This comprehensive book will serve as a step-by-step guide to Laban/Bartenieff Movement Analysis, updating and expanding concepts and practices.
Following extensive research on the method developed by Rudolf von Laban and his disciples, this book explains movement principles, exercises, and motif symbols in detail. Organized according to the four categories of Laban/Bartenieff Movement Analysis (Body-Effort-Shape-Space), additional chapters present the different developments of the theory in relation to performing arts and movement therapy. The author draws on Laban/Bartenieff Movement Analysis as a dynamic and connective approach, traveling from classroom and studio to everyday life, stage performance, and film acting. The Laban perspective serves as a multimedia artistic viewpoint, intertwining theory, learning, and imagery. This unique approach to this internationally used method is essential reading for educators and students of dance and other performing arts and movement-related professions.
Arvustused
Fernandes' book is as comprehensive an overview of Laban Movement Analysis as any book thus far. It is detailed, specific, and full of clear definitions, examples, and stories about the work. A must-have for all students and professional movement analysts! -- Karen Bradley, Director of Graduate Studies in Dance, University of Maryland This is an extensive and intensive body of research. A new text book for Laban practitioners and scholars, a first-class resource for all in pursuit of articulation of the grammar and semantics of Movement and its field of application. A real highlight is the scopic yet detailed exposition of Bartenieff Fundamentals. This should be "shared among all of us who have the passion drive for movement and the action drive for research". -- Anna Carlisle, MA MBE, President of the Laban Guild
Muu info
A step-by-step guide to Laban/Bartenieff Movement Analysis, updating and expanding concepts and practices
Foreword. Regina Miranda. Preface to the English edition.
1. The
Development of Rudolf Von Laban's Movement Theories. 1.1 The process of
movement: An expanded outline of the application of Laban theory to movement.
Jackie Hand, Laban/Bartenieff Institute of Movement Studies, USA. 1.2.
Voicing the practice: Laban's embodied immigration to Brazil. Melina Scialom.
1.3. Choreology and Choreological Studies. Júlio Mota, Pontifical Catholic
University of Paraná. 1.4 How to move things and words: Laban's Moving
Analysis as Somatic-Performative Research. 1.5. Autistic or Artistic? Laban's
theories applied to child disability as somatic performative integration.
2.
Laban/Bartenieff Movement Analysis: Interartistic Practice, Creativity, and
Dynamic Writing. 2.1. Dance theater and Laban/Bartenieff Movement Analysis.
2.2. Infinite dance: Dynamic bodies and concepts. 2.3. Laban/Bartenieff
Movement Analysis and Labanotation. 2.4. The 'Mastery of Movement': The
categories of Body-Effort-Shape-Space. 2.5. The dialogue among the arts in
total body expression.
3. Among Rocks, Reptiles and Connective Wind Currents:
The Body. 3.1. Bartenieff Principles. 3.1.1. Breath Support and Kinetic
Chains. 3.1.2. Core Support. 3.1.3. Dynamic Alignment. 3.1.4. Body
Organizations and Developmental Movement Patterns. 3.1.5. Bony Connections.
3.1.6. Weight Shift for Locomotion. 3.1.7. Initiation and Sequencing. 3.1.8.
Gradated Rotation. 3.1.9. Effort Life for Body Connectivity. 3.1.10. Spatial
Intent. 3.2. Bartenieff Fundamentals. 3.2.1. Preparatory Exercises. 3.2.2.
The Basic Six. 3.3. Posture/Gesture Merger. 3.4. Gesture and Posture
according to Laban and Lamb. Júlio Mota. 3.4.1. The Legacy of Rudolf von
Laban. 3.5. Other Concepts and Symbols of Body. 3.5.1. Body Parts. 3.5.2.
Upper and Lower Limbs. 3.5.3. Bodily Actions.
4. Effort or Eukinetics:
Pitches and Colors of a Poetic Body. 4.1. The Flow Factor. 4.1.1. Free flow.
4.1.2. Bound flow. 4.2. The space factor. 4.2.1. Indirect space. 4.2.2.
Direct space. 4.3. The weight factor. 4.3.1. Light weight. 4.3.2. Strong
weight. 4.4. The time factor. 4.2.1. Sustained time. 4.2.2. Quick time. 4.5.
The Effort Factors and Quaternary Correspondences. 4.6. Pre-Effort. 4.6.1.
Space Pre-Effort. 4.6.2. Weight Pre-Effort. 4.6.3. Time Pre-Effort. 4.7. The
Combination of Factors. 4.7.1. Effort States. 4.7.2. Effort Drives. 4.8.
Effort Phrases and Phrasing. 4.8.1. Effort Phrases. 4.8.2. Effort Phrasing.
