe, and exploring his East African roots.  He began performing solo concerts for voice and piano in the 1980s, integrating contemporary, classical and African influences with his Roy Hart Theatre background (available on CD at, The Wild Is Rising).    He began as a teacher in Malerargues in 1978, and has been on the faculty of New York University’s Experimental Theatre Wing since 1988.  He has performed in over 20 countries and led workshops in over 30.  Jonathan is married to Rosemary Quinn and has two daughters, Mariana and Alice.  He remains dedicated to the voice work and its evolution.

Photo: © Hanna Lippmann

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

14 - 19 July 2015The Art of InterpretationLinda WISE, Saso VOLLMAIER *, Annie MURATH *register

Directed  by Linda WISE, Saso VOLLMAIER * (musician/pianist) & Annie MURATH * (guest artist)

36 hours (9h 30 – 13h & 14h 30 – 17h)
Participants: 14
Price: €540
level: intermediary & advanced

“The Art of Interpretation” – a dialogue between singer, actor, musician, composer and director. How to incorporate Roy Hart extended voice registers in performance – particularly in the intersections of music, dance and theatre. Please send a letter of motivation with your application.

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Edda Heeg


Edda Heeg was born in Germany in 1967. She studied music, singing, and the violin at the Hannover Conservertory of Music, and music, movement, and contemporary dance at the Folkwang Conservertory in Essen. She began to work with the Roy Hart Theatre in 1988, primarily with the late Marita Günther and Robert Harvey, who were founding members of the Roy Hart Theatre in London. She has been teaching voice and movement since 1994 and gives workshops in Germany, France, Denmark, and England. She became a Roy Hart Theatre teacher in 2003.

She opened a centre for voice and expression in Hanover, etage2, in 1998. This Centre works regularly with other teachers from Roy Hart Theatre. Edda has worked as a singer and performing artist in various projects in Germany, France, Italy, and Switzerland, as well as in performances at the Roy Hart Centre. Her latest work at the Centre has been as a performer in Cabaret Salamandre from 2007-08, which was directed by Flavio Polizzy.

Edda’s voice work covers a wide range of expressivity and musicality. Her main concern as a teacher is to help the student find their own vocal potential and style. She believes that: “The voice is not just an instrument – the voice is you.”

Roy Hart Voice Centre Hannover
etage2. Zentrum für Stimme und Ausdruck

Edda Heeg
Edwin-Oppler-Weg 5D- 30167 Hannover
0049 (0)511 131 90 21

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

14 - 19 July 2015The Moments in a Performing SituationUlrik ROMER BARFODregister

Directed by Ulrik Romer Barfod
Hours: 30 (9h – 14h)
Participants: 10
Price: €450

We will challenge and find trust in the richness of the moment(s), explore the freedom in the emptiness and enter a performing situation without a structure.
 Please bring some material, for example: movements, defined sounds, visions or sensations, that you wish to use as a starting point. If you wish, texts, songs and other structured material will also be welcome.

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Walli Höfinger


In my teaching I emphasis on the connection between movement, inner imagery and voice. I am always happy to find ways to bring out all the different colors of the voice and how to set them into an artistic context.

I started my artistic path in 1993  studying “New Artistic Media” with focus on performance art with Prof. Ulrike Rosenbach at the Fine Arts Academy of Saarbruecken, Germany. Along with my studies I worked as a dancer and performer in various dance-projects. Since 1996 I develop my own performances with movement/air-acrobatics, video-installation, sound, colored light and voice. I have performed my work in different european countries, but mostly Germany.

During 2005 and 2006 I wrote and performed a theatrical performance with the help of Judi Wilson/Montpellier, herself actress/Roy Hart voice teacher and director. Since then I am involved with artistic writing processes connected to voice.

Lately I collaborated and performed in the “Fermata Project”, an international theater-project, produced and directed by Barbara Simenson/Denmark and composed by Laila Skovman/Denmark.
I teach Performance Art, Movement and Voice since 2006. I have taught in Germany, Austria, France, Denmark and Spain. Since 2010 I am also a Roy Hart Center Voiceteacher at the Center.

I live and work  at the old estate Reichenow (close to Berlin), surrounded by artists from different fields.
My mothertongue is german, but I also teach in english and french.

Photo: © Hanna Lippmann

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

14 - 19 July 2015Voice Music Performance (Full)Jonathan HART MAKWAIAregister

Directed by Jonathan HART MAKWAIA
Hours: 38 (14-15 & 19 July: 9h30-13h & 14h30- 17h) & (16-17-18 July: 9h30-13h30 & 15h30-18h15)
Price: €570
Maximum number of participants: 12
Level: intermediary & advanced
Development of vocal and musical creativity with a view to performance. Each participant should come with a working project related to their personal interest in the voice & music. Letter of motivation requested. Priority will be given to those who have already worked with the Roy Hart Theatre.

