Overview of the analysis of space in Rudolf Laban's dance practice

With reference to the dance practice of Rudolf Laban discuss one or two features of modern dance in Germany 1900-1939: Expressionism, technique, use of masks, analysis of space.

As one of the leading dance personalities of the twentieth century, Rudolph von Laban was a dancer, teacher and choreographer, as well as a dance theorist. After studying art and architecture, he worked in a wide range of areas and fields. This essay, however, will only focus on his specific way of analysing space. Though all the six categories of movement components (space, action, dynamics, body and relationships) are considered by him interdependently, this discussion, for heuristic reasons, will only examine his perspective on Space, in particular its influence on modern dance theatre and choreography. As such it will not be as complete as it could and should be.

In the 1900s, Laban moved to Paris where he had some decisive encounters, particularly with the Rosicrucians, which is a philosophic and esoteric movement originating in the XVII century and still active nowadays. It holds there are connections, called ‘alchemy’, between God, Humans and Nature. The purpose is to study harmony between these three components through relationships between heaven and earth. According to Rosicrucians, human beings are a reduced image (microcosm) of the universe (macrocosm). The meeting point of these two dimensions is symbolised by a cross, with a rose in the centre. It embodies the location where alchemy, called the 'athanor' takes place. They also give particular attention to crystal, as a support for harmony and spirituality and consider it a mystical material. Although Laban was not really involved in this movement, one can nevertheless understand how this kind of theory could influence him. It underscores the universality of matter, that some things are common whatever the matter studied. Another major source of influence were the dialogues of Plato, in particular the Timaeus. Before him, Pythagoras, a mathematician and musician had already reduced things of the world to their basic principles as follows: the four elements represent the cosmos. It was for him the best way of explaining how the universe was put together. Then, Plato observed that the structure of forms in nature such as crystals, plants and animals were subject to spatial laws. He classified the universe

into five regular solids, producing the four elements: the cube (earth), the octahedron (air), the tetrahedron (fire) and the icosahedron (water). He also set up the dodecahedron as the fifth one, representing the cosmos. It could not be created out of triangles but was used to “embroider the heavens”. Nature loves the perfect symmetry of the sphere, as one can see in viruses, planets and all sorts of microscopic sea creatures. Plato would never have seen a molecule representing his pronouncements on the proportional interrelations between all forms of life in his Timaeus. Although over 2000 years of scientific discoveries and research have long superseded his work the five perfect solids remain as perfect today as they were then, and what is more, they work for us now, as explained by Newlove and John Dalby (2003, p.25) :

Sceptical as we might be of all this, it is significant that modern scientific research into the structure of the atom and the crystal reveals that Plato's teaching, arrived at by deduction and intuition (he has no scientific instruments to help him), contained an astonishing degree of accuracy. Science has shown that the fundamental shape which occurs in every for of inorganic life is a triangle.

Science has proved that all matter is made of molecules and that they are in a continual state of rapid and random motion. The molecules are held in relatively fixed positions in regular array in what is called the crystalline structure of the solid. We ourselves are made of atoms and molecules. Influenced by that, Laban devised a series of connections between the mathematical crystal shape and the human body, as depicts the following quotation retrieved from Newlove and Dalby (2003, p.26):

In the growth of crystals (and what is not a crystal?), in the life of plants and in the weave of boundless existence which we call the cosmos, no other driving power can be recognised but the one that also creates the dance (source unknown).

Laban, influenced by this perspective, in analysing primitive dancing movement, underlines that movement in various spatial directions contains building forms, similar to the building of crystalline forms. The combination of these fundamental structures/sources, his studies of crystallography, Dalcroze's influence and the notation of social dances from Feuillet constitute the main starting-

points for his elaboration of directional orientation. So here is the solid foundation from which hebegan his investigation of space.

Laban set up a complex system of geometry based on links between crystalline forms from platonic solids and structure of human body. In aiming to answer the question to where does movement go and in which space it is, he established that some ways of organizing and moving in space are specifically harmonious, in the same sense as music can be. As with music, “Space Harmony” sometimes takes the form of a set “scales” of movement (directions and counterdirections) within geometric forms. The principles of Space Harmony, taught in the Joss Leeder school of Dance at Dartington Hall in England, are drawn mainly from Laban’s Choreographie published in 1926. Choreutics posthumously published in 1966 is nevertheless the major book on the subject. He began the manuscript in England in 1939 and Lisa Ullmann edited and annotated it afterwards. It is based on the analysis of space, and is “specifically” about space. The concepts developed in the book are already present in the title’s etymology. In ancient Greek, “choros” means “circle” or “dance” and “eu” means “good” or “harmonious”. The basis of the analysis of space developed in Choreutics refers to the “kinesphere” concept, spatial intention (directions or points in space that the mover is identifying or using) and geometrical observations of where the movement is being done (directions / planes / planar movement). The kinesphere is “reach space” immediately around the body contrary to general space. It moves with the dancer who is its centre. Once more, etymology is illuminating: “kinesis” means “movement” and “sphaira” means “ball” or “sphere”. Derived from icosahedron, it enables the definition of body directions, learn how to use the space and consider it in three dimensions and also to give all amplitude to the movement. From these purposes are elaborated spatial intentions through dimensional directions and diagonal directions. The first ones are stable owing to the balancing of the body mass around the centre of weight and its perpendicular relationship to the support. In contrast the second ones move the body centre out of the vertical alignment, over the support, promoting mobility, also called “liability” in German writings. It institutes the two states

