{"id":10531,"date":"2024-01-14T21:46:12","date_gmt":"2024-01-14T20:46:12","guid":{"rendered":"https:\/\/pantheatre.com\/-\/e-mt23-2\/"},"modified":"2024-07-01T17:24:45","modified_gmt":"2024-07-01T15:24:45","slug":"e-mt24","status":"publish","type":"page","link":"https:\/\/pantheatre.com\/-\/e-mt24\/","title":{"rendered":"e-MT24"},"content":{"rendered":"\t\t
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2024 Myth and Theatre Festival<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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July 4 to 14, 2024<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\tIMAGE<\/span>\n\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The IMAGE<\/b> of our 2024 Festival is once again by Venetian Gianbattista<\/strong> TIEPOLO<\/strong>, favorite image-maker, up there with Rembrandt, D\u00fcrer, Leonardo, Picasso – (plus Kara Walker and African fetishes.)\u00a0Venice<\/strong> was Europe\u2019s palatial portico to Oriental Magic. Tiepolo was a contemporary of Mozart and Casanova; he was also Goya\u2019s teacher…<\/p>

I decipher Tiepolo’s image as a performance LABORATORY <\/b>which\u00a0<\/b>the three main ‘masters’, artifex-magicians, (also called \u00ab\u00a0The Orientals\u00a0\u00bb), keenly observe, <\/span>together with their doctoral<\/span>\u00a0<\/span>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 r\u00eaverie-performance by a woman in the foreground.<\/span><\/p>

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

See original print (with zoom arrow) on LINK<\/a><\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\tGENII<\/span>\n\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The festival will be exploring <\/span>the very notion of <\/span>GENIUS<\/em><\/strong> and its phenomenology in performance, and pay<\/span>\u00a0tribute to our two historical inspiring geniuses:\u00a0<\/span>Roy Hart<\/b><\/a>\u00a0<\/b>and <\/span>James Hillman<\/a> <\/strong>– as well as to Xavier Papa\u00efs<\/b>, whom I consider the most acute and broad-minded contemporary thinker on MAGIC<\/b><\/i>.<\/span><\/p>

2024<\/strong> marks the 50th anniversary of the<\/span>\u00a0<\/b>‘magic’ purchase of the Malerargues estate. <\/span>2025<\/b> will mark the abrupt and tragic death of Roy Hart, less than a year later.\u00a0<\/span>It is this second event that seizes my tragic and… magical attention.<\/span><\/p>

Magic cannot be confined to optimistic illusions: is often accompanied by terrible spells.<\/p>

We will take on the notion of <\/span>Genii<\/b><\/em> in the practical and theoretical continuity of the ‘magical’ themes.\u00a0<\/span>EP<\/span><\/p>

See EDITORIAL<\/a><\/span><\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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How Genii?<\/b><\/em><\/span>
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INFORMATION updated\u00a0 02\/07\/2024<\/span><\/h5>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\tTHE FESTIVAL<\/span>\n\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The Myth and Theatre Festival was founded in 1986 under the auspices and presidency of American writer and psychologist James Hillman<\/b><\/i>.<\/a><\/p>

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

Make sure you subscribe to our Newsletters<\/a><\/p>

See also the first\u00a0<\/span>EDITORIAL<\/span> below.<\/span><\/p>

History of the Festival<\/span><\/a><\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The festival interweaves PRACTICE<\/b><\/i> and THEORY<\/b><\/i> under the concepts of Myth<\/b><\/i> and Theatre<\/b><\/i>.<\/span><\/p>

PRACTICES are grouped around
<\/span>VOICE PERFORMANCE <\/i><\/strong><\/a>and
<\/span>CHOREOGRAPHIC THEATER<\/em><\/strong>
<\/span><\/a>and incorporate ROY HART’s voice work
<\/span>as well as singing, movement and text.<\/span><\/p>

CULTURAL STUDIES<\/b> constitute the reflective and analytical aspects of the interface between Myth and Theatre<\/b><\/i>.<\/p>

Alchemy makes it clear:
LABORATORIES cannot be effective (performative) without ORATORIES – and vice versa.<\/b><\/i><\/span><\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Presential \/ Malerargues<\/b><\/span><\/p>

Full fee 800\u20ac<\/span><\/p>

600\u20ac for students under 24, Pantheatre Active Members and special requests.<\/p>

Do not hesitate to\u00a0EMAIL<\/strong><\/a> us or more information.<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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ONLINE<\/span>
Lectures and master classes will be broadcast ONLINE.<\/b><\/span><\/p>

REGISTRATION ONLINE from July 2nd<\/b><\/span><\/p>

French Orange provider promises the fiber connection for July 1st (after months of delays)<\/p>

\u00a0<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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IMPORTANT Three Stages<\/span><\/p>

First<\/strong> you must fill the REGISTRATION FORM<\/strong><\/span><\/p>

Second<\/strong> – if accepted, we will offer you a place<\/span><\/p>

Third –<\/strong>\u00a0you then must <\/span>CONFIRM with your PAYMENT<\/strong><\/span><\/p>