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Christiane Hommelsheim


After completing her studies of video and performance art at the Art Academy of Saarbrücken, Christiane Hommelsheim began creating voice performances in which video plays an important part. These works include her 2010 live/video performance, shadows, fairies and me, created in Berlin and in Brussels.

Christiane also works as a singer, actor, and video artist for several dance and theatre companies in Germany, France, and Belgium, where she has frequently collaborated with Théâtre Agora (St. Vith) and Théâtre de la Vie (Brussels). She has been a member of the Roy Hart International Artistic Centre (Malérargues, France) since 2006 and teaches voice.
She regularly conducts workshops in Germany and abroad, gives private lessons in Berlin and does vocal coaching for theater and dance productions.

Photo: © Hanna Lippmann

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Nuria Inglada


Nuria Inglada Cardona (born in Barcelona 1968), actress and theater director. Degree in Dramatic Art by Institut del Teatre (Barcelona). Head of Theater Direction Department in Esad (Galicia). Her field of research is based in the personal connection of the artist and his or her artistic expression. She believes that creativity is a quality of every human being, and also likes working with non-professionals in order to help them to recognize their creativity and to let it grow. She is interested in the therapeutic power of art.

She has been working with Roy Hart Work since 2001 and is in her probationary year of becoming a RH teacher in summer 2011.

Contact: e-mail

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

14 - 19 Juillet 2015Conte sur ta voixAgnès DUMOUCHEL & Michèle LAFORESTregister

Directed by Agnes DUMOUCHEL & Michèle LAFOREST

Hours : 13 h 30 – 20 h
Price : 540 €
Participants : 12

Stage exclusivement en français

Ouvert aux conteurs qui ont déjà l’expérience de la scène et/ou du travail vocal. En partenariat avec la Nuit du Conte à Thoiras et le Centre Méditerranéen des Littératures Orales à Alès. Il comprend un travail pratique, une Conférence, des Spectacles.
Pour réaliser un travail individuel sur la voix, les gestes, la narration. Échauffements corporels/vocaux en grand groupe, travail personnalisé en demi-groupe. Expérience du public en fin de stage. Entendre son corps sonner, traverser ses émotions pour parler « vrai », inclure sensations et créativité dans la prise de parole. Sur le chemin : Voie, vois, voix et parle !

Plus d’infos sur (rubrique “stages”)

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Marya Lowry


Marya is an American actor, singer and voice trainer. A teaching artist for over 30 years, her primary area of exploration has been the integration of traditional and non-traditional approaches to voice, singing and acting training.

Marya pioneered the development of Ecstatic Voice and the Ancient Art of Lamentation for actor training and performance, which includes ethnic and non-western singing styles. Her Ecstatic Voice and Lamentation workshops span the US – including Boston, New York City, Chicago and California.

Internationally, she has conducted voice, text and acting workshops in the UK, Greece, Canada and France. Her workshops serve actors, singers, voice teachers, therapists and anyone interested in personal vocal exploration. She has coached actors on Broadway and Off-Broadway, in regional theatre, Shakespeare and Fringe Festivals.

Marya has been on the faculty of Brandeis University’s Professional Actor Training Program since 1989. Other university teaching includes graduate actor training programs at the Universities of California, Naropa and DePaul.

As an actress, Marya moves freely between traditional and experimental vocal and theatrical genres, performing in classical, contemporary and experimental theatre in the US and Canada. She is a founding member and resident actor with Boston’s award-winning Actors’ Shakespeare Project. (

Trained in ethnic Balkan singing techniques, she toured Bulgaria singing traditional Bulgarian folk music with Divi Zheni, under the direction of Tatiana Sarbinska.

Marya is a teacher and mentor to incarcerated women and girls.

She began studying with Roy Hart teachers in 1990, has been associated with the Roy Hart Centre as a guest teacher and performer since 1992 and received her RH Teacher diploma in 2011.

Marya believes, along with the poet Shelley, that “the soul’s joy lies in doing” and she delights in the unique journey of discovery with each individual student and collaborator.

Contact Marya Lowry

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

21 - 26 July 2015Human Voice (“Strings of Expression”)Véronique CAUDAL, Orly ASODY & Sulajma BALLINGregister

Directed by Véronique CAUDAL, Orly ASODY & Sulajma BALLING

Hours: 33 (9h30-13h30 & 17h30-19h)
Prix: €495
Participants: 14.

Each sound that we sing is a perfect expression of who and what we are. Our voice is a magnificent instrument with many strings, though some are rarely used. In our work we will try to uncover some of these muted strings, and to discover our unique ‘soul voice’.
The morning sessions will include warm-up, small groups of music atelier and individual singing lessons. In the late afternoon, we will all work together in a form of a ‘Roy Hart Choir’ singing polyphonic songs and improvising.
Open to all.

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Carol Mendelsohn


Carol Mendelsohn was living and working in Israel in 1981 when she met members of the Roy Hart Theatre.  Born in the United States, she moved to Israel in 1973 as a teacher and spent 5 years in a kibbutz and five years in Jerusalem.

