MYRTILLE BOREL
WORKPLAN | 2017 September
My plan for the end of the first semester :
Understanding my boby :
Discover my body language
work on my center
get more strengh (working on my muscles)
understanding my waight and working with
Eat healthy
Change my way of creating. (theater to dance)
Work on rhythm
Understanding the space
SUMMARY | 2017 December
Understanding my boby :
1: Discover my body language.
Je pense que la découverte de son langage corporel est un travail de longue allène. Il m'a fallu du temps pour comprendre comment partir à la recherche de ce langage.
J'ai trouvé il y à peut la façon dont j'entre dans le mouvements. Pour l'instant je travail petit à petit sur chaque parties de mon corps pour en connaître la particularité . Tête, bras, mains, épaules, bassins ….. Je me suis rendue comptes de quels était les parties les plus oubliées et donc les plus importantes à travailler. Pour moi, c'est principalement la tête, et le bassin. Rendre la tête plus mobile et déverrouiller le bassin.
Je commence née en moins à entrer dans la continuité du mouvements. Le mouvement ne s'arrête plus à la fin du membre. Je commence aussi à être plus curieuse et à sortir de mes zones de confort.
Je n'ai donc pas encore trouvée mon langage corporel, mais j'ai bel et bien commencer à l’apprivoiser !
« On ne connaît que les choses que l'on apprivoise, dit le renard »
« Que faut-il faire ? Dit le petit Prince
« Il faut être très patient, répondit le renard » Le petit Prince A . Saint-Exupéry
I Think that It's take a long time to discover our body language. It took me awhile to find how to proceed. Recently I found the way how to enter in MY movement research. Without trying to copying what I saw around me. For now I work on each part of my body to understand there particularity. Head, arms, hand, shoulder, pelvis…… I realise what was the most absent in my movement quality : Head (as if it wasn't a part of my body) and the pelvis. I decided to be realy carfull and to work mostly on this two parts.
I also start to fin the continuity of the movement. To go further, out of my body, of my members. I become more and more curious and I go out of my confort zone. I didn't find my body language yet, but I began to tame it !
« We only know the things we tame, says the fox. »
« What should be done ? Said the Little Prince. »
« you have to be very patient, said the fox »
Le petit Prince A . Saint-Exupéry
2: work on my center.
J'ai fais de net progrets de ce côté là, mais j'ai encore beaucoup de travail à fournir. Les cours de ballets, de contacte et de flo work m'ont énormément aidé pour ce travaille. Il faut maintenant que j'arrive à en faire un reflex car il m'est encore difficile de garder mon centre.
I definitely made some progress but still have to work on. Now I have to keep it during all the class because it's not a reflex yet.
3: get more strengh (working on my muscles) .
Je fait un travail musculaire tous les jours en Idividual Work et je sens le résultat sur ma capacité de mouvements.
I do a muscular work every day in Individual work and I feel the result on my ability to move.
4: understanding my waight and working with.
Beaucoup de work shop mon aidé à comprendre. J'ai encore du mal dans certains cours (comme le classique) contrairement au contacte ou je commence de mieux en mieux à partager et recevoir le poid. Je pense que de continuer de travailler à relâcher ma tête et amplifier les mouvements du bassin vont m'aider à être plus mobile au niveau du poid.
Differents work shop helped me a lot to undersatand. I steel have difficulties in ballet (for exemple) opposit to the contact impro where it's realy easier for me me to share and receive the weight. I have to continu to work on realising my head and working on my pelvis will help me a lot to develop.
– Eat healthy.
To much sugar but the rest is good !
– Change my way of creating (theater to dance).
Yes. The idea of character and storie is over ! Now I'm focus on the movement and the question of motion !
-Work on rhythm.
Now I undestand how to play with the rhythm and also « in betwen » the rythm. It's difficult for me to stay IN the rhythm mostly when it's fast. Working with Folk dance help me a lot and gives me a lot of wish. I'm looking forward to work on Kilences to continue to work with this . Différents bits and precision.
