Greiner Johanna

WORKPLAN | 2022/23 1st Period

My short-term plans

generally: In the first two weeks I want to take time to arrive in my body and the surrounding. The goal is to revisit my alignment and placement in each class and accomodate to methods and ways of working. In th 3rd & 4th week I want to focus on building strength. Using the information of the first weeks and also the infos from the anatomy class to broaden my understanding of the physio-mechanics of the body and how I can optimize my dancing by using what the body offers. Then in the 5th & 6th week I would like to put my focus on shape and the aesthetic of movement. What is necassary to create a certain form, how can I stay fluid in my movement language, even though I have to talk in someone elses language? I want to find the right timing and dynamic in my body to be able to adapt easily to new choreographies and moves. In the last two weeks, I want to “just dance”, but with the score of living each movement fully and sending out. In other words reaching into space, taking space, opening up to the outside, connecting to the outside. For the single classes: Body (but also individual work): as I assume this is the format to work on strength, mobility, flexibility, my goal is build especially more strength in my legs. I want to find more mobility in my hips and shouldergirdle, as well as the thoracic spine. And in flexibility I want to work on my splits as boring as it sounds. ADDED: With Milan I worked out a few exercises for the hip mobility and stretching, that are a first step to open the hips for the splits, I will do those for the next 6 weeks every day and then consult with him again. As for the shouldergirdle and spine, I started to do exercises with a terra band working the shoulder blades and opening the chest, I do those every second day. Ballet: first of all I have to revise my placement, for me ballet is always pretty mental since I feel like I have to be aware of every single thing that happens in order to not hurt myself in the long run. My goal is to find confidence and drop my brain into the body, so I have a “thinking body” 😉 I definetly need to work on my plie and foot work in order to improove my jumps. I want to find elasticity, speed and highth or length. rythm & dance: Rhythm in general and staying inside the counts is hard for me. So I want make an effort to better understand rhythmic structures and find a way to make my timing more percise. I want to try to feel the rhythm with my whole being instead of making it a construct in my mind. ADDED: My strategy for this class is, to stay with the basic task (clapping the rhythm or doing a simple step) until I fully understand the rhythmic structure and then I will add more complexity. Also, if a step is complex, I will first learn its structure before doing it fast on the music. creative: Keeping it physical, embodying and aftwards reflecting, however still observing. By that I want to find out my patterns and habits and challange myself to change something (for now nothing specific). Going outside the comfort zone. Contemporary: I am a person working rather in contract than release, also more in round and fluid shapes. I want to work on opening my spine, and find divers dynamics. Additionally I want to find a way how to freely dance shapes and forms that are not originally mine. How can I use the timing and momentum of my bodies physic to create a shape? ADDED: The strategy for opening the spine is, to bring awareness to it before class and to remind myself during the class. Since often the closing of the spine is connected with looking to the floor, I want to concsiously use the lifting of my gaze to open it up. individual work: The goals of “Body” (see above) as well as using the time to experience my own praxis, what is my dance praxis? By working through materials form classes by my own or with others I want to find out what suits me and why. Additionally how would I make things that challenge me my own? ADDED: I am using the time to break down complex movement patterns from class, to understand their structure and the ways my body has to go in order to fulfill them. By this I am making the movement patterns “my own”. Also I am going to do isolation work. For example working only with the hip and tilting of the pelvis. Or exploring the range of movment of the thoracic spine. With this I aim at getting a better understanding of the mechanics of my body, in order to become more aware and connected in my movement. Rehearsal or Creative Plan: First of all make one.

My long-term plans

The first step on my long-term plan is this erasmus-semester. My goal in this semester is to get to know myself better and to get inspiration through new impressions. It is the time to check what I already learned and what I still need before graduating. This semster gives me the opportunity to get familiar with structures that I will encounter in my work life. I want to take as much as possible with me regarding the method of planning projects. How to do all the things that are behind performing something in public. Planning the rehearsals etc. Then in the summer semester back home I will actively start working on my graduation project. It consists of a practical part, ca 20 min studio performance or research and a thesis. My interest lies in the art of improvisation, my goal is to find out a more concrete aspect of it until January 2023. After graduating I want to work as a free-lance dancer. I plan on reconnecting to my home-network in Germany and also travle to the places that I lived in. Visit the CobosMika Formation in Spain etc. Eventually I want to do a master study program, there is a MA in dance therapy, that seems very interesting to me. Because, I want to build my future not only on the artistic path, but also share my passion for dance with people. After experiencing the positive physical and mental benefits I want to research into that direction more. In the far future, like 5 – 10 years I see myself building a space for the encounter with dance, art in general, and the nature. I want to rebuild or expand a farm in order to have a functioning farm with space for artistic residencies for professionals and retreats for lay-persons.