Attracted by the the voice work of the Roy hart Theatre, she moved to France in 1983, joined the group and followed their training to become an actress in the company and a voice teacher. She still lives near the Centre in France with her partner Saule Ryan.

She has appeared as an actress in various productions: An adaptation of Moby Dick by Melville written especially for the Roy Hart Theatre with original music by Jonathan Hart and directed by Linda Wise. Moby Dick toured mainly in France, Spain, Italy and Belgium. An adaption of Sam Shepard and Joseph Chaiken’s “Tongues” with Saule Ryan and Jean Pierre Boistel (percussionist); A European Union supported performance of Euripides’ “the Bacchae”, directed by Barbara Simonsen from Arhus, Denmark.  Created a duet performance with Judi Wilson, directed by Rosemary Quinn; based on the story of Helen of Troy and her sister, Clytemnestra. Co-produced the original creation “Fermata”, based on the story of Charlotte Salomon and Alfred Wolfsohn.

Theatre is a passion that inspires her teaching. Her originality and generosity as a voice teacher have inspired many students.  She is now the chairperson of the Teacher Training Committee for new Roy Hart Theatre Voice Teachers.

Today she teaches in France at the Roy Hart Centre;  Bergen, Norway; Aarhus, Denmark; in the U.S.A. at Florida State University: Asolo Conservatory; University of Wisconsin; University of Minneapolis, University of Delaware and Naqropa University in Boulder Colorado.  In 2010 she also taught  in Cairns and Sydney, Australia.

Carol Mendelsohn: e-mail

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

21 - 26 July 2015From the Voice to Song / From the Song to the StageFlavio POLIZZY, Renata ROAGNA avec Annette MENGEL*register

Directed by Flavio Polizzy, Renata Roagna with Annette Mengel* (pianist)
Hours: 39 (9h30-13h & 15h-18h)
Participants: 12
Price: €585
Intermediate and advanced level.

This workshop is for everyone who has already worked with the voice: in song, dance, in the theatre and in the field of communication and teaching, and would like to extend their knowledge in their own artistic or professional engagements. (This workshop is open to all who have attended a Roy Hart voice workshop.)
Please à short CV or letter.
More info : e-mail

1.Mornings — 9h30 – Physical preparation relating to breathing, energy and space, dramatic character of vocal imagination: Collective warm-up and intensive work on breathing: awareness of the physiology of breathing and the production of singing voice. Breath: motor and heart of the voice. Vocal imagination through improvisation: voice and body theatrical exercises, exploration of sound, colours, and the rythmical richness of the voice.

11h00 — Singing lessons: individual and in small groups : The dynamic process from breath to sound; Balance and posture; Capacity to relax and feel your body awareness; Technique of the singing voice: vocalisation, legato, “linea di canto,” developing register capacity, colour and dissonant harmonies.

Afternoon: 15h /18h — Interpretation and stage work (individual): We will take the time to experience the stage – feel it with body and voice as a whole: Personal interpretation of a song;  dramaturgic relation between text & notes; expression of the voice; presence, space and economy of silence; staging in relation to the cabaret world (5 days working with a pianist).

Important: We ask all participants before the beginning of the workshop- to propose a personal list of sheet music: arias, lieder, folk songs, popular songs…
Please bring a song learnt by heart. We will propose other works from authors and composers of our choice.

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Paula Molinari


Paula Maria Aristides de Oliveira Molinari

Ph.D. in Communication and Semiotics at PUC / SP (2010) – the line of research culture and media environment is Master in Speech and PUC / SP (2004), Practice Specialist degree in Instrumental and Singing for the School of Music Carlos Gomes and Roy Hart Voice Teacher held by the Centre Artistique International Roy Hart – France (2008). He is currently coordinator of the graduate music course and graduate course in Music Education, a professor in the course of history with the History of Art, studying music with the disciplines Structuring Language and Music, Music Perception, Vocal Technique and Pedagogy Wolfsohn, Complementary Instrument and Piano in nursing program with the discipline of Scientific Methodology in the course of post graduate degree in Art Education with the disciplines and methodologies Musicalization Limpo Paulista School FACCAMP. She is a professor of John Paul II School of Marília – FAJOPA in an extension course in Liturgical Music and Song and teacher in the diocesan seminary of St. Pius X in the discipline of Liturgical Music and Singing. CELMU Professor of Vocal Technique with the courses, music theory and musical perception. It’s musical adviser CNBB and MEMBERS of the Editorial Board of the Journal of Education Apredizagem FACCAMP / WEA. She is the founder and director of the International Theatre Latin Wolfsohn and Hart Voice Work.

