In visual art, combinations of lines create shapes.  In dance, combinations of trace-forms also generate shapes.  Laban’s basic theory of effort/shape affinities simply considered the direction of single lines.  Later he began to consider other more complex shapes and their organic relationships to effort.

Laban never published these later ideas, but a clear record exists in his archival materials.  In the upcoming MoveScape workshop, Harmonies of Effort and Shape, we will consider this more complex model.

Laban’s more complex model has proved intriguing to Miya Sylvester, movement and computational design specialist.  … Read More

The emphasis on two-dimensional stylization of natural forms led Art Nouveau artists to focus on the visual and kinesthetic qualities of different kinds of lines.

In his 1897 article in published in Decorative Kunst, the architect and designer August Endell detailed qualities of straight and curved lines, thin and thick lines, and the direction of these lines in terms of tension (light and heavy) and tempo (slow and quick).

By combining different types of lines to create shapes, Endell made the following claim:

“And because all sensations are only tempo and tension, form is able to awaken all shades of emotion within us.”… Read More

Laban identified 8 “Basic Actions” found in practical physical labor.  He also identified 8 diagonal directions, marked by the internal rays of the cube.  He combined these to conceptualize a cubic model of effort/shape affinities, writing “the eight fundamental dynamic actions evolve in areas of the dynamosphere which correspond approximately to the eight diagonal directions of the kinesphere.”

Laban’s model is a logical extension of his basic notions of relationships between effort qualities and cardinal directions.  And this model, embedded in a stylized physical practice, provides a clear structure for both effort and space.… Read More

Rudolf Laban perceived a logical relationship or “affinity” between the six cardinal directions and the effort qualities of Weight, Space, and Time.

For example, “a feeling of lightness corresponds with reaching upwards,” while a strong movement tends downwards.

Movement across the body “makes for a confined use of space,” which Laban links with straight, direct effort quality.  Opening outwards brings about spatial freedom, and correlates with a roundabout, indirect quality.

Sudden shocks and jerks of fright case the body to contract, consequently Laban relates quickness to movement backward. … Read More

Conceiving bodily motions as lines in space allowed Laban to link his visual art background with his study of dance.

Art Nouveau artists not only had a deep interest in the expressive qualities of line, they also linked this expressivity to the body.  For example, in asking how architectural forms can convey an emotion or a mood, the Swiss aesthetician Heinrich Wolfflin, argued that “Physical forms possess a character only because we ourselves possess a body.”

The architect August Endell went even further in ascribing empathic, body-based reactions to straight and curved lines, thick and thin lines, and the direction of the line. … Read More

In Labanotation, bodily gestures are recorded as linear trace-forms having a definable starting and ending destination.  In contrast, bodily supports in locomotion are written as motion away from a starting location.

In Labanotation, Ann Hutchinson Guest distinguishes destination from motion in the following way.

“In traveling from Rome to London, one is moving between two fixed points in the world.  The direction happens to be a northwesterly one, but the traveler need not be aware of this.’’

“A traveler starting on a northwesterly path from Rome may not know what his goal is; he may only know his direction in relation to his starting point.”  … Read More

Laban found trace-forms could be recorded by visualizing them as lines occurring within a geometricized kinesphere.  He also felt this form of representation was lacking something.

As the French philosopher Henri Bergson noted, one can move one’s hand from point A to point B, inscribing a line which can infinitely divided into a series of stationary points or positions.  This imposes stillnesses on flux.

Instead, the movement creates “the inward feeling of a single act, for in A was rest, in B there is again rest, and between A and B is placed an undivided act, the passage from rest to rest which is movement itself.”… Read More

The imaginary lines of longitude and latitude make it possible to navigate on the open seas.  In a similar way, Laban used the edges and corners of regular polyhedra to provide landmarks for tracking the pathways of moving limbs in the trackless space around the body.

This clever innovation allows for the movement of bodily gestures to be recorded as a line in space having a particular starting and ending point, with reference to a geometrical scaffolding of the kinesphere.… Read More

The limbs move through the space around the body, creating lines and shapes that disappear even as the movement is occurring.  But what if the joints of the limbs, like little jet engines, left a vapor trail, allowing the movement trajectories to be seen, recorded, and studied?

This is what Rudolf Laban had in mind when he coined the term “trace-forms”to refer to the imaginary vapor trails inscribed by the moving limbs on the space around the body.  His next challenge was to find a way to record these trace-forms so that they could be reconstructed from a notation score, just as the shape of a melody can be reproduced from a musical score.… Read More

Laban wanted readers of Mastery of Movement to engage both mind and body.  Besides physical exercises, he provides observation prompts to engage performers in the study of everyday behavior, along with dramatic scenarios to be enacted.

Most of Laban’s scenarios include multiple characters, and this can be a bit daunting for the person reading the book alone at home.

However, movement imagination can be stimulated through movement observation.  Mastery of Movement discusses mime as well as theatre and dance.  I have found that contemporary mime provides great examples of how a single performer can create multiple characters without saying a word.… Read More