-Understanding the space.
I I'm now totaly find with the space and the directions required
It was a long period where I lern and improuv a lot. I start to feel more and more and I realy want to go deeper. I realy enjoyed the different class even if it was always to short. Acctualy I gess that one week is the minimum but two will be perfect to really have the time to develop. It was hard for me at the end do dealy with my muscle tirednes but interesting to fin the way to work with. I'm realy proud to be here and want more and more. To see my colleg performing to Trafo give me lots of desir of performing and also strength. I'm not skared anymore to be an actress who start more and more to become a dancer.
TEACHERS' EVALUATIONS | 2017 December
Angelus Iván:
Dear Group A members!
In general I can tell you that you – the group as a unit – seem to have built up a good balance of keeping your individual development in the centre and the same time, learning how to know more abut each other and how to accept each other. Sometimes it will be good to be more independent and proactive to encourage each other a bit more to organize, accept and focus on open possibilities, potentials, obligations, time frames, deadlines, etc. If the group is more efficient, everybody's own efforts will be more efficient. (And vice-versa.)
Anyway the time – four months or more – of assimilation, integration should have been finished. Once you know and understand the local processes, methods you should concentrate on the successful use of them in order to reach your own goals, why you joined BCDA. This process will be complete when you finish the first year, a full study cycle.
Iván
Dear Myrtille!
I do hope and wish you to be content with your destiny, development, life here, you get what you wanted, and feel happy. I see You as you were like that. This will give you the energy to continue. I think you started to know and trust your body. Wish to go on further on this way. Your body will tell you everything. Listen and believe!
2017. december
Iván
Szegedy-Maszák Zsuzsanna:
Enthusiastic and curious group, lots of questions, comments and input. Some are very knowledgeable on art, others seem to have some difficulty relating to some of the subject matter (biblical, mythological and historical narratives). Class discussions are sometimes so lively that we run out of time and are unable to finish the material I wanted to cover during the given class period. The atmosphere is mostly upbeat, although I understand that sometimes after several hours of physical workout it is hard to suddenly sit down in a dark room and listen to a lecture. Overall I have the impression that most of the students would rather have more visits to exhibitions.
Always very curious, has lots of questions and is not afraid to ask if something is unclear.
Tijen Lawton:
Unity of the body as a whole, as a personality, that needs to be further investigated and nourished by finding strength though understanding that your body working on the floor and your body standing and moving in space are the same, organising your body as a surface, as a core and in it’s extremities .A lot of the work is in analysis of detail and risk taking.Continue work on connectivity throughout the body, using both the body as a whole as well as in extreme detail to be able to elaborate with further elements and dynamics.
The body sometimes looses its physical energy and dynamic when the mind takes over too much. Do not loose this thinking with the mind, but try and work together with the physical thinking and the trust you can find in the physical intelligence. Work on this connectivity through out the whole body through a form of body consciousness that allows for strength, abandon and control. Bring the floor support to standing work and find a more powerful core, by investigating further your upper/lower body connection. Work with the ground even when you are standing and moving in space to be able to elaborate further with detailed risk. Think about the space you create with your body. Risk the abandon further, find and understand the control through your core and extremities and then deviate. Really looking forward to continue this research together.
Mészáros Máté:
Concentrated and carefully observing. Good strategy in self teaching. Get your speed up in the movements.
Marco Torrice:
The group was generally really attentive and communicative, carrying on a light concentration and opening an honest and efficient space of questions and observations.
She had a really nice energy, really light and attentive at the same time. To early to say something more specific but I had the impression that she is working on the good direction.
Lemesánszky Mónika:
We had a great group this past term, where everyone was motivated and listened to instructions well. I really hope you can keep this up next term as well.
I very much like your work in class. Your body awareness is exceptional. Please try to work on isolating your metatarsal in tendus and remember to keep your foot pointed in the air. Use your back more in port de bras and think about your facial expression when dancing.
Szemessy Kinga:
In general I found you being a very intrigued group with trust and curiosity towards me and the class content. Keep these good energies and the curious listening to each others.
