2024 Myth and Theatre Festival

July 4 to 14, 2024

The IMAGE of our 2024 Festival is once again by Venetian Gianbattista TIEPOLO, favorite image-maker, up there with Rembrandt, Dürer, Leonardo, Picasso – (plus Kara Walker and African fetishes.) Venice was Europe’s palatial portico to Oriental Magic. Tiepolo was a contemporary of Mozart and Casanova; he was also Goya’s teacher…

I decipher Tiepolo’s image as a performance LABORATORY which the three main ‘masters’, artifex-magicians, (also called « The Orientals »), keenly observe, together with their doctoral students on the right (the younger ones, are behind them). Notice a monkey amongst them! The scene takes place in a graveyard; the focus is on a solo rêverie-performance by a woman in the foreground.

The festival will offer a bottle of champagne (on site) to the person who works out who the subject of her performance is !

See original print (with zoom arrow) on LINK

The festival will be exploring the very notion of GENIUS and its phenomenology in performance, and pay tribute to our two historical inspiring geniuses: Roy Hart and James Hillman – as well as to Xavier Papaïs, our main guest, whom I consider the most acute and broad-minded contemporary thinker on MAGIC today.

2024 marks the 50th anniversary of the ‘magic’ purchase of the Malerargues estate. 2025 will mark the abrupt and tragic death of Roy Hart, less than a year later. It is this second event that seizes my tragic and… magical attention.

Magic cannot be confined to optimistic illusions, but is often accompanied by terrible spells.

We will take on the notion of Genii in the practical and theoretical continuity of the ‘magical’ themes.


See below for the EDITORIAL

How Genii?
Information updated 16/05/2024

INFORMATION updated  16/05/2024

The Myth and Theatre Festival was founded in 1986 under the auspices and presidency of American writer and psychologist James Hillman.

It is Pantheatre’s culminating annual event, interweaving performance practice with cultural studies, especially mythology and anthropology.

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See also the first EDITORIAL below.

History of the Festival

The festival interweaves PRACTICE and THEORY under the concepts of Myth and Theatre.

PRACTICES are grouped around
and incorporate ROY HART’s voice work
as well as singing, movement and text.

CULTURAL STUDIES constitute the reflective and analytical aspects of the interface between Myth and Theatre.

Alchemy makes it clear:
LABORATORIES cannot be effective (performative) without ORATORIES – and vice versa.

Full fee 800€

600€ for students under 24, Pantheatre Active Members and special requests.

You can also EMAIL us to reserve provisionally a place or ask for more information.

IMPORTANT Three Stages

First you must fill the REGISTRATION FORM

Second – if accepted, we will offer you a place

Third – you then must CONFIRM with your PAYMENT

Payments by
Bank transfer (in Europe)
Paypal (outside Europe)

Detailed PAYMENT information


Outline PLANNING pdf soon

The precise planning of the festival regarding performances, teachers and lecturers will be posted gradually. Some landmarks:

Full presence : July 4 to 14 (Bastille Day) = 11 days
Arrivals July 3rd, departures July 15 = 12 nights
Two half days OFF : Monday 8 morning (market day) and Thursday 11. 

To get an idea, check the 2023 Festival Page.

10.00 – 11.00   Training Preparation for Choreographic Theatre

11.00 – 13.00   Choreographic Theatre Laboratory – Chorus and individual work, narration and the inclusion of TEXTS (cherry on the cake.)

14.30 – 15.45   Voice Classes and Singing Lessons (in small groups.)

16.00 – 17.00   Vocal Improvisation including musicians

18.00 or 19.00  Lectures / Work in Progress / Study Seminars / Discussions

21.00 — Performances (not every day)

Check our ADVICE PAGE.

IMPORTANT : book earliest. Places at the Roy Hart Centre are limited. We can advise on other (very good) alternatives.

High season starts on July 15th so places and prices are still reasonable in the Region.


We will send you articles to read, and videos to watch in order to prepare.

Come with a working text and/or a song (learnt by heart) : not compulsory.

