Another example of Laban’s double vision is his concept of the kinesphere and dynamosphere as dual domains of human movement. To represent both domains, Laban utilizes the cube.
With regard to the kinesphere, Laban uses the cube quite literally. Its corners, edges, and internal diagonals serve as a kind of longitude and latitude for mapping movement in the space around the dancer’s body.
With regard to the dynamosphere, Laban uses the cube formally to represent patterns of effort change. This shift in how the model should be interpreted is complicated further by Laban’s use of direction symbols to stand for effort qualities and combinations.
When Laban wrote Choreutics in 1938-39, the effort symbols had not yet been created. Consequently, his dual use of direction symbols to stand in for effort obscures the discussion, but not entirely.
To decode the models discussed in Chapters 3, 6, and 9, it is only necessary to translate the direction symbols into effort qualities and combinations. Once this is done, Laban’s discussion of dynamospheric patterns becomes clear.
Want more keys? Register for the correspondence course, “Decoding Laban’s Choreutics,” beginning March 26.