Pantheatre / English
Welcome to Pantheatre’s web portal presenting updated programs and definitions.
Its ‘back-shop’ (html old format) contains detailed documentation
on performance and training projects, ideas and media – and over twenty years of archives!
Editorial
2025
A word from the directors.
Enrique Pardo and Linda Wise
Both of us have been through difficult times health-wise in the last three years and pursue our artistic journeys adapting to the times and our age: we will soon be 75 and 80. Transmission has become a ‘mission’, which we impart mostly by sharing our research towards the Pantheatre Performance Diploma. We contribute also to the Roy Hart voice teacher certification. We qualify our aims as “professional”, and, while we welcome technical know-how in music, acting and/or dance, what matters most to us is open-mindednes: it is much more a question of personality, a matter of quality of listening and expressive risk-taking rather than of technique.
In that spirit, we also welcome non-performers: academics, psychotherapists, social workers, etc. We call Pantheatre, with a pinch of salt, a ‘School of Genius’ – after the devise of a Spanish army garrison, next door to our 2003 Festival in Granada. Their moto: « Doctrine and Dressage »! Serious competition!!
IMPORTANT NOTE / Pantheatre projects can be financed by AFDAS under Qualiopy standards (French Equity professionals.)
The Festival
July 1st to 13th 2025
The 2025 Myth and Theatre Festival, Pantheatre’s annual benchmark event (since 1986) is just over two months away – in Malerargues, in the South of France, at the Roy Hart Centre. It is part of a Cycle on MAGIC, and this year it calls on Caravaggio (1571 – 1610), to shed chiaroscuro light on two major topics:
1 – DEATH, and in particular the sudden, violent, accidental death of Roy Hart in 1975 – fifty years ago.
2 – ANARCHY, a newcomer to the festival’s themes, but a ubiquitous catalyst in contemporary art; it should force us to reflect on the transferences between theory and practice.
Go to the Festival Web Page
2025 2026 Paris PROGRAM
Starting October 2025
Paris 2025 / 2026 Season
PRESENTATION
Workshops, Classes, Laboratories
Master Classes & Seminars
towards the
Pantheatre PERFORMANCE Diploma
and the
Roy Hart Voice Teacher CERTIFICATION
Direction : Linda Wise & Enrique Pardo
with Daniela Garcia and Les Chimistes (Éloïse DeNayer, Axel Chia), Alice Bellefroid, Pauline Nozière, Maya Levandowski.
Thematic Links
- Voice LINK
- Singing ‘after’ Roy Hart LINK
- Voice Performance LINK
- Choreographic Theatre LINK
- Cultural Studies LINK
- James Hillman LINK
Please send email to Pantheatre specifying your interests : EMAIL
Check also OPEN DOORS below
Open Doors 2025
dates to be confirmed
Presentation of the season and work, with practical exercises. Enrique Pardo
Trial class
Sat: 9:30am – 12pm
Voice and Singing Workshop, with Linda Wise
first session: 40€. See below
Saturday Morning Atelier
Voice and Singing
directed by Linda Wise
with collaborating teachers
Dates to be confirmed
Saturdays, 9:30 a.m. to 12 p.m. at Studio DTM, Paris 11th
Preparation and body awareness.
Timbres and textures: register extensions.
Technical exercises & theatrical and musical play.
Voice placement – vibratory spaces.
The singing voice – musicality and nuance – with piano & guitar accompaniment.
The spoken voice – communicating thought and/or expressing emotion.
Voice/movement relationships & improvisation.
Inscription Linda Wise Contact email
Private Lessons
Voice / Singing / Roy Hart work
Linda Wise
One-hour online or presential classes in Paris (Centre de Danse du Marais, Paris), Malérargues (Centre Roy Hart, Gard) or ONLINE.
Training and supervision towards ‘Roy Hart’ voice teacher certification.
By appointment : LINK
Paris Pro Workshop
AUTUMN 2025
Voice and Choreographic Theatre
Studio DTM – Paris 11 M° St Ambroise + Richard Lenoir
including professionals in advanced training with PANTHEATRE
Archive (to be updated)
Paris Laboratory
Choreographic Theatre
Direction: Enrique Pardo with the Paris Cercle: Daniela Garcia, Alice Bellefroid, Axel Chia, Éloïse deNayer, Maya Levandowski
The original notion of LABORATORY has a long history, originating in Alchemy: experimentation on the links between matter and imagination. A notion renewed by Jerzy Grotowski in his famous Laboratory Theatre. We are part of this lineage – updated by the archetypal (and alchemical) thinking of
James Hillman, and contemporary anthropological thought, notably by Xavier Papaïs.