Payments by
<\/span>Bank transfer (in Europe)
Paypal (outside Europe)<\/p>

Detailed PAYMENT information<\/a><\/strong><\/p>

\u00a0<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Outline PLANNING pdf soon<\/p>

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

Full presence<\/strong> : 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.\u00a0<\/span><\/p>

To get an idea, check the 2023 Festival Page<\/b><\/a>.<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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10.00 \u2013 11.00\u00a0 \u00a0Training Preparation for Choreographic Theatre<\/span><\/p>

11.00 \u2013 13.00 \u00a0\u00a0Choreographic Theatre Laboratory \u2013 Chorus and individual work, narration and the inclusion of TEXTS (cherry on the cake.)
<\/span>+ LUNCH<\/span><\/p>

14.30 \u2013 15.45\u00a0\u00a0 Voice Classes and Singing Lessons (in small groups.)<\/span><\/p>

16.00 \u2013 17.00\u00a0\u00a0 Vocal Improvisation including musicians
<\/span>+ BREAK\u00a0<\/span><\/p>

18.00 or 19.00 \u00a0Lectures \/ Work in Progress \/ Study Seminars \/ Discussions<\/span><\/p>

21.00 — Performances (not every day)

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\n\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\tLODGING and TRAVEL<\/span>\n\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Check our ADVICE PAGE<\/a>.<\/b><\/p>\n

IMPORTANT : book earliest. Places at the Roy Hart Centre are limited. We can advise on other (very good) alternatives.<\/p>\n

High season starts on July 15th so places and prices are still reasonable in the Region.<\/p>\n

To book Lodging EMAIL PANTHEATRE<\/a><\/strong><\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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We will send you articles to read, and videos to watch in order to prepare.<\/span><\/p>

Come with a working text and\/or a song (learnt by heart) : not compulsory.<\/span><\/p>

Dress code: priority to fantasy, but remember it is full summer, but often cool evenings…<\/span><\/p>

Make sure you are subscribed to our
NEWSLETTER<\/a><\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Why Genii?<\/b><\/em><\/span><\/h4>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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History
of the Festival<\/span><\/h4>

The Myth and Theatre Festival<\/span> began in 1987 at Malerargues, the Roy Hart Centre, under the presidency of James Hillman<\/strong>, founder of archetypal psychology and main heir of Carl G. Jung, as a gathering of artists and psychotherapists, mostly American. <\/span>But cultural polytheism did not fit in with the ‘Roy Hart’ of that era. From<\/span>\u00a01990 to 1997 t<\/span>he festival was hosted at the Chartreuse de Villeneuve lez Avignon\u00a0 (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<\/i><\/span>. Nobody had thought of the topic! Genii<\/i> is part of our current cycle on Magic.\u00a0 \u00a0<\/span>Festival History<\/span><\/a><\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Story of
Why Genius?<\/span><\/h4>

Pantheatre defined itself, with a pinch of salt, as a School of Genius<\/em><\/strong>, 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<\/em><\/strong> – of the military engineering kind, of course. Its motto was…: Doctrine and Dressage<\/em><\/strong> – which takes some beating!\u00a0<\/p>

Here is how we adapted it as Pantheatre\u2019s aim: \u201cThe affirmation of personal genius – ideas, character and musicality – with a radical commitment to what one has to express.\u201d…<\/strong><\/span><\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Who Genii?<\/span>
contributers : performers & lecturers<\/b><\/em><\/span><\/h4>
English + Fran\u00e7ais + Espa\u00f1ol<\/b><\/em><\/span><\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Adriana Medina
Performance
<\/span><\/p>

date : Thurs 11 @ 21h<\/span><\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Mexican top international and interdisciplinary performance artist and singer, developed a \u201cclowntum<\/em> leap\u201d\u00a0genius\u00a0<\/span>for \u201csmall is beautifull\u201d online performances (Covid era), and when visiting remote indigenous communities, hospitals, prisons, asylums, urban projects, etc. Artistic director of the <\/span>Bee Relentless <\/em>clown project :\u00a0explorer with an extremely curious heart\u2026 and an extraverted gelato lover.<\/span><\/p>

Artiste performeuse et chanteuse mexicaine, internationale et interdisciplinaire, elle a d\u00e9velopp\u00e9 un g\u00e9nie sp\u00e9cial \u00ab\u00a0clowntum leap\u00a0\u00bb (saut clowntique<\/i>), \u00ab\u00a0small is beautifull\u00a0\u00bb pour la performance en ligne pendant la Covid, et lors de ses visites de communaut\u00e9s indig\u00e8nes, h\u00f4pitaux, prisons, asiles, et projets urbains, etc.\u00a0Directrice artistique du projet Clown Bee Relentless : exploratrice, extr\u00eamement curieuse… et amatrice de gelato.<\/span><\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Alice Bellefroid
Performance<\/p>