CREATIVE PLAN | 2022/23 1st Period

Preformation is a study of revisiting, pre-recorded improvised shapes. The viewer has the chance to see where the movement originated from. The 6 weeks prior to the performance instantly composed shapes can be witnessed, as well as the most recent version of it. This direct confrontation with an improvised shape and a rehearsed material shows that no matter how often you repeat something there is always something new and different in that moment which makes it unique every time. Additionally, there will be a play with coincidence, that will influence the dynamic and unfolding of the solo, that is really a duet with a shadow from the past.

SUMMARY | 2022/23 1st Period

Over and all it feels like even though I planned to start slowly and focus on my alignment and orientation in the new space etc., I started and gave my all, because I was full of energy and motivation. This led to being rather tired in the 3rd and 4th week and stood in the way for starting to build up strength as I had planned it. However, in small steps I started to work on it. The anatomy class was really inspiring and made me focus more on my own physical structure. I gained a better understanding of my leg alignment and started to work more focused on balancing it. But still in the 5th and 6th week I had some pain in my knee and had too dial the volume of work down a little. It was also mentally challenging, but with a little patients towards myself, I found a way to get back on track. The focus on the shape and aesthetic of movement (goal of 5th & 6th week), was the easiest for me to work with in the ballet class. For the first time felt really secure in the lines and circles of the ballet. In the rhythm and dance class on the other hand I had trouble to work towards shape and aesthetic, because I was too busy with understanding the rhythm at first. However, while watching the class one time, I gained a better understanding of the structures and that it is easier to get there with a calm mind and to work slowly from the basic to the more complex (sounds obvious, but when in action I often try to move on to quickly). The goal for the last two weeks was at first a little overshadowed by the troubles of the previous weeks, but in the last two days I felt, that things came together and I managed to dance more openly, regarding the focus and energy. I felt more in control and at peace, this allowed me to move more freely.

For the single classes:

Body: I gained a lot of strength in my core through the Pilates training. Additionally I gained more awareness of my breathing, thanks to the breathing exercises we did. My goals for the legs are still in progress, I realized I have to work step by step and that the process takes longer than 8 weeks. Whereas for the shoulder and spine I feel much more progress. We were introduced to really nice routines regarding the mobility (also for hips, but it takes a bit longer for me to progress) and I feel much more secure and open in my torso, shoulders and arms.

Ballet: The goal to become confidence moving in the ballet aesthetic is reached. Maybe not in all parts equally, but for the most of it I can really enjoy the movements now and feel like I understand what I am doing. Regarding the elasticity in the jumps I am still at the beginning and have to put a lot more work into it. I am starting to understand the real relation of the plie and the pushing of the feet into the floor. Rhythm & dance: I realized that I understand the rhythmic structures very well, with clapping or simple steppings. The hard part is when the movement is more complex and I have to find the right timing to execute a certain shape or remember a more complex stepping pattern. For some parts it worked to just do it and not think to much, but then it is hard to repeat for myself after a few days, it does not proceed to the long term memory. So I started to take a step back and stay with the simple versions of steps until I fully understand them.

Creative: While improvising I found my patterns and did my best to challenge them into new directions. The most helpful in this process was the partner work, when an impulse from outside inspired me to move I found new pathways. I really enjoyed the creative work and found new ways into the full body connectivity. For example by starting to lead with different body parts.

Contemporary: In the contemporary dance class I revisited structures and shapes, that I know from another perspective and it really enriched my movement quality. The work on the set shapes was challenging, but yet in a way that I still had the freedom to reflect on my timing and the space, as well as musicality. This gave me a feeling of confidence. Through the course of the classes I was able to lead my attention towards the details without loosing the bigger picture.

Individual work: The goal of building up my own dance praxis, was a bit far fetched. However, I believe this individual work is setting the ground stone for my future independent dance praxis. Mostly I worked on my body posture, alignment and range of motion in a very somatic approach. I also tried to use the time to balance myself and give my body what it did not yet get that day. And then I also always found time to digest the given information of the classes, physically and mentally (dance diary). Physically it often happened in form of improvisation, to feel the resonance of the materials from class in my body. But I also joined together with the other students and practiced choreographies or sequences.

