Introduction:
Roudolf Laban is the man who created a way in which we can analyze, experience and interpret human movement. He developed the Laban Movement Analysis (LMA) which is a theoretical and experimental take on human movement. (Konie 2011) The LMA helps one to understand one’s body and to use it to its fullest potential. There are four major sub-divisions in the LMA which are body, effort, shape and space (BESS)(Adrian 2008). The following academic review will analyse the body, effort, shape and space and then apply it to my character, Nora, and her monologue from Brighton Beach Memoirs.
Body:
The body is the first concept of Laban’s four components of movement. Body can be defined as the human body and its characteristics both physical and structural as well as the body’s coordination’s and reflexes. (Longstaff 2007) The body can also be described as the body fundamentals. These fundamentals of the body are Breath, Core-Distal connectivity, head tail connectivity, upper-lower connectivity, body-half connectivity and body-diagonal connectivity (NYU movement [sa]).
Breath is a vital element of movement and survival. Breath is what initiates movement and supports our movement. Breath is a connecting factor which connects our body to the movement. If we don’t initiate our movements with breath there will be no fluidity or connectivity and injuries can occur (Longstaff 2007). For optimal body movement one needs to breathe optimally. To be able to breath optimally one needs to breathe three dimensionally. Three dimensional breathing is when inhaling the rib cage expands and the diaphragm moves downwards as an automatic control and exhaling the diaphragm passively moves back into position which pushes the air out a...
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Konie, R. 2011. A Brief Overview of Laban Movement Analysis. [O]. Available: www.movementhasmeaning.com Accessed 28 April 2014
Longstaff, J. S. 2007. Laban Analysis.[O]. Available: http://www.laban-analyses.org/laban_analysis_reviews/laban_analysis_notation/overview/summary.htm Accessed 22 April 2014
Longstaff, J. S. (1996). Cognitive structures of kinesthetic space; Reevaluating Rudolf Laban’s choreutics in the context of spatial cognition and motor control. Ph.D. Thesis. London: City University, Laban Centre.
Longstaff, J.S. 2011. Spatial Organisation of New choreography. [O]. Available: http://www.laban-analyses.org/jeffrey/2011-Rudolf-Laban-1926-Choreographie/chapter-07/07-04.jpg Accessed 1 May 2014
Penrose, M. 2010. Kinesphere.[O]. Available: http://www.ballet-dance.com/200405/articles/images/kinespherecopy.jpg Accessed 22 April 2014
Any time references made in this report are in context to the following recordings unless specified otherwise. Entire movements and short clips referred to have been pro...
Dance generally consists of physical movements that require us to use many parts of our body (Olympic Review, 1991 August No. 286). Basic dance or rhythmic and patterned movements are identical throughout the world, in all time and in all cultures, and is a fundamental element of our behavior (Hanley, 1991, p. 385). Since dance is
This process occurs under involuntary control. Because the brain just works without thinking about it, but is able to learn to manage its movements. Sometimes called thoracic diaphragm, it is a combination of tendon and muscle, which allows the air to inhale and exhale. The diaphragm muscle is located below the human lungs or bottom of the chest area, and beginning in the stomach area or region of the body. It also, originated from the central tendon anterior and inferior during inspiration.
Proprioception refers to the unconscious awareness and perception of joint and body movement, as well as the position of the body in space (Sherrington, 1906; as cited in Fisher et al., 1991:84). It is the “the sensory information caused by the contraction and stretching of muscles and by the bending, straightening, pulling and compression of the joints between bones” (Ayres, 2005:41). The muscles and joints constantly send information to the brain about the position of the body in space. However, most proprioceptive input does not reach consciousness except when deliberately focusing awareness on it (Ayres, 1974:41). In previous literature, a differentiation was made between kinesthesia (conscious joint proprioception) and unconscious proprioception. However researchers have begun to use these terms synonymously (Fisher et al., 1991:84).
While studying dance in college, there are a wide range of courses that will give you a great chance to learn new development strategies, technical courses techniques for communicating your thoughts to movements, dance genres and ideas of movements. These courses include, technique courses, somatic movement and education, courses and the courses in additional movements. Technique courses deal with the specific dance genres and their techniques, stylistic concerns and contributors. Overall, this type of course focal points will be physical practice and artistic expression. However, there will be discussions on the philosophical,cultural and historical perspectives of the genre you study.Therefore, it contributes to the comprehensive dance
Jonas, Gerald. Dancing: The Pleasure, Power, and Art of Movement. New York: Abrams, 1992. Print.
As a dramatist, lover of the stage and all things theatrical, I have learned to appreciate that simple definitive moment when one’s dancing mind is able to still itself, finally melding with the body in a cohesive and satisfying performance on stage.
The breath is brought into the nose and exhaled through the mouth with slightly pursed lips which should help you to feel a deeper contraction of the abdominals. = == == ==
25-4 Describe how the diaphragm and rib cage function in moving air into and out
Movement serves as a way for people to express themselves nonverbally. Much can be said based on how people move, especially how they move in a group. In this video, we observe student dance/movement therapists, and how they moved with one another in a group setting.
“Throwing Like a Girl.” A Phenomenology of Feminine Bodily Comportment, Motility and …Spatiality.” Human Studies 3 (1980): 137-56
Considering the embodied experience of a researcher who is a dancer, I will be able to contribute to the development of empirical research methods, with the perspective of not measuring other dancer's perceptions, but to include his/her background and previous experiences including my own insights as an insider in the dance field. This method will privilege both perceived experiences from dancer's experiences at these three ballet companies as well experiences of the researcher as a dancer. This way, this investigation will value the kinesthetic proprioceptive awareness from the dancer explaining their experience of the movement (Roses Thema, 2007).
The human body is made of atoms that form molecules, which form organelles, that make cells, which form tissues, that form organs, that make up organ systems, which creates an organism. Properties of living things include organization, cellular composition, metabolism, responsiveness and movement, homeostasis, development, reproduction and evolution.
Our idea of the body as a machine can be traced to the point of historical systems of classical thinkers. It was natural for humanity to be curious about its surrounding and try to formulate ways on how to explain everyday phenomenon. For example, the Greeks attempted to unlock the secrets of nature and schools of philosophy which began to form a systematic way of finding answers.
A ballet dancer’s general intention when performing any piece is to convey a message to the audience. A message is relayed through the dancer’s strategic facial expressions and body movements. Each movement has a purpose in articulating the dancer’s energy, and confidence within themselves to express the emotions and inspire the audience (Lucas). A dancer’s energy and