Date: Jeudi 11 @ 21h<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Argonaute de Panth\u00e9\u00e2tre depuis 10 ans, je navigue entre la com\u00e9die et l’artisanat ((et quelle trag\u00e9dienne\u00a0! Dona Elvire de Moli\u00e8re qui met en bo\u00eete Don Juan personnifi\u00e9 par le fils de sa meilleure amie, et qui a cinq ans\u00a0!)) Des travaux d’aiguilles aux performances, le fil de ma vie se trame de romantisme et de fureurs. Pourrais-je accomplir parmi vous la m\u00e9tamorphose alchimique des racines du spleen en pulsion cr\u00e9ative ? ((Yes, EP, entre parenth\u00e8ses.))<\/p>

A Pantheatre Argonaut for the past 10 years, I navigate between theatre and handcrafts ((…and a superb tragedian: Moli\u00e8re\u2019s Dona Elvira roasting<\/em>\u00a0Don Juan, in the person of the son of her best friend, only five years old…)) From needlework to performances, the thread of my life is woven with romance and fury. Can I accomplish among you the alchemical metamorphosis of the roots of spleen into creative impulse? ((Yes: EP, brackets.))<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Agostina Recinella<\/p>

Date: Lun 08\/07 @ 18h<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Performeuse, danseuse, clown: \u00e9tincelante pr\u00e9sence d’esprit. ((Note de EP : c’est dans sa Bologne natale, il y a bien trente ans, qu’est n\u00e9e \u00ab\u00a0L’Acad\u00e9mie de l’Ennui\u00a0\u00bb. Je faisais face \u00e0 une vingtaine d’Arlequins et Colombines, professionnels qui m\u2019avaient invit\u00e9 pour revivifier<\/em> leur art. Revivifier Mercure, Quicksilver\u00a0? J\u2019ai opt\u00e9 pour le \u00ab\u00a0plomber\u00a0\u00bb, en profondeur. Quick<\/em> implique r\u00e9surrection<\/em>\u00a0en ancien anglo-saxon: Agostina a tout compris. J\u2019en parlerai.))<\/p>

Performer, dancer, clown: a sparkling presence of mind. ((EP note: it was in her native Bologna, a good thirty years ago (was she born?), that \u00ab\u00a0The Academy of Boredom\u00a0\u00bb was instituted. I was facing a score of Harlequins and Columbines, professionals who had invited me to \u2018revitalize\u2019 their art. Revitalize Mercury, Quicksilver? I opted for \u201clead\u201d, depth plumbing. Quick<\/em> in ancient Anglo-Saxon implies resurrection<\/em>: Agostina has it all figured out. I’ll talk about this.))<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Axel Chiabrando<\/p>

Date : Ven 05\/07 @ 18h<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Actor and director with a Sorbonne Masters in Literature, works on the links between the body, poetry and anthropology. After studying drama, he began collaborating with Pantheatre<\/i>, becoming a founder member of Cie. Des Chimistes<\/b><\/em> and part of Enrique’s Parisian laboratory – seeking to develop a performance practice in line with his research in cultural studies (literature, psychology, performance history).<\/p>

Com\u00e9dien et metteur en sc\u00e8ne avec un Masters de Lettres \u00e0 la Sorbonne, il travaille sur les liens entre corps, po\u00e9sie et anthropologie. Apr\u00e8s des \u00e9tudes d’art dramatique, il entame une collaboration avec Panth\u00e9\u00e2tre, devient membre de la\u00a0Cie. Des Chimistes<\/b><\/em>\u00a0et du laboratoire parisien d\u2019Enrique, pour d\u00e9velopper une pratique de la performance en lien avec ses recherches en \u00e9tudes culturelles (litt\u00e9rature, psychologie, histoire des repr\u00e9sentations).<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Ben Rivers<\/span><\/p>

Date: Sat. 06 July @ 21h<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Actor, psychotherapist and applied theatre practitioner with world-wide experience working in communities impacted by political violence and collective trauma.\u00a0 Ben will present The Invaders\u2019 Fear of Memories<\/em><\/strong>,<\/span> a solo play directed by Linda Wise.\u00a0 The piece explores the origins of settler-colonialism and apartheid in modern day Israel and is based on his great grand-father\u2019s journals as Director of the Jewish National Fund in the Galilee.<\/p>

Acteur, psychoth\u00e9rapeute et praticien d\u2019un th\u00e9\u00e2tre appliqu\u00e9, ayant travaill\u00e9 de par le monde avec des communaut\u00e9s impact\u00e9es par la violence politique. Ben pr\u00e9sentera The Invaders’ Fear of Memories<\/span> <\/em><\/strong>(La Peur que les Envahisseurs ont des M\u00e9moires <\/em>), Solo, mis en sc\u00e8ne par Linda Wise, explorant les origines du colonialisme et de l’apartheid dans l’Isra\u00ebl d’aujourd’hui, inspir\u00e9 des journaux de son arri\u00e8re-grand-p\u00e8re, directeur du Fonds National Juif en Galil\u00e9e.<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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La Cie des Chimistes<\/span><\/em><\/p>

