Rudolf Laban’s Theory of Movement Harmony Dr. Carol-Lynne Moore To my children, Keita Carey Moore and Kiyomi Lynne Moore CONTENTS Original Artworks by Rudolf Laban................................................................ix Preface.............................................................................................................xi Acknowledgements ........................................................................................xv Introduction....................................................................................................1 Tracing a Theory: Research Material and Methods.....................2 A Beautiful Theory – Movement Harmony...................................5 Chapter 1Laban’s Journey: Art, Dance, and Beyond..............................9 Art and Dance: A Study in Contrast..............................................9 Laban’s Early Years (1879-1899)................................................10 A Life for Art (1900-1907)..........................................................14 Transitional Years (1910-1912)...................................................16 Experimentation and Turmoil (1913-1919).................................18 A Life for Dance (1920-1937).....................................................22 Beyond Dance (1938-1958) ........................................................26 Laban as “Artist/Researcher” ......................................................29 Chapter 2The Artist/Researcher at Work ................................................37 Tracing a Research Career...........................................................37 Reconstructing a Research Methodology....................................39 Laban’s Artwork...........................................................................42 Making Art and Theorizing Dance..............................................55 Chapter 3Visual Representation of Movement: Tradition and Innovation..........................................................61 Representing Movement..............................................................61 Proportional Theories and Figure Drawing.................................63 Use of the Traditional Canon in Laban’s Figure Drawings.........70 The Impact of Instantaneous Photography..................................73 From Photograph to Mental Image: Bergson’s Philosophy of Movement.......................................................81 Bergsonian Reverberations in Laban’s Choreutic Theory and Notation..............................................................84 vi Space, Time, and Proportional Theory in Laban’s Combination Drawings................................................................................86 Art Nouveau and the Modernization of Form.............................90 Empathy, Expression, and Abstraction........................................93 The Modernization of Form and Expression in Dance ...............96 Chapter 4Space: The Outer Domain of Human Movement................109 The Dancer Moves from Place to Place....................................109 Geographies of the Kinesphere..................................................110 Lines of Motion and Their Characteristics................................121 Why Laban Preferred the Icosahedron......................................126 From Line to Line Complex: Theorizing Movement Sequences..........................................................131 Refining Laban’s Scheme ..........................................................135 Summary: Taxonomy of Space.................................................140 Chapter 5 Effort: The Inner Domain of Human Movement ................147 The Dancer Moves from Mood to Mood ..................................147 Evolving a Theory of Movement Dynamics..............................147 Elements of Effort: The Four Motion Factors..........................150 The “Dynamosphere”.................................................................155 Landscapes of the Dynamosphere.............................................159 Patterns of Effort Change ..........................................................169 Connecting Mood and Place......................................................171 The “Law of Proximity” ............................................................176 Summary: Taxonomy of Effort..................................................178 Chapter 6 On Harmony............................................................................187 Analysis, Synthesis, and the Essence of Movement..................187 Harmony as an Analogic Metaphor...........................................188 Ratio and Proportion..................................................................190 Balance.......................................................................................195 Symmetry...................................................................................197 Unity of Form.............................................................................201 Interrelationship of Elements.....................................................204 Individuality...............................................................................207 Hidden Harmonies: An Interlude..............................................207 A Working Definition of Movement Harmony..........................213 vii Chapter 7 Tone, Scale, Interval, and Transposition ..............................219 Chronological Development......................................................219 Choreutic Forms in the Oral Tradition ......................................221 Balanced Symmetry and Order in Choreutic Forms..................222 The Standard Scale and the Chromatic Scale............................231 Empirical Correspondences: The Standard Scale and Range of Motion..................................................................237 Harmonic Correspondences in the Standard Scale....................238 Mixed Seven-Rings and the Diatonic Scales.............................244 Transposition..............................................................................248 Harmony of Spatial Forms.........................................................255 Chapter 8 Modulation and Harmonic Phrasing....................................263 Musical Modulation and the Law of Proximity.........................263 Modeling Harmonic Phrasing for Other States and Drives.......271 Stability and Mobility in Effort Phrasing ..................................273 Exploring Other Models of the Dynamosphere.........................280 Laban’s Vision of Dynamic Space.............................................282 Chapter 9 The Harmonic Unity of Form and Energy............................287 Existing Theory of Effort/Space Affinities................................288 Steps in the Emergent Theoretical Process................................291 Mature Theory of Effort/Shape Affinities .................................293 A Shift in Perspective ................................................................296 Reconsidering the Theory of Movement Harmony...................302 Future Horizons .........................................................................305 Bibliography .............................................................................................311 Index ............................................................................................................321 Original Artworks by Rudolf Laban [Note: Artworks are identified by the classification system used by the Rudolf Laban Archive, © Rudolf Laban Archive, National Resource Centre for Dance. Used with permission.] Figures Figures 2-1, 3-2. Anatomical study. L/C/3/14 Figures 2-2, 3-3. Figure study. L/C/3/20 Figures 2-3, 3-4. Figure study variation. L/C/3/18 Figures 2-4, 6-3. Icosahedron and octahedron. L/C/2/119 Figure 2-5. Truncated octahedron. L/C/2/128 Figures 2-6, 8-3. Effort pattern diagram. L/E/53/2 Figures 2-7, 7-31. Octahedron being stretched. L/E/17/16 Figures 2-8, 7-34. Twisted band in hypercube. L/E/12/26 Figure 2-9. Variations of pentagon. L/C/1/87 Figure 2-10. Pentagonal poses. L/C/1/88 Figure 2-11. Dancers in icosahedron. L/C/6/100 Figure 2-12. Architectural sketches. L/C/1/2 Figure 2-13. Caricature. L/C/9/114 Figure 4-15. Directions in kinesphere. L/E/14/54 Figure 4-16. Center, body and kinesphere. L/C/4/7 Figure 4-21. Polygonal trace-form. L/C/5/86 Figure 6-2. Trace-form and figure in dodecahedron. L/C/5/128 Figure 7-32, 9-7. Klein bottle and multi-dimensional forms. L/E/14/34 Figure 7-33. Trefoil knot in tetrahedron. L/E/15/36 Figure 8-2. Working notes, effort modulation. L/E/6/62 Figure 8-8. Proximity model, effort states and drives. L/E/17/48 Figure 9-8. Weight/space shape. L/E/18/62.
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