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


Kaya M. Anderson


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.

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Richard Armstrong


Richard Armstrong’s work as teacher, director, and performer has taken him to over 30 countries. He has been part of the music theatre faculty at the Banff Centre, Canada since 1985. He is currently Associate Arts Professor for New York University’s Experimental Theatre Wing at the Tisch School of the Arts and teaches for theatre companies, universities and opera schools around the world:

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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 /

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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

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Pascale Ben


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.

Contact Pascale Ben

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Orly Asody Bergman


“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’.”

Orly Asody Bergman is a composer, pianist and Roy Hart Voice Teacher living and working in Tel Aviv.
Contact Orly per e-mail

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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

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Véronique Caudal


Veronique is musical pedagogue and a singer. She works in a music school since 18 years, where she teaches musical awareness and music to classes of schoolchildren.  She is she involved with very varied musical projects in the school context. She is a singer and plays guitar and she recorded her own compositions and arrangements of children’s songs in a CD called “les jeunes pousses ” (“the young seedlings”).

She also participated as an actress and singer in two shows. The one for toddlers and young children « Douce écaille, poisson bleu » (“Sweet tortoiseshell, blue fish”) and the other “La Bonne Odile” (“Good Odile”) where she performed songs, surrealistically staged in a vocal trio with piano accompaniment.
Since September 2008, she sang in a vocal trio “Izvan” polyphonic songs of the world with a predilection for singing songs of the Balkans and the Caucasus: Bulgaria, Croatia, Macedonia, Armenia, Albania, Hungary, Russia …
Since 2006, she teaches voice to adults drawing on the work of Roy Hart Theatre in workshops and since 2010 she is also teaching individual lessons.

Contact Veronique Caudal: e-mail

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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”.

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Maryline Guitton


French singer, actress, performer and voice teacher living in Paris.
Born in 1973, she teaches voice in professional drama schools (Atelier Blanche Salant, Point Fixe) and gives private lessons in Paris. She is a voice coach for dance and theatre shows. 

In june 2013, she released a 2 tracks single with her french song project “Chrysopée”. She performs as an actress for physical theatre contemporary creations and as a performer with VJs, musicians… She is part of “Sororité”, music and performance based trio. 

She trained with the CAIRH and Pantheatre, and in some other vocal techniques: bel canto, jazz, musicals, slam… She trained physically with yoga, tango, corporal mime and is currently interested in sensorial mouvement.
Teaching blog (in french):
Sororité trio:
Extracts of her solo piece « Une Étrange Demoiselle », directed by Enrique Pardo.

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Miguel Alonso Gutierrez


Born in México City his professional activity range from acting, producing, directing, coordinating cultural events and teaching.
He started his career as an actor, focusing primarily on the work of masks with Canadian director Glennys McQueen and subsequently with French director Jean Marie Binoche. In Body Awareness Center, he teaches a degree in movement Analysis with Rudolf Laban´s technique. As stage director and producer he has performed multiple projects for theater, opera, music and television. He teaches the voice class of the theater degree at Universidad Autonoma de Sinaloa (Autonomous University of Sinaloa) and directs the deaf theater company in Culiacan Entre Manos.
Founding member of the 1st deaf theater company in Latin America Seña y verbo, founded in 1993. Founding member of Grupo Piensa, dedicated to the implementation of creative processes for institutions, and universities .