Date: Sam 13 @ 19h<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Constitu\u00e9e par Axel Chiabrando, Daniela Garc\u00eda et \u00c9lo\u00efse DeNayer, affili\u00e9e \u00e0 Panth\u00e9\u00e2tre, pr\u00e9sentera Regarde-moi dans les yeux, le cauchemar de M\u00e9duse<\/em><\/strong><\/span><\/p>

Pantheatre-affiliated company constituted by Axel Chiabrando, Daniela Garc\u00eda and \u00c9lo\u00efse DeNayer, will present Look at me in the Eyes, Medusa’s Nightmare<\/strong><\/em><\/span>.<\/span>
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Daniela Garc\u00eda<\/p>

Performs with Cie des Chimistes<\/em> &
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Com\u00e9dienne, enseignante, collaboratrice cl\u00e9 de Panth\u00e9\u00e2tre, n\u00e9e au Chili, elle vit \u00e0 Paris et \u00e0 Malerargues (Centre Roy Hart). Ayant obtenu une ma\u00eetrise d’\u00e9tudes th\u00e9\u00e2trales \u00e0 la Sorbonne, elle y enseigne \u00e0 pr\u00e9sent le chant. Elle a \u00e9crit et interpr\u00e9t\u00e9 quatre solos mis en sc\u00e8ne par Enrique. Elle est membre fondatrice de la\u00a0Cie des Chimistes<\/em>, et l’une des interpr\u00e8tes chanteuse-danseuse les plus accomplies, salsa incluse.<\/p>

Actress, teacher, Pantheatre key associate, Chilean-born, lives in Paris and Malerargues (Roy Hart Centre). Obtained a Masters in Theatre Studies at the Sorbonne, where she now teaches voice. She has written and performed four solos directed by Enrique. She is also a founding member of La Cie des Chimistes<\/i>. One of the most complete singing-dancer performers, and teacher, she remains a startling Latin salsa dancer…<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Debora Ballardini
<\/span>Performance<\/p>

Date : Mon 08\/07 @ 21h<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Pantheatre International<\/em> director; performer and teacher. As a very young woman, she fled to Japan from Brazil and its dicey shamans of \u201cBrazilian Happiness\u201d. 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<\/em>\u00a0projects. She will present an advanced work-in-progress version of a solo directed by Enrique, assisted by\u00a0assisted by Andressa Furletti<\/span>: <\/span>BACKLASH TO BRAZILIAN HAPPINES<\/em><\/span><\/strong><\/p>

Directrice de Panth\u00e9\u00e2tre International<\/em>, interpr\u00e8te et enseignante. Tr\u00e8s jeune, elle a fui le Br\u00e9sil et les chamans douteux du \u00ab\u00a0bonheur br\u00e9silien\u00a0\u00bb pour s’installer au Japon. L\u00e0 elle a d\u00fb fuir les bo\u00eetes de nuit d’Osaka pour s’installer\u00a0finalement\u00a0<\/span>\u00e0 New York en tant qu’artiste, th\u00e9rapeute et m\u00e9ttrice en sc\u00e8ne, accueillant Linda et Enrique pour une superbe s\u00e9rie de projets <\/span>PanNYC<\/em>. Elle pr\u00e9sentera une version avanc\u00e9e d’un solo mis en sc\u00e8ne par Enrique assist\u00e9 par Andressa Furletti : <\/span>Contrecoup au Bonheur Br\u00e9silien<\/em><\/strong><\/span>.<\/span><\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u00c9lo\u00efse DeNayer<\/p>

Performance
Date : Ven 05\/07 @ 18h<\/p>

Les Chimistes
Date:Sam 13 @ 19h<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Master en dramaturgie \u00e0 l\u2019ENS de Lyon, elle passe \u00e0 l\u2019acte sous la tutelle et amiti\u00e9 de Daniela Garcia, et rejoint le laboratoire parisien d\u2019Enrique. Elles fondent avec Axel Chiabrando la\u00a0Cie. des Chimistes, et cr\u00e9ent Regarde-moi dans les yeux, le cauchemar de M\u00e9duse<\/span><\/strong>. En 2023, elle entame un doctorat en recherche-cr\u00e9ation \u00e0 l’universit\u00e9 de Poitiers ainsi que deux performances en partenariat avec le Centre Dramatique National de Poitiers.<\/p>

After a Master’s in dramaturgy, she moved on to acting under the tutelage and friendship of Daniela Garcia, and joined Enrique’s Paris laboratory. Together with Axel Chiabrando, they founded the Cie. des Chimistes<\/i>, and created Look at me in the eyes, Medusa\u2019s Nightmare<\/em><\/span>.<\/strong> In 2023, she began a practice-research\u00a0<\/span>doctorate<\/span>\u00a0at the University of Poitiers, as well as two performances in partnership with\u00a0<\/span>Poitiers’\u00a0Centre Dramatique.<\/span><\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Enrique Pardo<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Festival founder under James Hillman’s presidency, directs it with Linda Wise: \u201cMy favorite professional context\u201d, certainly to engage the Genius of Magic<\/b><\/i>: its spirited and spiritual insights, its sagacity and creative vertigo. The greatest philosophical and hands-on challenge for the Arts. \u00ab\u00a0Maybe one day we will realize that what we called Art was in fact Medecine\u00a0\u00bb (J. M. G. Le Cl\u00e9zio<\/a>, 2008 French Nobel Prize)<\/p>