Whenever you attend the classes, you engage in the topics and debates fully, but I have the feeling that you don’t really invest energy in catching up when missing a session. For your own sake, I’d recommend to maintain consistency, because you have all the knowledge and abilities to shine at this class(, too.)
Bakó Tamás:
You work well and bring very positive energy to the classes.
It feels that you are excited about learning the form and generally dance.
You have lot of questions and observations which supports the clarification of the tasks and the understanding of the material. You have also questions related to responsibility and often you feel insecure fearing that you might do something wrong. These are our first steps towards a new practice, it's okay to not know and ask thousand questions on it. But in regard with all the risks and difficulties the form contains we should not give in to hesitation.
Slowing down is always fine! Give yourself time!
WORKPLAN | 2018 January
– Give more space and trust to my body.
– Take more risk to understand and less braind understanding.
– Work on my left side.
– Work on my balance.
– Work on speed.
– Work on the flexibility of my spine and my feet.
– Find my way of working before ( conception of a project ). Be more precise.
-Working for an exploration and not for a result.
– Working my mouth muscle to be able to play trumpet more longer.
– Enjoying everithing.
Working with lot's of fun in an inteligent way.
SUMMARY | 2018 June
« Give more space and trust my body »
It was difficult to trust my body because this one was realy weak. So I decided to work on my muscle structure to be more confident in it. Beeing stronger deffinitely opened myself to trust my body and gave me more space in everithing. Mentaly and physically.
« take more risk to understand and less brain understanding »
Everithing is conected. To have a strong body alowed yourself to go deeper towards new tryed. So yes, I started to take more risk. Steel I think it's not enough. I stoped to try to understand everithing with my brain and folowed my body impulses. I starded to use other tools to understand. Let my body do first then additing the direction and the movement continuity. And THEN when my body found his way my brain fixe what I deed in order to remember the movement.
« Work on my left side »
YES ! I have to continue but it's really beter.
« Work on my balance »
It's not always easy to find it. But at least It became realy clear how to feel it and also work on it thanks to Marco's work. I was searching to far from myself with extra muscl work. I also started to find it in Ballet.
« Work on speed »
It was mostly dificult for me to follow in Folk and difficult to find a way of working on speed without loosing the quality. So I decideed to work on the music. To understand the rhythm and the structur of the music. When I started to here the « up/down » or where is the 1 in the mucic it was easier do move and my time changed. I found it in Folk but not always in contemporary. I realy have to fight to be in time « speed » but I'm in the good direction. I think it's also the combinaon of everithing : stronger body/balance/easy brain/space help to fine the speed.
« Work on flexibility »
YES ! I'm doing right and left split fully ! My spine is more flexible but I have a lot of work to do on my feet.
« Find my why of working before (conception of a project) »
I decideed to be out of my proposition, so to be « just » a director and not drive AND dance in my proposition. I'm looking forward to show the last proposition and to here about the feedback. But It was really interesting to work like that and yes actualy I found a continuity of my way of working. I think I was more clear and It was easyer to express what I wanted to do. I realy so my evolution through all the project I deed this year. I belive that understandig how my body is working more and more helpt me a lot to work on project. To see and to work for people also. I would like to think about dance theater now. How can they feed each other.
« Working for an explotation and not for a result »
Working with Joe and Blanka was like that. To work on where the movement comes from. To reapet the proces. To take time to understand and THEN to dance it with all this precision and this quality. I really appreciate the continuity of the work who help me a lot to work on the exploration.
« Working my mouth muscl to be able to play longer the trumpet »
I started really well then we mostly did some note exercise without playing and stopted me a bit in the regularity. And I came back to a daly practis and it was better.
« enjoying everithing »
YES ! I deffinitely enjoyed everithing I deed. Even if I was a bit sad with our schedule who was not always clear and creat mistake or classes off.
TEACHERS' EVALUATIONS | 2018 June
Lemesánszky Mónika:
General notes to the group: The group worked well together all year and had good energy throughout.