See a « classic » example of a « family » Alchemical Laboratory (the whole family at work): LABORATORIO
Participants can envisage devising and montage-performances based on the principle of FOLIE A DEUX (or several), with presentations (in progress) at the Myth and Theatre Festival and/or at Studio DTM.
INFORMATION & INSCRIPTION
archive document to be updated
Paris Music Workshop
FEBRUARY 2025
Voice Performance and Music
Pierre-François Blanchard
This workshop focuses on the notion of voice performance, its relationship to singing, musicality and musical composition, as well as the staging and mobility of the vocal body.
The course covers music sung on stage, off stage, with instruments – including piano accompaniment. The course is professional in its demands and attitude. It is not limited to professional musicians or stage performers, but brings the two together through vocal work.
Voice Performance Class
Enrique Pardo
with the participation of the Paris Cercle members
La performance vocale est à la fois acoustique (gestion lyrique des textures / tessitures de la voix), scénique (présence, mouvement, espace) et dramaturgique (sens, écriture, cadence et émotion.)
Mon rôle est celui de directeur de laboratoire (artifex, en alchimie). J’accompagne au piano et vocalise, avec les choristes. L’écoute de la voix de la musique (« l’orchestre ») est fondamentale. EP
Voice performance is at once acoustic (lyrical management of voice textures / tessituras), scenic (presence, movement, space) and dramaturgical (meaning, writing, cadence and emotion).
My role is that of laboratory director (artifex, in alchemy). I accompany the choristers on piano and vocals. Listening to the voice of music (« the orchestra ») is fundamental. EP
Vocal and thematic preparation, followed by individual work (20 minutes +), with the other participants in turn active choristers, spectators and/or commentators.
Classes take place during the day on weekdays (sometimes at weekends) at the Centre de Danse du Marais (Paris 4th arrondissement) or at Studio DTM Paris 11th (more rare), usually in the morning.
Bookings can be made online via a DOODLE survey diary.
Reminder
Diploma and Certification
Pantheatre propose DEUX programmes de formation liés entre eux, partageant des cours et ressources culturelles mais menant à deux titres distincts.
DIPLÔME DE PERFORMANCE de Pantheatre
CERTIFICATION de professeur de voix Roy Hart
Pantheatre offers TWO interlinked training programs, sharing courses and cultural resources but leading to two distinct qualifications.
Pantheatre PERFORMANCE DIPLOMA
Roy Hart Voice Teacher CERTIFICATION
ARCHIVES
ARCHIVE Editorial (August 2023)
Outlook Editorial
A few lines on where we are at (August 2023), and where Pantheatre seems to be going – after three years and three untimely, difficult visits: Covid, Cancer and Vertigo. Covid shook Pantheatre, as it did everyone else, but allowed us three years of online experimentation – to be followed-up. Linda’s cancer made for a worrying year for all of us. But she’s coping very well – with surveillance and fingers crossed. Then it was Enrique’s turn, with a sweeping vertigo a week before the FETISH Festival – which we maintained: it was a great success – thanks to the thirty or so friends who came from all over the world (and Enrique’s desk chair on wheels…) The only downside was that we were unable to host and hear Xavier Papaïs. We will.
What is the outlook for the short and medium term? Fewer but sharper projects. A gifted new generation is now with us: in France, with La Cie. des Chimistes and the Laboratory Cercle (Daniela, Alice, Éloïse, Axel, Mathis, Michaëlla, Maya and others regulars like Pierre-François and Saso.) Plus, a Pantheatre Chile intensive being planned for January 2024, and an international Circle overseen by Debora Balardini from New York, some of whom will be presented with the Pantheatre performance diploma, together with becoming ‘Roy Hart’ teachers, (Sarmen, Susan Bamford Caleo, Grace Zandarski, Thales Branche…)
The Autumn / Winter season in Paris will include two intensive workshops. Spring and Summer 2024 seasons, in Malérargues, will offer residential training and performance devising, both linked to the 2024 and 2025 Myth and Theatre Festivals – to be announced soon.