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Enrique Pardo


Enrique Pardo

Actor, director, painter, writer, specialist in Greek and Roman mythology, he is the director, with Linda Wise, of Pantheatre, a company, based in Paris and at Malérargues, founded in 1981 with the solo performance Calling for Pan, which assembled Enrique’s main performance interests: choreographic theater, voice performance and mythology. He met Roy Hart and the Roy Hart Theatre in London in 1969. His main voice teacher was the late Liza Mayer who became president of Pantheatre, the first independent company to emerge from the Roy Hart Theatre. Pantheatre organizes performance and training projects with companies and artists who have trained with PANTHEATRE ACTS (Choreographic Theatre Acting Singing), a professional training program in France, with projects in Chile, Brazil, Milan and New York. He was born in Peru, of Spanish origins, of French nationality. He studied Fine Arts at Chelsea School in London and taught at University of London, Goldsmith College. The American writer and psychologist James Hillman is the honorary president of Pantheatre and of the Myth and Theatre Festival, established in 1987. His work is Pantheatre’s main intellectual and cultural reference.

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

28 July - 2 August 2015A Journey Through Your VoiceMarianne LE TRON & Véronique CAUDALregister

Directed by Marianne LE TRON & Véronique CAUDAL
Hours: 33 (14h30 – 19h30)
Price: €495
Participants: 12

Open to all.

The themes covered by the human voice workshops (the connection between voice and body, development of your vocal potential, breathing, improvisation) will be explored and developed, and you will be encouraged to delve deeper into your own creative abilities. Using a variety of means such as songs, snatches of melodies, rhythms, vocal qualities, corporal movements, words, sentences… allow your inner potential to come forth and to express itself. Come and create your own music both to feel a greater closeness with your self and to feed the collective creative process.

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Ralf Peters


Ralf Peters, born in 1964, is a voice performer and voice teacher from Cologne/Köln (Germany). While studying philosophy he met the Roy Hart teachers Paul and Clara Silber and started to work with them intensely.
He works as radio announcer and does literature readings. He has a internet portal with recordings of readings (

In his institute “stimmfeld” he and his partner Agnes Pollner teache voice work for everybody from those who think they cannot sing to professional singers and actors.
He offers workshops for authors to learn how to present a text.
He gives seminars to people in the nonartistic professional world (Voice in job)
His work is strongly rooted in the tradition of Alfred Wolfsohn and Roy Hart. Freeing the voice is not a question of technique but of listening and allowing the voice to move where it wants.

As a performing artist he is looking for new “languages” and ways to use the extended voice on stage.
Together with Agnes Pollner he is the artistic director of  the ensemble “KörperSchafftKlang”, that creates theatre, music and performance productions with and around the extended voice.
He is the president of the association “stimmfeld-verein”, that supports the activities around the extended voice and the artists included.

As a Doctor of Philosophy he is always keen finding words to write about the singing process – as much a never-ending story as the singing process itself!
See “Wege zur Stimme” Unverzagt Verlag 2008 (

Further information:
Ralf Peters: e-mail

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Margaret Pikes


Even as a child I was fascinated by the power of the voice and I began folk singing in public in my teens with three school friends. I heard about Roy Hart’s work through my childhood friend, Vivienne Young. As I was frustrated by the way my pure soprano voice did not express the fury in my soul, beginning to work with Roy felt like a liberation.  I joined the group when I was 19 years old and studying philosophy and sociology at university, in the mid-60′s. I participated in the first performances we gave as the Roy Hart Theatre in London including ‘The Bachae’, ‘The Economist,’ and was asked by Roy to teach in the first Roy Hart Theatre workshops in London in the early 70′s. I have continued to lead voice workshops in Malérargues and internationally ever since. I was voice teacher at the Conservatories for Dramatic Art of Liege and Brussels for four years.

I moved with the group to Malérargues in 1974 and participated in most of the early performances we produced in Malerargues after Roy’s death including,‘ The Tempest’, ‘De Vive Voix’ and ‘Music for Marsyas.’  I also began to develop a career as a singer in other musical contexts: I was the soloist in the ‘Canto General,’ (by Mikis Theodorakis and Pablo Neruda) and had the great pleasure to be the soloist (with Petros Pandis) for the première of this oratorio, in the USA. I also performed with Michèle Bernard in her show ‘Des Nuits Noires de Monde’ 1990 – 1992. I have created several different song performances and collaborated with musicians and composers, such as Michel Arbatz, Alain Joules and Christophe Lombard. While living in Togo, (1995 – 2001) I performed regularly with the jazz trio Anima and also collaborated with the Togolese singer Joe Coo.

I left Malérargues in 1989, adopted my son in 1992 and lived and worked as a teacher and singer in Montpellier, then for 6 years in Togo (West Africa, ) and then in London. I now live and work in Cologne (often also in London and Malérargues) and continue to enjoy both singing and teaching vocal expression.  As I learned from Roy Hart, I believe that exploring and developing the voice can be a powerful tool to help personal development and artistic expression, when it is linked to a disciplined and open-minded exploration of life and human relationship.