Rehearsal / Creative Plan: In the first half I worked really efficiently and structured. After my plan was set, I recorded the six 30 second improvisations and started learning them. This was in some cases a great challenge in others very easy (because they were my patterns discovered in the creative class). Then after the mid-term check, when I wanted to dive into the qualities and details of the sequences and work on the relation of the improvised videos towards the live dance, I got stuck in my mind. I had a lot of ideas, but in the end my goal was to compare the improvised dance (video) with the rehearsed one. So, I let the rehearsed movement become it’s own thing and find it’s own dynamics. Until the end I worked with the factor of randomness, not knowing the order of the 6 parts until the execution. However, in the last rehearsal, with the projection on the wall, not knowing the order turned out to be more distracting than interesting, because I tended to check the projection and not have enough focus for a proper execution of the movements. So for the performance I prepared in advance and knew the order. But somehow, the interplay of the recording and the life dance, became more of a thing, than the comparison of the two. The audience did not feedback anything about the qualities of the two versions of the dance, just on the timing. So without intention I created a piece about time and timing. I wonder if this comparison that I aspired is even possible on stage in that format.

TEACHERS’ EVALUATIONS | 2022/23 1st Period

Bakó Tamás – contemporary dance

I appreciate your drive and investment in the classes. You were committed and engaged all the way along the period. You have a long experience with dance but as a keen person you are very devoted to gain wider knowledge on dance and body and have a founded understanding of your physical and artistic potential.

The material of the class is open to you. I perceive that the seemingly easy access to this material gives you the opportunity to learn more about
– coordination and organization of movements and the body
– relationships of structure and alignment
– tonus regulation, working through release
– groundedness and use of weight to support momentum.

In the coming period I’d like to encourage you to observe further the role of breathing, the act of releasing into the length of the body, the support of the skeletal system, activation of the eyes to see and connect to space to support alignment and movement. Great work!

Furulyás Dóra – improvisation

General notes to the group:

Generally it was very joyful working with you as a group. I enjoyed each of the classes, I felt that we understood each other, we were available and responsive to work and develop understanding the different states with which we were facing each class as human beings. You are taking care of yourselves and each other, and you are open to your peers and to me. This was a great environment in which we could together start a journey of navigating in improvisative dances, situations using the space around us.

Personal notes:

Your understanding attention and engagement in the different tasks were constantly present throughout the classes. You find freedom in interpreting and using the instructions as an orientation towards finding something for your dance. I could trust this work, I could see that you were always in a process staying in the frame of each task. You are just as comfortable working independently as connecting to others. I can see that you enjoy taking risks and have curiousity for the unknown, you don’t need to always be in control, you have a secure understanding of your body and space. This leads you to inventive and highly inspirational dance moves and qualities. Keep this approach as part of your dance practice to enrich your vocabulary.

Kulcsár Vajda Enikő – Body

General notes to the group:

Az osztály egésze egy szuperul dolgozó, koncentrált csapat, éretten váltva a játékosság és a kemény munka között.

Personal notes:

Okos, tudatos, aktív hozzállás, érdeklődő jelenlét. A test finomodása, izolációk, mozdulatminősége elkülönülése és tudatos használata alakul és jó úton van, csak így tovább.- Very clever and active approach on the classes. The litte details, the isolations are developing still, but the while process is on the right way!

Újvári Milán – Body work

I’m happy to have you in my class! When I think about you It always comes to my mind that you will be missed in the seccon half of this year. (Am I Right?) Anyway I like your attitude and your focus. I think you are working in a fairly good level. I motivate you to be more courageous to show and to explore and maybe even to fail! This is how you will truly learn and experience! Meg Stuart said to me once: Our bodies is a collection of our memories. Make your memories more living! If you know what I mean.

