The Moving Researcher: Laban/Bartenieff Movement Analysis in Performing Arts Education and Creative Arts Therapies

Contents

• 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. Julio Mota, Pontifical Catholic University of Parana.
• 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. Julio 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 fur 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 Almodovar's film 'Women on the Verge of a Nervous Breakdown.' Ciane Fernandes. Susanne Schlicher. Rosel Grassmann, Artist and Director at Wilderness BodyP