Experience With Roy Hart Theatre
In 1982 I met the Roy Hart Group in a theatre festival organized by UNESCO in the city of Zacatecas, México. I had the great opportunity to attend a workshop with Kozana Lucca. In 1986 Richard Amstrong came to México City and I took a course with him and also had my first individual lessons.
Two years later, Richard came back to México City, and once again I attended his workshop. Those first experiences allowed me to continue exploring the Voice with profound meaning, as learned from Kozana and Richard.
In 1995, as a stage director of opera I start to work in a different way with singers, trying to help them find a communion of voice, body and emotion. In 1999, in the II Encuentro Internacional de Teatro del Cuerpo, I came in contact once again with Kozana. It was during this workshop that I and several other persons decided to create a group following the philosophy of Roy Hart and asked Kozana to be our Mentor. In that process, our group “Son Voces” presented a performance called “Voces Secretas y Profanas”. In 2000 I became the Voice teacher in a special training course for actors. I began to give voice lessons in different universities, schools and institutions, teaching according to the principles of the Roy Hart Company.
As a consequence of our experience with Kozana the group “Son Voces” organized encounters with many people interested in exploring the Voice.

During those years Kozana was very closely in touch with us and several times came to México City in order to follow up on our process as a voice teachers. In 2001 Kozana came to Mexico and worked with the group for one full month. We also assisted her in several workshops in Mexico City and Oaxaca.

• In 2002 “Son Voces” created a new show called “Suseso Creativo.”
• In 2003 Enrique Pardo and Linda Wise travelled with “Pantheatre” to Mexico. With them I discovered new ways to work the Voice.
• In 2004 the experience with “Pantheatre” motivated me to start teaching Voice to dancers, as well as continuing to work very hard with my group, performing as well as giving conferences.
• In 2006 Kozana was invited by the University of Hermosillo to come to México and the group Son Voces Shared the process with Kozana.
• In 2007 I travelled to France to attend a workshop with Jonathan Hart and obtained the RHT voice teacher certification.
• In the summer of 2008 I shared a workshop with Kozana in Malerargues about voice and sign languages

Miguel Alonso Gutierrez: e-mail

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David Goldsworthy


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.

Le Puech, 30140 THOIRAS,
tel: 0033 4 66 61 64 73 / 0033 6 72 71 45 96

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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

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Anne Heeg


Anne Heeg is an actress, singer and voice teacher.

She is has both trained as an architect and actress and played in the ´90s in different theatre companies in Germany.

She started at the Roy Hart Theatre in 1988 and worked with Marita Günther, Robert Harvey, Rossignol, Kaya Anderson, Jonathan Hart-Makwaia and Rosemary Quinn. Later she received her formation as a Roy Hart teacher from Marita Günther and Robert Harvey. She teaches voice and movement herself since 1994.

Foto: Alex Lipp

In 2002 she opened a studio at the Kampnagel Theatre in Hamburg, Germany, where she teaches voice and movement for individuals and groups. She gives regularly workshops all over Germany.

The main objective of her work is to explore and develop the individual potential and expression of the human voice. Her teaching aims at the awareness and interplay of the voice, breathing and the body, in search for an individual expression of life, to make the inner voice sing.

Contact Anne Heeg per e-mail
0049-40-27 88 99 26

Foto: Alex Lipp

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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

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Mechthild Hettich


Mechthild Hettich is living and teaching in Bremen, Germany. In 1989 she started to explore her voice with teachers of the Roy Hart Theatre. Her main teachers have been: Marita Günther, Robert Harvey, Jonathan Hart-Makwaia and Rosemary Quinn.
Since 1996 she gives lessons on voice at several levels: a) Absolute beginners (also people who think they cannot sing) are welcome, b) people who want to explore their voices in all colours and c) musicians, who are interested in the connection of voice and instrument.
Mechthild Hettich’s deep correlation to nature roots in her first profession as a gardener and garden-architect. Nature and voice is another focus in her teaching and performing: She created several “gardensongs“ and accompanied herself with the accordion.

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Walli Höfinger


Walli Höfinger
Performer, Performance Artist, Voice Teacher, living in Berlin, Germany.
Roy Hart Voice Teacher since 2009

Movement, musicality, imagination, improvisation, experiment, writing, composition

For me singing is about listening and connecting through the voice. Listening with the soul through the body or through the body with the soul – the voice makes it audible.