Kováts Tibor – Ballet

General notes to the group:

A csoport egésze nagyon nyitott és elfogadó a klasszikus balettel kapcsolatban. A csoportban vannak nagyon jó előképzettséggel rendelkezők, és kezdők is egyaránt, e két csoport közötti halmaz nagyjából egyenlő képességekkel és tudásszinttel bír. A csoport tanuláshoz való viszonya jó, akarnak és szeretnek is tanulni! Fontosnak tartom, hogy a csoport tagjai megértsék, hogy az eltérő képességek és tudásszint ellenére, folyamatos fejlődésre van szükség , mindenkinek az aktuális tudásszintjéhez képest! Ennek egyik lehetséges megoldása a tudásmegosztásban rejlő lehetőségek. A csoport tagjai osszák meg egymás között, a pozitív tapasztalatokat, tanuljanak egymástól, ha valaki valamit megérez, mondja el a többieknek, hogy mire jött rá és hogyan, mi segített neki, egy mozdulat, vagy lépés megértésében stb. Használjuk ki, hogy vannak jobb előképzettséggel bíró társaink, akik bizonyos lépéseket már jól és pontosan elsajátítottak, lessük el tőlük ezeket a lépéseket. Mi, egy csapat vagyunk, a célunk közös, minél nagyobb tudás megszerzése az évek alatt úgy, hogy az egyéniségünk, a különbözőségünk megmarad! A csoport minden tagjával egyéni konzultációt szeretnék tartani a pedagógusi összefoglaló kiegészítése, árnyalása érdekében. Ezzel kapcsolatban kérek időpontokat mindenkitől! Késő délután, este, lenne nekem jó. Köszönöm !?

Personal notes:

Dear Johanna! It’s my great pleasure to teach you! You are a very kind and open person. You work very smartly and seriously every day. You can understand the instructions and rules very quickly, even despite my poor English, and not only do you understand, but you also implement the rules yourself! You pay attention to yourself and your body, with amazing intelligence and humility. It’s fantastic how much you’ve improved in the movement material of classical ballet in such a short time! You have improved a lot in arm work and lines and coordination. Congratulations! You are super! ?If you think and you want, we can talk in person about more details! ?

WORKPLAN | 2022/23 2nd Period

My short-term plans

generally:
Week 1-2: – arriving back into my body and the surrounding
(what is the echo of the 1st period?)
– checking out the new class formats and teachers
(what do I need physically and mentally for the next 8 weeks?)

Week 3-4: – working on opening up the space, by opening the eyes and consciously sending energy through the limbs
– opening up for new perspectives through the study week

Week 5-6: – for the second half of the period an the change of teachers I want to focus on the ability of “shape shifting”, how to use the knowledge from before in a new context or how to transform it?

Week 7-8: – as in the 1st period I want to “just dance”, using all the information that was offered to me, especially regarding the performance

Individual work: My goal for the individual work is to have a nice balance between revising materials and structures of the classes and training my body for strength, flexibility and mobility. One specific goal is still strengthening the legs, working on articulated feet and more flexibility, I will start by using exercises I learned in the last period and gradually add or change them as needed. I want to also continue working on my core as we started this work with Enikö. A side from that I want to spent two days per week half an hour for research on my graduation work, I want to make a plan for this driving from the feedback of the Solo from the first period.

Rehearsal or Creative Plan: To be planned.

For the classes:

– I want to put more attention on breath and it’s role while moving as recommended in the feedback
-> first by observing it
-> in a second step I want to use the breathing exercises we learn with Milan
-> focus on breathing through the nose, if appropriate for the exercise
-> what happens with the breath while jumping/ running/ high dynamic moves

– my goal is still to find confidence and drop my brain into the body
– learning by making mistakes as well as letting go and finding trust in my body without mentally controlling every move

– I definitely still need to work on my plie and foot work in order to improve my jumps. I want to find elasticity. I realized that the process takes time and I will not force anything, but work in the range and with the capacity I have available and slowly increase it.
-> through the ballet training
-> by exercising in the individual work

– continuing to challenge my movement patterns with the new impulses I will get in class

– but also using the comfort of my movement patterns or patterns I am used to, to work on lengthening and reaching out into space and opening my eyes

My long-term plans

The first step on my long-term plan is this Erasmus-semester. My goal in this semester is to get to know myself better and to get inspiration through new impressions. It is the time to check what I already learned and what I still need before graduating. This semester gives me the opportunity to get familiar with structures that I will encounter in my work life. I want to take as much as possible with me regarding the method of planning projects. How to do all the things that are behind performing something in public. Then in the summer semester I will actively start working on my graduation project. It consists of a practical part, ca 20 min studio performance or research and a thesis. My interest lies in the art of improvisation, my goal is to find out a more concrete aspect of it until January 2023. After graduating I want to work as a free-lance dancer. I plan on reconnecting to my home-network in Germany and also travel to the places that I lived. Take classes in the CobosMika Formation in Spain etc. Eventually I want to do a master study program, there is a MA in dance therapy, that seems very interesting to me. Because, I want to build my future not only on the artistic path, but also share my passion for dance with people. After experiencing the positive physical and mental benefits I want to research into that direction more. In the far future, like 5 – 10 years I see myself building a space for the encounter with dance, art in general, and the nature. I want to rebuild or expand a farm in order to have a functioning farm with space for artistic residencies and retreats.

