German composer born January 24, 1961 in Giessen Hessen ( Germany) Annette Mengel joined in 1980 the Musikhochschule Hannover , where she studied piano with Bernhard Ebert and musical analysis with Helmut Lachenmann . She then completed his training in France, especially with Emmanuel Nunes and then follows Toru Takemitsu in 1998 , the curriculum of the Ateliers UPIC computer music . In 2002, she won the Villa Medici Outside the walls of the AFAA program and stay in Istanbul. His works performed in many international festivals, including Musica , The Music , Manca , are written for small instrumental ensembles and / or voice ( Masal for mixed choir , 2007) and sometimes require electroacoustic devices ( Ezan – Ländler for horn and electronics, 2008 Identification IV for mezzo- soprano, flute and electroacoustic device , 2012). Inspired by Turkish culture , Annette Mengel confronts her cultural heritage and contemporary musical universe with the subtlety of Eastern melodic lines ( Toprak , 2004; human Landscapes , 2009), the Instrumentarium Middle East ( Sabâ – ney for Sehnaz Beste , 2009) and set to music texts of the Turkish poet Nazim Hikmet (En güzel , 2000). She has been commissioned by various French institutions (Ministry of Culture, SACEM etc . ) And his music is interpreted by specialized units, such as the Route Together Musicatreize Ensemble , Ensemble L’Instant Donné , The young soloists and Neue Vokalsolisten Stuttgart . She is also the author of a Master’s Thesis II in Music and Musicology at the Sorbonne entitled ” Neva Kar ” and ” Neva Beste ” of Buhûri – zade Mustafa Itri Efendi . Alongside his work as a composer , Annette Mengel taught successively at the University of Marne-la -Vallée and the Conservatoire de Montpellier.
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.
Agnès Dumouchel, who at that time was a teacher of French working abroad in the USSR, discovered the Roy Hart Theatre in 1976, participating in one of the first workshops organized by the group at Malérargues.
She was fascinated by the work – which attends to both voice and body, inner and outer experiences, conscious and unconscious, psyche and the emotions; she joined the group two years later and became a voice teacher and actress.
In 1990, she moved to the Alps. She teaches voice and is a storyteller.
She was elected to the Board in 2012 and edits the quarterly newsletter for active and associate members : “Echoes from the CAIRH”.
For more information: www.agnes-dumouchel.com
A PERSONAL TRIBUTE TO ROBERT HARVEY Saule Ryan Robert Mcfarlane Harvey. Born 25/06/1925 Ballarat, Australia. Died 21/10/2009 Ganges, France. Robert was a complex person with sides to him that weren’t always easy to comprehend. In his own words his childhood memories were mostly unhappy and as a boy he would sometimes dream that he was a prince, living in a lovely castle somewhere, with different parents. Instead he lived with an irascible, drunken baker for a father, who slept during the day and yelled at his sons if they made a noise in the house, and who got drunk every weekend. The house was unbearably hot in the summer, heated as it was by the baking ovens. His mother played the organ in the local church and led the local choir and would organize sing songs around the piano, which he enjoyed, but she didn’t have much authority over his father, with whom she was always quarreling. In his lifetime Robert came a long way from this claustrophobic, unhappy childhood. His niece Anita Corbally, in an email she wrote in January of this year asking for news of Robert, said that he was the one who “got away from this place” and that she was very proud of the work that he chose to do. For all his personal foibles, Robert was undoubtedly an artist. His many years of professional dancing, with all the technique and discipline that that entails, his incredible energy, his natural singing voice, his love of all the arts, and his impish sense of humour which tended towards the absurd especially in later years, were all qualities that combined to give him exceptional stage presence. What made Robert such a good performer was his ability to fully embody the roles that he played. From Agave in the “Bacchae” (1967) and Prospero in the Tempest (1977), both dramatic roles, to Le Conducteur in “Prévert et Moi” (1984) or the straight faced interpreter of Kurt Schwitters Dada piece “Ursonate” (1991), both more comic roles, Robert always gave himself 150% to the role. There was a big, naughty child in him that came to life on stage and made his performances so real, so touching. In “Ursonate”, the duo of clown/child and accomplished rhythm master created an amazingly coherent musical and comic piece out of a complex series of meaningless onomatopoeic sounds. Truly, an unforgettable virtuoso performance. The child in Robert was also visible off stage with his love of toys or the latest gadgets. He was the first person to have his own computer at Malérargues. He bought a digital camera when nobody knew what they were! He would read the instruction manuals from cover to cover and by trial and error would figure out how to use all the different programmes. He became an expert in using photoshop and we would all look forward every year to receiving his quirky Christmas card where he would choose a beautiful renaissance painting and replace the face of an angel or a monk or even once a naked young man with his own! Although destined to become a dancer from an early age ( his mother had been advised by the local doctor to send him to dance classes to correct his bandy legs!) he preferred technical studies to academic ones at school. He loved tinkering with home made radios and his beloved motorbikes in the early years or later on, at Malérargues, with his bicycle