Margaret Pikes: e-mail

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

28 July - 2 August 2015Human VoiceKaya ANDERSON & Zwaansje DE VRIESregister

Directed by Kaya Anderson & Zwaansje De Vries
24 Hours  (9h – 13h)
Price: €360
Participants: 12

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

28 July - 2 August 2015Voice Music Performance (Full)Jonathan HART MAKWAIAregister

Directed by Jonathan Hart Makwaia
38 Hours (28-29-2: 9h30-13h&14h30-17h / 30-31-1st: 9h30-13h30 & 15h30-18h15)
Price: €570
Participants: 12
Level: intermediary & advanced

Development of vocal and musical creativity with a view to performance. Each participant should come with a working project related to their personal interest in the voice & music. Letter of motivation requested. Priority will be given to those who have already worked with the Roy Hart Theatre.

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Flavio Polizzy



After my theatre training ; work as an actor and singer with the company   Teatro del Canto  in Turin ; important meetings with artists like Julian Beck and Judith Malina from the Living Theatre  ; Zygmunt Molik from the Theatre Laboratory of Wroclaw, directed by J. Grotowski, ; Tage Larsen of the Odin Teatret ; Giovanna Marini

In 1981 in Turin I meet the Roy Hart Theatre, touring with 2 shows «  Pagliacci » and « Calling for Pan » I take part in a workshop directed by Kevin Crawford… very touched by the work proposed both vocally and physically, I decide to go deeper into this work.
For two years I travel bertween Italy and France. In April 1983 I move to Malérargues in the Cevennes to join the company. At the same time I carry on with my thesis «  The Voice as Anthropological Character » under the direction of F. Masali, director of the Anthropology Institute of Turin. With this thesis I receive my diploma from the Higher Institute of Physical Education at the University of Turin.
From 1985 I start to teach voice as a Roy Hart Theatre teacher.
In 1986 I take part in the creation of Moby Dick , R.H.T ; we tour this show in France, Italy and Spain… in 1988  Les Troyennes R. H.T ; in 1990  ABC de notre vie , R. H. T.
In 1991 I direct the show «  La Folle Nuit » . Created at the Festival du Minervois with 30 performances throughout France. Renata Roagna, Hélène Golgevith, Marie-Paule Marthe, Derek Rossignol, Coco Samuels, Kevin Crawford and Saule Ryan all take part.This show gives birth to the third independent company coming out of Malérargues : the company Amadée. which supported by the cultural body of the region, the DRAC, from 1991 to 1994, stays in residence at Malérargues until 1999 when it moves to Montpellier.
The Company Amadée continues to receive regular grants from the DRAC, the Conseil Régional, the Conseil Général de l’Hérault, and the town of Montpellier, and is employed by the Ministery of Culture, the DRAC, in the teaching of theatre in the higth-schools in Ales and Montpellier.
In 2011 the Company Amadée takes over in Montpellier a new work space for teaching, research and creation , all in the domain of the voice.

In France as an actor/singer I am directed by  :
Linda Wise « Moby Dick » Roy Hart Theatre – 1986
Vicente Fuentes « Les Troyennes » Roy Hart Theatre-1988
Robert Harvey « ABC de notre vie » Roy Hart Theatre -1990
Kewin Crawford « Merlin » Compagnie Amadée 1992
Yves Gourmelon « Les Arabes à Poitier – Théâtre au Présent – 1995
Jean-Claude Fall « L’Opéra de quat’ sou » CDN Théâtre des Treize vents 1997
Michel Simonot « Settembr(i) » – Cie.Amadée -Festival International ,Teatro a Corte - 2010
With the Company Amadée  I direct :
S. Giannotti/N. Rota -Une Vie al Dente  – ATP de Nîmes –(2010)
Wallace/Reinert Bagdad mon Amour – Théâtre du Hangar – Montpellier (2008)
Erri De Luca -Aller Simple…- Festival du Cinéma Méditerranéen Montpellier (2007)
N.Wallace Au coeur de lʼAmèrique – Théâtre Gérard Philipe-Champigny sur Marne (2005)
Theodorakis/Manda Mia Thalassa – Festival Voix de la Méditerranée – Lodève (2004)
F.Pessoa Le Marin – Théâtre dʼO – Montpellier (2002)
C.Salomon Cʼest toute ma vie – CDN. Théâtre des Treize vents –Montpellier (2000)
Brecht/Weill Comme un nuage la nuit – Théâtre dʼO – Montpellier (1998)
J.P.Spilmont Béatrice et Francesco – Chai du Terral – Saint Jean de Vedas (1996)
Euripide/Delarue Les Troyennes – CDN. Théâtre des Treize Vents – Montpellier (1994)
Mancinelli / Polizzy La Folle Nuit – Festival du Minervois – Minerve – (1991)

e-mail – tel: 0033- (0) 6 84 81 16 81 – Roy Hart Center Montpellier

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Saule Ryan


Saule met Roy Hart and the Roy Hart Theatre in London in 1970 while still a student of photography. He was so ‘bowled over’ not only by the power and range of their voices but also by what he observed as a deep commitment to both their own personal development and to that of their colleagues that soon after  he joined the Company and started to receive voice lessons. Much to his surprise and pleasure, the shy, retiring photographer soon found himself rehearsing and performing, in some of the very experimental pieces that the Company put on in London up until its move to France in 1974-75, and he  went on to perform in many RHT performances through the 70’s and ‘80’s.

