présentation en français

en español

articolo in italiano

see also PROJECTS


Honorary President : James Hillman
Artistic Director : Enrique Pardo
Advisors : Nor Hall, Nick Hobbs, Stephen Karcher, Jay Livernois, Liza Mayer, Sonu Shamdasani, Linda Wise.
a Pantheatre production

in collaboration with

Centre for Performance Research - Directors: Joan Mills, Richard Gough, Judie Christie

Roy Hart International Centre, Malérargues


Weds July 13

We purchased 35 places for Romeo Castellucci's performance on Wednesday July 13 at the Avignon Festival. Pantheatre invited him to the 1991 Festival (First to invite him in France - see Enrique's article on Romeo Castellucci's work

2 weeks of dialogues between practice and theory: workshops, lectures, master classes, debates, performances.

5 workshops - the directors all worked with Roy Hart and were members of Roy Hart Theatre

Myths of the Voice - how the voice is conceived of, listened to and used - especially in the arts and therapeutic practices. From pagan oracles to spiritist raps, from Protestant singing to contemporary myths of soul.


Planning (horaires et titres seulement / only titles and times) : PLANNING

Programme (avec horaires, titres et détails / with times, titles and details) : FRANCAIS - ENGLISH

PDF format

Myth and Theatre Festival
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VOICES 2005 Summer University

Myths of the Voice

July 4 to 17 2005

Malérargues, Roy Hart Centre (Southern Freance)

Pantheatre, in collaboration with the Roy Hart Centre (Château de Malérargues), produced a first VOICES Summer University , dedicated to Myths of the Voice. Among the main topics:

  • The origins of the Wolfsohn / Roy Hart voice tradition and its teaching today.
  • The Camisards. Château de Malérargues was at the centre of the Protestant Camisards' rebellion in the early 18 th c. Their voice cults have uncanny historical links with soul music and …the Roy Hart Theatre.
  • Voicing concepts: laboratories and ‘oratories' conducted by Enrique Pardo in collaboration with guest lecturers, teachers and members of PANTHEATRE ACTS. See also Themes & Discussion Forum

See other topics and discussion forum

The 2005 VOICES Summer University was the first part of a Myths of the Voice International Festival. It will be followed by:

in Aberysthwyth, Wales, in collaboration with CPR Centre for Performance Research, and University of Aberysthwyth, in conjunction with their "Giving Voice" project. Special guest: James Hillman (tbc).

5 workshops

The directors all worked with Roy Hart, and were members of Roy Hart Theatre.

Richard Armstrong
Voice as Theatre
Kevin Crawford Ringing the Bell Backwards
Liza Mayer Movement in Voice
Noah Pikes Sounding your Depths
Linda Wise Mnemosyne - mediums and memory

by Enrique Pardo

PDG format

Myths of the Voice

2005 / 2006
A three-stages Myth and Theatre Festival

2005 Summer University : Malérargues, July 4 to 17, 2005
"Giving Voice", Aberysthwyth, 4 - 12 April 2006
Naples, fall of 2006

Pantheatre's first Myth and Theatre Festival took place in 1985 at Château de Malérargues, the Roy Hart International Centre, in Southern France. It has since taken on themes ranging from Aphrodite, The Greed of Dionysus, to Alchemy, Jealousy, Gossip or Fury. After ten years at La Charteuse de Villeneuve-lez-Avignon (France's National Centre for Performance Writings), it travelled to New Orleans, Ireland, Umbria (Italy) and Granada (Spain.) It returns to Château de Malérargues with VOICES - Myths of the Voice, a theme that would seem to have been an obvious choice from the very beginning, since Pantheatre, created in 1981, was the first independent company to emerge from the Roy Hart Theatre, world famous for its vocal work and philosophy of singing.

Yet it has taken over 20 years to arrive at VOICES - Myths of the Voice. I would open the debates by suggesting that this delay has to do with the fact that the voice in general, and singing in particular, is very often lived and spoken of as a spiritual, even religious phenomenon. "Inspired" practitioners tend to see ontological truths inside their voice and body experiences. This can generate resistance to the cultural relativization that myth brings to such theories, a relativization that is the fundamental (and fundamentalist) problem of religions: a refusal to see themselves as mythologies.

The VOICES - Myths of the Voice festival will offer a forum of reflection and practice on the cultural / mythological perspectives of how the voice is conceived of, listened to and used - especially in the arts and in therapeutic practices. Classical mythology will be discussed, certainly, but also contemporary theatre and music performances whose images and aspirations seek mythological dimensions.