and his computer, buying the latest accessories and parts as soon as they appeared in his various magazines, or when he went up to Paris to go to the latest Apple fair. His meeting with Roy in London in 1955 changed his life. This is how he describes the immediate impact of Roy’s teaching on him in an essay entitled “Reflections 1965”: “Immediately I began to sing, I touched something in myself, of which I had been unaware. I know now that this tiny spark, touched by the sounds of my own voice, was the real me, buried under a pile of religious dogma, sentimentalism and fake gentility. When touched by a sound, it struggled for its very life, and the dogmas and sentiments struggled against it. This struggle I could not cope with and my early lessons were almost inevitably conducted through a flood of uncontrollable tears. This went on for years with the frequent reoccurrence of the tears whenever an important change was about to take place, and only now, ten years later, am I able to exercise some control over them, or even make use of them. My vocal range at first was limited to a small area at the top half of the piano, and it must have been very reedy. Low sounds were out and it was usually when I touched them that the tears were provoked.” Up until then Robert had been a relatively successful professional dancer, with enormous energy but no means to channel it. He was unsuccessful in maintaining relationships and would swing regularly between bouts of depression and periods of elation. As he grew closer to himself and began to realize his truepotential through the work with Roy, he began to feel the call of teaching. First, teaching movement anddance in schools and in professional dance productions, and then becoming the main movement teacherat the Abraxas Club when Roy moved there with his group in 1965. He was a very good and inspiring movement teacher, using an eclectic mix of classical and pop music in his classes. In the early ‘70’s he started to train some of the RHT members, including myself, in movement teaching with music analysis and simple choreography classes. He was also teaching voice like many of the other members, and in 1976 at the first public workshop in France at Malérargues he met Denise and Daniel Schröpfer, two young actors from Paris. A year later, when Robert decided he needed to take a break from the tough communal life we were living in Malérargues, the Schröpfers invited him to stay with them in Paris, and from that moment Robert’s solo career as a teacher and as a performer took off. Not only did he organize and run a very successful RHT Paris teaching programme, he also immersed himself for four or five years in French life and culture, attending regular classes in French at the Alliance Française, and creating two new performances, one a solo ‘Prévert et Moi’ based on Jacques Prévert’s poems, and the other a twohander ‘Tant que Vivray’ based on Rabelais’ writings, with Michèle Laforest. No surprise that in the mid ‘80’s he decided to become a French citizen. Robert was passionate about his teaching and totally committed to passing on what he had learned from Roy. He was strict but warm with his pupils and they respected his passion and his seriousness. Many like the Schröpfers and the Cailles became friends and remain so to this day. In the mid ‘80’s he moved back to Malérargues and began teaching more in Germany than in France, joining Marita Gunther at Amkanal in Hanover, where they formed their first pedagogic groups with their regular singing pupils. Some of these pupils continued to work regularly with Robert after Marita’s death in 2002 and several of them are now RHT voice teachers. It was in 1990, aged 65, that he created his chef d’oeuvre “Ursonate”. His serious efforts to learn German had been less successful than his learning of French, so it’s not surprising that he chose a non verbal piece to work on in Germany . At least he couldn’t be faulted for his bad accent! Robert was also an excellent director and starting at the end of the ‘80’s he was invited to direct in Germany, Norway and Malérargues where he directed several shows : first “l’A.B.C. de Notre Vie” by Jean Tardieu (1989), then “Le Bon Vingt” (1994 ) and “Fou, Fou, Fou” (1995) – both original collage shows created by Robert which were performed outside using the chateau and the grounds, and which were full of humour and poetry. In 1996, together with Ulrik Barfod, he created “Double Click”, a piece that made fun of computer language with an exuberant mix of slapstick and musical games. His last group creation “Variations”(2003 ) , was another irreverent collage piece, with Hamlet’s soliloquy ‘To be or not to be’ performed in many different ways and in different languages alongside various French absurd texts. As usual the show ended with a song and dance number composed and choreographed by Robert. The man was immensely creative but by then his energy was already depleted, and directing and performing were becoming much harder. Apart from one or two small appearances on stage in the following years, “Variations” was to be his last major performance. As a man he wasn’t always easy on himself or on others and he could be downright rude and mean in certain circumstances. For someone who had always been so independent, so active, and so creative, the crippling effects of arthritis, Parkinson’s and depression must have made the last few years of his life a very painful and humiliating experience. Yes, Robert was indeed a complex personality who could also however be very sweet and touching. So let’s forgive him his crankiness and remember rather his gifts as a performer and a director, and his generosity and humanity as a teacher and friend to so many people over the years. We will miss you Robert.