In the late 1990s he performed in a European production of “The Bacchae” and a piece of musical theatre “Tongues” written by Sam Shepard and Joseph Chaikin. More recently, in April 2010, he was very happy to perform with Kaya Anderson and several younger  Roy Hart members in « Fermata », a vocal and theatrical piece about the meeting between Alfred Wolfsohn, Roy Hart’s teacher and Charlotte Salomon, the young German Jewish painter who tragically lost her life in Auschwitz in 1943.Barbara Simonsen wrote and directed the play and Laila Skovmand composed the music.

In the 1980s Saule studied movement with the dancer Dominique Dupuy and the mime artists Claire Heggen and Yves Marc, co-founders of the Theatre du Mouvement. He also took part in many theatrical experiences combining voice and movement, directed for the most part by Enrique Pardo of Pantheatre. These and other movement teachers like Robert Harvey  of the RHT were important influences for him on his path to becoming a teacher of voice and vocal expression.

He  began  teaching in 1977. First in Europe and then in the USA, where he teaches regularly in theatre programmes at the Universities of Delaware, Minnesota, Wisconsin and the Asolo Conservatory  in Florida. He has also taught at the Universities of Brandeis, Roosevelt and Naropa and at Yale Drama School . Closer to home he has worked with the Swedish choreographer Lena Josefsson and her dancers many times and he  taught at the National Centre for Contemporary Dance in Angers, France, for 15 years. He  teaches regularly in Aarhus, Denmark, and in Malérargues where he has co-directed the October vocal intensive workshop   with Carol Mendelsohn since its inception in 1991.

Saule’s Teaching Approach
Saule likes to bring out the actor in everyone by calling upon archetypal characters and situations that require a direct, physical engagement of body, voice, and the imagination. It is a playful approach to voice teaching that encourages the pupil to ‘forget’ about technique and allow himself or herself to tap into the immense source of creativity and spontaneous communicability that we all possess.
He has worked often with dancers over the years both as pupil and as teacher and has developed many exercises linking voice, body, and text. His warm up classes include relaxation and breathing exercises to help ground the pupil before jumping into more dynamic and exploratory voice work He enjoys working with both soloists and choruses.

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Paul Silber


As a young man, living in London, I trained to be an actor. I first worked in repertory theatre in the English provinces and later in London’s West End theatre. In 1963, aged 25, I met Roy Hart.  He was to have a profound effect on the whole course of my life. Over the next five years, I slowly removed myself from the professional stage in order to give myself over entirely to Roy’s work. I became a close friend of both he and his wife, Dorothy. I appeared in all the performances that were directed by Roy, first as the Roy Hart Speakers, then as the Roy Hart Theatre: “The Bacchae”, “And”, “Mariage de Lux”, Ich bin”, ”l’Economiste”.

In 1975, near Nice, while on tour with “L’Economiste” I was the only survivor of the tragic car accident in which Roy, Dorothy, and Vivienne Young died.

Life continued for me. At Malérargues, we were all striving hard to set up the Roy Hart Theatre in France, under a collective directorship. I took part in the revised “L’Economiste” and Shakespeare’s “La Tempête”. Then from 1980, with my wife, Clara, we set up a voice centre in Geneva, which we ran for many years, giving workshops, individual lessons and creating several of our own performances, as well as, student productions. In the 80s and 90s, we animated workshops and performed in several European countries. Between working sessions, we returned to Malérargues where we built a beautiful house on the base of the old greenhouse of the Château.

Since 1998, I have specialised in researching into the extensive library of audio recordings created by Roy Hart during his lifetime. From these recordings, I have managed to create some important digital compact discs demonstrating the origins of the work of Roy Hart and that of Roy’s teacher, Alfred Wolfsohn. To mark the 25th anniversary of Roy and Dorothy’s deaths in 2000, Clara and I wrote a book, accompanied by an audio CD, called “A Celebration of Life”. More recently I have been responsible for creating and maintaining a website of the Roy Hart Theatre Archives at showing both the history of the theatre and its founders, as well as, some of its current activities.

From time to time, we still give workshops in the Roy Hart Centre at Malérargues, where we continue to live. I am especially interested in giving individual classes where I can follow the specific needs and wishes of my pupils over an extended period of time.

Paul Silber: e-mail

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

4 - 9 August 2015Voice in Performance ArtRalf PETERS & Agnes POLLNER*register

Directed by Ralf Peters & Agnes Pollner*

Hours: 30 (10h-13h & 14h30-16h30)
Participants: 12
Price: €450
Level: intermediary & advanced

In this workshop we will explore the possibilities of the extended voice in performance art (as opposed to performing arts!). How can working with the voice open passageways to the immediacy of performance? How can our understanding of what a performance is unfold by using the voice and its interplay with body and space? We will develop voice performances that will be shown at the end of the workshop. Participants should have some experience with Roy Hart voice work and/or experiences on stage.

