Please note all workshops outside of Malérargues are organized independently of the Centre Artistique International Roy Hart.
Workshop Description:
Professional training, financed by AFDAS under individual agreement (or other OPCO, depending on your situation).
More widely available by special arrangement, please contact us.
In our period of time, as in the Elizabethan period, the actor must be able to speak, sing and dance.
We propose a workshop in which body, voice and imagination are linked. They are woven together so that the voice can rest, rest, rest with care in all its colors, with panache or tenderness, calm as a river or lively as a waterfall, or deep as a mountain lake.
Yes, our voice can travel, a little like water or air, in volutes, in infinite curves, like marvelous clouds.
Six days of intense immersion in the landscape of your voice, with the aim of listening, listening until you hear.
Hearing to choose: which voice, which sound, which pitch, which timbre, which volume, which intensity, which sound quality, sometimes including sounds of strange beauty, but full of energy.
In a magnificent 19th-century chateau in Haute-Vienne, 17 km from Limoges, come and join a group deliberately limited to eleven trainees, with two teachers and a musician:
– Pascale Ben and Laurent Stéphan, Roy Hart Voice Centre teachers;
– Olivier Philippson, accordionist, guitarist, singer.
General information:
35 hours of teaching over six days.
Learning objectives:
Acquire greater comfort with your voice, know how to play it and project it effectively:
– by becoming aware of our habits and letting go of parasitic tensions
– by refining our perception of ourselves and of space
– by creating an energy conducive to the expression of different emotions
– discovering all the nuances of our voice
– making sounds resonate according to our own morphology
Eligible public:
Artists (actors, singers, dancers, circus performers, puppeteers, etc.) or anyone wishing to gain a better understanding of their voice, to strengthen the links that unite voice and body, to carry out research and exploration in the field of voice.
Prerequisites:
Professional artistic experience, even if not in the field of voice.
Admission based on C.V. and motivation letter.
Financing:
This course is offered in partnership with the Pivoine association, a QUALIOPI-accredited training organization.
If you’re an employee, a casual entertainment worker or registered with Pôle-Emploi, you may be eligible for funding under the French vocational training scheme.
Contact us to receive a quote and content, and to apply for reimbursement.
100% financing by AFDAS for eligible persons (intermittents or artists with 48 cachets in the last two years), or other OPCO depending on your situation.
Booking Information and Contact:
Lucie Rivers-Moore: 06 84 14 64 89
Mail: envoix@lavoixestlibre.fr
http://www.lavoixestlibre.fr/pages/stage2024-11-PRO.shtml
- BODY
- PRESENCE
- POLYPHONIE
- PLAYING
- EXIGENCY
- DISCOVERY
- MEETING
Laurent Stéphan
Actor, Singer, Massage Practitioner
Lives in Malérargues, Thoiras, France
Roy Hart Voice Teacher since 2011
For me, the philosophy of the Roy Hart voice work lies in listening to and observing the totality of the person who is expressing; taking the risk to be fully in the moment and following our intuitions. It is to give confidence to the student so s/he will dare to venture into places within him or herself, and into qualities of the voice perhaps not yet known, while taking pleasure in this exploration. It is to open a field of possibilities and to welcome the many personalities, voices and energies of which we are comprised. Finally, it is to appreciate beauty wherever it resides.
Contact
- LISTENING
- PRESENCE
- AVAILABILITY
- IMAGINATION
Pascale Ben
Singer, Actress, Voice Teacher
Lives in France
Worked with Roy Hart and was part of the Roy Hart Theatre (before 1991)
Roy Hart Voice teacher since 1969
I was born in 1947. My life’s path changed completely the day in 1969 that I met the ROY HART THEATRE, an avant-garde company based then in London. I saw people full of energy, who used their voices in an incredible way, with freedom and a deep sense of listening and working together. Some months later, I was invited to witness rehearsals and meetings in the presence of Roy Hart. Soon after that I joined the company in London. I had just turned twenty-one; the age one became, at that time, officially an adult.