Graduated social education worker with main emphasis on “Social education work with children and young person displaying behavioral problems”
1989-1992 training as a Dansexpressie instructor with Zwaantje de Vries and R´douan Baroud, in cooperation with Hooge School voor de Kunsten/Amsterdam
Dansexpressie instructor (freelance) since 1990, Dansexpressie teaching for children, young person and adults, a large number of dance projects at primary and middle school.
Numerous preparations and presentations of dance productions for children and adults.
Teaching assignment for Dansexpressie for the education to a remedial teacher at Birkenhof ( 1999-2004),
Teaching assignment for Dansexpressie at HAWK Hildesheim 1998-2009, participation as choreograph and consultant for international productions of HAWK ( “Les Bleu et les Jaunes“ (“The Blues and the Yellows”) a German-Moroccan theatre project, and “Frauen 007- Migrantinnen auf der Reise“ (“Women 007 – Migrants on a yourney”), an international dance theatre project for women)
Assistant director, Choreograph and dancer in various productions of Theaterwerkstatt Hannover (a.o. “Vaginamonologe”, “Ithaka - oder nach Hause kommen” (“Ithaka – or coming home”), as well as own productions and productions in cooperation with artists from Hannover.
Regular workshops and further training offers in Germany and abroad, at different institutes: Akademie Loccum, Landesjugendamt Dresden, Kargah Hannover Lotsenprojekt, in France at Roy Hart Theatre, in Greece on the island Aigina.
Dansexpressie is a dance method developpedin the Netherlands, that has the idea that everybody can dance.The aim of Dansexpressie is to discover anew the own personal dance and above all the joy in it and to share it with others.
Dansexpressie is dancing without exercise stress and predetermined step combinations. It is an offer to rediscover possibilities of expression, that have often been forgotten, to move body and soul and to connect with our inner.
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: www.richardarmstrong.info
To Kozana Extract from Homage to Kozana, By Enrique Pardo full text and references on http://www.pantheatre.com/1-kozana.html Susana Lucca † March 30th, 2010 Our lady of colours has departed; she had birds in her many voices and nesting in her hair, and in the flowers of her bearing. Her stride, both light and majestic, knew how to caress the earth, how to lean on it, how to give it her weight, and even how to stomp down on her with abundance and seriousness. Kozana also knew how to stir up and enjoy the thrills and tickles of life, and how to sidestep the ponderous professors: she knew how to laugh. I will truly miss her laughter! She had many voices, many laughs. She left us in her way – with her, everything was: “her way” – leaving in her trail the archaic youth (or youthful archaism?) of her extremely strong personality, sometimes full of fearless courage, sometimes even violent: if necessary she knew when to shake things in life: a critical art I was lucky to benefit from sometimes. Surely now she will be idealized for the tenderness and baroque arabesques of her femininity – she deserves it! – as well as for the eco-artistic utopias of the architect she actually was! – she talked with the ex catedra assurance of a revolutionary pasionaria. Once, she wanted to transform the basement of Malérargues into a cultural centre! Pretty crazy! All this bundled together with the needed dose of pagan disorder which I loved sharing with her. We were both South Americans – I put us both in the imperfect past – I certainly am a very imperfect one, but so was Kozana, in her way, a bouquet of Argentina, Hispano-Italian, without forgetting the forester Alsatian and Amazonian dreams she shared with her partner and beloved friend, Jerome – they must be drinking mate together! If I regret anything it is not having shared more laughs and fights with Kozana. We had made plans to work together this summer in the Singing after Roy Hart Workshop-Symposium. Kozana was a unique teacher – incredibly refreshing and careful. I think she greatly admired Roy Hart and what she had inherited from him – as usual, “her