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Clara Silber-Harris


My first encounter in 1971 with the work of the Roy Hart Theatre was indeed a biological shock. I had been involved in political theatre, passing messages through text using a lot of words. Here, suddenly, in the performance, And, was a theatre with no words but a panoply of sound and movement that created images that were terrifying, riveting, and touching. Even after one performance, my perception of sound, all sounds, was drastically different: a tramp shouting on a park bench, a child laughing, the wind whistling. So too, my attitude towards theatre changed. Roy Hart worked with theatre off stage as well as on, and this made a difference in my awareness of the world. I joined the Theatre, and Dorothy Hart, Roy’s wife, was my teacher. With infinite care and love, she pummeled and coaxed me, vocally, physically, and psychically, into greater areas of being-ness.

After Roy, Dorothy and Vivienne’s tragic deaths in 1975, Paul Silber and I set up a voice centre in Geneva where we gave individual lessons and workshops and created performances, both with our students and for ourselves. My teaching direction is still influenced by those early lessons with Dorothy; it could be said to be: finding freedom within a structure and of revealing the richness and diversity within each person. My earlier biological orientation from my University studies still feeds me with life images and a love of nature, and my current sound-body research is nurtured by a keen interest in Qi Gong and Chinese energy theories.

After a long time of spending most of the year teaching and performing in different European cities, we are now permanently based at Malérargues, where Paul and I live in the house that we built out of the old greenhouse of the Château. We sometimes give workshops at Malérargues. Some few years ago, I created several performances with students from the region. I hope to repeat these ventures. I now spend more time writing. After all these years, my material has to be some how related to the singing process, whether involving nature or a monologue by Charlotte Salomon (a student of Alfred Wolfsohn’s in the ‘30s).

To fulfill a need at Malérargues, Paul and I have created a beautiful space, which houses the Roy Hart Theatre Archives and serves as a document and audio library and a place of study. Paul has created the archives website ( and we both try to keep the material organized and available, in order to give students a context for their voice classes.

Clara Silber-Harris: e-mail

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

4 - 9 August 2015The Teachers of a “Generation”Ian MAGILTON avec Kaya, Marianne, David, Saule, Carol & Saso Vollmaier *register

By Ian Magilton, Kaya Anderson, David Goldsworthy, Saule Ryan, Marianne Le Tron, Carol Mendelsohn & Saso Vollmaier*
24  Hours  (9h –13h)
Price: €360
Participants: 12
Level: intermediary & advanced

A unique chance to work with six founding members, who constitute the cast of the latest Roy Hart Theatre Production, ‘Generation’. The common theme will be the creation of the performance, which the members of the cast and its composer will approach each in their own individual way.
The mornings will begin with a group class given by the different teachers to warm up the body, voice and imagination. Followed by small group and individual lessons and then music sessions with the composer, Saso.

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Rosemary Quinn


Rosemary Quinn is the Director of the Experimental Theatre Wing at New York University’s Tisch School of the Arts where she teaches Acting, Improvisation and Self-Scripting. She is an Associate Arts Professor of Theater and the Associate Chair of the Drama Department. She has lived in New York City’s Lower East Side for over twenty-five years, working as an actress, director, teacher, arts administrator and producer. She has originated roles performing in numerous experimental theater productions with The Other Theater, The Talking Band, Mabou Mines, The Roy Hart Theatre of France and Theatre for a Two-Headed Calf, among others. She frequently collaborated with the director Joseph Chaikin and has performed in a number of Jean-Claude van Itallie’s plays including Sunset Freeway, which was written for her. Rosemary will be directing Jean-Claude in a solo performance in September of 2012 at LaMama in NYC and will be returning to LaMama in December to perform with the choreographer Molissa Fenley.

Rosemary has studied the voice work of The Roy Hart Theatre since 1983 and has been a Roy Hart Voice teacher since 1989. She teaches workshops and has directed productions at their center, Malérargues, in the south of France in the summer. Rosemary is married to Jonathan Hart Makwaia. They have two daughters.

Photo: © Hanna Lippmann

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

11 - 16 August 2015The Voice at PlayDavid GOLDSWORTHY & Marianne LE TRONregister

Directed by David Goldsworthy & Marianne Le Tron
30 Hours  (14h -19h)
Price: €450
Participants: 12
Open to all

An open workshop to to engage “pleasurably” with sound and breath, the speaking and singing voice, creative expression, improvisation;
- collective body and voice warm ups with vocal “games” and improvisations.
- individual vocal training in 2 small groups
- collective singing and improvisation “laboratory”

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Laila Skovmand


Singer, Composer, Voiceteacher.
Graduated as singer from The Royal Academy of Music, Denmark in 2001, specialized in “wordless” singing.

Roy Hart teacher 2006. Worked with the method since 1996, where she spent half a year at Mallerarque. Taught by Carol Mendelsohn, Saule Ryan, David Goldsworthy, Jonathan Hart, Derek Rossingnol, Kaya Anderson and Marianne Le Tron.

