Perhaps the question
is easier answered in starting off by saying what the Roy Hart Theatre
isn't! It still isn't and it never has been anything to do with any of
the following - Flower Power, the Hippy movement, Political activity of
any kind, Free Love, any form of house squatting, anti Atomic Bomb, any
form of religious activity, Guru worship, Group Sex, Wife swapping nor
any form of activity normally associated with the above forms of movements.
The theatre's primary activitys are voice research and its application
both to the conveyance of emotion through the word in general and therefore
specifically to theatre and to song. To do this work a great deal of dedication,
discipline and time has to be given. It has been found over the years
that the voice does have a powerful bearing on self-discovery and therefore
to some degree on social comportment. The idea that at one time the theatre
was a community is correct, now ever it must be said that this 'community'
was only formed out of the finical necessity of that time. Hence Roy Hart's
renaming of the last theatre production that he was directing at the time
of his death in 1975, form "Cafe de Flora" to "L'Economiste"
if you read the play you will see that the illogicality of the piece being
called "L'Economiste" can only be explained by the above. The
origin of the theatre was "The Alfred Wolfsohn Voice Research Center"
Alfred Wolfsohn started his work on this subject in the mid 1930's, in
Berlin. Roy Hart took over the work in 1962, in London after Alfred Wolfsohn's
death. Roy Hart was a South African jew, his grand father was a Rabbi;
Roy Hart was therefore not given to light frivolity, nor to anything that
he considered would be harmful to his students. The basic content of the
above is still carried out by his surviving theatre members in Malerargues,
France to this day.