way.” We will miss her very much. We were also in talks for next year’s 2011 Myth and Theatre Festival whose theme will be (if it happens): ECOLOGY. Kozana recently published (November 2009), with her sister Elena, a small book titled: From the magic of uncertainty – Ecology and Art *. It is precisely in these ecomythological territories that lies one of my main current research themes: the pastoral tradition, whose tutelary deity in the Mediterranean is Great Pan – god of Arcadia. It is this link that leads me to the heart of this tribute to Kozana. In the late seventies I began to study and work on the figure and mythology of Pan, which led me to create the solo Calling for Pan and to create Pantheatre. And it was with Kozana with whom I established the richest artistic dialogue. She was very interested in the work I was doing, and we had strong things in common. Kozana always took interest in my work, often collaborated with Pantheatre, and remained open, curious and appreciative, and participating in real critical dialogues. Kozana was the one who totally redesigned the staging for the performance on Pan, setting the show with the audience around it, and with the projectors on the floor, opening presences and imaginary spaces: three old one thousand-watt projectors right in the middle, casting huge shadows on the walls above the spectators, or burning my features as I approached the intense lights. “Poor Theatre”, no doubt, but even more so: theatre of invocation. Today I would say: “spiritist theatre”! – when it works. And this is how our ‘shamans’ came to meet, Kozana’s and mine, emerging especially when we quarrelled, putting on faces of intensity, faces of hatred, grotesque and fanatic faces, possessed art faces. They knew all along, of course, that it was all fiction and that that’s why they played so seriously. Great laughs! What good times! Many thanks to you, Kozana! I will miss you! Enrique Pardo, Paris, 7 April 2010. *Elena Lucca y Kozana Lucca – Published by Árboles Vida Argentina and Elapagon Ediciones. Re. her “unipersonal” (one-person show) directed by Lucho: It was called Pianto based on a tango by Astor Piazzola – Balad for a madman – a display between reality and madness, a path of imagination and expression. She presented it in several provinces in Argentina where it produced a major change in theatre, in theatre research and especially in voice work. Recently I met several persons who commented on this, as well as her regular groups in Cordoba, Tucuman and Misiones, where she worked with a community of some 120 persons. Elena Lucca – April 9, 2010
After her studies at the Conservatory of Amsterdam (A.Bijlsma) she moved to Italy, where she worked at S.Cecilia Symphonic Orchestra (Rome). Further on she collaborated with various baroque and classical chamberorchestras (Italy, Austria), concerting throughout Europe and Japan.
She has worked with musicians like Fabio Biondi, Alfredo Bernardini, Kees Boeke, G.Letzbor (Ars Antiqua Austria) in both concerts and recordings.
She was invited as a guest teacher at various baroquemusic seminars (Italy).
Since 1988 she is member of Tripla Concordia, playing the baroquecello both as soloist and as continuoplayer. With this ensemble she appeared on radio and television in several countries of the European Union and performed at major music festivals both in Italy and abroad, such as Musica e Poesia a S. Maurizio in Milan, the Schlosskonzerte in Salzburg (Austria), the Festival Internacional de Musica Antigua de Daroca (Spain), the Music Weeks at the Cité de la Musique de Paris (France), Haendel Festival in Halle (Germany). With Tripla Concordia she made a number of recordings, which have earned international recognition (Stradivarius, Dynamic, Nuova Era, Philharmonia, Cantus (Spain), Brilliant (Belgium).
From 1990 till 1999 she participated regularly in music-theatre productions (solo-cello and performing-arts).
In 2002 she founded the ensemble AlmaTéssara (PianoTrio and Voice), dedicated to chambermusic of the 19th and 20th century, with special attention to woman composers and the creation of multidimensional performances (Widmer-Switserland/Brasil).
