Since I first met the Roy Hart Theatre in 1978, voice has become my life-companion, the measure of both my personal and artistic work, and my inspiration. Over time and meetings (with dance, movement, traditional singing, clowning, painting, writing, fasciatherapy), I have built my own way of using the voice in work, play and creative production, relying on the invaluable inheritance of the research of Alfred Wolfsohn and Roy Hart and all those who came after them. From the singing voice to the spoken voice, I’m connected with many artistic disciplines and socio-cultural backgrounds. I connect my teaching to the enlightening person-centred listening of Carl Rogers, and the opening of creative spaces of Authentic Movement.

In 1978, Marianne Le Tron discovered the work and life of the Roy Hart Theatre Company in the Cevennes and became a member of the group. She performed in several productions, including the first version of Pagliacci (1981), Kaspar (1984) and Moby Dick (1988). She is a founding member of the Centre Artistique International Roy Hart.

Marianne collaborates in a variety of professional and artistic areas (arts companies, enterprises, support for creative production, etc). From 2005 to 2008 she studied for a diploma in Carl Rogers’ Person Centred Therapy. In 2015, she began a year of Authentic Movement training with Mandoline Whittlesey.

On the creative side, she’s currently a member of the cast of ‘Generation’, and also performs with a dancer and a musician in a piece based on the traditional Inuit tale “Skeleton Woman”. She sings in the vocal group “Tutti Quanti” and is one of the creators of the “Bal Détourné”.

Marianne Le Tron speaks French and English.