Musician, Actor, Dancer

It all starts with an idea. Perhaps you want to join an existing band or start a new ensemble? Perhaps you want to take your playing to a whole new level?

Functional anatomy at the heart of your technique, in the service of music!

Equestrian art and music: two worlds that seem very far apart.

On one side, equestrian work, which engages the rider’s whole body, together with the knowledge, mastery and respect of a second body, that of the horse.

The passionate rider devotes themselves entirely to their equine partner, during training and schooling sessions but also in the demanding daily routine of looking after and caring for the horse, creating a unique bond.

On the other side, there is music. For my part, I chose strings: the viola, then the violin, instruments with undeniable emotional power, which call on the joints over a few millimeters that are essential to creating music that is in tune and expressive. We find ourselves alone with our expectations and our limits, often with a static body that has to resign itself to repeating for hours, sometimes to the point of triggering functional disorders.

At the time, I was 16 and refused to choose between equestrian art and the violin. However, the intensity of the physical work, the hours spent on horseback whatever the weather, the technical and repetitive work on the violin… Despite incredible mentors, the lack of deep awareness of my own body ended up hampering my playing, with yet another bout of tendinitis forcing me to rest.

In my advanced cycle at the conservatory, my body began to suffer from all the demands I was placing on it, a mix of physical and mental tension. It was thanks to this period of questioning that I was lucky enough to start working with Marc Papillon at the Musicians’ Clinic in Paris.

His passion for optimizing movement and for putting the musician’s enjoyment first changed my life almost 15 years ago. His knowledge and the way he passes it on allowed me to tame my limits and then push them beyond what seemed possible. His vision perfectly complemented my work at the conservatory, and on horseback.

I learned to know my body and to make it my teammate in adventure, so that I could play my violin on my horse at liberty, in performance.

With Marc Papillon’s support, I pushed the independence of the aids to the extreme, with enjoyment, muscle tone and ease:

My body from the navel to the toes is devoted to my horse: control of my body weight, the movement of my legs, the orientation of my coccyx and my breathing all carry different meanings for my horse, who is completely at liberty. Only my voice occasionally adds to the guidance.

The upper part of my body must remain supple and stable, so that I can play with my bow and make the strings of my violin vibrate without squeezing the neck with my left hand, which must stay free to link the notes, and while keeping my neck free of any contraction that would make harmony impossible. A balanced symbiosis can then settle between the upper and lower parts of my body.

Then all that remains is for my horse Ti Amo and me to let ourselves go and create a unique, emotional and artistic moment in front of the audience.

Thank you, Marc, for helping me make this dream come true!

To you who are reading these lines: I hope you will find in this book the inspiration to push your physical and mental limits with awareness and enjoyment!

Manon Comparini

The artist’s growth

An artist’s growth is not limited to their early years, such as childhood or adolescence; it continues throughout their adult life, showing itself through physical, mental and emotional changes, regardless of their original build or established personality. For a point of reference to remain reliable, it is essential for artists to become fully aware of their own development, but also of that of the people around them and of changes in society. This awareness raises a broad debate about the dynamic between openness to change and reluctance toward certain novelties or adaptations.

From instrumental dynamics to breathing, from emotional expression to stress management, this book modestly addresses a multitude of themes, inviting artists to balance technique and expression, rigor and letting go, in a process of continuous learning and growth.

“Anatomy of the Artist” aims to be a valuable resource for any artist wishing to navigate consciously through the complexities of their art and expression, thereby enriching their practice and personal journey with a deeper understanding of the union of body, head and heart.

Anatomy of the Artist marks the beginning of an in-depth exploration within the Anatomy of the Musician series. This series sets out to examine all musical practices, highlighting the many facets of artistic creation.

The aim is to give a complete picture of music as an interconnected discipline, shaped by anatomical, functional and interpersonal factors… Anatomy of the Artist invites readers to discover and appreciate the depth of the systems that make up the artist’s life.