In his Welcome Address, Open Spirit<\/em><\/strong>, Enrique will address the \u00ab\u00a0Myth and Theatre\u00a0\u00bb<\/strong><\/em><\/span> perspectives of two inspirational friends geniuses: Roy Hart<\/strong> (1926 – 1975) and James Hillman<\/strong> (1926 – 2011).<\/p>

Fondateur du festival sous la pr\u00e9sidence de James Hillman<\/b>, co-directeur avec Linda Wise<\/b> : \u00ab\u00a0Ce festival est mon contexte professionnel favori\u00a0\u00bb, certainement pour aborder le G\u00e9nie de la Magie<\/strong>. Le plus grand d\u00e9fi philosophique et pratique, pour les arts. \u00ab\u00a0Peut-\u00eatre qu’un jour nous saurons que ce que nous appelions l’art \u00e9tait en fait de la m\u00e9decine\u00a0\u00bb (<\/span>J. M. G. Le Cl\u00e9zio<\/a>,<\/span> Prix Nobel 2008).<\/span><\/p>

Lors de l’Adresse de Bienvenue, Enrique partagera ses perspectives sur deux de ses ma\u00eetres-amis, dans leur rapport \u00e0 Mythe et Th\u00e9\u00e2tre<\/em><\/strong><\/span>: Roy Hart<\/strong> (1926 – 1975) et James Hillman<\/strong> (1926 – 2011)<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Haim Isaacs
Concert<\/p>

Weds 10\/07 @ 21h<\/p>

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A diehard atheist, I devote an inordinate amount of time to singing Hebrew liturgies… and spying on the melomaniac ecstasies of Jewish Hassid. So, in SHIR<\/b><\/i><\/span> I’ll be singing about my adventures with the sacred, in Hebrew, Arabic, Latin and English, calling on Woody Allen with a place of honor for Allen Ginsberg: \u00ab\u00a0The world is sacred! The soul is sacred! The skin… the nose… the hand and asshole sacred!\u00a0\u00bb<\/p>

Ath\u00e9e aguerri, je consacre un temps immod\u00e9r\u00e9 \u00e0 chanter des liturgiques h\u00e9bra\u00efque et \u00e0 espionner les extases m\u00e9lomanes de\u00a0juifs\u00a0<\/span>Hassids. Dans SHIR<\/i><\/b><\/span>, je chanterai donc mes aventures avec le sacr\u00e9, en h\u00e9breu, en arabe, latin et anglais, faisant appel \u00e0 Woody Allen, et avec une place d\u2019honneur pour Allen Ginsberg : \u00ab Le monde est sacr\u00e9 ! L\u2019\u00e2me est sacr\u00e9e ! La peau\u2026 le nez\u2026 la main et le trou de cul, sacr\u00e9s ! \u00bb<\/span><\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Linda Wise<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Codirector of the Festival. Actress, director, teacher. Taken with theatre from her early childhood: a Bacchant by the time she entered the Scottish Drama Academy, frightening\u00a0 her teachers with her voice. Found her Bacchic home in London with Roy Hart and is still at it, internationally, with a special ‘foreign affaire’ in Chile…<\/p>

Codirectrice du festival. Actrice, metteuse en sc\u00e8ne, enseignante. Elle s’est passionn\u00e9e pour le th\u00e9\u00e2tre d\u00e8s sa plus tendre enfance : elle est devenue bacchante lorsqu’elle est entr\u00e9e \u00e0 la Scottish Drama Academy, effrayant ses professeurs avec sa voix. Elle a trouv\u00e9 son foyer bacchique \u00e0 Londres avec Roy Hart et continue \u00e0 le faire, au niveau international, avec une \u00ab\u00a0affaire \u00e9trang\u00e8re\u00a0\u00bb favorite: le Chili…<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Nate Speare
Master Class and dialogues.<\/p>

Date: Tues 09\/07 @ 18h<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Long-time friend and Pantheatre librarian, performer and writer, now, surprisingly : Astrologer! – As a young man, during a summer residency in Mal\u00e9rargues, he began writing a radical farce about Ronald Reagan’s Alzheimer’s disease, which he staged with Enrique. He returns to Malerargues as a professional to present his performative practice and theoretical approach to astrology.<\/p>