5. Putting the Body Relationships in Shape. 5.1. Shape Flow. 5.1.1.
Growing/opening/unfolding. 5.1.2. Shrinking/closing/folding. 5.1.3. Growing
and Shrinking Alternately. 5.2. Spoke-Like and Arc-Like Directional. 5.3.
Shaping. 5.4. Specific Shapes Created by the Body. 5.5. Relationships.
6. The
Architecture of Moving Spaces. 6.1. Space Harmony. Susanne Schlicher,
Professor/Dramaturg, Theaterakademie Hamburg/Hochschule für Musik und Theater
(Hamburg University of Music and Theatre. 6.1.1. Space Harmony and Bartenieff
Fundamentals. 6.2. Kinesphere. 6.3. Reach Space. 6.3.1. Small Kinesphere-
Near Reach. 6.3.2. Medium Kinesphere- Mid Reach. 6.3.3. Large Kinesphere- Far
Reach. 6.4. Crosses of Axes. 6.4.1. Standard Cross of Axes. 6.4.2. Body Cross
of Axes. 6.4.3. Constant Cross of Axes. 6.5. Crystalline Forms. 6.5.1. The
Tetrahedron. 6.5.2. The Octahedron and its Three Dimensions. 6.5.3. The Cube
and its Four Diagonals. 6.5.4. The Icosahedron and its Three Planes. 6.5.5.
The Dodecahedron and its Three Planes. 6.6. Spatial Pathway. 6.6.1. Central
Pathway. 6.6.2. Transverse Pathway. 6.6.3. Peripheral Pathway. 6.7. Spatial
Tension. 6.7.1. Central Tension. 6.7.2. Transverse Tension. 6.7.3. Peripheral
Tension. 6.8. Other concepts and symbols of Space.
7. Associating
Body-Effort-Shape-Space. 7.1. Choreutics: Tuning and turning compositions.
7.1.1. Affinities in the Octahedron Dimensions. 7.1.2. Affinities in the Cube
Diagonals. 7.1.3. Affinities in the Isocahedron Planes. 7.1.4. From points in
Space to movement composition: The Personal Scale. 7.1.5. From Shape Flow to
movement composition: Authentic Movement. 7.2. Body Attitude. 7.2.1. Body.
7.2.2. Effort Stress. 7.2.3. Shape Stress. 7.2.4. Space Stress. 7.3. Themes
of Continuous Dynamics and Change. 7.3.1. Inner/Outer. 7.3.2.
Exertion/Recuperation. 7.3.3. Function/Expression. 7.3.4. Mobility/Stability.
8. Mapping Bodily Histories: Drawing the Moving Body-Text. 8.1. The
observation of human movement for description. 8.2. The description of human
movement. 8.2.1. The Effort-Shape Horizontal Motif. 8.2.2. The Discursive
Description and the Vertical Motif Description. 8.2.3. The Detailed
Description. 8.3. Simplified Movement Analysis. 8.3.1. LMA Simplified Coding
Sheet. 8.3.2. Filling Out the Simplified Coding Sheet- An Example. 8.3.3.
Applying the Simplified Coding Sheet to dance movement analysis: Bahian urban
environment and daily life in the moves of 'Hidden Agenda' by Tran Chan Dance
Company. 8.4. Detailed Movement Analysis. 8.4.1. LMA Detailed Coding Sheet.
8.4.2. Filling out the Detailed Coding Sheet- An Example. 8.4.3. Applying the
Detailed Coding Sheet to character movement analysis: Carmen Maura in the
Pedro Almodóvar's film 'Women on the Verge of a Nervous Breakdown.' Ciane
Fernandes. Susanne Schlicher. Rosel Grassmann, Artist and Director at
Wilderness BodyPainting, Independent Concept and Photo Artist of Movement
Studies. Works Cited.
Ciane Fernandes is tenured professor at the School of Theater and the Performing Arts Graduate program at Federal University of Bahia (PPGAC/UFBA), Salvador, Brazil. She is an associate researcher at the Laban/Bartenieff Institute of Movement Studies (LIMS), New York. She has a Ph.D. in art and humanities for performing artists from New York University, a certificate of movement analysis from LIMS and a post-doctorate degree in Contemporary Culture and Communications from UFBA. For the last twenty years Ciane has worked with Laban/Bartenieff Movement Analysis and Authentic Movement in education, research and performance. She has taught and performed based on these methods internationally, and presented lecture demonstrations and photo/video exhibitions. Ciane lives in Lençóis BA, Brazil. For more information, go to www.cianefernandes.pro.br or www.ppgac.tea.ufba.br.
Lisainfo e-raamatute kohta