A huge passion for the voice has turned into an eternal exploration of the amazing and manifold expression of the voice.  Specialised in working with the individual and expressive voice in musical contexts balancing between individuality/community,  inner/outer world and acting/listening. Singer, teacher and composer in several dance and theatre performances and in her own band Laila & Symfobia.

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Laurent Stéphan


Laurent Stéphan is a french actor, singer and voice teacher. He was born in Paris in 1965.

He discovered the Roy Hart Theatre work in 1986, first with Pascale Ben and then with many other teachers in Malérargues between 1987 and 1992. In 1992-93 he performed « Les Epoux-épouvantails» (directed by Marie-Paule Marthe and Renata Roagna), a show by Compagnie Amadée, one of the companies which evolved from Roy Hart Theatre.

He worked for some years with the french theatre directors Philippe Genty and François Cervantès on shows touring all over the world. In 1995, he fell in love with the traditional three-parts songs from Georgia, in the Caucasus mountains. Since then he has visited that country more then 10 times in order to learn songs with the eldest and best singers there.

In 2010, he obtained the Roy Hart Theatre Voice Teacher’s Diploma and also the National Diploma for Teaching Theatre (Diplôme d’Etat d’enseignement du Théâtre).

When teaching groups, Laurent Stéphan likes to combine two different themes:

- Playfulness and spontaneity with many exercices and games where the voice can pop up and sound freely.

- Musical and rythmical accuracy, learning two-and three-part traditional songs.

Laurent Stéphan speaks French, English, Italian and Spanish.


He has been singing the georgian repertoire with three groups based in France (Trio Djamata, Trio Mze Shina and Ensemble Marani), they give concerts and already recorded 3 CDs (“LE SOUPRA”, “SOLEIL INTERIEUR” and “KIRIALESA”)

From 2003, he has also been singing italian polyphonic songs with the vocal male quatuor Tempo ideale (CD “4 voix al dente”)


Laurent Stéphan is performing his own solos:

Pierre Rivière, l’âme du crime

(please go to to see more details and a video)

Steppa his second solo piece was created in March 2010

He also works as a performer for other companies.


Mobile phone: 00 33 6 23 04 15 04

Laurent Stéphan: e-mail

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

18 - 23 August 2015A Thousand and One Voice/ Vocal Improvisation on StageFlavio POLIZZY & Annette MENGEL*register

Directed by Flavio Polizzy & Annette Mengel* (composer, pianist)
Hours: 36 (9h30-13h & 15h-17h30)
Price: €540
Participants: 12
Level: intermediary & advanced

Please send a short CV. or personal letter and for more information : e-mail

A workshop for everyone, who has already worked with the voice; in song, dance, in theatre, or the field of communication and who would like to extend their knowledge in their own artistic or professional engagements. Preference to those who have previously attended a Roy Hart voice workshop.
Mornings: 9h30-11h30: Physical preparation relating to breathing, energy, space, dramatic character of the voice; voice and body theatrical exercises, exploration of sounds, colours, and rythmical richness of the voice.
11h30-13h: Work with piano accompaniment:  individual and small group singing lessons; techniques of the singing voice: vocalisation, legato, “linea di canto”; increasing register capacity, colour and dissonant harmonies.
Afternoons: 15h-17h30: VOCAL IMPROVISATION ON STAGE. We will take the time to experience the stage – feel it with the body and voice as a whole. We will experiement with vocal improvisation in different systems: solo, duets, trios, quartet… Songs, texts and images will be our inspiration.

**IMPORTANT. Please bring personal texts: from poems, theatrical monologues, letters, stories, etc. Songs, arias, lieder, folk songs, popular songs;  painting reproductions… images.

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Susanne Weins


Susanne Weins was born in Germany in 1964.
She studied rhythm and music at the Folkwang Conservatory in Essen, Germany, becoming registered music teacher in 1996. She is also a registered physical therapist with an additional degree in F.M. Alexander Technique.
Susanne Weins began to work with the Roy Hart Theatre in 1984. From 1984 to 1994 she worked  manly with Marita Günther,Robert Harvey. Then with Jonathan Hart-Makwaia ,Rosmarie Quinn- Makwaia. During this time she worked in the fields of teaching voice development,  theatrical and musical improvisation,  voice and movement, and interpretation of songs and poetry. In 2003 Susanne Weins became Roy Hart Teacher.
In 2005 she became a certified  speech and language teacher with an degree of (DGSS)
Since 1997 she has been teaching voice and movement for professional dancer, actor and performer , and happy newcomer  at the tanzhaus nrw,.She accompanies diverse art and dance  productions and produces her own Performances with different  companies and solos as a singer and performing artist in Düsseldorf, Germany.
You can find detailed information under

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn

Linda Wise

Please see this link

Share on FacebookTweet about this on TwitterShare on Google+Share on LinkedIn