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a personal appreciation
47 of the Roy Hart Theatre came to Malérargues from London with the high – even mad hopes of being the most profoundly important movement in theatre of the twentieth century. Deep in the mysterious and difficult Cevenol hills we hoped to find the peace necessary to bring soul back to theatre.
Then we were decapitated by a road accident.
We buried our dead, waited, and were confronted with the question, “Do we dare continue without Roy?” The alternative was to return to London, but for most of us that seemed shameful. We voted to persist.
There were then six years of Stalinist communal madness, living on lentils. Half of us went out to work so that the other half could rehearse and perform. It was terrible, but in my life I am proud of those friends and those years.
Then different personalities, different projects began to emerge, leading to what I consider the golden age of Roy Hart Theatre – Six or eight different shows with entirely different styles and goals, and all great. One element that fed this freedom and multiplicity was Enrique’s discovery of the writings of Charles Boer, James Hillman and Rafael Lopez Pedraza on mythology. James presented us a freedom and seriousness of thought that helped us avoid becoming a sect.
It could be said that at that time we were an orphaned theatre in search of a new father, but they were not fathers, they were friends – bubbly, fun inspiring friends. James was never a father, he was a buddy. They came to us via Enrique’s correspondence with Charles and James, then a chance meeting with “Pagilacci” in Ascona. Our opera, Pagliacci was not overtly psychological, it was a “show” and it was good and they loved it.
With this proof that we were not some kind of theatrical weirdos they came to visit Malérargues the following winter. They saw all of our shows including a beautiful and unique performance of Pan by Enrique.
They respected what we had achieved and were working for. They were good friends for many years. Charles introduced the idea of “Myth and Theatre” and he, James and Paul Kugler were star speakers for many of its manifestations. They are great friends of Malérargues and the dreams there.
Years later, just on the pavement outside the Broadway and East 4th street market in New York, I met Margot, James’ most beautiful wife, it was an amazing co-incidence. She immediately invited me to dinner and later to stay with her and Jim in their Chelsea apartment. They were so warm and kind to me that I can never forget. I have dreamt of them regularly over the years since and when I knew that James was dying, that friendship drew me back, without hesitation.
James spent his life facing up to and examining pathologies – for what they could give to life. In the living of his own, ultimate pathology he did not renege.
Thursday 27 October 2011: sitting, smiling, drinking and dining around James’ coffin, wondering about the mystery we had just lived, Nor Hall reminded us of the gate keepers at Dephi who put their finger to their lips as the supplicants left the Oracle – “Ssh, don’t tell”. Or did they mean, “Ssh, don’t try to explain”.
Member Roy Hart Théâtre from 1978. The singing /spoken voice from the singing lesson to the vocal creation passing by the helping relationship ‘s listening. The C.A.I.R.H is a singular stage. We wish for this tool to work for the singing /spoken voice and to be the crossroad of our artistic creations and cultures
Eight artists are giving their time and work to the windows and the gardens of Malérargues and in exchange ten senior teachers are offering their own special view of our work in daily classes. This experimental project is in the context of the essential Roy Hart Theatre principle that ‘there should be no division between art and life’.
We hope that it will be the first of a regular programme of studies engaging the question of how to take the deep personal research and freedom of Roy Hart Theatre work into professional performance.
Directed by Ivan MIDDERIGH, Marie Paule MARTHE & David GOLDSWORTHY
36 hours – Price : 486 € Cancelled.
« This dangerous and exciting journey into the eight octave voice, that is to say into sound, has been undertaken with the primary aim of discovering the source of the word, to which my theatre is returning. » (Roy Hart)
Voice and Musicality proposes to question, within a teaching frame, the musical relationship between the pre-verbal and the word to which Roy Hart wished to return. With the support of archival material and RHT teachers who originally came from London, the students will learn how to teach the extension of vocal registers (Eight Octave Voice) and the meanings that arise emotionally and artistically in a voice beyond words.
Voice and Musicality is an advanced level , pedagogic workshop designed for registered RHT teacher candidates but is also open to participants who have already a knowledge of the RHT voice work and who are willing to be taught by RHT teacher candidates and veteran RHT teachers.
Reminder : Any person interested in presenting their candidature to the RHT teaching Training Programme must have acquired the RHT General Certificate. This course counts towards the General Certificate for those people interested in earning one.
