Choreutics: Laban defined choreutics
as “the practical study of harmonized movement.” Latter day colleagues
of Laban’s, such as Valerie Preston-Dunlop and Vera Maletic, have
delineated Choreutics respectively as the “spatial organization for
dance” and “the theory and practice of ordering movement in space.”
Kinesphere: “the sphere around the body whose periphery can be reached by easily
extended limbs without stepping away from that place which is the point
of support when standing on one foot” (1966, p.10). This spherical space
around our body shifts as soon as we shift our weight. It is also the
first area of movement exploration before going into “space in general”.
It follows anatomical limitations, being actually more elliptic than
spherical as constitutionally, the average body has a wider area of
reach forward than backward.
Visibly speaking the kinesphere stays invisible until the moment we
move within it and make it tangible by leaving our trace-forms, the
spatial consequences of our movements (Preston-Dunlop, 1981, p.27).
Trace-forms: As
an analytical study, choreutics delineates the natural paths that the
limbs of the body trace on the space around the body. Laban calls these
paths “trace-forms.”
Harmonic” Three-dimensional Patterns: Laban’s
space harmony scales are similar. Laban has taken the curves of natural
movements and geometricized them, creating “harmonic” three-dimensional
patterns.
Breath Connectivity: Deliberately bringing your awareness to your breath as support for your
movement is a precursor to whole-body coordination and virtuosity in
movement. This is true for movers of all levels as breath allows the
entire body to be supported from within in complex coordination.
Patterns of Body Connection: With knowledge of Laban's concepts, Peggy Hackney identified six developmental patterns of body connectivity: breath, core-distal, head-tail, upper-lower, body- half, and cross-lateral.
Laban's Cube: Thee
kinesphere is also the container of a cube (containing all diagonal
directions and dimensions) and of an icosahedron made by three
bi-dimensional planes: it contains angular geometry inside a round
geometry.
Laban’s Four Components of Human Movement with their Respective Elements:
•Direction – direct/indirect
•Weight – heavy/light
•Speed – quick/sustained
•Flow – bound / free
Laban’s Eight Effort Actions:
The
Eight Effort Actions help clients both physically and emotionally to
embody and understand internal impulse while developing an expressive
body.
•Wring:
•Press
•Flick
•Dab
•Glide
•Float
•Punch
•Slash
II
Expressionist Dance
Expressionist dance was expressive, and show more spirit
and emotion and less virtuosity. The dance would be improvisational,
uninhibited and provocative. Future spiritual and bodily reform
movements expressed themselves in a new "natural" dance.
Schools for expressionist dance had special philosophies and emphases
for dance, such as naturalness, breathing, tension / relaxation etc. It
was often associated with floor contact, "weight" of dance movements,
and experiments with music. Body and physicality were strongly
emphasized.
Mary Wigman
She worked upon a technique based on contrasts of movement; expansion and contraction, pulling and pushing.
Her technique is structured in five main groups:
1 - Striding and sliding
2 - Springs, vibrations and bouncing
3 - Momentum and oscillations
4 - Falling and dropping (floor technique)
5 - Tensions: relaxed, sustained and motor tensions
1. Which ideas created by Rudolph Laban are important for dance?
2. Which cultural movement influenced Laban's movement ideas? Why?
3. What was the main difference between Mary Wigman's approach to dance and Laban's approach?
4. Why was Wigman's dance expressionist?
5. Why was Kurt Jooss' piece The Green Table an important piece in the evolution of modern dance? (See the videos bellow).
6. In which way have these dance/movement styles influenced your own dance abilities?
7. List the phrases we have put together so far, both, for your ensemble piece and your solo piece.
8. Briefly reflect on your performance in this class by writing about your takeaways in terms of body movement, expression and relationships.
1 Unlike Anything Alexandra Phillion DAN211 was a class unlike any I have ever taken before. I have learned many things throughout this course, such as how there are various ways that you can express yourself through dance. It can be any simple movement, anything that you want it to be. I also learned how important it was to breathe and connect your breath with your dance movements. Additionally, I learned a lot about several important people in the history of dance, such as Laban and how he was the father of modern dance influenced by expressionism. We also learned about Wigman’s approach, The Green Table, Duncan’s moves, etc. Every topic was unique, taught me something new, and reinforced the idea that dance can be portrayed any way you desire. Growing up, I was never used to these fundamentals. I always felt very res...
I WARM UP II STRETCH III Activity 1 REVIEW: LEVELS & DIRECTIONS FOCUS COMBINING ALL IV Short Bio Rudolf von Laban , also known as Rudolf Laban, was an Austro-Hungarian dance artist and theorist. He is considered as one of the pioneers of modern dance in Europe and as the "Founding Father of the Expressionist Dance" in Germany. Rudolf Laban (1879-1958) was was a dancer, a choreographer and a dance / movement theoretician. Being one of the founders of European Modern Dance, his work was extended through his most celebrated collaborators, Mary Wigman, Kurt Jooss and Sigurd Leeder. Laban was a visionary, humanist, teacher and theoretician, whose revolutionary ideas bridged the gap between the performing arts and science. V Review of Elements of Dance Directions Levels Size Focus Pathways VI Group Work Create an 8 movement phrase with the elements of dance studied in class.
I Warm Up II Several subcategories of body are: Initiation of movement starting from specific bodies Connection of different bodies to each other Sequencing of movement between parts of the body Patterns of body organization and connectivity ----------------------- III Patterns of Connectivity With knowledge of Laban's concepts, via Bartenieff, Peggy Hackney identified six developmental patterns of body connectivity: breath, core-distal, head-tail, upper-lower, body- half, and cross-lateral . Total Body Integration (Page 20) Standing Lateral Core Distal Upper Lower --------------------------------------------- IV. FLOOR Early Patterns of Total Body Connectivity. Question 2 After trying and/or observing the different movement patterns, explain how did it feel to put your body through this work? ------------------------------------------ IV Laban-Baternieff 5 Developmental Movement Patterns Naval Radiation Spinal Upp...
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