Detailed Description When, towards the end of the nineteenth century, Rudolf Laban began to take an interest in all forms of dance, it was with an enthusiastically searching mind, looking for the very roots of active living. He believed the key for the unfolding of human capacities to be embedded in the dynamic configurations of dance and that man could enhance his creative powers by becoming aware of the nature of shapes and rhythms through which living organisms express and communicate. This he based on the unity of space and movement and he recognised a natural order in which the energy from within unfolds in space. Of special interest in this volume is the explicit presentation of the grammatical and syntactical aspects of the language of movement together with consideration of its notation. It is shown that this language is relevant not only to the dancer, actor and musician but also to the architect, designer and sculptor, and moreover that the aspects of Harmony stretch beyond the bounds of aesthetical use into the field of everyday living.
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Laban also developed Labanotation , a widely used movement-notation system. Originally interested in painting and architecture, Laban began to study dance in Paris. In he published Kinetographie Laban, a practical method for recording all forms of human motion, now commonly known as Labanotation.
His analysis of forms in movement, known as choreutics, was a nonpersonal, scientific system designed, like Labanotation, to apply to all human motion. Mary Wigman , one of his pupils and one of the originators of the modern dance in central Europe, based much of her dramatic choreography on a relationship between individual and space similar to the one Laban postulated in choreutics. Sigurd Leeder and Kurt Jooss , also pupils, further developed and made extensive use of eukinetics in their teaching and choreography.
During World War II , Laban made a number of studies of industrial efficiency , devised a series of corrective exercises for factory employees, and published Effort In he moved to Addlestone, Surrey, where he continued his teaching and research; with Lisa Ullmann, he also conducted the Art of Movement Studio.
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Laban movement analysis
Flow, on the other hand, is responsible for the continuousness or ongoingness of motions. Without any Flow Effort, movement must be contained in a single initiation and action, which is why there are specific names for the Flow-less Action configurations of Effort. In general it is very difficult to remove Flow from much movement, and so a full analysis of Effort will typically need to go beyond the Effort Actions. Combinations of Efforts[ edit ] While the individual motion factors of Space, Time, Weight and Flow may be observed, usually they will appear in combinations. Combinations of 3 Motion Factors are known as drives. The states and drives are often discussed as having distinct psychological characteristics. It is important to remember that all categories are related, and Shape is often an integrating factor for combining the categories into meaningful movement.
General space[ edit ] General space is the space in which we move. It is the actual space or environment, like the room we are in or the street. Or we can use a small area Near Reach Kinesphere when we move only within near reach of ourselves. In between is called Mid Reach Kinesphere.