Directed by Ivan MIDDERIGH with Marie- Paule MARTHE, Beth Mc GEE* & Jennifer MILLIGAN* (guest teachers)
72 hours (free day : 30 May) – Price : 972 €
This workshop offers a unique opportunity to work with Professor Beth McGee, coming from Cleveland Case Western Reserve University on speech and texts combined with Roy Hart Theatre voice work with Ivan Midderigh and M-P Marthe, and a technique of improvisation known as Viewpoints as practised by Jennifer Milligan from Cincinnati Conservatory and Naropa University. This workshop is open to all levels, but it can be structured to allow those who know the work or have worked with us before to go deeper into the techniques.
Please bring a song and a text learned by heart.
Directed by Margaret PIKES, Marie-Paule MARTHE with Gianluca PEZZINO * (pianist)
33 Hours : 9 h 30 – 12 h 30 & 14 h 30 – 17 h – Price : 495 €
There will be a presentation at the end of the workshop, open to friends and participants of other the workshops.
You are invited to bring one or two songs with which you are already familiar and would like to work on. Please send a copy of the sheet music before 2th July to CAIRH (C/° Beatrice – workshop Margaret) Château de Malérargues – 30140 THOIRAS – France
Jean-Claude discovered Malérargues and the Roy Hart Theatre voice teaching in summer 1993, and liked it immediately. He came every summer since then, and some winters too. He was among the first batch of people awarded the RHT General Certificate, during the first members’ week. He has served in the Board of Directors since August 2007, and is treasurer of the association since August 2009. Outside, he is teaching/researching multimedia in a university in Paris. He also acts, sings, writes poetry and even some music. He is also a fan of 5 rhythms dance. You can reach him at e-mail .
Passionnée et curieuse, elle se plait à visiter les différentes formes du spectacle vivant : théâtre, chant, danse. Après avoir été co-fondatrice du Roy Hart Theatre à Londres, en France, elle joue Max Frisch, Lorca, Giraudoux, Thomas Bernhard, Philippe Minyana. Avec Fred Personne, elle tient le premier rôle de plusieurs pièces et chante Victor Hugo, Léo Ferré et Jacques Prévert. Roland Petit lui offre le personnage de la mère Mac Miche dans son spectacle Les bons petits Diables, mis en musique par Richard Galliano.
Au cinéma elle est l’interprète principale de six films réalisés par Marcel Hanoun récemment célébré à la cinémathèque française.
Elle chante toujours : improvisations, comédies musicales pour enfants, théâtres musicaux et récitals dont Les Chansons Realistes et la bande à Bruant à Montmartre. De sa voix sensible, habitée et personnelle, elle crie ses coups de cœoeur pour les grands qui ont marqué tant la poésie que la musique. Elle participe au disque de Claude Antonini consacré à Maurice Rollinat dans l’anthologie de la Chanson Française, et à l’anthologie de la poésie érotique chansons et poètes dirigée par Bernard Ascal.
Ses trois albums, Lucienne Chante les Poetes, Mots d’Amour et AIDE MEMOIRE, sont distribués par EPM et sélectionnés par le Printemps des Poètes. AIDE MEMOIRE vient de recevoir un coup de cœoeur de l’Académie Charles Cros.
Elle a toujours animé des groupes de tous âges et enseigné théâtre, voix, interprétation, communication. C’est comme une seconde nature complémentaire de la création.
Formation permanente (AFDAS), créativité et développement personnel, réinsertion, sont les grands axes de son travail avec ACP la manufacture Chanson.
Sa formation récente en médiation artistique à l’INECAT lui a permis d’élaborer une forme originale d’animations musicales interactives. Elle développe cette pratique entre autres dans les services de gériatrie des hôpitaux, autour de ses récitals Gourmande, PIAF, chansons de poètes.
Marie-Paule Marthe is an actress, singer, and teacher. She has toured with the Roy Hart Theatre and other French theatre companies throughout Europe. She conducts classes, to both individuals and groups in her specialties of voice (speaking and singing), movement, and acting in Europe, the United States, and Canada. In the U.S., she works in Connecticut and Masschussetts.
She is also a teacher at the Roy Hart International Arts Centre in Malérargues, France. Before working with the Roy Hart Theatre in 1979, Marie-Paule lived in England, the United States, and Spain teaching French and studying contemporary dance and movement. She is fluent in French and English, and can speak and sing in German, Italian, and Spanish.