In 2011 she founded String Trio Mizar, together with Renata Lacko (violin) and Carmelo Giallombardo (viola). This same year she recorded a cycle of Vivaldi Sonatas with Tripla Concordia.
Currently she is training as a Choir Conducter at the Fondazione Guido d’Arezzo School of Choir Conducting.
Since 2006 she has been a coordinator and teacher for the Music Program at the Accademia dell’Arte in collaboration with Furman University (South Carolina, US).
More recently her responsibilities include assisting in the administrative direction of the Master of Fine Arts
Jazz singer Anne Hartkamp has been in close touch with the Roy Hart Theatre work ever since participating in her first seminars with Paul and Clara Silber in 1997 and, later on, with Jonathan Hart-Makwaia. One of the better known singers on the German jazz scene, she can be heard on numerous CDs, including some as a composer and band leader. Apart from her intense song interpretations, her trademark is a playful, instrumental and improvisational approach to the voice. Anne Hartkamp teaches jazz singing at the University for Applied Sciences in Osnabrueck, Germany.
For more infos, listening samples and videos, please visit www.annehartkamp.de (in German and English language)
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.
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
LIZA (Elizabeth Mayer – 18/11/1936 – 08/12/2009) was a founding member of the Roy Hart Theatre and president of Pantheatre. A wonderful artist, teacher and a most welcoming figure in Malérargues, as the many tributes describe her in the beautiful Memorial on the website of Pantheatre.
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.
Elena Lucca is a Biodance System teacher and supervisor at both participants and professors level. Her activities are developed in Argentina and several European countries such as Italy, Spain, France and Switzerland.
Elena has a PhD in Environment Management and Ecology gained at Avignon University, France, with studies in Peace and Development Gained in Spain. She is teaching this subject in Master’s module in several universities en Argentine and European countries.
She also is in charge of the Local Agenda 21 actions in Argentine.
In Art she proposes environmental poetic perception through audiovisual media work.
Since 1990, she taught with Kozana Lucca the annual stage of Voice, Colour and Environment, at Malérargues for the CAIRH.
A PERSONAL TRIBUTE TO ROSSIGNOL.
Derek Isaac Rossignol ( born Rosenberg) 14/03/1923 Kimberley, South Africa. Died 26/12/2010 Malérargues, France.
This was a man who lived an incredibly full and rich life that began beside the diamond mines of Kimberley , S. Africa, and ended in a château in the beautiful Cevennes, S. of France. In the course of his life he touched many people’s hearts in so many different ways. He was a special man and artist, who, though he took the name of that most poetic of birds, the nightingale, in 1973, was definitely not flighty. He was one of the most constant, dignified, open people you could ever hope to meet. He could be infuriating at times and his peculiar sense of humour with its acid, grating edge that upset more than a few sensitive souls was not always welcome. But teasing aside, he was a man of great integrity with no axes to grind. He was warm , outgoing , and open to everyone and everything. How many times were we greeted by a smiling Rossignol leaning out of his bedroom window to see who had just arrived at the château, or hear him calling out ‘hello’ or ‘who’s that?’ from his open sitting room door as we walked up the main staircase in the château. The students who met him socially over a coffee or at a lunch out the back were always impressed by his theatrical charm and his easy way of connecting. And as a teacher right to the end he gave out an incredible energy and vitality that belied his advancing years. With age he did become less confrontational and more systematic. What student over the past 20 years has not played with Boris, Antonio, Delila and Violetta, his version of violin, viola, cello and double bass? But he still demanded a lot of the pupil with a mixture of warmth, cajoling and technical precision. He was known all over the world, and I love the story told me by a French pupil of his, who whilst travelling in Italy, got talking with a Dutch nun he had met in the gardens of a monastery. When he told her that he was going back to the South of France to continue working on his voice, she replied with a smug look on her face ‘to work with Rossignol, I bet’. He was understandably taken aback by this miraculous intuition!