Ami de longue date et biblioth\u00e9caire de Panth\u00e9\u00e2tre, performeur et \u00e9crivain, devenu, \u00e9tonnamment : Astrologue ! – Jeune, lors d\u2019une r\u00e9sidence estivale \u00e0 Mal\u00e9rargues, il a commenc\u00e9 par \u00e9crire une farce radicale sur la maladie d’Alzheimer de Ronald Reagan, qu\u2019il a mise en sc\u00e8ne avec Enrique. Il revient en professionnel \u00e0 Malerargues pour pr\u00e9senter sa pratique performative et son approche th\u00e9orique de l’astrologie.<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Pauline Nozi\u00e8re<\/p>

Performance<\/p>

Date: Jeudi 11 @ 21h<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Chanteuse \/ com\u00e9dienne \/ performeuse – passionn\u00e9ment dilettante. Surprenante autrice-compositrice\u00a0: erre avec ferveur d\u2019une sc\u00e8ne ouverte \u00e0 l\u2019autre et de bar en bar pour exhiber des \u00e9bauches. Prend \u00e9norm\u00e9ment de plaisir \u00e0 rendre visible la monstruosit\u00e9 des gens banals\u00a0c\u2019est \u00e0 dire principalement, la sienne\u2026 L’une des performeuses les plus impr\u00e9visibles et dou\u00e9es du Laboratoire parisien.<\/p>

Singer\/actress\/performer – passionately dilettante. Astonishing and fervent songwriter: wanders from one open stage to the next and from bar to bar, showing off rough drafts. Takes great pleasure in making visible the monstrosities of ordinary people, i.e. mainly her own… One of the most unpredictable and gifted performers of the Paris Laboratory.<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Querena Garc\u00eda Fern\u00e1ndez<\/p>

Performance en cours
Saudades. El Amor que se queda.<\/b><\/i><\/span><\/p>

Mon \/ Lun\u00a0 08\/07 @ 18h
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Mexican performer from beautiful Oaxaca. Producer of performances for art and culture. Manages community and mobility projects for performing artists. Great traveler, she will present \u00ab\u00a0Saudades. The Love that Stays<\/em>\u00ab\u00a0<\/span><\/strong>, work in progress, exploring the everlasting farewells, and mapping in her body and voice the moves of each place she visits. Outside eye: Debora Balardini.<\/span><\/p>

Artiste mexicaine originaire de la belle ville d’Oaxaca. Productrice de spectacles d’art et culture. Elle g\u00e8re des projets communautaires et de mobilit\u00e9 pour les artistes interpr\u00e8tes. Grande voyageuse, elle pr\u00e9sentera \u00ab\u00a0Saudades. L’amour qui reste<\/strong><\/em><\/span>\u00ab\u00a0, un travail en cours qui explore les perpetuels adieux et la cartographie dans son corps et sa voix des esprits de chaque endroit qu’elle visite. Oeil externe: Debora Balardini.<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Randy Fertel<\/p>

Lecture, Thurs jeudi 11\/07 @ 18h<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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New Orleans professor of English, specializes in great stories and fresh ideas. His latest book \u2013\u00a0Winging It: Improv’s Power and Peril in the Time of Trump<\/em><\/strong>\u00a0(2024) \u2013 explores improv\u2019s shady magicians’\u00a0prestige and\u00a0<\/span>prestigitation<\/i>\u00a0(no fingers) – from Jazz and Faulkner to Trump. \u201c…a tour de force… A thoughtful look at how and why improvisation fascinates, and why its power should not be underestimated\u2026\u201d\u00a0Kirkus Reviews<\/span><\/p>

Professeur de litt\u00e9rature \u00e0 la Nouvelle-Orl\u00e9ans, se sp\u00e9cialise dans les grandes histoires et les id\u00e9es nouvelles. Son dernier livre – Winging It (Se Faufilant?): Pouvoirs et Perils de L’Impro au Temps de Trump<\/strong><\/em> (2024) – explore le prestige de l’improvisation et de la prestigitation (sans les doigts) de ses magiciens de l’ombre – du jazz et de Faulkner \u00e0 Trump. \u00ab\u00a0…un tour de force… Un regard r\u00e9fl\u00e9chi sur comment et pourquoi l’improvisation fascine, et pourquoi son pouvoir ne doit pas \u00eatre sous-estim\u00e9…\u00a0\u00bb Kirkus Reviews<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Sonu Shamdasani<\/p>

Lecture & Talk
Tues 08\/11 @ 21h<\/p>

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\u201cThe Emergence of Jung’s Cosmology: From the mythless predicament of modernity to personal myths<\/em><\/strong><\/span>\u201d is the title of the article he will be reading, followed by a discussion. He describes himself as \u00ab\u00a0a long-time observer of the Pantheatre Genii<\/em>\u00ab\u00a0: memorable sessions and lectures. Professor of the History of Psychology and Psychiatry at University College London, where he co-directs the Health Humanities Centre. Editor of The Red Book<\/em> and now General Editor of the new Critical Edition of the Works of C. G. Jung <\/em><\/span>at Princeton University Press.<\/p>