ARCHIVE
The 2023 Myth and Theatre Festival
FETISH
took place June 17 to July 2, 2023
at Malerargues, the Roy Hart Centre in Southern France
It was a great success in spite of last minute health emergency (sudden vertigo) for Enrique, who directed from his office chair, on wheels… ALL sessions were filmed and will be made available to participants and members of the Virtual Library, likely in August. You can access the presentation on
Depuis 2017, Panthéâtre et son Festival Mythe et Théâtre explorent différentes facettes de LA MAGIE – considérant que La Magie offre l’horizon le plus large et le plus riche de l’agir et de la pensée humaine.
Le Festival 2024 entamera non seulement la pluralité géniale de La Magie, en abordant la notion même de GENIE, de ses formes et agirs dans la performance, mais en rendant homage aux grandes figures de génie qui ont inspiré Panthéâtre, à commencer par Roy Hart et James Hillman, ainsi qu’à Xavier Papaïs qui, pour nous, est sans doute le plus grand penseur contemporain de la Magie.
Le Festival 2024 sera en partie un prélude à celui de 2025. Tous deux marqueront des cinquantenaires majeurs : 1974 et l’achat ‘miraculeux’ du domaine de Malérargues, avec l’arrivée des premiers pionniers.
Et puis, moins d’un an après, en mai 1975, la mort inopinée et brutale de Roy Hart et de ses deux compagnes, Dorothy Hart et Viviane Young, dans un terrible accident de voiture.
C’est, bien sûr, ce deuxième évènement qui retient notre attention tragique et… magique. La Magie n’est pas cantonnée aux illusions optimistes, mais s’accompagne souvent de terribles sorts.
Since 2017, Pantheatre and its Myth and Theatre Festival have been exploring different facets of MAGIC – considering that Magic offers the broadest and richest horizon of human agency and thought.
The 2024 Festival will not only explore the genial plurality of Magic, tackling the very notion of GENIUS and its forms and actions in performance, and will also pay homage to the great figures of genius who have inspired Pantheatre, starting with Roy Hart and James Hillman, as well as Xavier Papaïs who, for us, is undoubtedly the greatest contemporary thinker on Magic.
The 2024 Festival will be in part a prelude to that of 2025. Both will 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 sudden and violent 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 captures our tragic and… magical attention. Magic cannot be confined to optimistic illusions, but is often accompanied by terrible spells and affliction.
The Virtual Library
Pantheatre has accumulated an enormous body of archives which we want to make available. It includes :
- Most of the video recordings of the Cycles classes, starting in 2019 in Chile, and expanding into the International Cycles.
- We are working on all our recordings and creating edited extracts, with comments.
- Dozens of lectures with PowerPoint presentations. Many linked to articles on performance and cultural topics.
- Master Classes, on voice pedagogy (mostly around the ‘Canonic’ model of Roy Hart’s Singing Lesson.)
- Enrique’s own BLOG of some 40 or more articles, commented and linked to practice examples.
- And much more.
IMAGE above is based on the actual Pantheatre Library installed in the Meyrueis Chapel at Château de Malérargues.
The NewsBlog
Enrique’s NewsBlog posts current topics & critical ideas, to be included in Social Media and developed on Enrique’s Main Blog.
November 27, 2022
Covid at a performance:
the director personally squeezed us in.
… so we got it, third time. Covid is now down to a debilitating flu. It broke out as a very scary PANdemic and took a huge toll, likely millions. Pharma technology managed to subdue it in only 18 months, which I see as a momentous achievement for humanity. I.e. technology can now control earthly (animal) enemies. (Not so, deadlier human enmities.) So, we just passed into being EIGHT billion… I am writing on « Pan, animals and animality », and started checking scientific prospects: glum, with mostly rats, rodents and roaches surviving.
Choregraphic Theatre Laboratory
2023 : latest post (and image)
A Laboratory in full flight…
Definition & Instructions Manual
Enrique Pardo
Above The Gate of Hell, Dante placed this motto: “Abandon all hope, you who enter here”. It is important to know that there is another entrance, a discreet side door to the Underworld: The Artists’ Entrance. Its motto says: “To enter here, you must roll on the ground and scream.”
This reminds us of the Bardo bottleneck in Buddhist Tantrism (the cervix of the womb). An initiatory passage ruled by demons (the Bardo) who determine the fate (and cry) of the newborn.
