Présentation en français

in Paris

discuss topics like voice teaching, links to mythology and archetypal psychology. See Round Tables.

Linda Wise's Founding Letter


Voice Performance School

Acting,  Choreographic Theatre Singing

Paris   &
Malérargues (Southern France): Roy HartCentre

Voice performance training involves a dynamic blend of technical finesse and expressive risk.

It also seeks the affirmation of personal genius - character and musicality - and a commitment to the relevance of what one has to voice, be it in speech, song, scream, silence, image or movement - or their synthesis in choreographic theatre.

The 2007 / 2008 season starts with the Yearly Professional Workshop, a 6 week intensive workshop October 8 - November 16, 2007, and finishes with a three week “Voice and Musical Performance” , February 15 to March 2 2008.





OPEN DOORS Atelier / Auditions

presenting the vocal and choreographic theatre work
meeting and auditioning candidates

Saturday 8 March  :  17:30 - 19:30 CANCELLED
Next sessions / September 2008

Booking essential 01 48 06 32 35 port 06 26 74 72 71 EMAIL // Registration 5 €

Studio DTM 6 rue de la Folie Méricourt Paris 11e M° St Ambroise

PANTHEATRE ACTS is a professional training context for actors, singers, dancers and performance artists.

A context also for personal or professional development through the performing arts.

Participants can chose the working emphasis and planning of their programme: it can be based on

Voice : pure voice work, includes the Roy Hart approach to extended ranges, timbres and textures.

Singing : interpretation and improvisation, from bel canto to hell canto, with a basic musical training for beginners.
Body : body awareness, dance and performer's presence.
Actor : emotion, texts and disassociation techniques.
Choreographic theatre : ensemble work integrating movement, language and voice. Improvisations and performances.
Cultural Studies : image, criticism and mythology.
Personal development,
or a combination of all the above.

The practical work is done in a series of weekly atelier classes and voice lessons (individual or small groups from 2 to 7 persons), and in weekend workshops.

The practical work is complemented by regular assessment talks, study meetings, mythology talks and public performances (concerts, improvisations, work in progress.)

The directors consider that a comprehensive training in their approach to the voice and its implications (personal and/or in performance) takes at least 2 years of regular work. This is obviously a general norm that they are willing to adapt.
Partial programmes (from 3 months to 1 year) can be arranged for professional or travelling reasons. This can also be done in coordination with other teachers members of the Roy Hart Centre.
The directors of PANTHEATRE ACTS were part of the original ROY HART THEATRE (1969 1989), and are owner-members of the Roy Hart Centre (Château de Malérargues, Southern France).

PANTHEATRE ACTS is an officially approved further education programme in France, especially by AFDAS (French actor's continued training programme.)

Participants to The 2 Year Voice Training Programme can apply to the Pantheatre / Roy Hart Teachers Training Programme.

Performance Professionals / Personal Development

General Presentation : A Letter from Linda Wise

Not so many years ago, voice training addressed principally the performing arts. Now, the voice and the capacity to "voice oneself" is acknowledged as an essential aspect of personal development and communication skills, in the corporate world, politics, therapy, education, medicine. For professional artists there are also greater demands for flexibility in vocal skills, as performers are required to move easily from classical theatre, to musicals, to dance-theatre, to film and television and to new forms of singing, from rock to contemporary opera.

The programme I am presenting here stems from a wish to synthesize and transmit my experience as an actress, voice teacher and theatre director, with the recognition that one of the deepest creative sources of my work is the voice. Throughout my career, I have continued to give voice lessons to a wide variety of individuals ranging from opera singers, actors, dancers, adolescents, corporate managers, to people who say they 'have no voice', or, sing 'out of tune'.

My approach to the voice is rooted in my work with Roy Hart and the Roy Hart Theatre in the 70s and 80s, relativized and enlarged by the experience and insight of other teachers and disciplines. The explosion of interest in and knowledge about the voice in the last years has also shifted viewpoints and provoked a reevaluation of methods and philosophies. It is my wish to create a training that addresses these questions, that encourages a spirit of inquiry, and where the priority is the individual, not the method.

The pioneering research on the extended voice begun by Alfred Wolfsohn and passed on to Roy Hart and the Roy Hart Theatre, has a rich and varied history and, at times, the nostalgia for this legendary past can obscure the depth of current work and new developments. It often seems as if the history is 'the method', and philosophy enough. Neither Alfred Wolfsohn, nor Roy Hart established a methodology, and chose to pass on their views and experience within an initiatory model, very much in the spirit of the 60s and 70s. Now, as we move into the 21st century, over 30 years have passed since the creation of the Roy Hart Theatre and almost 25 years since the tragic death of its founder. Members of the Roy Hart Theatre have settled throughout the world. This has brought diversity and divisions, as well as a large number of teachers using the label "Roy Hart", inspired more or less directly by the original experience. Only the integrity of the individual teachers acts as warranty for the 'method'. The Roy Hart Theatre as a performing company and as an artistic label was officially dissolved in 1989. My own artistic projects go under the identity and responsibility of Pantheatre, a company founded in 1981, which I co-direct with Enrique Pardo. Links with other training programmes by teachers of the original Roy Hart Theatre will be possible, as well as with the Roy Hart International Artistic Centre at Château de Malérargues, of which I am an active member.

Paris, September 25, 1998.