She has worked extensively with actors, dancers, singers, musicians, storytellers, and circus artists in national centers and institutions in Europe. However, her work is also open to amateurs, who would like to develop their talent in the fields of voice, movement, and acting.
Her teaching includes techniques from Roy Hart Theatre, to the physiology and the anatomy of voice, to bel canto, popular singing, and to body movement. One of her keywords is pleasure, which is part of vital emotion, imagination and authenticity.
She also loves a cappella singing and texts in different languages, which for her combine freedom and precision. She is rehearsing an a cappella solo performance « The Music of Orpheus », which is inspired by Alfred Wolfsohn’s work « Orpheus or the Way to a Mask ». She is translating it into French.
Some key figures with whom she has worked, and been influenced by:
Barrie Coghlan, Elizabeth Mayer, Marita Günther and Robert Harvey, artists, teachers, and founding members of the Roy Hart Theatre ; Françoise and Dominique Dupuy, dancers, choreographers, Master teachers, and researchers in Dance and Movement; Charles Boer, Professor Emeritus in Mythology, writer and translator; James Hillman, psychoanalyst, writer; Roberto Caverni, opera singer and Master teacher in Bel Canto; Benoît Amy de la Bretèque, Physician and Speech Pathologist, singer and musician; Ida Kelarova, gypsy singer, musician and composer; Giovanna Marini, Italian singer, composer and researcher of ethnomusicology; Claude Espinassier, Feldenkreis technique; Sophie Daull, French actress and Theatre Director. Contact: e-mail
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.
“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.
Dip Voice Studies, Central
Roy Hart Voice teacher
PGCE ( Post Grad Cert in Education)
Linklater voice training (finishes Aug 2011)
John has worked extensively as an actor, director and voice coach within theatre, TV, Film and radio, both in the UK and abroad, for the last 30 years. John trained in voice at Central School of Speech and Drama in 1994/5 and then studied to become a Roy Hart voice teacher in 2007. He is currently head of voice at Alra ( The Academy of Live and Recorded Arts), in London. He is in the process of training with Kristen Linklater, which finishes in August 2011. John’s unique experience with the voice and his ongoing passion for awakening an individuals potential, by freeing their voice, continues. He looks forward to many challenging opportunities that lie ahead.
The Roy Hart International Arts Centre, in the unspoilt Cévennes hills of southern France, exists to foster the dynamic heritage of Roy Hart Theatre. Roy Hart Theatre is known for its unique work on vocal expression and the extension of the human voice. It has its origins in the work of Alfred Wolfsohn, and his research into the links between the voice and soul. He wrote,
“I live by breathing in and breathing out. I sing by transforming this breath into sound, sound which in turn forms the material for the contents of the soul”.
Many of his pupils continued the work after his death in London, and at the instigation of Roy Hart, they created a radical production of The Bacchae (1968), which drew the attention of Jerzy Grotowski, Peter Brook, Jack Lang, and Jean Louis Barrault (among others) and prompted the creation of Roy Hart Theatre.
Over twenty-five productions toured in Europe, the USA, South America, Israel, and North Africa. Gradually new companies — Panthéâtre, Archipelago et Amadée were formed within Roy Hart Theatre, which led to the creation of the Centre Artistique International Roy Hart (CAIRH)(1991). These companies and other members of the original Roy Hart Theatre company continue to explore the voice, to create, perform, and teach at the Centre and all over the world. To this day, the work of Roy Hart Theatre is recognised as one of the major influences in the field of voice with its artistic and personal applications.
Roy Hart Theatre work is body-oriented, stimulating, and provocative. With emphasis on the uniqueness of each voice, the teaching seeks to inform and strengthen the ‘normal’ vocal range. However, the work also tries to develop in each person’s voice greater height and depth, and even, other voices. All this helps to increase the musical and theatrical ability of each student. The majority of the teachers at the Centre were taught by Roy Hart. Since their move from London to Malérargues in 1974, they have added years of experience in voice, theatre, music, dance, art, movement training, and psychology. Widely known for their sympathetic and professional qualities, each teacher brings special experience and the fruits of their own creative research. Throughout the year invited teachers and scholars bring their particular professional skills and fresh perspectives to the Centre. Most courses are open to everyone. Some are especially designed for beginners who wish to discover RHT work, while others have a particular orientation and are more closely linked to specific disciplines. All courses are accredited by the French government. Participant numbers are limited to ensure that each student receives individual attention.
The voice is the muscle of the soul.