Dress code: priority to fantasy, but remember it is full summer, but often cool evenings…

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Why Genii?

of the Festival

The Myth and Theatre Festival began in 1987 at Malerargues, the Roy Hart Centre, under the presidency of James Hillman, founder of archetypal psychology and main heir of Carl G. Jung, as a gathering of artists and psychotherapists, mostly American. But cultural polytheism did not fit in with the ‘Roy Hart’ of that era. From 1990 to 1997 the festival was hosted at the Chartreuse de Villeneuve lez Avignon  (a golden exile), to then travel to New Orleans, Granada and Ireland. It returned to the Roy Hart Centre for a cycle on Myths of the Voice. Nobody had thought of the topic! Genii is part of our current cycle on Magic.   Festival History

Story of
Why Genius?

Pantheatre defined itself, with a pinch of salt, as a School of Genius, at the 2003 Festival, in Granada. We were guests of the School of Architecture, a Mozarabic palace where our neighbor was a Spanish army garrison. Its impressive iron gates bore the motto School of Genius – of the military engineering kind, of course. Its motto was…: Doctrine and Dressage – which takes some beating! 

Here is how we adapted it as Pantheatre’s aim: “The affirmation of personal genius – ideas, character and musicality – with a radical commitment to what one has to express.”…

Who Genii?
performers & lecturers


Adriana Medina

Mexican clown and international teacher – performs worldwide, especially in tribal communities + in the making.

Agostina Recinella

Italian dancer, clown and performer.  + in the making.

Alice Bellefroid

Comedienne, l’une des étoiles du Laboratoire à Paris / Video de son Rimbaud  + en cours

Comédienne française, belle et racée, préparant un doctorat sur le théâtre, notamment avec Panthéâtre. + en cours

Ben Rivers

Actor, psychotherapist and applied theatre practitioner with world-wide experience working in communities impacted by political violence and collective trauma.  Ben will present The Invaders’ Fear of Memories, a solo play directed by Linda Wise.  The piece explores the origins of settler-colonialism and apartheid in modern day Israel and is based on his great grand-father’s journals as Director of the Jewish National Fund in the Galilee.

Bibiana Monje

Spanish-Canaries super-star, came to her first festival as a drama student, and was Lola Flores to Greta Garbo. Has created some of the best « folies a deux » blueprints for devising performances with Enrique. Actress, singer, writer, producer, director, she can do it all: in Lacura (madness = cure, 2022), Enrique had her tied and gagged by the mutiny cast in a scam shamanic initiation. Links & Video talk. + in the making.

Daniela García

Actress, teacher and Pantheatre key associate, Chilean-born lives in Paris and Malerargues (Roy Hart Centre). Has written and performed four solos directed by Enrique. Her father suddenly changed from a sturdy Pinochet general to a light airplane pilot who fell into the grey and cold Southern Pacific. She is a top and startling salsa dancer… + in the making.

Debora Ballardini

Pantheatre International director; performer and teacher. As a very young woman, she fled to Japan from Brazil and its dicey shamans of “Brazilian Happiness”. She then escaped Osaka night clubs to settle in New York as a performing artist, therapist, and theatre director, hosting Linda and Enrique in a great series of PanNYC projects. She will present an advanced work-in-progress version of a solo directed by Enrique: BACKLASH TO BRAZILIAN HAPPINES

Éloïse DeNayer

Beatifull and racy French actress, working on a doctorate on theatre, including Pantheatre. + in the making

Enrique Pardo

Founder with James Hillman and director with Linda Wise of the Festival: « The most rewarding of professional contexts ». Thrilled to engage with the genius of Magic, its awesome wisdom, playful creativity, heavy vertigo. The most challenging theoretical and practical notion in artistic endeavor. « Maybe one day we will realize that what we called art was in fact medecine » (Name Surname) + in the making.

Haim Isaacs

Singer, composer, performer, musical director of many of Pantheatre’s early ‘alchemical’ adventures. + in the making

Les Chimistes

A theatre company associated to Pantheatre. Will present a performance of Medusa.