My focus in sharing the voice work with others lies in listening. Listening with the whole body, listening to ones inner voice, listening to the poetical and musical voice of oneself and others. This focus lays the path for connection to each persons voice and developing artistic expression from there.

Walli Höfinger is an Austrian performance artist, voice performer and Roy Hart Voice Teacher. She works equally solo and in different formations together with artists of other fields in interdisciplinary projects. She originally studied “New Artistic Media” with Ulrike Rosenbach in Saarbrücken, parallel she started working in the contemporary dance field. Since then develops her own original work focusing on movement, video-installation, composition and voice. She is regularly teaching voice-workshops in Germany and all around Europe.

Walli has worked with Richard Armstrong, David Goldsworthy, Jonathan Hart Makwaia, Marianne Le Thron, Carol Mendelsohn, Saule Ryan, Rossignol, Judi Wilson, Linda Wise.
She speaks german, english, french.

Contact: e-mail

Walli Höfinger, Performance Art,
Die Eigene Stimme, Voice Teaching,

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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

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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

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Esther Knappe


singer, dancer, voice coach:

At the tender age of five, I began singing in my mothers choirs. But after school I trained as a professional dancer in Berlin and Cannes. For several years I danced in Ballet Companies and independent  dance and theatre productions.

Many years later I took on the challenge of singing again. After nearly two years in classical singing, I discovered in 1994 the voice work ot the Roy Hart Theatre, which has inspired and influenced me ever since:

Now I dance with the voice.

My training was enriched by workshops like “voice and movement” by Monika Pagneux (Ecole Lecoq, Paris) and Yoshi Oida (Ensemble of Peter Brook) and many others. With Esther Schwab, Besides other artistic activities, I created the Duo “Esther”Esther”, and the two Esthers sang together for a couple of years.

In 2006 I became member of the CAIRH, and gently began to integrate this rich work in my classes of dance and movement before starting as a voice coach. Now I regularly give workshops and individual lessons in Switzerland and Germany, mainly in Zürich, Lausanne and Geneva. Since 2011, I am also a Roy Hart Voice Teacher.

As a former dancer, I propose to find the roots of the voice in the body, trying to create a playful and confident atmosphere so that everyone feels at ease to go further, towards the beauty of the natural voice, clarity in expression and the joy of being creative.

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Michèle Laforest


One of the very first pupils of Roy Hart Theatre in France and always a very good friend since.

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Emanuella Lazzerini


Vocalist, performer, voice teacher , interpreter.

I was born in Italy in 1976. For some years my desire for expression and art brought me to explore the street theatre world learning various skills and performing. Music and singing were somehow always present in my growing process: from my mother’s operatic singing while houseworking in my early years , to my choice about learning accordion as a tool to connect to my voice.
Meeting the Roy Hart voicework made me discover singing as a big source of pleasure and the incredible instrument : the voice.
Since then , my research brought me to deepen the singing and voice practice as a giving- experience in daily life.
One of the fruits I took from it , was following the Teacher Training Program and follow through till the RH teacher diploma in 2014.
Since 2007 I’m an apprentice on the Sweet Medicine Sundance Path , a shamanic path of knowledge and spiritual growth.
As a voice facilitator I encourage the use of playfulness and imagination to spark the creative process and include “ the good, the bad and the ugly “ as a doorway to self-expression and artistic originality inside of all of us.

I give individual and group classes in Tuscany where I currently live.
Contact: Emanuella Lazzerini

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Marianne Le Tron


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:

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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

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Ian Magilton

Ian Magilton

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.

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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

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Ivan Midderigh


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:

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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.

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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.