Personal notes: You are motivated, open for challenges and have a positive attitude. You understand the exercises better and better each time. Your awareness of the correct execution of the exercises is getting better, you are paying attention to corrections and apply them well usually. Posture, port de bras and footwork has improved a lot, you are heading in the right direction. Try to improve your turns, balance and jump height.
Angelus Iván:
General notes to the group: Group A's cohesion, general level of demand, work intensity is far from an efficient state. Low levels are very low, higher levels are not very high. Differences are big and do not converge. Tasks mostly remain asks: both on individual and on group level are almost never completely fulfilled. The acceptance of mediocrity is a danger. The often tired and depressed atmosphere + the lack of successful initiatives, playfulness, joy doesn't help successful learning.
Talent is still present, strong motivation is there on the level of words, but persistence, diligence, high energy, stability, concentration, health, self demand are missing from daily practice in general.
I have added a short categorization: Excellent, good, weak, failed. All refer to your actual state as a prospective contemporary dance performing artist from my point of view as your teacher. Do not accept, improve.
Personal notes: Your creativity and fantasy is (and was) your strong side. With MUCH MORE practice and MUCH LESS emotional (inside and outside) hassle, worry, arrogance, lack of self-consciousness, etc., you would reach more. That is why you came. What happens here happens on the level of the neurons. If you do not practice: give them clear tasks and time, they will not develop, their juices will not cover net-links and will never help you.
Bakó Tamás:
You are noticeably excited and motivated about learning and training. You make a lot of effort to understand and unfold the logic of the work. The material is mostly unfamiliar to you yet but slowly you gain some experience and clues. Getting closer. Coordination, relationships and arranging of the body parts according to each other, differentiating the sides, orientations in space has to be further investigated. Structure and alignment needs more understanding and support, but I perceive a shift toward new kind of opening and lengthening in the body compared to before.
Carry on!
Szemessy Kinga:
You are a student easy cooperating with due to your ongoing curiosity and good communication skills e.g. to express when you need something more or differently. You also bring interesting viewpoints to the class.
Tijen Lawton:
Focus on connectivity and awareness…a mindful training of the brain and body.Challenge the physical intelligence, strength and movement capacity.
This is an intense a difficult way of working, it takes time, and the results are rewarding and can create a versatile dancer or performer. Therefore patience ant persistence are essential. Work is needed to continue to find the centre and grounded force through connecting the extremities of the body through the centre and using the floor work to establish a base of strength and support. So using the transfer of weight in the floor work and searching for all possible points of support and resistance…combining fluidity and strength and then incorporate it into standing work and moving in space.
Use your dynamic and mature understanding to combine with new information you receive as well as discover for your self. Manage and trust your intelligence and give space for the body to discover how to challenge its limits. Looking forward to this work together.
Joe Alegado és Csasznyi Blanka:
General notes to the group: We would like to make a general comment concerning the students. We feel that, even though each of them are individuals with different needs and capabilities, as a group, we find them to be very inspiring and supportive of each other. Whenever one person is missing from class or is experiencing a difficult time in life, the others step in to create a support system by helping with movements from class or with words of encouragement. This communal approach is a very positive step in the direction of resolving issues arising from misunderstandings in movement concepts and principles, or life situations. As mentioned before, each student has individual needs and capabilities. In the Alegado Movement Language, there are very basic principles which, when discovered, can determine the quality and focus of every individual’s source of movement. One very basic principle is the acceptance of gravity and its effect on the quality of the movement. The dropping of the head in its forward descent to the basic curve, is one of the principles we have chosen to focus on. As a group, we have seen progress in the students as they have begun to embrace the idea of surrendering their weight to gravity. This action has accomplished several things: 1) the conquering of fear 2) the effect on each student’s plie 3) the student’s ability to use that plie in shifting the pelvis 4) the application of a strong and active core and how all of these elements are applied to translate into a musical and physical expression of the body through movement. This has been a focus in class because, in doing so, it will help resolve the difficulties a dancer has when trying to access their deepest, most organic connection to the earth. When this release of the body’s unnecessary tensions happens and their weight begins to fall without fear, the student’s ability to risk grows, their awareness is heightened, their musicality is awakened and their confidence in moving through space becomes a natural force of energy. We will now continue by using these class objectives as the basis for all comments.