SUMMARY | 2022/23 2nd Period

Looking back on the second period, it seems like I was able to master it well, even though it was way more intensive than the first period. The goals I set myself in the work plan were realistic and I was able to progress in my development. In the first half of the period there were quiet some changes in the schedule leading to different experiences than expected. However, it was a welcome challenge and enriching. In the second half of the period the rehearsal and creation process was in the focus and lead to a very intensive and exhausting, but also incredibly enriching time. Generally I realized we learned a lot about the warm up this period. First from Iván and later also from Dora. Personally, I learned that it is important to prepare yourself fully, not just the physical part. Leaving everything outside the studio, that you do not need for working includes also certain feelings and thoughts. The physical warm up depends on what one does after. I need to warm up differently for a ballet class than for an improvisation. This realizations where very useful and made my work more efficient. Individual work: In the first half of the period I really succeeded with following my plans for the individual work. Next to working on stronger legs through workouts I also started to improvise with a focus on movement initiation from the legs. It was very interesting to realize how much I initiate from my upper body and how restricted I felt when I just moved from my legs. Next to that I intensively worked on the steps we had learned from Batyu. I realized, that if I want to master his task of creating my own dance I first have to really understand the basics. Kamea’s classes really helped and motivated me to dig more into the folk dance steps. The other students helped me with great patients and I am happy to report that I mastered the basic version of all the steps and even some of the combinations. I spent less time on the research for my graduation work, however after finishing my creative project I decided I want to work similar for my graduation work. I like the tool of filming improvisation and learning it and I want to combine it with a choreographic structure that leaves space for improvisation… we will see. Rehearsal or Creative work: It was a great pleasure to create my own group work regarding space with Barbara and Niki (and later Lea). In my dancers I found very motivated and committed partners, that were eager to join me on exploring the close space in between each other. The time was very short though and I had to quickly come up with a structure, so the research was shorter than it could have been. Also, since one of the dancers got ill, we were not able to rehearse (like for real) the structure well, which would have been possible, if we would have managed the original time frame. However, like this it felt like we were showing a work in progress. Over and all I am happy with the outcome and am impressed of what we did in this short time, considering we integrated a new dancer in an ongoing process. Tasks and Goals: The focus of breath was really easy to keep, since not just Milan, but also Iván, Joe and Dora referred to it in their classes. In Iván’s class I learned how much power to relax and release muscle tension lies in the breath. With Joe we focused on timing the breath well in order to ensure a nice plié and overall musicality. In Dora’s class we explored the breath and movement relation. I feel like I acquired new knowledge about my breathing that helps me a lot, especially in stressful situations like performing, to stay focused and aware of myself. The goal of finding confidence is still in progress. However, especially in Joe’s and Blanka’s class as well as in Dora’s class I had moments, where I felt that I know exactly what I am doing and the movement was just flowing out of me, while I was observing and guiding it, these moments were exciting and motivated me to keep on going also in more difficult and mental moments. In the process with Iván and the class with Dora I got more familiar with my movement patterns. For the No. 9 we had to create short phrases that were different from each other. This was more challenging than expected and to some extend really frustrating. I want to take this experience and set myself a similar task in order to keep challenging my habits. As for the class with Dora I got the feedback that I work a lot with repetitions. Doing one move until it reaches a peak and then moving on, quiet in a Deborah Hay style… So, I want to be more aware of this and make use of it. I guess reaching out into space and opening up is still a process. I catch myself still being a lot inside with my focus and working on inner connections. But more and more I was able to open up. Especially in the last weeks. Classes: Iván, classes and creation of No. 9: Through the autogen training I learned how I can actively release my body and collect strength form the state of complete relaxation. I got to get to know myself from a different perspective. At first I was concerned I would not be warm enough for a class after the autogen training but with the successive movement of rolling and bit by bit standing up, I felt my body ready and prepared to move. The improvisations regarding time and rhythm were really challenging for me, my movements became very simple and repetitive. But it was a good preparation for the rehearsals of No. 9, because I was ready to be precise in timing. As mentioned above it was a challenge to create all the phrases for the No. 9, because I had difficulties creating varying sequences. However, I