Rossignol was a man of many parts and many passions. At school he was an excellent athlete who when only 16 set a South African junior record for long jump of over 20 feet ( 6 metres +) and used to ‘soar over the hurdles with astounding grace ‘ according to one of his classmates with whom he used to roller skate to school quite frequently. In his late teens he took up the piano again after a break of many years and taught himself to play the most complicated of piano pieces by Lizt, Schumann , Beethoven and co. His younger cousin Lin Freeman remembers many happy hours spent with Rossi when she was a teenager, with him playing the piano and she dancing. By then Rossi himself had discovered dancing and would secretly climb out of his bedroom window every evening, whilst supposedly revising for his engineering exams at university, to go and rehearse with the ballet company he had joined. He rapidly became one of the company’s leading male dancers with the stage name of Serge Dimitrov and a fantastic leap. Only after he had passed his exams at the third or fourth attempt was his cousin allowed to take one of the uncles, who had been paying for his education following the early death of both his parents, to see a dance performance. When the uncle proclaimed early on in the evening ‘ but that dancer looks extraordinarily like Derek !’ his cousin replied ’ It is Derek!’ You can imagine the shock!
Thus dancing became his passion and brought him to London where he dreamed of becoming a top Ballet dancer. However the competition was much tougher than he had expected and he never made it to the top but he did dance with many different companies, notably the Ballet Rambert, run by a tyrannical Mme. Rambert who often used to exclaim disparagingly ‘ look at those kipper feet’ ( a reference to his very flat feet, which in later years became so sensitive he could only wear a certain type of sandal. In that respect he was a true Pisces.) He also danced with the Sadlers Wells company and eventually went into musicals where he met Barry Irwin and Robert Harvey. It was because he was required to sing (he himself later said he had no voice at all) that he and Robert decided to take lessons with a certain Roy Hart. They both had their first lesson on the same day in 1955, one after the other. And for both of them it was an encounter that was to change the direction and the meaning of their lives.
Rossignol was a ‘bon vivant’ who loved good food and good wine, which he ordered directly by the case from his favourite wine dealers. He was an excellent cook and generous host. Right up until the last months when he could no longer get around his kitchen he would make delicious soups from vegetables bought in the Lasalle Monday market. Garlic, ginger and cardamom were the staple spices with nutmeg the extra ingredient for his pumpkin soup.
He loved living at Malérargues with its trees, its flowers, its hills, and for many years he was a keen gardener planting irises, daffodils, forsythia, lilacs and many other bushes and trees. This autumn for the first time the persimmons tree that he had planted on the front terrace some years ago bore many golden fruit much to his immense satisfaction. His favourite tree was of course the purple flowering jacaranda and the last time he went back to South Africa to visit his brother in Johannesburg he burst into tears when he saw whole avenues of them in bloom. His big regret was that it is almost impossible to get them to grow here.
Another enormous passion of Rossignol’s in the second half of his life were stones and sculptures. Many years ago in London he had had a dream in which he had found some magic stones that if spoken to could turn into human beings. Then one day in the ‘80’s the dream became reality. And from then on when he wasn’t teaching, performing or just socializing, he would be busy putting bodies and faces onto stones, shells and sometimes pieces of wood. Hours would be spent on visits to beaches around Montpellier collecting stones that spoke to him with faces already apparent or waiting to be revealed. He would then carry them back to the car in several very full and heavy plastic bags , usually with help from friends. Once home they would be added to the pile of stones on his bedroom floor and at the earliest possible opportunity he would start working on his next creation, filing , scraping, drilling, plastering and painting. Gradually his apartment became filled with a rich world of characters, both human and animal ( and also a lot of dust!) and every birthday that came up was an occasion for him to choose one to give as a present. I think we must have all received at least one sculpture over the years!
But most of all Rossi was a wonderful performer with a very expressive vocabulary of dance and mime movements and gestures, allied to a beautiful deep, soulful bass baritone voice. Who amongst us can forget his last public performance at Malérargues in June 2007 when he sang “Old Man River” with such feeling and depth. The words ‘tired of living and scared of dying’ struck home in such a poignant and palpable way . Here was this 84 year old man , already suffering unbeknownst to him self from fibrositis of the lungs, singing his heart out in a very generous and dignified way about the approaching end to his life. Totally giving, totally unsentimental. A huge lesson in life. Rossignol probably performed in more RHT performances than any other RHT member to date. He was good to work with. But with all his talents and gifts he always remained utterly humble. There was never a sense of arrogance or ego about him. If anything rather the opposite. He tended to downplay himself and his gifts both as a teacher and as a performer. Without doubt his favourite role as a performer was the role of the hunchback in “Pagliacci”, where he was able to fully use his gifts for mime and comedy and where his voice could be heard in all its richness and its rawness. Whenever we showed our 5 week students extracts of the “Pagliacci” video he would always become tearful watching himself and the others perform.