3 source references. The timing of the Festival has three main references

  1. The Roy Hart International Centre, in Southern France, celebrates the 30th anniversary of the Roy Hart Theatre's arrival in Malérargues in 1974, followed almost immeditely by the accidental death of its director-founder, Roy Hart, in 1975.
  2. The Camisards uprising in 1704. These were the Protestants who resisted Louis the 14th in the Cevennes mountains, where Château de Malérargues is situated. The Camisard Calvinist cults, especially their 'inspired' voice and body 'performances' had a significant impact on the perception, use and status of the voice and singing in Protestant Europe, in the United States, and, later in large parts of the world thanks to the Protestant missionary zeal.
  3. A book published in 2000 by Professor Steven Connor, which opens exceptional historical and mythological perspectives on the voice, and which bears the unlikely title of: "Dumbstruck: A Cultural History of Ventriloquism." Connor reviews and analyses the conceptions of the voice's ownership and inspiration in Western history through the notion of ventriloquism, asking the fundamental questions of "who is speaking?" and "where does the voice come from?"…
    In Connor's analysis the crucial mutation in the mythologies of the voice is caused by the impact and impositions of the voice of Judeo-Christianity on Paganism. "Shut down the oracular voices" was possibly the first priority the Fathers of the Church gave themselves, and the emblematic enemy in this crusade was the Sybil of Cumae with the legendary echoes of her vocal 'performances'.

3 stages in 3 locations.

  1. Château de Malérargues, the Roy Hart International Centre, in the Cevennes foothills of Southern France - a secluded, austere, sturdy, protestant manor house in a pastoral setting of massive trees and green underbrush. The outbuildings have been converted into voice and theatre studios. Something of a mythical place for voice research and teaching. The 2005 Summer University will take place July 4 to 17, 2005.
  2. Aberysthwyth, Wales in conjunction with CPR (Centre for Performance Research) and University of Aberysthwyth, and as part of CPR's longstanding series of "Giving Voice" meetings - possibly the world's most comprehensive gatherings in contemporary voice research and practice. The Aberysthwyth Festival will take place in April 2006.
  3. Naples. Why Naples? Because it is the capital of bel canto, the capital of Mediterranean catholic paganism, and, most important, the home of the Sybil of Cumae. Pantheatre has a large following in Italy where it has collaborated with different artists, created performances and organized the Umbria "On Scandal" symposiums. The Naples Festival should take place in fall of 2006.

3 main activities. The Summer University brings together theory and practice through 3 main activities:

  1. workshops - artists are invited to share their work and their views on the festival theme through practical workshops which usually take place in the mornings and early afternoons.
  2. lectures and discussions - keynote lectures, pannel talks, open forums of discussion.
  3. performances - from the exceptional invited performance (for instance Romeo Castellucci was invited for the first time to France to the "Dyonisos" Festival in 1991, with his incredible "Gilgamesh") to Pantheatre's Impensemble experimental pieces, to work-in-progress presentations.

An extended version of this Editorial / Presentation is available as an article by Enrique Pardo, titled : "The French Prophets - a Prelude Pamphlet to a Myths of the Voice Festival". Available on

2 extracts

"... the crucial mutation in the mythologies of the voice was caused by the impact and impositions of the voice of Judeo-Christianity on Paganism. "Shut down the oracular voices" was possibly the first priority the Fathers of the Church gave themselves, and the emblematic enemy in this crusade was the Sybil of Cumae with the legendary echoes of her vocal 'performances'. After all, here was the voice of a woman claiming major divinely-inspired prophecy!
... The attraction to the Sybil's model and its mostly suppressed legends, triggers fantasies of very complex forms of vocal counterpoint composition and of an inspirational polysemic use of language. A basic utterance (the question to the oracle) is demultiplied into multiphonic disjointed utterances by a seemingly very mobile Sybil and then by an acoustic environment which, in 'post-fantasy' at least, must have created the most astonishing all-round sound system of echoes and distortions along the Sybil's cave (Latin languages describe it as an antro, which translates best as "haunt".)"

"One last point to underline the historical ironies in the synchronicities between the two anniversaries, the 300 years of the "French Prophets" [note: the inspired Camisards], and the 30 years of the "English Prophets" [note: the Roy Hart Theatre]. Voice work can be a form of exorcism, and exorcism is an extremely theatrical form of therapy; both form part of Connor's extended understanding of ventriloquism (exorcism is the dislodging of a voice.) Put in more reasonable terms, there is ventriloquism and therefore fiction and mythology (I would of course call it "theatre"), in the idea of "finding one's voice", in considering the act of singing as a means of personal transformation. Did the Camisards give us (or renew) the model of "born-again" therapies like primal screaming or rebirthing, or even Wolfsohn's or Roy Hart's singing prophecies - all of which considered themselves as forms of "sacred theatre"?"