of equilibrium, which are created by directions radiated from the centre of the upright body. Thus are defined the six cubic diagonal planes. Then geometrical observations lead to elaboration of three dimensional planes. The vertical plane, symbolised by a door, embodies the up/down direction, that is to say gravity, whereas the horizontal plane, symbolised by a table, embodies the right/left direction. Then we have got the sagittal plane represented by a wheel for the forward/backward direction. Based on these considerations, Laban devised a movement scale that follows these spatial pulls, called the “Dimensional”, or “Defense Scale”. The aim is to inhabit each dimension fully and with counter tension. One phrase is dedicated to each plane. The diagonal scale is used as a great way to warm up and energize the performer and the stage space. Imagining the eights corners of the cube connected via four diagonals, one side or one arm of the body reaches each points following this sequence for instance : front – right – high to back – left – low / front – left – high to back – right – low / back – left – high to front – right – low / back – right – high to front – left – low. Then we can initiate the same sequence with another side and with right/left directions reversed. The order of the sequence matters less than the dynamic tension between points or placements in space. For example, when one reaches for “high”, one feels the counter highly- pull to “low”and then the pulls are reversed. It allows to adapt torso and pelvis crossing the midlines of the body, creating deeper and more complex involvement of the body with the space. It can be practised to refine the range of movement and reveal individual movement preferences. The abstract and theoretical depth of this part of the system is often considered to be much greater than the rest, because it is much more than only a complex physical exercise.

In spite of the highly theoretical basis of the system, Laban's theories have had great impact on dance practice. Firstly in the emergence of many training programs devised for students all over Europe. Also Laban’s emphasizes on the importance of a more systematic approach to training as well as a more divergent approach to the creative process. This is seen in the rise of Tanztheatrer (Dancetheater) in the 1920s.

Dance has been completely shifted by his influence. From Laban appears a new form of free dance (“freie Tanz”), liberated from music. Although determinative changes were fully developed later by Merce Cunningham and John Cage, the root is already there in Laban's work, which also contains expressive aspects and patterns of everyday life. His method of working was based on experimentation and improvisation, much more than on rigorous fixed rules. His aim was to show diversity of identities, in all their differences: he incorporated the personalities of dancers, so that his work was constantly evolving. Continued and promoted by Mary Wigman, one of his most important pupils, Laban's studies of movement place dance over music, costumes and all external theatrical devices or components. Dance is now the central focus in performances: “Laban was interested in the movement moment itself, its content, meaning and relationship to the human spirit” (Bradley, 2009, p. 64). It evolved out of Dalcroze's eurythmics work for example which was still music centered. In a way it is thanks to Tanztheatrer that dance has gained its nobility. Finally we can also point out two other major systems coming from Laban's original work. The LMA (Laban Movement Analysis) developed by JS Longstaff, is a system of movement based on the four principles body/effort/shape/space. Longstaff devised a way to bring together the different movement schools of thought created after Laban. It is currently the most widely used system of human movement analysis. The other one is called Bartenieff Fundamentals (BF), started by Irmgard Bartenieff. After training with Laban, Bartenieff moved to the USA, where he founded the Laban/Bartenieff Institute of Movement Studies (LIMS) relying on LMA. He became afterwards a physiotherapist and one of founding members of the American Dance Therapy Association. Thus, Laban has been the starting-point for a wide range of developments.

In conclusion, from Laban’s initial experiences with platonic crystal, to the later developments of a complete system of dance focused around his ideas, can be seen the influence of his decisive impact on dance. Laban set up a language for interpreting, describing, analysing, visualizing, notating all ways of human movement, which changed our way of seeing, thinking and making dance.

The continuing powerful influence of the ‘space’ category can be seen nowadays too in the exploration of non-Euclidian geometry and evolution in physics. Application of LMA & BF has spread to Peace Studies, Anthropology, business consulting, leadership development, psychotherapy, health and wellness. These varied developments prove how far and deeply Laban’s analysis of movement has penetrated and how inescapable is his work.

Bibliography:Bradley, K. K. (2009). Rudolf Laban. London, England & New York, NY: Routeledge

Cohen, S. J. (Ed.). (1998). The Dance Encyclopedia, volume 4.Oxford, NY: Oxford University Press.

Laban, R. (1926). Choreography. Jena: Diderichs

(1966) Choreutics. London, England: MacDonald and Evans. (annotated and edited by Lisa Ullmann)

With Ullmann, L. (1984). A vision of dynamic space. London, England & Philadelphia, PA: Laban archives in association with The Falmer press

Longstaff, J. S. (1999). Selected methods of documentation and analysis in choreological research; a diversified Laban analysis approach. London, England: Neue Aura

Newlove, J. (1993). Laban for actors and dancers. New York, NY: RouteledgeWith Dalby, J. (2003). Laban for all. London, England: Routeledge

Preston-Dunlop, V. (1984). Point of departure: the dancer's space. Sevenoaks, England: Preston- Dunlop, V.

(1995).Dance words. Switzerland: Harwood academic publishers