Personal notes: Even though this class process is a big challenge for Myrtille, she has shown incredible resilience. She has never allowed the difficulty of the class to dominate her. Because of this, she has been able to make many improvements. Together with her easy going nature, she is open to receiving information, making communication easier for the teacher. It is a breath of fresh air to have a student respond to a teacher during class. Feedback is important.
We feel Mrytille’s strong spirit and her good nature will take her through even more levels of improvement.
WORKPLAN | 2018 September
This year, I would like to work by periods. I want to have big axes that I'm gone a work on next to the other things.
Big axes:
I want to work on my memory.
I want to work on the "opposite". Which means: stop to work always in parallel movement.
And then, find my way to make understandable what I want to express through the fact of directing a piece.
Next to that, I want to:
Work on my strength.
Open my craziness.
Work as much as possible with other people.
Find how I want to work after the school (where ? How? With who ?).
SUMMARY | 2018 December
« This year, I would like to work by periods. I want to have big axes that I'm gone a work on next to the other things. Big axes: I want to work on my memory. I want to work on the "opposite". Which means: stop to work always in parallel movement. And then, find my way to make understandable what I want to express through the fact of directing a piece. Next to that, I want to: Work on my strength. Open my craziness. Work as much as possible with other people. »
Summary 2018/2019
My feed back gonna be further than my previous working plan. Because of my injuries I had to compose with a new way of working, doing, learning. It was interesting to notice “how to do with the present”. Something with what you have to work with. How to reinvent.
-You can’t move, then open your eyes and be patient !
After different mind set of behavior, I found a new way of relating to dance, to watch to understand.
I spend a lot of time to watch the classes. Even if I get frustrated not to be able to dance at the beginning, then I was amazingly happy to watch the different classes.
I learn much more than I was thinking.
It was really interesting to be able to listen the teacher, intention, correction, explication and watch the student working out of it. Then the connexion was obvious. The coordination between movement and counting in ballet for example.
My eyes became more efficient: to understand a be able to see the alignment of the body, or to catch where the movement come from.
I used this « watching time » to develop my way of remembering a choreography.
First focus on the direction to have a global view, the, which leg is starting, is it one step after the other or a contre temps…
I tried each time to remember just by watching. I never had the full phrase but I was able to remember more and more. Even if the body remembering is easier for me.
Then when I started to dance again I wanted to go to quick and hurt myself again. It turn out that I had to slow down and accept it. What was to finish with : really good.
It make me understand that I always wanted to go to fast. Understand directly. Remember directly. Be able to dance what people (who are dancing since ever) are dancing… Without taking time to take the time.
So I had first to dance without my left leg support. To slow down everything. And I started to feel the connection. The space around and inside. The continuity of the body. I spend more time in one or two body part. Then one or two more… Take time to go deeper in the body comprehansion. And not the idea of it.
When I started to know more the different body part individually then it was easier to understand how to work together and work on the opposite.
Then the movement research with Meggie was extremely interesting and useful. It went further with the idea of body division.
It gave to me much more clarity in the movement decision. It opened many doors towards the non asymmetric movement I was looking for. The focusing in details (hand, feet, join) permit to find new movement and sharpness. Her research was really muscular and make me understand that a smooth movement is also really strong.
With all of what I just said previously and the individual work change a lot. It’s nowadays much more efficient. The fact of writing before entering in the studio help me a lot. And it affected also (in the positive way) the different project I deed.
With Yrsa for example (in « try try territory ») our way of thinking and working toward this project was much more efficient than our previous project. It was easier for us to build the rehearse plan and our working desire.