\u00ab\u00a0L’\u00c9mergence de la Cosmologie de Jung : Du pr\u00e9dicament sans mythes de la modernit\u00e9 aux mythes personnels <\/span><\/em><\/strong>\u00bb est le titre de l’article qu’il nous lira, suivi d’une discussion. Il se dit \u00ab\u00a0un observateur de longue date des Genii<\/em> de Panth\u00e9\u00e2tre \u00bb : m\u00e9morables s\u00e9ances et conf\u00e9rences. Professeur d’histoire de la psychologie et de la psychiatrie \u00e0 l’University College London, o\u00f9 il codirige le Health Humanities Centre. \u00c9diteur du Livre Rouge, il est \u00e0 pr\u00e9sent r\u00e9dacteur en chef de la nouvelle \u00e9dition critique des \u0153uvres de C. G. Jung \u00e0 Princeton University Press.<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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V\u00e9ronique Taconet<\/span><\/p>

Performance
Date : Ven 05\/07 @ 18h<\/span><\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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V\u00e9ronique fit partie de la premi\u00e8re \u00ab\u00a0troupe\u00a0\u00bb Panth\u00e9\u00e2tre (1988) et de spectacles dirig\u00e9s par Enrique et Linda. Elle souhaite aujourd\u2019hui la certification Roy Hart (apr\u00e8s avoir \u00e9t\u00e9 pr\u00e9sidente du Centre Roy Hart\u00a0!) \u00a0\u2026pour se \u00ab\u00a0relier \u00e0 un nom \u2026un centre, \u2026ainsi qu\u2019\u00e0 des pairs…\u00a0\u00bb J\u2019ai accept\u00e9 d\u2019\u00eatre son mentor\u00a0en base \u00e0 un entretien sur le (contre)transfert, et \u00e0 une performance \u00ab\u00a0V\u00e9ronique-Roy-Hart\u00a0\u00bb<\/em><\/strong><\/span>\u00a0: 25 minutes (d\u00e9-montrant) \u00e0 quel point elle est \u2018Roy Hart\u2019.<\/p>

V\u00e9ronique was part of the first Pantheatre \u00ab\u00a0troupe\u00a0\u00bb (1988) and of shows directed by Enrique and Linda. Today, she is seeking the Roy Hart certification (after having been president of the Roy Hart Association!) …to \u00ab\u00a0link herself to a name …a center, …as well as to peers…\u00a0\u00bb I agreed to be her mentor on the basis of an interview on (counter) transference, and a \u00ab\u00a0V\u00e9ronique-Roy-Hart\u00a0\u00bb<\/strong><\/em><\/span> performance: 25 minutes (de-monstrating) how much she is ‘Roy Hart’.<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Xavier Papa\u00efs<\/span><\/p>

Date : Sam 06 @ 15h<\/span><\/p>

\u00a0#1\u00a0 :\u00a0 David Hume\u00a0 D\u00e9mocratie & Magie\u00a0 EN LIGNE with translation<\/span><\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Invit\u00e9 d’honneur et principal penseur contemporain d’inspiration de Panth\u00e9\u00e2tre, il sera avec nous pour deux conf\u00e9rences – entretiens en ligne avec Enrique, suivis de discussion. Les sujets, issus des laboratoire et des discussion, seront diffus\u00e9s \u00e0 l’avance. En fran\u00e7ais avec traduction en anglais. Ecoutez sa conf\u00e9rence La D\u00e9magisation du Monde<\/a><\/strong><\/em>, enregistr\u00e9e en pr\u00e9lude au Festival, le 29 mai.\u00a0Sa premi\u00e8re conf\u00e9rence (post-Macron<\/em>) sera sur David Hume<\/strong><\/span> :<\/em> Magie et D\u00e9mocratie<\/em><\/strong><\/span>, date<\/p>

Guest of honor and Pantheatre’s leading contemporary thinker and inspiration, he will be with us for two online talks and interviews with Enrique, followed by discussion forums. The topics of these interviews will be taken from the labs and discussions. In French with English translation. Listen to his lecture La\u00a0<\/span>La D\u00e9magisation du Monde<\/a><\/span><\/em>, recorded as a prelude to the Festival, on May 29. His first (post-Macron) lecture will be on David Hume (Magic and Democracy)<\/b><\/i>.<\/span><\/span><\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Editorial<\/b><\/em><\/span><\/h4>

Enrique Pardo<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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

\u00a0<\/span><\/p>

In 2024 and 2025, we will be exploring not only the genial plurality<\/em><\/strong> of Magic, but tackling the very notion of GENIUS<\/span><\/i><\/b> 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<\/span><\/b> and James Hillman<\/span><\/b>. We will be paying tribute to other figures who have inspired our artistic and philosophical journey, especially\u00a0Xavier Papa\u00efs <\/span><\/b>whom I consider arguably the greatest contemporary thinker on Magic.<\/span><\/p>

\u00a0<\/span><\/p>

The 2024 Festival will also be a prelude to that of 2025, as they both mark major fiftieth anniversaries<\/b>: 1974<\/span><\/b> and the ‘miraculous’ purchase of the Mal\u00e9rargues estate, with the arrival of the first \u2018pioneers\u2019.\u00a0<\/span><\/p>

