Roy Hart International Arts Centre
Founder member, from London in 1974. Works as an actor and producer of theatre in Norway and at the Roy Hart International Arts Centre of which he has been president since 2009.
“The task of the CAIRH is to bring together and promote, in a professional and democratic way, all the unique voices of the heritage of Roy Hart Theatre and to maintain the ethical profundity of AW and Roy’s vision”.
Member Roy Hart Théâtre from 1978. The singing /spoken voice from the singing lesson to the vocal creation passing by the helping relationship ‘s listening. The C.A.I.R.H is a singular stage. We wish for this tool to work for the singing /spoken voice and to be the crossroad of our artistic creations and cultures
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 .
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
Of Spanish origin, born in Valencia in 1955, I discovered the voice work in Malérargues in 1995. I return regularly to work, among others, with Jonathan Hart-Makwaia and Rosemary Quinn.
I am part of the project “Muttersprachen/mother tongues”, a piece for 15 voices directed by Agnes Pollner and Ralf Peters, performed first in 2009 at the Théâtre de l’Orangerie in Cologne.
I live in France in a suburb west of Paris where I administer the schools of my town.
I was elected to the Board in August 2010.
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”.