To finish with, this injury make me loose a lot of practice time and energy. And it’s not finish because it’s still extremely painful in relevé or in putting weight on it. But because of it I also learned a lot and It gave me even more dancing desire. I think my thoughts are more orgenized. I deffinitely worked with axes, and period time. It was an other one (as anonced in the working plan) but the structur was here.
I still have to work on the craziness which was for me really connected to the fact of jumping.
But let’s reinvent it !
TEACHERS' EVALUATIONS | 2018 December
Bakó Tamás:
You are working hard on the classes and make lot of effort to understand the material. You are getting closer. And I appreciate a lot your enthusiasm. But there's still quite a struggle with the order of the steps directions and alignment. Coordination, relationships and arranging of the body parts according to each other, differentiating the sides, orientations in space has to be further looked and examined.
Give yourself time and try to found a firm base to not to start always from the 'beginning'.
Angelus Iván:
General notes to the group:
In this semester I had the chance to meet all of you in the three main territories of our school: 1. sharing new information, 2. developing your creativity, 3. developing your social skills. I feel myself and you successful in point one and two, and I have hard time at point 3. with all of you. This is because of the social environment surrounding us. Solving this difficulty is the task itself. The level of cooperation and sincereness is that makes difference in the common success.
My short evaluations will be strict and related to your development related to school requirements:
I will tick Excellent box at who are developing well, basically in harmony with school guidelines, hopefully will reach their goal to become a professional contemporary dancer.
I will sign Satisfactory/Good at those who could make (much) more in their own sake.
I will sign Failed at those who do not live with their possibilities and should change their attitude in order to become more successful or to those who are on the right way to find their own direction that may be out of the school's profile. It can be considered a success too. Failed may mean you have to work on your trajectory out of school or it may mean to stay in school but work on a higher level.
Personal notes:
Dear Myrtille! I see your development proportional to the work you actually invest. When you work calm, concentrated, planed, healthy, inspired you always get somewhere. When you are hectic, you do not. It means that you have to work more on your general state rather than the work itself. More (better) "warm up", more (better) IW, better concentration. That may will bring you the results. I wish you get there.
Kováts Tibor:
Nagyon meg vagyok elégedve a munkáddal, nyitott vagy, igyekszel megérteni amit, kérek és fontos neked, hogy kijavítsd a hibákat! Szeretem, hogy szinte mindig pozitív vagy, kedves őszinte ember vagy, a feladatokra fókuszálsz és megoldásokat keresel, nem veszel el a részletekben! Jó veled dolgozni és szépen fejlődsz!
Köszönöm a munkádat!
Várnagy Kristóf:
General notes to the group:
It is my general note, not only to group A-B, or C but for the whole of the students, that it is a heartwarming how you grew into a good and functioning community. It is great to see you supporting each other.
Personal notes:
As time went on, from the be the beginning of the season to recent days, I felt that you grew in purpose, and as such your quality of work progressed exponentially. I feel you are now in a very good place to build.
Urvi Vora:
General notes to the group:
After my brief, intensive interaction with everyone, I have very much enjoyed reading the diverse essays from all of you – very different approaches, levels and processes. My feedback is focussed on your essay and I hope it helps you think of how to push it forward from here as there is always much more to do.
Good luck with all your future plans and upcoming work in the school! It was wonderful to see all your thoughts turn into something on paper!
Personal notes:
Great way of making an argument which is convincing and flows from one part to the other with a good use of references! For me, you made an interesting point about how we read truth in fictional work and supported it well. However, you could work on making the argument more visible and clear. While the essay had a logic, it could be made better by giving it more structure – dividing it in paragraphs, making sub-sections, not repeating things. It is also important in a philosophy paper to give a bibliography if you are using other sources. In your essay, the sources are very important. Further, do choose your words very carefully when you construct your argument – When do you use lying? When do you use pretending? When do you use fiction?
Lastly, maybe your your question isn't whether lying is ‘permitted’ (as this is not necessarily a philosophical question) but what it means to lie in a fictional work – it makes it more easy to understand what you want to say.
MENTOR'S SUMMARY | 2018 December