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And then, less than a year later, in May\u00a0<\/span>1975<\/span><\/span>, the abrupt and tragic death of Roy Hart and his two companions, Dorothy Hart and Viviane Young, in a car accident.<\/span>
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It is, of course, this second event that seizes my tragic and… magical<\/b><\/i> attention. <\/span>Magic cannot be confined to optimistic illusions, but is often accompanied by terrible spells.<\/span><\/p>

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I consider Roy Hart to have been first of all an ethical genius;<\/em><\/strong>\u00a0fifty 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<\/span><\/i><\/b>.<\/span><\/p>

\u00a0<\/span><\/p>

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

\u00a0<\/span><\/p>

Amplified EDITORIAL soon<\/span><\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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How Genii?<\/span><\/em><\/span><\/h4>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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TWO MAIN WORKING APPROACHES<\/span><\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Voice & SINGING<\/span><\/h3>

Direction : Linda Wise<\/strong><\/p>

With a pianist (tbc)<\/p>

Taking Roy Hart\u2019s extended voice work into singing, performance <\/span>and interpretation.<\/span><\/p>

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.<\/p>

Read MORE<\/a><\/p>

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Choreographic Theatre<\/span><\/h3>

Direction : Enrique Pardo<\/b><\/p>

with the members of his Paris Laboratory and guest artists<\/p>

Choreographic Theatre : training in chorus disciplines that bring out personal genius\u2026 \u00ab\u00a0Rules are made to confirm exceptions\u00a0\u00bb.<\/p>

\u201cI understand choreography especially in terms of \u201cmaking a move\u201d<\/b><\/i>: an esthetic AND ethical initiative, acted out.\u201d\u00a0\u00a0My definition of IMPROVISATION: \u201cImps at work\u201d. EP.<\/span><\/p>

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Where Genii?<\/span><\/em><\/span><\/h3>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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The workshop-festival takes place at Malerargues<\/strong><\/em>, a pastoral paradise in the Cevennes foothills, Southern France, near Nimes, Montpellier and Marseille – in collaboration with the ROY HART CENTRE<\/span>, 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 –\u00a0<\/span>surrounding<\/span>\u00a0the hamlet and\u00a0<\/span>including\u00a0<\/span>a sturdy huguenot ch\u00e2teau ! (See below.) Pantheatre’s Library is installed in the chateau’s chapel, at the back of the image behind the tall cypresses.<\/span><\/p>

Malerargues\u00a0 &\u00a0 Roy Hart Centre<\/span>\u00a0 \u00a0(a drone overview!)<\/span><\/a><\/h5>
image and drone overview courtesy of Cl\u00e9ment Caudal<\/span><\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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The Festival?<\/span><\/em><\/span><\/h3>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The Myth and Theatre Festival<\/i> was <\/span>created in 1986 under de auspices and presidency of American writer and psychologist James Hillman<\/span><\/p>

It is Pantheatre\u2019s yearly key event, intertwining performance practice with cultural studies, especially in mythology and anthropology.<\/span><\/p>

\u00a0Consult leading articles<\/div>
2022 23 Seminars<\/span><\/a>
2022 Fall Cycle<\/span><\/a>
2022 Summer Program<\/span><\/a>
2022 Spring Cycle<\/span><\/a><\/span><\/h6>
2020 Festival
2021 Festival
2022 Festival
2023 Festival Fetish<\/span><\/h6>
Enrique’s\u00a0<\/span>BLOG<\/a><\/span><\/h6><\/div><\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Direction Enrique Pardo<\/strong> with Linda Wise<\/strong><\/p>

Assistant Director, Daniela Garcia
Organisation Debora Ballardini
with Elo\u00efse DeNayer
Advisors : Amy Rome, Douglas McArthur, Grace Zandarski<\/p>

in collaboration with<\/p>

Roy Hart International Artistic Centre\u00a0<\/strong><\/p>

Univ. of Central Lancashire UK.<\/b>
School of Film, Media & Performance. Dr. Amy Rome<\/p>

University of Lethbridge, Canada<\/b>
Coordination : Douglas McCarthur<\/p>

La Compagnie des Chimistes<\/a>
Pantheatre Membres Actifs
Membres du Laboratoire Paris<\/p>

Mairie of Lasalle\u00a0\u00a0 &\u00a0\u00a0\u00a0 Mairie of Thoiras<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Pantheatre\u2019s training is both advanced AND open to all: much more a question of attitude, personality and willingness to take risks<\/b>, than of technical, musical or theatre skills – which, of course, are more than welcome.<\/p>

Most participants have an interest in performance: physical or text-based theatre, danse or singing. Pantheatre\u2019s training is a SYNTHESIS<\/i><\/span> of these, applied to voice performance, singing and choreographic theatre.<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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For WORKSHOPS content and IDEAS
<\/span>click on a <\/span>LINK<\/b><\/span><\/h6>