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Audrey Pernell


Audrey Pernell is an American performer and voice teacher currently residing in Santiago, Chile. She began her journey into Roy Hart Theatre work in 2003 with Jonathan Hart Makwaia as a student at Swarthmore College, where she pursued performance both as an actress and a classical singer. After graduating, she continued to work privately with Jonathan in his New York studio for several years, exploring improvisation and the relationships between voice, emotion, and musicality. This process gave her the tools to travel beyond her classical training and delve deeply into her African American roots through her voice work. Around this time, she also earned professional certifications in Massage Therapy and Vinyasa Yoga, leading her to develop new possibilities combing voice and bodywork in her performance and pedagogic practices. Following Jonathan’s guidance, Audrey worked with other RHT teachers including Richard Armstrong and Pantheatre members Enrique Pardo, Liza Mayer, and especially Linda Wise. Under Linda’s mentorship, she completed a self-designed master’s degree in Voice Performance and Pedagogy through Antioch University Midwest in 2011, which allowed her to travel extensively to Chile and France. In this period she studied and collaborated intimately with Annie Murath in Santiago, as well as began attending teacher-training seminars led by Carol Mendelsohn at the Roy Hart International Arts Centre. Audrey joined the family of RHT voice teachers in 2015.
In Santiago, Audrey co-directs RUMBOS Laboratorio Artístico Vocal alongside her husband, Chilean performer and voice teacher Andrés Zará, whom she met in a workshop with Pantheatre in New York City in 2009. Drawing richly from their shared experiences with Roy Hart Theatre and Pantheatre teachers, they have developed numerous projects and workshops investigating the human voice’s vast expressive and creative potential. Their students range from actors, singers, dancers and musicians, to speech therapists, psychologists, and fellow voice teachers. They also have taught voice and singing at several Chilean universities and professional institutions including Escuela Moderna de Música y Danza, Universidad Mayor, and Teatro La Memoria, among others.
Email: Audrey Pernell / Website:
Facebook: Rumbos Laboratorio Artístico Vocal

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Ralf Peters

Ralf for rht-website2

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

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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

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Noah Pikes


“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.

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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

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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

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Silvia Quirico


Sorry, this entry is only available in Français.

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Renata Roagna


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.

e-mail – tel: 0033 – (0) 6 88 04 04 29 – Roy Hart Center Montpellier

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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.

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Akhmatova Samuels


I’ve sung since I was a little girl. London 1964: I hear the
extraordinary voice of Manny Klien in a concert, and meet his teacher
Roy Hart. 1970: Roy asks me to open the Abraxas Workshop, with the help
of Dorothy and Rossignol, to give voice classes to the public. Ivan
reminded me recently that this was his introduction to the RHT. I am
proud of that.

Our performances took us into Europe and finally to Malérargues, where
I arrived as cook for the first pioneers in 1974. On the musical side
there were concerts in the Gard and the founding of the Music School of
St. Hilaire de Brethmas, by Stephen, and Jeremy and Jonathan and myself.
In 1979 I played Madame Noé in “Noe”, directed byJoseph.

I was caught up by the teaching in Lyon from 1980 onwards. Gabriel and
Nadine and Vicente and I opened a Centre of Roy Hart classes and other
theatrical activities, called ESPACE VOIX.

In 1902 the THEATRE DU LAC asked me to act and sing in “LES VIEUX” by
Raphaël Simonet, and in 2004 in “LE JOUR DES CORNEILLES” by J.-F.
Beauchemin / R. Simonet. In 2009 I was invited to give a RHT voice-body
workshop for graduate and professional classes, at the Ecole de théâtre
ATRE, where I now teach regularly.

I continue investigating the intimate links of body and voice.

Akhmatova Samuels
18 rue Flachet, 69100 Villeurbanne
Téléphone: 04 78 03 80 64 + 06 32 01 44 72

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Mariane Siem


Mariane Siem
Dramaturg, actor, storyteller, voice teacher.

Mariane Siem became a certified Roy Hart teacher in 2014. Her work with the Roy Hart work started back in 1989 where she as part of her actors training meet Nadine George. The many workshops with Carol Mendelsohn and Saule Ryan since 1996 motivated her to do the teachers training programe.
Improvisation is the core of her artistic work. For many years she has done improvised theatre for children ( and she also teaches improvised strory telling and contact dance.
In her voice work the focus is on listening, playfullness, self expression, creativity, imagination, musicality, improvisation and the relation between the voice and the body in singing, story telling and performance.