Linda Wise

Codirector of the Festival. Taken with theatre from her early childhood. A Bacchant by the time she entered the Scotish Drama Academy, frightening her teachers with her voice. Found her Bacchae home in London with Roy Hart and is still at it internationally, with a special foreign affaire with Chile…  + in the making

Nate Speare

Long time young friend and librarian of Pantheatre, performer and writer, and surprisingly : Astrologer! – with an excellent if exuberant mytho-poetical take on the cosmos (and cosmetics.) Created, as a start, with Enrique, an on-edge, radical farce on Ronald Reagan’s Alzheimers.

Pauline Nozière


Querena García Fernández


Randy Fertel

Lives in New Orleans, writer, professor and philantropist, steeped in the city’s litterary and musical genius, and especially its imp-provisation demons. His latest book deals with the dark genius of Donald Trump, titled in Southern slang « Winging It ». TITLE

Sonu Shamdasani

Pending confirmation

Xavier Papaïs

 This year’s festival guest of honour happens to be a great friend and the world’s top authority on Magic, on the « Demagization of the World » (See video of his pre-Festival lecture) and has some ideas on how to « Remaginize » the world. – in the making. 


Enrique Pardo

Since 2017, Pantheatre and its Myth and Theatre Festival have been exploring different facets of MAGIC – considering Magic to offer the broadest and richest horizon of human agency and thought.


In 2024 and 2025, we will be exploring not only the genial plurality of Magic, but tackling the very notion of GENIUS and its phenomenology in performance. We will also pay tribute to the main figures of genius who inspired Pantheatre, and with whom I was lucky to work and become friends, starting with Roy Hart and James Hillman. We will be paying tribute to other figures who have inspired our artistic and philosophical journey, especially Xavier Papaïs whom I consider arguably the greatest contemporary thinker on Magic.


The 2024 Festival will also be a prelude to that of 2025, as they both mark major fiftieth anniversaries: 1974 and the ‘miraculous’ purchase of the Malérargues estate, with the arrival of the first ‘pioneers’. 


And then, less than a year later, in May 1975, the abrupt and tragic death of Roy Hart and his two companions, Dorothy Hart and Viviane Young, in a car accident.


It is, of course, this second event that seizes my tragic and… magical attention. Magic cannot be confined to optimistic illusions, but is often accompanied by terrible spells.


I consider Roy Hart to have been first of all an ethical genius; fifty years is enough to make of him, as an artist and director-guru, a legendary, even mythical figure. This is why I propose to include seminars under the title Roy Hart: Myth and Theater.


We will take on the notion of Genii in the practical and theoretical continuity of the ‘magical’ themes of recent years: Oracles, Luck, Superstition, Nekyia, The Task of Psyche, Fetish, etc.


Amplified EDITORIAL soon

How Genii?



Direction : Linda Wise

With a pianist (tbc)

Taking Roy Hart’s extended voice work into singing, performance and interpretation.

If you think of genius as intimate, personal and emotional, it will show up, maybe in the texture and timbre of your voice, or in the moves you make, vocal and physical. That is what ‘singing’ is all about.



Choreographic Theatre

Direction : Enrique Pardo

with the members of his Paris Laboratory and guest artists

Choreographic Theatre : training in chorus disciplines that bring out personal genius… « Rules are made to confirm exceptions ».

“I understand choreography especially in terms of “making a move”: an esthetic AND ethical initiative, acted out.”  My definition of IMPROVISATION: “Imps at work”. EP.


Where Genii?

The workshop-festival takes place at Malerargues, a pastoral paradise in the Cevennes foothills, Southern France, near Nimes, Montpellier and Marseille – in collaboration with the ROY HART CENTRE, its theatre spaces (the large building on the photo, a magnificent old silk-worms called a ‘magnanerie’), six working studios, some 12 pianos, in a domain of 30 hectares of Mediterranian forests – surrounding the hamlet and including a sturdy huguenot château ! (See below.) Pantheatre’s Library is installed in the chateau’s chapel, at the back of the image behind the tall cypresses.

Malerargues  &  Roy Hart Centre   (a drone overview!)
image and drone overview courtesy of Clément Caudal
Château de Malérargues
The chateau in Winter (rare snow photo by Clara Silber)

The Festival?