enjoyed the method we were asked to use. It eliminated all self-judgement and second thoughts until the sequence was finished. Also, I really enjoyed the method of learning the materials of the others. It was quiet challenging to grasp every detail, but in the end I knew each motif very well and independently from it’s creator. Still trying to keep it’s original essence I was able to make it my own. I enjoyed the additional challenge of keeping the choreographic structure, I had to constantly count in my head and think the whole piece in order to be able to do my part. And still there had to be a bit of the attention on the connection with the other dancers, the audience and the quality of the movement. Performing No. 9 was really fun, even though some things did not go as planned, I felt confident and enjoyed being in the moment a lot. Kristóf: We only had maybe 3 classes in this period, however they were very impressive to me. We were working with an incredible speed and I had no chance to really feel what was going on inside, it was overwhelming and I wonder if I was able to maintain my alignment and quality. Also, the class before the performance was amazing. It grounded me and brought me back to the moment. I understood why we need to release. So now I defined release for myself like this: it is not about letting go and dropping all that maintains you upright, but rather about connecting to the ground using gravity to really ground yourself and then building yourself up from there with the least effort. Milan: The mix of breath work, games/fighting and floor work was working well for me. The games and fighting made me understand how the body works on another level and the breathing connected me to myself. After that the floor work was easier and more logic. Since I was already familiar with certain movement patterns I could focus a lot on opening my focus and finding quality in the movements. What I took with me from Milan’s classes is especially the image of “showering in your movement”, having the whole body active and connected. I learned how important it is to be fully in the moment to be awake and ready for anything. Kamea: Even though the classes were very challenging for me, I had a lot of fun. The joy of dancing helped me to go for it and learn from the mistakes. I realized that speed does not come when you try really hard (being all tensed and anxious), but rather when you relax into the movement and execute it fully. I finally understood, what it means to be on the up or down beat and slowly am able to use this knowledge. Kamea’s class aided me a lot in learning Batyu’s steps and understanding the mechanics of them. Tamás: The unexpected series of classes with Tamás were very welcome for me. I enjoyed the research on the three body masses of head, rip cage and pelvis a lot. It was good to remember the mass of each of those body parts and their connection. I also enjoyed the work with a partner a lot. It always inspires me to move outside my comfort zone and explore new path ways. AML – Joe and Blanka: I feel like in the class of Joe and Blanka I learned how to rehears. We did not just do exercises, but we went deeply into the movement phrases and made sure every detail was taken care of. Not solemnly for aesthetic reasons, but also for functionality. The goal was to move through the sequences freely, finding the perfect alignment and breathing pattern in relation to the music. The focus on the core, really helped me to understand how to move from my center and gain more stability without blocking the movement flow. It felt like rehearsing, because we went over a few phrases over and over again. I really take a lot from this experience, because through the repetition I finally felt, that I can make the material my own and understand it for real. However, I feel like there is still a lot of work to be done. I have to find a better connection to my center and trust in my abilities so I can even more let go and flow freely through the set material. Laszlo: I had a lot of fun in the creation with Laszlo. It was a challenge in some parts for example to learn someone’s phrase and transform it, so that rhythm and spacing still align. Also the playground part where one solo becomes the fix point for the other dancers was a challenge. Since I was suddenly the center around which everything moved. However, it was great to work on those challenges in the group and with the guidance of Laszlo and I learned a lot, how to communicate and how to be responsible for my own material. I enjoyed most to work on the duets that we learned from Laszlo. Dora: This session was especially interesting, because we had one set structure that repeated every class, but with another version of us. I am super inspired from the hands on work with a partner. It made me become aware of the inner connections of my body. Especially in one session I was touched on my belly and my leg and I finally understood from where my legs move. To improvise freely after was amazing. Tibi: It was nice to continue the work in ballet from the first period. I felt in control and able to follow the class well. I know that there is still a lot of work to be done, but finally I feel like I understand the basic concept of ballet, which enables me to work on my own and deepen my understanding. The jumping is still hard, because of my leg alignment, but I am confident, that with more dedication and work, I will also get the hang of it.

TEACHERS’ EVALUATIONS | 2022/23 2nd Period

Angelus Iván – Improvisation, composition, creative work

WORKPLAN | 2022/23 3rd Period

MENTOR’S SUMMARY | 2022