Contact Mariane Siem per

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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

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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

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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.

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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

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Phil Timberlake


Phil is a Chicago-based actor, voice trainer, and vocal coach. He has been working with Roy Hart Theatre teachers since he encountered Carol Mendelsohn, Saule Ryan, and David Goldsworthy in 1992. In 1996-1997, Phil was an Annette Kade Fulbright Fellow to France, living and working at the CAIRH in Malérargues. He received his Roy Hart Theatre Voice Teacher Diploma in 2013.

His acting and coaching projects range from the traditional (Shakespeare, Shaw, new works) to literary adaptations (Edgar Allan Poe, Neil Gaiman, JRR Tolkien) and experimental projects (Frederico Garcia Lorca’s poetry with Blair Thomas puppetry, a TS Eliot re-mix – Four Quartets:Variations with Ariel Artists).

He is an Associate Professor of Voice and Speech at DePaul University’s Theatre School in Chicago. He is also an Associate Teacher of Fitzmaurice Voicework. Much of Phil’s research and teaching involves the synthesis of Roy Hart Theatre Voice work and Fitzmaurice Voicework.

Phil is an ensemble member of Lifeline Theatre in Chicago where he has received three Non-Equity Joseph Jefferson Nominations for Best Supporting Actor (Pride & Prejudice, Busman’s Honeymoon, and Queen Lucia).

Contact Phil: e-mail

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Zwaantje de Vries


Zwaantje de Vries lives in Nijmegen, Netherlands, as a voice teacher, performer, actress. She has been connected with the Roy Hart Theatre since 1981. In January 2014 she was officially certified as a RHT Teacher.
She is the first RHT Teacher, with a certification in the Netherlands at the moment. She lived for more then 20 years near Hannover in Germany and had her own Art Institute ‘Am Kanal’. There she initiated a 4-year teacher training for Dansexpressie, a Dutch method for creative dance, including the voice, in cooperation with the ‘Hoge School voor de Kunsten’ in Amsterdam.

Meeting with the Roy Hart Theatre she found the missing link, she was looking for. Close friendships developed, especially with late Marita Günther and Robert Harvey, including exchanges on RHT teaching and RHT performing work.
Enrique Pardo and Jonathan Hart-Makwaia were a great influence on her as well.
“I’m very grateful to have had lessons over many years from most of the founding members of the RHT. Malérargues feels like THE inspiring friend, I would never want to miss.”, is what she says.

“Ones identity is ones biography and the voice expresses that. Coming from a multi-cultural and multi-ethnical family ( Indonesian-Dutch ) I was forced to discover my own identity. The RHT work showed me the most powerful tool to do so .”
And about her teaching she says;
“ I’m deeply touched, each and every time a person discovers the beauty of their own unique voice,. After which the process of integration starts. To be companion on that road is a great gift and the passion of my teaching.”

She studied Visual Arts, Drama and Dansexpressie, and had her own Avant-Garde dance company ‘Zwaantje & Jaap Kleyn’. She performed and exhibited in the Netherlands, Germany and France. She has been guest teacher for drama and dansexpressie at several Universities and numerous other Institutes in the Netherlands and Germany.
She performs with other artists in acoustic ‘Soundscapes’ ( free improvisations with voice and musical instruments ) and develops Theatrical-Compositions in cooperation with artists from different back-grounds and disciplines.
She teaches private groups and individuals and is guest teacher for voice at the Artez, Institute of Arts and in Arnhem, at De Lindenberg, Art Institute in Nijmegen and at a Rhetoric Training in Arnhem.
She speaks Dutch, German, English and a bit of French.

Contact and information: e-mail

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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

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Linda Wise

Please see this link

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