Rossignol was a dear friend to me for over thirty years and I miss him a lot. When I think of him now I see the easy smile, and the sparkle in his eyes that so many others mentioned in their letters of condolence. I see his elegant and expressive arm and hand gestures and above all I hear his lovely deep bass voice and his laugh. Right up to the end his voice stayed clear and resonant ,both on the phone and when ever you knocked on his door. The ‘come in’ would sound firm and even angry sometimes, especially if you happened to be the fourth person in a row to knock on the door that morning. Yes, he was a tough old bird, ‘un rossignol solide’ who fought to the bitter end to maintain his dignity in the face of overwhelming odds. Only once did he say to me that he felt like giving up.
He has left us quite a legacy for which I for one am grateful. Today we moved the piano he was given by the RHT for his 60th birthday out of his apartment and into Studio 3. May his commitment and his humanity live on in our work.
I wandered the streets of Paris this cold, clear winter day remembering and remembering those wonderful bright eyes of Rossignol – and how often he would call down to me from his window when I walked past the front of the château. That same window that he threw open before singing:
“Si puo, si puo signore et signori…….” some thirty years ago. I once asked him which was his favourite performance and unequivocally he answered:
“Pagliacci”. I would agree with him because undoubtedly in this performance he found all the complexity, humanity, humour and tragedy of a dark soul. One of Sweden’s most famous actors once told me that he had never encountered such humility in an actor as with Rossignol, in this performance. A deep respectful complement from one artist to another. There was a humility in Rossignol sometimes almost a diffidence, a touching, vulnerable nervousness that constantly seemed to question his abilities, but, he was never diffident in his teaching and never sentimental. I can remember one lesson when I was thinking: “If he asks me to give any more I think I am going to die!”
It is hard now to re-imagine the limit of exhaustion he asked for – and yet, now I understand that he would never ask you for more than he would demand of himself. This was my teacher – a man who had climbed out of the window in secret in order that he could follow his passion – “to dance”!
We toured together with “Pagliacci” for five years – years of joyful artistic pleasure.
His next role – Queequeg in “Moby Dick” – was for me one of his most poignant. The dignified humanity with which he gathered the fragile Pip into his arms was a moment pure love – a moment that only an actor with a great soul could understand.
Both Rossignol and I were born white Africans and though he came from South Africa and I came from Kenya we had a lot in common – not the least the same extraordinary teacher, Cecil Williams, a white South African who was forced into exile for his engagement with the Anti-Apartheid movement and a collaborator of Nelson Mandela. I never spoke about my engagement in the anti-apartheid movement with Rossignol but I would often think of it in relation to Queequeg, who in a quiet way is a militant of human rights….. it is one of those questions that I wish that I had asked him.
In the last years, the last days what strikes me most is the quality and presence of Rossignol’s voice. I will sadly miss hearing him say, in his slightly ironical, old fashioned way:
“Well, my dear…….”
My heart is heavy dear Rossignol but your voice will always fly to me from those windows – and I pray too your soul flies joyfully…….
Jesús Muñoz Saiz studied at The Drama School of Valencia (Spain) and worked with teachers from different companies as Odin Teatret and European schools as Decroux or Lecoq.
In 2000 he funds a group of physical and vocal training for performers, which becomes a theatre company after two years, named El pont Flotant, where he works as an actor, writer and coodirector. Since then, he combines the creation and the touring of their pieces with the work in other companies as an actor. He also teaches physical and vocal work for actors on a regular basis in different drama schools. In 2005 he has his first contact with Roy Hart work and in 2008, he starts a Pedagogic Voice Training Program, directed by Carol Mendelsohn and Saule Ryan.
‘My voice work is a mixture of what I discovered in these years of research with my partners in theatre and what I found at Malérargues: the place where I learned to express myself through my voice – as human being and as an actor’.
One day 20 years ago I wrote in my notebook : “a great big cry is sliding relentlessly through the interstices of my being, a refusal to live just by appearances. It longs to burst out. This cry would do me the world of good.”
A year later, in 1994, by a interlacing of paths which we call destiny, I discovered the Roy Hart Theatre. And I discovered in me a singing being, a joyous being, that nothing nor no one could stop from ringing out.