The training thus starts with expressive catharsis. There, I am indebted to Roy Hart for his philosophy of vocal expression. I was a young visual artist, reserved (and likely snob.) With Hart, I started acting (out).
At stake: how to give body (and voice) to fiction, how to move physically into image, harvest emotion and deploy “a rain of metaphors”. Here I am indebted to James Hillman.
There is a cherry on this cake: the TEXT work, set-up in a non-illustrative musical and choreographic CON-TEXT. It is complex, but not necessarily complicated.
I understand choreography especially in terms of “making a move”: an esthetic AND ethical initiative, enacted. EP
A Laboratory in full flight. Above, Alice Bellefroid flying, below Michaëlla Gallozzi contemplating, plus Daniela Garcia x3.
Photos Axel, montage, Enrique. Studio DTM, Paris.
The Directors
Enrique Pardo
My ‘cutting-edge’ work happens, unquestionably, in laboratories, from where a whole series of performances, magnificent collaborations, have emerged. I call them 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 blocks, 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, that’s what thinking is all about ». I also like Roy Hart’s favorite quote: « The voice is the muscle of the soul », from H. W. Longfellow. EP read more
© photo : Didier Monge
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”. read more
Collaborators
- Amy Rome – Singer, Professor at University of Central Lancashire, England. Doctoral thesis on Pantheatre.
- Annie Murath – Actriz y Cantante. Directora de Pantheatre Chile – nombrada directora de teatro de la Universidad de Chile (15/12/2022) !!!
- Daniela Garcia – comédienne et professeur Roy Hart. Paris, Barcelone, Santiago du Chili.
- Debora Balardini, New York / Brésil. Danseuse performeuse, directrice et gestionnaire artistique.
- Didier Monge – musicien, performeur, professeur à l’Ecole du Jeu, Paris.
- Fabiana Cozza, chanteuse, professeur de voix, proche collaboratrice de Linda Wise.
- Gonzalo Pinto-Guerrero, comédien, metteur en scène, directeur administratif de Pantheatre Chile.
- Grace Zandarski, Actor, Yale School of Drama Faculty, director of voice training.
- Les Chimistes – Eloïse, Axel, Mathis, élèves de Daniela Garcia, noyau de recherche à Paris, avec l’inclusion d’Alice Bellefroid et de Michaella Gallozzi.
- Pierre-François Blanchard, pianiste, compositeur, chanteur.
- Sarmen Almond, chanteuse, musicienne, performeuse. Mexique.
- Sean Lewis, Performer / Playwrighter / Director, Artistic Director of Lilac & Co. Brooklyn.
- Sharon Feder, performer, culturel events organizer, Vancouver, Canada.
See also : Colleagues, Live & Mythical
Us
Pantheatre is the organizational umbrella for the artistic and cultural projects of its two directors: Enrique Pardo and Linda Wise – with a wide circle of artists and teachers.
A context for
· performance research and devising
· voice training (including Roy Hart)
· cultural and archetypal studies
Based in France :
· Studio DTM, Paris 11 : Oct. to Mar.
· Malerargues, Southern France, Roy Hart Centre. April to Sept.
International workshops and long-term programs, on-site and online: Chile, Sao Paolo, Mexico, Madrid, Italy, New York.
The Work
Main areas:
- Voice performance
- Singing and Interpretation
- Choreographic Theatre
- Cultural Studies
- Training of Roy Hart Voice Teachers
The work is done on site and online, in intensive workshops, regular ateliers, master classes, seminars, individual classes and personal tutoring – which can be combined in long term training programs.
Four historical influences:
- Roy Hart’s voice practice and philosophy.
- James Hillman’s archetypal psychology and ideas.
- The laboratory legacy of Jerzy Grotowski and Eugenio Barba.
- Peers and contemporary philosophers.
Why Who
The aim is for each person, artist and/or teacher, to make the work their own, integrating psychological, critical and cultural studies.
No dogma: “Rules are made to confirm exceptions”.
Workshops, courses, tutoring are both advanced AND open to all. More a question of attitude, personality and risk-taking than of technical, musical or performance skills – all very welcome!
For many, it amounts to a hands-on post-doctorate. Dancers who want to include voice and text performance. Singers wishing to include extended voice ranges and movement performance. Psychotherapists, or anyone, wishing to explore the modes and implications of artistic ‘acting out’.
A School of Genius. Our ambition: “The affirmation of personal genius – character and musicality – with a radical commitment to what one has to voice.”