The Myth and Theatre Festival was created in 1986 under de auspices and presidency of American writer and psychologist James Hillman

It is Pantheatre’s yearly key event, intertwining performance practice with cultural studies, especially in mythology and anthropology.

 Consult leading articles
2022 23 Seminars
2022 Fall Cycle
2022 Summer Program
2022 Spring Cycle
2020 Festival
2021 Festival
2022 Festival
2023 Festival Fetish
Enrique’s BLOG

Direction Enrique Pardo with Linda Wise

Assistant Director, Daniela Garcia
Organisation Debora Ballardini
with Eloïse DeNayer
Advisors : Amy Rome, Douglas McArthur, Grace Zandarski

in collaboration with

Roy Hart International Artistic Centre 

Univ. of Central Lancashire UK.
School of Film, Media & Performance. Dr. Amy Rome

University of Lethbridge, Canada
Coordination : Douglas McCarthur

La Compagnie des Chimistes
Pantheatre Membres Actifs
Membres du Laboratoire Paris

Mairie of Lasalle   &    Mairie of Thoiras

Pantheatre’s training is both advanced AND open to all: much more a question of attitude, personality and willingness to take risks, than of technical, musical or theatre skills – which, of course, are more than welcome.

Most participants have an interest in performance: physical or text-based theatre, danse or singing. Pantheatre’s training is a SYNTHESIS of these, applied to voice performance, singing and choreographic theatre.

For WORKSHOPS content and IDEAS
click on a LINK
    • Voice LINK
    • Singing ‘after’ Roy Hart LINK
    • Voice Performance LINK
    • Choreographic Theatre  LINK
    • Cultural Studies  LINK
    • James Hillman  LINK


Assistant Teachers and Performers
Eloïse DeNayer, Axel Chia, Mathis Capon (Chimistes Cie.)
Alice Bellefroid, Maya Lewandowski, Pauline Nozière

Social Media

(English & Spanish) : Querena, Izabel Akbal, Adriana Medina

Pantheatre Chile and Universidad de Chile
Direction Annie Murath


The Directors


My ‘cutting-edge’ work happens, unquestionably, in LABORATORIES, from where a whole series of performances, magnificent collaborations, have emerged. I call these Folies à Deux: intertwined transfers towards what is perhaps my main goal: psychological creativity. My role: laboratory director, the one Alchemy called ARTIFEX: artificer, catalyst and, why not, shaman: « You are a shaman as long as your luck lasts » (Roberte Hamayon). With age I seem to be getting luckier. This is beautifully described by Florence Derail in an email that ends like this:

« This workshop-Laboratory:
– is not a therapeutic place – despite the benevolence that prevails in them,
– it is a place where each participant, whatever his or her possible initial blockings, is placed in a state of hyper-creativity and hyper-receptivity, where intuition grows at a very fast pace.
– It’s a laboratory in the strongest sense, a place of experimentation [for whom? For everyone, including Enrique Pardo.] »

And THE VOICE in all this? I like an (indirect) definition by Giorgio Agamben: « Listening to the voice in speech, is what thinking is all about ». I also go along with Roy Hart’s favorite quote: « The voice is the muscle of the soul », after H. W. Longfellow. I say that I could be one of Roy Hart’s top lawyers, of his life, work and philosophy – while not necessarily agreeing with everything he did or said, especially fifty years later.   EP

Enrique Pardo


© photo : Javier Riano de Echanove

Linda Wise


© photo : Javier Riano de Echanove

Beloved Pan, and all ye other gods who haunt this place, give me beauty in the inward soul; and may the outward and inward man be at one. Socrates

I climbed through the looking glass at 10, as Alice, into the magic world of theatre: the joy of dancing with words, the elation of singing – and, no nerves! At 13 I knew Hamlet inside/out, (I was every night in the prompt box!): all I wanted to do was theatre. With friends, we created our first companyThe Young Players. I did stumble on some opposition, and some depressions, but at 18, I made it to the Royal Scottish Academy, and, at 19, I met Roy Hart’s group in London. A turning point. I became “passionately engaged with a vision of the voice that found its embodied roots with Roy Hart”. LW.  read more