Laban movement analysis: principles and applications

Laban Movement Analysis

Rudolph Labans' theories regarding movement in dance and art in general are well documented, and are actually quite complex. The particular form of dance in which his theories of motion applies called tanztheater, in which mastery of movement was a key concept. At the core of the movement that Labans espoused was the notion of tension between polar extremities, those occurring in space and those pertaining to release. It was Labans' idea that by uniting concepts that usually existed in dichotomies or polar opposites that he and other dancers could truly gain mastery over movement.

One of the principle dichotomies that Labans sought to resolve was that between stationary and transitory art, the results of which pertained to his tenet of effort. Effort is defined as "the inner attitude towards a motion factor" (Author, year, p. 42) and is stratified into four different categories: space, flow, weight and time. Effort is a subtle aspect of motion that reveals the attitude of a dancer or any other artist, and is best conceived of as the difference between an individual pretending (or playing) a role and portraying such a role (Author, year, p. 42). This is a key distinction and such a subtle one it probably evades most people, although it is clear and highly important, especially when watching performances.

The other key concept identified by Laban regarding movement was that of style, which is spawned from the usage of effort. Style is a specialized way of performing or moving which goes from unconscious tendencies to conscious ones (Author, year, p. 46). Style is also formed in subtlety -- not what one does by how so. However, Laban believed that true mastery of movement involves incorporating many styles, or at least transcending one's own style. Doing so enables dancers to develop stylistic innovations, which is what audiences gravitate to and ultimately respect.