This little bird of all colours came to perch on my shoulder one day 18 years ago, never to leave me, and to whisper that life is worth living, that art music is a breath of life.
By a just return of these 18 years, I find myself today bringing my contribution to this worthy edifice.
I am a speech therapist, and I’ve navigated between this job and amateur theatre at university, café theatre in Paris, at the International Summer Academy in Belgium, then singing in several choirs in Montpellier,and various vocal groups (duet, trio and quintet). After living three years in the Roy Hart Centre, and working with several teachers, I gave a recital of songs in 2000, accompanied and directed by Jonathan Hart Makwaia and Rosemary Quinn, my teachers of so many years.
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”.
After graduating from Mozarteum, Salzburg 1983, I worked as actress and singer for more than 10 years in german theatres. During that time I also extensively trained in “Method-Acting” , Lee Strasberg’s explorative body-mind training for performers. In 1993 the Roy-Hart-Voice-Work found me through Clara and Paul Silber and I have been working and living with this vision for voice and human beings ever since. I am teaching voice and acting since the early nineties aiming at supporting people to unfold their creative powers. Happily married to Ralf Peters we co founded “KörperschafftKlang”, a voice-theatre-company with its seat in Köln, where we live. In my capacity as a buddhist meditation teacher I am using voice and bodywork as a medium on that path of liberation as well.
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
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
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.
Member of the Artistic Commity of the CAIRH
Linda Wise: e-mail
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
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.
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): http://marylineguitton.typepad.fr
Sororité trio: www.sororite.net
Extracts of her solo piece « Une Étrange Demoiselle », directed by Enrique Pardo.
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
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 amazon.com, 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
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.
Foto: Alex Lipp
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
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.
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
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
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.
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, especially in Hamburg, Zürich, Lausanne and Geneva. I am on my way to become 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.
Since my meeting with the Roy Hart Théâtre in 1978, the voice became my companion of life, my personal and artistic height gauge, my inspiratrice.
With the passing years and meetings (dance, mouvement, traditional singing, clown, painting, writing, fasciatherapy), I build up my own way to put the voice in working, in playing, and in creation, leaning on the priceless heritage of A.W ‘s researchs and of every persons who are coming from it. From the singing voice to the spoken voice, I get in touch with many artistical disciplines and socio-cultural environments. I link to my teaching the lighting of Carl Roger’s person’s listening.
For more informations: www.dia-pason.com
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. (www.actorsshakespeareproject.org)
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.
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 CAIRH since 2009.
Works as an actor, director, and set / light designer in Scandinavia, France, and the USA.
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
Ivan was born in Somerset, England. After completing a Rudolf Steiner (Waldorf School) education and an art training at Brighton College of Arts and Crafts he worked as a freelance photographer in London throughout ´60s and met the Roy Hart Theatre in 1971, through attending the first ever Roy Hart Theatre voice workshop. Ivan moved with the company to France in 1974, recording much of the theatre´s history and many performances with his photographs between the years of 1971 – 1986 ( see Picture section), as well as performing and teaching.
In 1986 Ivan moved to the U.S.A. for 10 years where he was trained in, and subsequently taught, ´Active Communicating´, a theatre-based methodology designed for the corporate world. ” For me there is no dichotomy between teaching Roy Hart voice work, or the ´social acting´, presence, voice and communication skills for company employees. Indeed, I have invariably found those working in the corporate world are, in fact, ´artists´ with day jobs.”
Ivan returned to live in Europe in 1997 and was President of the Cairh from 2004 – 2009 working closely with Cairh director Jay Livernois ( 2005 – 2010), to establish the Roy Hart teacher´s training programme and diploma. Ivan now divides his time between his RHT teaching in France and his Corporate training work in the U.S.A.
Ivan can be contacted via e-mail.
Ivan’s website: www.ivanmidderigh.com
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.
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.
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 (www.hoerfeld.de)
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 (www.unverzagt.com)
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.
“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.
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)
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.
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.
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.
18 rue Flachet, 69100 Villeurbanne
Téléphone: 04 78 03 80 64 + 06 32 01 44 72
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 www.roy-hart.com 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
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 (http://www.roy-hart.com) 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
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
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.
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 http://www.pierreriviere.com/ 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
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
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
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 www.weinsvoicemove.de